Search Results: Authors starting with W from Priscilla Juvelis

Whidbey Island, WA, 2016. Artist's book, one of 8 copies, all on Stonehenge paper, each signed and numbered by the artist, Sande Wascher-James. Page size: 8 x 9 inches, 8pp. Bound by the artist: structure devised by the artist, accordion format with tipped-in cut-outs of female figures of white paper, with 2 printed tags tied to right hand that can be moved to intertwine with preceding and succeeding figures; when covers unfolded carrousel book formed; blue cloth over boards for end panels, black paper "accordion" spine, housed in matching blue box with blue lid, title on front panel and on lid of box, box lined with women's quotations printed in running text in grey which is also used as endpapers at front and rear of book. Digitally printed from design and text selection by the artist. Each page with postage stamp collage of notable American woman filling about 2/3 the page. The quotations are at the inside third of each page. Quotations include: "Nothing will work unless you do." Maya Angelou. "If… Read More

[Whidbey Island, WA, 2012. Artist's book, one of 12 copies only, each signed and numbered by the artist, all on 1-ply museum board (triple layered), the figure of Marian Anderson made from 100% black cotton rag, a series of double-sided paper dolls, with the faces of the women on photo paper, and their costumes of Liberty Lawn fabrics. Page size: (the figures are the pages so 24pp.) each figure about 10 inches tall, those with hats about 11 inches; box holding base and two trays of paper dolls is 12-7/8 x 14.5 x 3 inches; triangular display stand is 13-3/8 x 13-3/8 x 13-3/8 inches; 12 inches high from bottom edge of base to tip of triangle. Dealing with the achievements of American women, Ms. Wascher-James has created a "show-and-tell" display of figures of notables, with facsimiles of the U.S. postage stamps signifying their iconic status (printed on special paper for longevity), mounted on the front of the figure. The text below the stamp is printed on special fabric in Perpetua Titling-bold-6pt.… Read More

Whidbey Island, WA, 2010. Artist's book, one of 18 copies, all hand-painted and digitally printed on Lutradur, (man made product which was coated with a UV spray) designed and bound by Sande Wascher-James, signed and numbered on the colophon by her. Page size: in the shape of a hand, 8 x 5.5 inches, the hand-shaped pages cut with a Graphtec Robo cutter; 32pp; including covers. Bound: hand-sewn by the artist in blue thread matching the Liberty of London floral fabric on which the text and stamp images of women, especially Eleanor Roosevelt, were collaged, scanned, and then printed. Housed in custom-made box of pale blue hand-made paper over boards with collage of stamp of Eleanor Roosevelt on lid. Among those American women included in the book are Ida B. Wells, Frances Perkins, Alice Paul, Susan B. Anthony, Marion Anderson, Dorothea Lange, Martha Gellhorn, Helen Keller and Anne Sullivan. On Thursday, March 27, 1958 at the United Nations in New York, at the Tenth Anniversary of the Universal… Read More

Whidby Island, Washington, 2011. Artist's book, one of 18 copies, on Photo Smooth Cotton DUO paper, innova paper sized by the author, and Liberty fabric, each copy numbered and signed by the artist, Sande Wascher-James. Page size: 5-3/8 x 8-1/4 inches; 24pp. Bound by the artist: Cialux bookcloth in black embedded with pennies, housed in custom-made black cloth box. Ms. Wascher-James focuses here on the struggle for equal pay for women. The book is in the T format with the folded part of the book printed by Booksmart Studion on 17 x 22 inch paper. The T has a photograph of President Kennedy signing the Fair Pay Act in 1963, and then President Obama signed the Fair Pay Act in 2008. There are also photographs taken at one of the rallies to support the bill. The text is also printed on innova paper on an inkjet printer on two leaves of 12 pages each. The use of Liberty fabric is a usual element in Ms. Wascher-James books - as are the stamps of various women that appear along with the text. This book has… Read More

Whidbey Island, WA, 2013. Artist's book, one of 12 copies, all on heavy-weight white paper with text and photos printed on acetate attached to each side of the white paper, signed and numbered by the artist, Sande Wascher-James, on the colophon. Page size: 7 1/2 x 5 inches; 22p. each 3 layers. Bound: by the artist: purple-gold iridescent Asahi silk book cloth with white paper endsheets covered with acetate printed with collaged images of the 10 women featured in this book; with the title in black on white label covered in acetate. The matching drop side box is also covered in the same cloth with same label. There are double-page spreads for each of these notable women alternating with double-page spreads of advertising showing changing notions of womanhood and femininity. The book structure was learned from Paul Delrue and modified to meet the materials used. The book deals with how women perceive themselves compared to how the media sees them. The 10 women featured are: Ella Fitzgerald, Georgia… Read More

