[Janus Press] Green, MaureenBiblio.com
860 résultats
2008réf. 9780Newark VT: Janus Press 2008. Original Wrappers. Fine binding. Quarto. 65 3 pp. illus specimens. Limited edition one of 200 numbered copies. Letterpress printed from polymer plates on Finale paper the last paper made at Hayle Mill. Longstitch binding in wrappers with printed paper title label on the front cover. Housed in a clamshell box containing a letterpress printed three color map of "Loose Valley 1856 with the Mills on Loose Stream"; a portfolio with 19 photographs reprinted from the Hayle Mill Archives; and a portfolio of sample papers. A fine copy. This remarkable work of scholarship delves into the history of papermaking in Kent along the Loose Stream and the history of this particular firm started by John Pine and sold before a decade had passed to John Green whose descendants would remain at the helm generation after generation until it closed in 1987. At which time it was the "last industrial handmade mill of its kind in commercial operation in Britain" p. 60. But this book is so much more: to look at the care and presentation of this history it is as much an ode to paper and papermaking as it is a mere history. Van Vliet is an artist whose relationship with paper is distinctive among her peers-from her pulp painting and paper making to the fact that most all the books from the Janus Press are bound in thoughtfully designed paper bindings the structure of many being her own invention paper is part of every design aspect. The 16th century epigraph speaks volumes: "I prayse the man that first did paper make the only thing that sets all vertues forth: It shoes newe bookes and keepes old workes awake much more of price than all this world is worth. . . ." It's fitting that this history is printed on paper from the Hayle Mill with a watermark specially designed by Van Vliet for the final paper made at the mill. Janus Press unknown
réf. 9788Newark and Burke VT: Janus Press and Plowboy Press 2022. Hard Cover. Fine binding. Folio. 4 58 4 pp. plates maps illus. Limited edition one of 120 numbered copies. Letterpress printed on Barcham Green Boxley by Andrew Miller-Brown of Plowboy Press. The frontispiece is Durer's northern celestial map. There are 28 illustrations of the constellations from Caspar Vopel's 1534 woodcuts and eight full-page original digital prints of weather by Claire Van Vliet based on her pulp paintings. Additionally there are numerous in-text illustrations some mounted some printed. This is sewn longstitch into pulp-painting covered boards by Katie MacGregor; pocket inside the front cover contains prospectus and Translator's Introduction and Notes. The book is wrapped in a linen-covered chemise lined with Durer's 1515 celestial maps all housed in maple and birchwood slipcase with a lasercut title on the spine. A fine copy. Aratus was born in Soli in present day Turkey in about 315 BCE. Educated in Athens he eventually made his way to the Macedonian court where it is believed he wrote the Phaenomena. It describes in verse the constellations their rotation in the night sky throughout the year various other natural signs and their uses as a calendar and weather forecasting tool for farmers and sailors. For Aratus these sky signs from the constellation Ursa Major to the smallest mouse tossing straw with its paws represent a gift from Zeus to guide human endeavor if only we would take notice. The Phaenomena was enormously popular in its time and afterwards. It inspired many translations some with a liberal dose of revisions and additions as well as many commentaries starting in at least the second century BCE. This edition of the Phaenomena features a verse translation from the Greek by Stanley Lombardo and a new commentary for the modern reader by Mark Breen senior meteorologist and director of the planetarium at the Fairbanks Museum and Planetarium in St. Johnsbury Vermont. And while it is easy to get caught up in the interesting particulars of the book and its history as well as the particulars of this edition Van Vliet Miller-Brown and their collaborators have created an edition that has reinvigorated this millennia-old navigational and practical treatise. This edition is full of wonder. MacGregor's pulp painted covers are haunting and exquisitely suited for the work. And further the book designed with a mind towards early scholarly works with Aratus's text surrounded by commentary and illustration is a joy to leaf through every page spread is visually engaging from the early section on the constellations to the section on weather that is elevated by Van Vliet's art. After 70 years of bookmaking Van Vliet has not stopped pushing forward in her design and vision. Janus Press and Plowboy Press unknown
