Verdigris, 2006. Rothchild, Judith. Hardcover. 20 of 30 copies. Copies 26 to 29 were hors commerce, and number 30 was given to the Bibliotheque Nationale de France. SIGNED BY ARTIST AND WRITER. This beautiful work has eleven stunning numbered and initialed mezzotints by artist Judith Rothchild. Rothchild is an American born artist who lives in the Languedoc region of France. Also a pastel artist, she has become famous for her mezzotints, perhaps the most difficult printmaking technique. Rouanet is a well known French writer. The colophon says that the work is a collaboration between the two, who share a deep love for the Languedoc. Rouanet’s text, in French, was inspired by Rothchild’s prints of food and wine and by the spirit of a local restaurant, Le Mimosa. The folio sized pages are loose in a yellow and green box made by Lisa Knoblauch with the front board decorated with mimosa leaves done by serigraph. Printed by Mark Lintott in Vendome Romain type on an Albion press. The prints are protected by tissue guards. 20 pages including the prints. PRI/061207. Fine.
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Newfoundland: walking bird press, 2018. Softcover. Number 54 of 60 copies. Signed by the book artist and illustrator. The Bears Come to Tea is a sequel to Tara's previous book about Pancho and the (non-existent) Bears. This amusing rhyming story tells of the chaos created by Tara's dog, Pancho Villa, when he invited his bear friends in from the forest to join them for a late afternoon cup of tea. The event is illustrated with charming linocut illustrations including one fold-out by Duncan Major. Hand-set in Liberty and Bembo types and letterpress printed on Twinrocker 18th Century handmade paper. Pamphlet-stitched in brown St. Armand handmade paper covers, with a white label affixed to front cover. There is an invitation in its envelope tipped on the free front endpaper. Measures 5.25 x 8.25 inches. In fine condition. Includes prospectus. Unpaginated [13 pages]. PRI/112918. Fine.
Luminice Press, 2019-2020. One of 10 copies. This fascinating and intricate work by highly regarded book artist Williams is about two forms of transformation: alchemy, a physical process, and written scripture, a codification of religious beliefs. Alchemists believed that a method could be found to transmute base metals into gold. After centuries of trying, they never discovered such a method. The beliefs of some early societies were transformed from pantheistic to a concept of a single god figure, whose stories were collected in written form and used to codify new faiths. This book looks at the failure of alchemy and also how early faiths were corrupted and then used by dominant groups to subjugate and harm those who differed. The front cover is a pentagram with five triangles. The pentagram symbolized both good and evil and had many interpretations. For example, the single point up indicated the five wounds of Christ; both points up had an occult meaning. The triangles represent the base metals of alchemy. From top left in a clockwise rotation they are: silver, lead, tin, iron and copper with the sixth metal, mercury, represented by the silver dust surrounding the pentagram. Gold, the primary objective of alchemy, is at the center. The rear cover represents the four elements identified in antiquity: air, fire, earth and water. Each base metal has been associated with a planet in our solar system. Lead with Saturn, tin with Jupiter, iron with Mars, copper with Venus, silver with the moon, and mercury with its namesake planet. As the book progresses, each etching is aligned with one of the metals. The symbol for each metal, or planet associated with it, is found on the text page. Wit 11 original etchings from zinc plates on Twinrocker hand-made paper, 12 letterpress printed pages from polymer plates with alcohol based stains on Mohawk text weight paper, marbled endpapers. Covers are bound with paper over binders board. Front cover has onlays of thin steel and copper with metal pigment coatings and patina as well as silver leaf and gold leaf. Rear cover has an onlay of embossed aluminium foil from an engraved polycarbonate plate. closed, with three flaps and magnet closure bound with book cloth over binders board with Tyvek hinges. ad, tin, iron and copper with the sixth metal, mercury, represented by the silver dust surrounding the pentagram. Gold, the primary objective of alchemy, is at the center. The rear cover represents the four elements identified in antiquity: air, fire, earth and water. Each base metal has been associated with a planet in our solar system. Lead with Saturn, tin with Jupiter, iron with Mars, copper with Venus, silver with the moon, and mercury with its namesake planet. Custom case measures 9.5 x 8.75 x 1.5 inches. In fine condition. ARTISTSB/052720.
Toronto: Robert Wu, 2020. A splendid unique book by Robert Wu, an exceptionally talented Taiwanese-Canadian designer bookbinder and paper marbler from Toronto, where he has lived since 2006. He began binding books in the 1990s and studied with several master binders. His beautiful bindings can be found in public and private collections in Canada and the United States and he has received several awards. His specialization is in the grand tradition of French Art binding - Reliure d'Art.His eight years of architectural training is evident in the quality of his designs and the precision of his execution. The concept of this exquisite book was taken from rare antique agents' sample books and catelogues with mounted specimens of the company's latest card selections available for customers to order. Robert describes his book: "A French-style design finely bound album I created using a collection of Victorian calling cards I had collected over the years. It’s bound in full French technique with beautiful jade green leather. Hand sewn silk headbands in red, yellow and green. Onlays and inlays with various coloured/textured leathers. Gilding and tilting with 22k gold leaves and palladium. Covers are inset with embossed white alum tawed leather panels and amounted with six “faux ivoire” panels I invented. Endpapers and flyleaves are covered with cork skins and my own purple / gold marbled paper. Pages are made with red Japanese fine art paper. Housed in my invented “cradle box” lined with purple suede. A cradle box features the pull out folding easels within the folding box for storage and display purposes. The whole binding measures 13” x 11” x 2” closed. The album contains 291 pieces of antique Victorian calling cards with antique chromolithograph scraps. 95% are hidden name calling cards and the title page is salvaged from an old Victorian scrapbooking album."