Whidbey Island, 2016. Artist's book, one of 10 copies, all on Stonehenge paper for the text (digitally printed) with collaged color photographs of the 8 women and stamps which are on Canson Infinity Rag Photographique, with additional collages of light purple Liberty Lawn fabric; signed and numbered by the author on the colophon. Bound: accordion style, light purple Liberty Lawn fabric over boards at ends, front panel with cut-out and half-tone image of vintage photograph of two women marching in women's rights parade ca. 1890, housed in blue cloth-over-boards lidded box with same image repeated on lid of box and the title printed in black on the image, with collaged bit of fabric at upper right corner. Page size: 8-1/8 x 5-1/4 inches; 18pp; including front and rear turn-ins. The text includes the Equal Rights Amendment from 1943 (called the Alice Paul Amendment) as well as the 1922 Lucretia Mott Amendment and the note that the ERA was introduced into every session of Congress between 1923 and 1972,… Read More

Editions Pierre Tisne, 1947. One of 1630 on velin Marais Crevecoeur; 4to; 315pp; handsomely rebound in 3/4 black morocco and marbled paper boards, spine with gilt lettering, marbled endpapers, t.e.g., original wrappers and backstrip bound in, near fine. Illustrated with lithographs by Laure Malcles: frontispiece, titlepage device, 36 headpieces, 10 full-page plates.

New York: Random House, 1975. First Edition, one of 200 specially bound and numbered copies, signed by Welty. 4to; 113pp; original tan cloth with author's facsimile signature in silver gilt, brown paper over boards slipcase, bookseller's label on slipcase otherwise fine.

Stonington, CT: Wequetequock Cove Editions, 2012. Artist's book, one of 30 copies with text printed on Velin d'Arche, the original watercolor that is the frontispiece is on Sekishu Japan paper, as are the four copperplate engravings, all copies signed by the artist, the author, and his translator, Joshua Watsky, who is also the publisher. Page size: 12.8 x 9.8 x 1/2 inches; 32pp. Bound: loose as issued by the publisher in hand water-colored Arches wrappers by Baltazar, sky blue ground with white negative space, lighter and darker blue and mauve lines extending horizontally across the wrappers, title printed in black letterpress on front panel and on spine, housed in custom-made black cloth clamshell box with white label printed in black with title, author, artist, and translator. There are 8 gatherings of 4 pages each of this bi-lingual edition. The text is set in 12pt. Helvetica by Francois Huin and printed letterpress. The 4 copperplate etchings were editioned at Atelier Alain Piroir in Montreal.… Read More

Paris: Felix Juven, 1915. Single issue of French humor magazine, this issue "Dan Les Ruines" with a color chromotypograph caricature by Abel Faivre of Edith Wharton and Walter Berry in the back of their chauffeur-driven car, touring the front with the caption "Ce n'est que ca!" Single Page size: 12-1/4 x 9-1/8 inches; 12pp; wrappers, pages a browned and ruffled at edges, some chipping at edges, but generally sound and good, housed in black cloth over boards custom-made clamshell box with gilt stamped leather label on spine. Hermione Lee, in her biography of Edith Wharton, notes that on Wharton's and Berry's third journey to the front (1915), they were accompanied by war cartoonist Abel Faivre, who did the "brilliant and unkind caricature" that appears on the cover of issue No. 27. Wharton is standing in the back of the car, gazing through a lorgnette, while Walter with hat and white moustache, sits glowering next to her, with the back of the chauffeur's head visible against the distant outline of… Read More

Amiens: Sterne/Presse de l'UFR Clerc Universite Picardie, 1992. First Edition, one of 400 copies only. 8vo; 142pp; gray decorated wrappers printed in white on blue label. In 1989, Professor Claudine Lesage, while doing research on Joseph Conrad (who had visited Polish friends in Hyeres when he first came to the Mediterranean), was shown an unsigned manuscript in English (although EW's ex-libris was present) by the librarian at the Municipal Library in Hyeres. Lesage investigated further and found in the Lewis biography that Wharton did tour the Aegean in 1888 with Teddy and James Van Alen and "Mind" Fearn, American Minister to Greece. Lesage was able to determine the year of the cruise by a reference to the date of Easter in the manuscript. And, although unsigned, the manuscript is most definitely in the hand of Mrs. Wharton. Unlike the other posthumously published Wharton manuscript, FAST AND LOOSE (1977), there was no reference or indication that this account of the cruise existed. The text,… Read More

Paris: Michel Houdiard Editeur, 2001. First edition. 8vo; 158pp; buff printed wrappers, new. Printed here for the first time are over 150 letters from Edith Wharton to her intimate French friend, Leon Belugou, detailing their friendship of over 25 years. Wharton wrote these letters in French and they are faithfully reproduced here. The originals of this correspondence are in Yale's Beinecke Library. Leon Belugou would come to play a crucial role in Edith Wharton's expatriate life. Over the next 25 years they developed an intimate friendship; he was, perhaps, her closest French friend. Leon Belugou (1865-1934) French scholar was introduced into the best "salons" in Paris; in fact, he was private tutor for noble wealthy families, including that of the Duke de Gramont. Although not actually part of the highest French society, he was quite close to them and often acted as a sort of non-clerical Abbe Mugnier when their money or love affairs became compromising. He was known for his tact and ability at… 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.