réf. 9779Newark VT: Janus Press 2018. Original Wrappers. Fine binding. Quarto. 2 24 ll. illus. Limited edition of one hundred numbered copies. Signed by Dawes and Gregg at the colophon. In a glued leaf binding in printed Canal paper covers. Gregg's drawings have been digitally printed here with Dawes's holographic poems letterpress printed from polymer plates around the drawings. Accompanying this is a smaller french-fold chapbook printed with matching foliation all housed in clamshell with maple wood sides in a slipcase with printed paper label. A fine copy. The chapbook offers a transcription of the holographic poems in the main work-though Dawes's handwriting is plenty legible. Additionally a short "Poet's Note" at the beginning of this chapbook describes his process of writing these poems in response to Gregg's drawings of Vallarta. He writes: "The poems collected here represent the most exciting part of making poems for me which is writing the first draft in that breakneck pace of someone in search of what a poem is offering and doing so with faith that it will eventually reveal itself to me." And of this particular collection of poems Dawes makes a fascinating observation: "I write to understand how I have been moved by the art." A beautiful idea searching for understanding through writing. A wonderful and accidental or perhaps inspired collaboration between the founder of the Vermont Studio Center and the Ghanaian poet. Janus Press unknown
2003réf. 10891Newark VT: Janus Press 2003. Wrappers. Fine binding. 12mo. 2 16 ll. illus. Limited edition one of 150 numbered copies. Double-spine structure within tri-fold binding of stiff printed wrappers in slipcase. Title page and colophon leaves are bracketed by a beautiful translucent tan paper made by Van Vliet from pulp prepared with seawater by Bernie Vinzani. The 16 numbered leaves are printed on the recto only and alternate with odd-numbered leaves bound on the right and even on the left creating a beautiful back-and-forth choreography in order to navigate through the book before the reader reaches Van Vliet's photograph of Governor's Bay on the South Island of New Zealand. All housed in paper-covered slipcase with spine label. A wonderful book by Van Vliet that showcases Loney's evocative lyrics capturing a sense of place at a moment in time but also a sense of being-it is introspective and aware. A beautiful poem wonderfully presented by Van Vliet in a binding that asks the reader to slow down and approach it on its terms. Fine Ruth. Janus Press - Fifty Years p. 59. Janus Press unknown
1975réf. 21716Newark VT: The Janus Press 1975. First edition. One of 75 numbered copies signed by Johanknecht the entire edition. Fine copy. 8vo original unprinted wrappers printed paper spine label. Fine copy. The Janus Press unknown
réf. 65888West Burke VT: Janus Press 1976. First Edition. One of 150 copies unsigned as issued. Orange wrappers with silver moon decoration printed in two colors with double-page cut-out endpapers; 8vo. ".designed handset in Monotype Times Roman printed torn cut and bound by Claire Van Vliet at the Janus Press on and of Kozu Fabriano and Canson paper. The endpapers are the topiary gardens of Levens Hall Westmorland England. This is copy no 85." Back cover almost imperceptibly sunned along the front edge else Fine unopened. Claire Van Vliet's work has been heavily collected for over 50 years well before she won an early MacArthur Foundation "genius" grant in 1989 with many institutions subscribing. This title particularly elusive in the trade. Janus Press unknown
1976réf. 21729Newark and West Burke VT: The Janus Press 1976. First edition. One of 150 numbered copies the entire edition printed torn cut & bound by Claire Van Vliet at the Janus Press on and of Kozu Fabriano & Canson paper. One of Schuyler's scarcest books owing to the fact that most of the edition went to subscribers of the press with the result that few copies of the book have been available for collectors of the poet. Fine copy. 8vo illustrated with architectural cut-out endpapers fashioned after the topiary gardens at Levens Hall Westmorland England original orange decorated wrappers. Fine copy. The Janus Press unknown
