Rare books from Priscilla Juvelis

New York: Vincent FitzGerald & Company, 1991. One of 25 copies, text on Apta Royale Laid Richard de Bas paper (made in 1938), images on Musee paper, backed on custom-made papers by Paul Wong on Dieu Donne' Papermill. Page size: 16 inches x 16 inches. Bound by Zahra Partovi in Coptic-style mauve-grey silk over boards, box by David Bourbeau, Thistle Bindery, fine. Six original line etchings by Susan Weil are hand-painted in watercolor and gouache with gold-leafing throughout, each mounted on museum board. These images surround the 40-page text when sitting in the box and when lifted out become three-dimensional paintings. There are also two original collages in the text and on the boards of the cover which is printed in three colors. The calligraphy is by Jerry Kelly and the letterpress is by Dan Keleher at Wild Carrot Letterpress. Susan Weil's third Joyce book takes an excerpt from FINNEGAN'S WAKE and it is as much as tour de force as her previous two. The box itself is a piece of sculpture, and… Read More

London: The Hogarth Press, 1921. First Edition, one of 1,000 copies. 8vo; 91pp; + one page of ads for other books by The Hogarth Press. Black and white illustration on front panel, white panel on back, brick-colored cloth spine. Some minor rubbing to black and white illustration on front panel, endpapers browned, some offsetting from woodcuts to text page opposite as usual (and even so noted in Kunitz & Haycraft, p. 1549), else fine, housed in brick-colored cloth with brown morocco spine clamshell box. Illustrated with four original woodcuts by Vanessa Bell. Hand set and letterpress printed by McDermott at The Prompt Press, Richmond. A lovely fresh copy. Virginia Woolf (1882-1941), English novelist, essayist and critic, married the political theorist Leonard Woolf in 1912, with whom she established the Hogarth Press. MONDAY OR TUESDAY was the first Hogarth Press title to be included in the Annals of English Literature, 1475-1950. It was Woolf's "break out" book and it was noted that with this… Read More

Paris: Etablissements Nicolas, 1950. 8vo; 33pp; 3/4 burgundy morocco and marbled paper over boards, teg, original wrappers bound in, fine. This wine merchant's catalogue is illustrated throughout with delicate, full-color reproductions - collotypes - in-texte and hors-texte after drawings by the Japanese artist R. Harada.

New York: Charles Scribner's Sons, 1904. First Edition, first printing, inscribed by the author on the ffe, "To Mr. & Mrs. R. U. Johnson / with kindest regards / from Annie Fields. / Christmas 1894." 8vo; 216pp; brown gilt-stamped cloth, boards a bit bowed, tips and spine ends a bit rubbed, ex-libris of Robert Underwood Johnson on front pastedown, but generally very good+. Annie Fields (1834-1915), is cited in most references as an author, biographer, diarist, and literary hostess, wife of publisher James T. Fields and, later, companion to Sarah Orne Jewett. However, with the publication of HOW TO HELP THE POOR and her corresponding act of founding the Associated Charities of Boston and serving as its first director (1879-1894) and vice-president (1894-1906), she defined for herself an important place in the American history as a founder and key leader in the American social welfare movement. Robert Underwood Johnson (1853-1937), poet and editor, born in Washington, D.C. was raised and educated in… Read More

Stamford: The New Overbrook Press, 1984. This copy in a unique binding by Jack & Emma Craib: full black morocco with mother-of-pearl onlays forming design of characters from the play climbing out of the cylinder tube in which Beckett has set the play. The design reveals itself as a pictorial image only with the use of an anamorphoscope which is a 6 inch silver tube sitting on top of one of the marble onlays. Limited to 250 copies on Rives, each copy signed by Samuel Beckett. Each of the seven etchings is hand-numbered and signed by the artist, Charles Klabunde. Charles Klabunde, master engraver, was born in Nebraska where he spent the first two formative decades of his life. He received his MFA at the University of Iowa where his unusual talents were discovered by master print-maker Mauricio Lazansky who invited Klabunde to join his Print Workshop. Following his one-man exhibition at The Minneapolis Institute of Art, the artist moved to New York where he established his own printmaking studio and… Read More