New York: The National Temperance Society and Publication House, 1872. First Edition of the Author's First Book. 12mo; 132pp; + 8pp. ads for "Publications of the National Temperence Society"; brick-colored cloth, printed in gold gilt with black decorations, rubbed at all edges, especially corners and spine, soiling to most pages at margins, "Don't Drink" on page 7 with large erasure with loss of 4 or 5 words, good only. Ella Wheeler Wilcox (1850-1919), poet and journalist, wrote her first novel at age 9. By the age of 14, she had successfully submitted some prose sketches to the New York Mercury. She left school to devote her time to her writing, hoping to escape family poverty through her pen. She did attend the University of Wisconsin in 1867. In 1872, she published a collection of temperance poems which won a small audience. Fame, as well as notoriety came in 1883 when a Chicago firm refused to publish her POEMS OF PASSION (although much of the verse therein had previously appeared in journals).… Read More

Chicago: Brothers of the Book, 1916. First Edition, one of 600 copies on Fabriano paper, untrimmed. 8vo; 72pp; green paper over boards with lighter green label on front cover, dark green dust jacket printed in black with author and title, elegant bookplate of George Abbot James on front pastedown. a near fine copy. Letterpress by The Faithorn Company, designed by Laurence C. Woodworth, this is a handsome hommage to Whitman and LEAVES OF GRASS containing verse by Hamlin Garland, Joaquin Miller, et al.

[Herefordshire, UK: Whittington Press, 2005. Deluxe copy, one of 80 copies, hand numbered in the colophon, from a total issue of 760: 80 copies bound in quarter Oasis leather and paper marbled by Christopher Rowlatt with additional material laid in accompanying portfolio, housed in publisher's slipcase (this copy) and 680 regular copies. Letterpress printed in in Caslon, Poliphuilus and Neo-Didot types and printed by Whittington on Sommerville Laid, Losin hand-madke, Zerkall mould-made and Hahnemuhle Bugra-Butten papers. The Color and tritone plates were printed by CTD Printers. Folio, 198pp, fine. With articles by Gaylord Schanilec, Sebastian Carter, Carolee Campbell, Jerry Kelly among others and an essay by Rosalinde Randle on 25 years of MATRIX.

Evanston, Ill, 1890. Autograph Letter Signed, "Frances Willard" to Dr. Ward on letterhead of National Woman's Christian Temperance Union, President Frances E. Willard. Single sheet, 8-7/16" x 5-3/8", folded in thirds to fit envelope, else fine. Frances Willard (1839-1898), feminist and reformer, distinguished herself as an educator in the early part of her life. By the 1870's, however, she had found her life's work: temperance. Bringing a small prayer-dominated group to the national stage and prodding the WCTU into other causes -- like suffrage and labor reform -- she shaped the group into a strong woman's movement. By 1890, Miss Willard had experience of 10 years in American party politics and was influential in making the Prohibitionists a successful political force. In her autobiography, GLIMPSES OF FIFTY YEARS, she mentions writing for The Independent as early as 1870. The Independent was a New York-based weekly journal of considerable importance in 19th-century America, absorbing Harper's Weekly… 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.

Tuscaloosa, AL: The Wing & The Wheel Press, 2000. First Edition, one of 100 copies all on Hahnemuhle Biblio, a German mouldmade paper, from a total issue of 150 numbered copies, each signed by the artist and poet. : 100 copies in Hanemuhle Bugra paper wrappers (this copy), 50 copies in quarter-bound Japanese cloth over board with handcoloring by the artist, Suzanne Moore. In addition, there were 26 deluxe lettered copies printed on Twinrocker Calligraphy Cream, hand colored by Suzanne Moore and gilded plus mieux. Page size: 7-1/2 x 4-3/4". Binding designed by Donald Glaister and executed under his direction. The 32-page book contains 12 poems by Corey Mesler . The suite of "paragrams" - calligraphic allusions to the text - was drawn by noted book artist and calligrapher, Suzanne Moore, to compliment the poems. Her work melds, weaves and plays with visual and verbal messages in her lettering and painting. It is printed, engraved, and in the case of the hardcover and deluxe editions, hand colored in… Read More

Norwich, VT, 2014. Artist's book, one of 7 copies, all on white paper, each copy signed and numbered by the artist on the colophon. Page size: 7-1/4 x 4-3/4 inches; 18pp; including colophon. Bound by the artist: drum leaf style, brown cloth over boards with small onlay of stenciled image of Necco wafer on front panel. Text printed letterpress in 24pt. Futura Italicwith titlepage in Futura Medium 48 and 18pt. Images hand stenciled by the artist. Stephanie Wolff notes in the colophon that the commercial confections featured in SWEET NEW ENGLAND all originated in Massachusetts... Further, "the discovery of maple sugar candy happened so many years ago the date and details are unknown, but it has long been considered a New England sweet." The candies are named and pictured with the date of their first appearance: Junior Mints 1949, Sugar Daddy 1925, Charleston Chew 1922, Marshmallow Fluff 1917, Conversation Hearts 1866, Necco Wafers 1849, and Maple Sugar Candy. Each confection's image is reduced to a… Read More