réf. 11635Newark VT: Janus Press 2006. Original Wrappers. Fine binding. Quarto. 40 4 pp. pop-up. Limited edition one of 150 numbered copies. Signed by Van Vliet Holden Miller-Brown. Bound by Audrey Holden in pulp-painted covers by Van Vliet and Katie MacGregor. who also created the pulp painting background for the centerpiece pop-up. Text is printed in Victor Hammer's American Uncial with wraparound commentary in Monotype Plantin by Andrew Miller-Brown. All housed in a paste-paper over boards clamshell with birch sides; boldly titled on the spine. A fine copy. A remarkable rendering of the 2nd century Gnostic Gospel. Van Vliet's edition is a wonderful marriage of early and modern printing: the design echoing early printing islands of text within a sea of commentary. Similarly the choice of American Uncial a typeface modeled by Hammer after early letterforms from a century near to the time of this gospel's composition recalls early books. But this is a remarkably modern printing with modern abstracted embellishments where we would expect to find illuminated illustration in an early manuscript. Every page of the scholarly edition is visually engaging-a rare marriage indeed! As if this exceptional design was not enough "the reader" in the words of John A. Buchtel "reaches the center of the book and unexpectedly the pop-up explodes out of the mottled purple and blue pulp painted page spread in the vivid multiple colors of Katie MacGregor's handmade papers. Its abstract design echoes the diagrams elsewhere in the book and its sense of rising expansiveness is reinforced by the radiating silver paper strips woven through the surface of the pulp painting. . . . The pop-up is emblematic perhaps of a sudden realization-an epiphany-as the soul moves 'upward from its bondage to the flesh and the lower world to its liberation in the higher celestial realm.'" p. 48. A stunning work. Buchtel John A. The Art of Paper: Claire Van Vliet and the Janus Press: Papermaking Collaborations 2024. Janus Press unknown
1976réf. 21833West Burke VT: The Janus Press Christmas 1976. First edition. One of 50 numbered copies signed by Siegl out of an edition of 300 with a separate suite of signed prints. Very fine copy. 8vo woodcuts printed in colors original cloth-backed pastepaper over boards publisher's board slipcase. Very fine copy. The Janus Press unknown
1976réf. 21715West Burke VT: The Janus Press Christmas 1976. First edition. One of 250 numbered copies signed by Siegl out of an edition of 300. Fine copy. 8vo woodcuts printed in colors original illustrated wrappers. Fine copy. The Janus Press unknown
1966réf. 21711Madison WI: Janus Press 1966. First edition. One of 100 copies the entire edition printed by Claire Van Vliet. A fine copy of this early Janus Press book. 4to printed wrappers. A fine copy of this early Janus Press book. Janus Press unknown
réf. 9785Newark VT: Janus Press 2016. Wrappers. Fine binding. Quarto. 114 pp. frontis. illus. Limited edition one of 120 numbered copies. Signed by Hulme and Van Vliet. Bound using a woven strip binding designed by Claire Van Vliet; the covers are a dynamic pulp-painting with a vitreograph frontispiece with five additional illustrations that were digitally composed by Van Vliet and are original archival inkjet prints on handmade paper; these seem to blend photography and Van Vliet's pulp painting creating a striking and textured result. This is accompanied by a small octavo glossary with eight letterpress pages and fold-out photograph. All laid into a clamshell box of paper boards with acrylic-painted fore-edge and moon inset on the spine; map of Moeraki mounted inside the upper cover; maple and tamarack sides. Housed in slipcase with printed title label. A fine copy. Among the most ambitious projects of the Press it is one of the largest at 114 pages and the longest projects of the Press taking 20 years from contact to completion. Each of the 6 "Conversations" are printed on different handmade papers many of which have varying leaf sizes. The poetry by Booker Prize-winning author of Bone People Keri Hulme rewards attention and patience. Similarly Van Vliet's books require more attention from the reader and Silences is no exception. For instance in one "conversation" she varies the page size and relationship-some leaves being half-page strips on the lower portion of the book can be paged through while sequences of cutouts and illustrations along the top remain are turned less frequently creating a constancy. Even the form of the book can be altered: the page-spread illustrations for instance can be pulled forward at the inner fold making what was two dimensional into three-dimensional. One can do this with all the illustrations simultaneously creating what Van Vliet describes in her Notes for Press Patrons "a three dimensional wagon wheel display." This book is a beautiful choreography between text image and form-all elements in harmony. Buchtel John A. The Art of Paper: Claire Van Vliet and the Janus Press: Papermaking Collaborations 2024. Janus Press unknown