Buenos Aires: Ediciones Dos Amigos, 1992. One of 17 copies, the total edition, 15 on cream Richard de Bas paper and 2 on white Richard de Bas paper, all signed by the artist, Mirta Ripoll, the publisher, Samuel Cesar Palui, and the printer, Ruben R. Lapolla on the colophon page. Page size: 15-1/4 inches x 11-1/4 inches; 64pp. Bound: loose in original wrappers as issued with etching by Aida Barballo on the front wrapper, housed in publisher's brown cloth over boards clamshell box with cork paper on front and spine reverse printed with title and author, artists, and publisher's names on front and author's and artists name on spine (author in large type descending down spine), fine. The text is printed in 20pt. Erasmus in a soft brown; the initial letters designed by Mirta Ripoll are in an elegant blue with title of each poem letterpress printed in the same blue; the title page is printed in black as are the dedication, table of contents, and colophon. There are 12 original full-page etchings printed in… Read More

Paris: Lefuel, 1825. First Edition, eight volumes each with one engraving PRINTED IN COLOR, heightened by hand, original white wrappers printed with color lithographs housed in original double-compartment box with lithograph printed in color on cover (lid), gold foil which is stamped bordering edge of box, original pink and blue ribbon pulls. Page size: 6 x 4". The eight volumes are titled: The Little Milkmaid, The Little Schoolgirl, The Little Flower Seller, The Little Harvester, The Little Savoyard, The Little Shepherd, The Little Boatman, and The Little Firewood Gatherer (5 girls and 3 boys). Each volume has an engraving printed in color of a child dressed in the manner suiting the occupation in the title. The neo-classic colored bordered lithographs on the covers of each title have elements of the occupation included, such as flowers in La Petite Marchande des Fleurs and fish, seashells, and seaweed in The Little Boatman. The text of this charming children's set is titled Simple Stories, and they… Read More

Buenos Aires: Ediciones Dos Amigos, 2001. One of 40 copies, all on Velin d'Arches paper, signed by Alicia Scavino in pencil on the last print in GENESIS. Page size: 12-3/4 inches x 9-3/4 inches; 84pp; and 72pp; respectively. Bound: each book loose in original drab wrappers, GENESIS with an original engraving consisting of green, ochre, brown arabesques with title in black on front and back panels; EXODO with the title printed in red on front panel and in Hebrew in buff above the Spanish, housed in tan paper over boards clamshell box with title in black on spine, fine. Etchings and aquatints in GENESIS by Alicia Scavino, signed by the artist on the final plate of GENESIS. Etchings and aquatints in EXODO by Mirta Kupferminc. Hand set and printed letterpress in 12pt. Electra by Ruben R. Lapolla, the edition was supervised by Samuel Cesar Palui and Ernesto Lowenstein. These two companion volumes are extremely beautiful and evocative of the creation and deliverance stories. These books were featured in an… Read More

Buenos Aires, Argentina: Ediciones Dos Amigos, 1974. One of 30 copies on Fabriano paper from a total issue of 32, each numbered and signed by the artist, Gabriela Aberastury. Page size: 13-3/4 inches x 18-1/2 inches; 72pp. Bound: loose in vellum wrappers with author and title printed in black on front wrappers, housed green clth clamshell box, label in printed in gold on maroon leather, boards covered with yellow-green grass paper, fine. There are 6 full page aquatints by Aberastury, 5 of which are in color, and one half-page colored aquatint. The text is printed by etch, the artist has handwritten the text and etched it on the plate and printed it on a green ground, with the exception of the last pae with is printed on a yellow ground the size of the text line and then printed green. The full-page images are remarkable. This is brilliant print-making. Conceived as an homage to Breton, it was published on the 50th anniversary of the publication of Breton's SUREALIST MANIFESTO under the direction of… Read More

Buenos Aires: Ediciones Dos Amigos, 1991. One of 30 copies, all hors commerce, each numbered and signed by Samuel Cesar Palui, Ernesto Lowenstein and Ruben R. Lapolla, this copy #12, all on velin d'Arches paper. Page size: 15 x 11 inches; 14pp. Bound: loose as issued in original white paper wrappers, housed in publisher's red cloth clamshell box, with cork on front and back panels and spine title in black on spine, in red with author's name in black on front panel, fine. llustrated with four original etchings by Jorge Simes that were printed by Mirta Ripoll. The initials that open each chapter are designed by Amelia Rigon. The text was printed at the Artesanias Graficas Printing Plant by Ruben Lapolla with the supervision of Samuel Cesar Palui in 14 Aster. The literal translation of the Spanish title is "Eagle's Shadow." This is the first book written by the well-known Spanish writer, Artura Perez-Reverte - although it is not the first published. An historical novel, it centers on the Russian… Read More

Buenos Aires: Ediciones Dos Amigos, 1987. Copy no. 21, one of 40 copies, all on velin d'Arches paper from a total issue of 42: 40 on velin d'Arches and 2 on Japan paper, all signed on the colophon by publisher, Samuel Cesar Palui. Page size: 13-1/16 x 10 inches; [i] [1-10] 11-175 [176-180] pp. Bound: loose in original grey wrappers, author's name engraved in dark blue, title in light green, dark green, and gray large wood-type letters; housed in buff paper and grey cloth box with blue cloth onlay on front of box, title printed in black on front cover and on spine. Illustrated with 18 full-page engravings as follows: 3 by Gabriela Aberstury, 3 by Julio Pagano, 3 by Mirta Ripoll, 8 by Alicia Scavino, and a portrait of the artist by Raul Russo. Hand set in 14pt. Bodoni by Ruben Raul Lapolla and printed under the supervision of Samuel Cesar Palui in three colors. The text is in black, page numbers in red, and highlights and title page in blue and black. The book was started in 1984 and was not published… Read More

New York: Vincent FitzGerald & Company, 2010. Artist's book, one of 35 copies, all on clear acrylic tiles, each signed and numbered by the artist on the colophon page. Page size: 9-1/2 x 10-3/4 inches folding to 6-1/2 x 9-1/2 inches, 32 slats (tiles) for the text in English and Persian + 10 tiles for titlepage and colophon. Bound by Zahra Partovi: the tiles sewn with blue and saffron ties (fishing line) fastened at end with small plastic disc so that ladder of tiles can be unfolded from an acrylic rectangular base; the English text on one side, the Persian text on tiles with violet and saffron fishing line threads, the binding style based on the style of the Chinese slatbook, a 3,000 year-old form made modern with the use of contemporary materials. The colophon and titlepage unfold from each end of the center "platform" as well. All four unfolding sides are affixed to a garnet-colored rectangular of acrylic drilled with holes through which the threads are laced. Housed in black suede fold-over box by… Read More

London: Macmillan, 1910. First edition, first printing, first English issue, inscribed by the author on the front blank, "L. Belugou / from his friend / Edith Wharton (with a flourish) Oct 26th 1910." 8vo; 438pp; + 8pp. ads, publisher's blue cloth blind and gilt stamped; ex-libris of Leon Belugou on front pastedown, endpapers a bit browned, spine a bit cocked, corners and spine ends bumped and rubbed. Leon Belugou (1865-1934) French scholar and journalist was, perhaps, her closest French friend. Garrison A18.1.a.2.

Sydney, Australia: Chowder Bay Press, 2012. Artist's book, one of 26 lettered copies, A-Z, plus 2 Artist Proof copies, all on Japanese Iwaki Mulberry paper for the linocuts and Rising Stonehenge paper for the poems, with wrapper supports of Suecia Antiqua Chamois, each book signed and lettered in pencil, by the artist, Peter Kingston, and the author, Robert Adamson. There are twenty-one prints by Kingston, including three long internal wrappers, a folding leporello, the upper lid of the box, and the illustrated colophon in the base of the lining. Page size: 13-3/4 x 13-3/4 inches; 14 folios consisting of poem title on recto, poem on verso, linocut (chine colle) on recto (one of which is double page fold), verso blank; plus titlepage and colophon, plus wrappers consisting of double-page linocut on Iwaki Mulberry paper to hold colophon and color photograph of Mr. Kingston and Mr. Adamson. Bound: loose as issued in linocut-printed green wrappers of Iwaki Mulberry paper showing wide-eyed, iridescent… Read More

Canton, NY: Caliban Press, 2001. One of two copies in original designer binding by Donald Glaister, from an edition of 125 copies all on various handmade papers by Velma Bolyard, La Papeterie St. Armand, and Barcham Green, with Arches, Frankfurt and Mexican amate paper. The text is set in 14pt. Dante by M & W Bixler; rain cut by Greg Lago. The book was designed, printed and bound by Mark McMurray, using the text from the 1623 First Folio (with a few liberties). Page size: 8 x 12 inches. Bound by Donald Glaister: full grey morocco with deep blue morocco onlay cutout to reveal underlay of aluminum with onlays of mesh, copper, mylar, painted in silver, gold, red, and black, the cutouts, while seemingly abstract, spell out the title of the book, TEMPEST, on the front panel and the same on the back panel - but in reverse mirror writing, spine smooth with two sets of tooled red and gold-gilt vertical lines and one set of horizontal lines spelling out the word THE, cork endpapers, blue and grey silk… Read More