2015réf. 11643Newark VT: Janus Press 2015. Hard Cover. Fine binding. Octavo. 42 pp. illus; 42 pp. illus. pop-up errata; 80 pp. illus. Limited edition each is from an edition of 140 to 150 numbered copies 115 of which were thus gathered together and wrapped in a handmade paper-over-boards chemise with a single bifolium "Notes on Trio" laid in. Housed in slipcase with printed paper title label on the spine. Each signed by the author-Eclipses is additionally signed by Van Vliet. Variously bound and illustrated with a lithograph and digital prints by Van Vliet. Fine copies. A wonderful gathering of poetry that showcases many aspects of Van Vliet's design and decoration: from Kinsey's work with Van Vliet's beautiful illustrations of the moon and Ellen Dorn Levitt's diagrams of eclipses to Haswell's more playful design including numerous different papers and inclusion as well as the letterpress printing of the poems both in type and her own handwriting scanned and made into polymer plates to Hesse's four-season Cosmos that is bound in-the-round so that once that last page is turned the reader is looking at the first begging the question: what is first and what is last Note: the image is of copy #52; this is another copy from the scant printer's backstock. It is uncirculated and in fine condition. Janus Press unknown
1996réf. 10934Newark VT: Janus Press 1996. Fine binding. 2-1/4" x 2-1/4." 28 pp. Limited edition one of 200 numbered copies. Signed by Van Vliet and Audrey Holden who assembled them. Miniature cut letter alphabet of offcuts from the Janus Press edition of Praise Basted In: A Friendship Quilt for Aunt Sallie 1995. Housed in a non-adhesive cube of MacGregor-Vinzani pink abaca paper with a linocut pattern in yellow. In plastic outer box. A fine copy. "Waste not; want not" as they say. What better way to employ the offcuts from a significant project than to create this absolutely delightful alphabet. Of any number of throughlines in Van Vliet's long career her joy is certainly one of the most prominent. It appears in her most ambitious projects as much as it does in this wonderfully playful artist's book. Fine The Janus Press - Fifty Years p. 52. Janus Press unknown
2000réf. 21843Newark VT: The Janus Press 2000. First edition. One of 200 copies of which 50 copies were specially published for Janus Press patrons. Accompanied by a bifolium explaining the volumes of vulnerability artists' book exhibition organized by Susan Johanknecht and Katharine Meynell. This book represented Claire Van Vliet in the exhibition. Very fine copy. Small oblong 8vo illustrated with numerous wood and metal printers' dingbats and commercial linecuts 24 unnumbered pages created from an 11- x 23 inch sheet cut into thirds horizontally and folded into fourths vertically publisher's board slipcase. Very fine copy. The Janus Press unknown
2007réf. 9781Newark VT: Janus Press 2007. Wrappers. Fine binding. Oblong octavo. 26 ll. illus. Limited edition one of 150 numbered copies. Van Vliet's woven strip binding contains 12 printed leaves alternating with 14 illusion polycarbonate and flexible vinyl leaves all laid into a vinyl wrapper and housed in acrylic slipcase. Some of the vinyl leaves have started to break down their oils leaching into and discolor the paper leaves an unexpected and according to Van Vliet perfectly fitting result. This book is referential of the author's earlier Hermetic Waste Gefn Press 1986 that was issued the summer after the Chernobyl disaster. She writes in an artist statement: "The collagraph prints in Hermetic Waste were derived from alchemical engravings - here in Waste Incant the calligraphic line drawings are derived from science illustrations in children's text books. Redrawn and merging the pictorial 'facts' depict a disrupted 'nature.' Poetic texts sit inside the imagery functioning as an integrated caption. They describe processes by which toxic material enters into the environment. The back of each page lists hazardous wastes. Plastic interleaving features in both books referencing materials used in the storage of waste. How little has changed in twenty years." In her Grolier Club catalog to the collection of Robert J. Rubin Yvonne Korshak echoes and expands Johanknecht's statement of Waste Incant: "The book in its acrylic case is a statement about the storage of nuclear waste in plastic. The line drawings are derived from children's textbooks redrawn to show a disrupted nature. The toxic wastes listed partially alphabetically are printed on both sides of the embossed paper each page separated by a plastic sheet. The unstable and hence inappropriate and hazardous use of plastic to contain toxic waste is emphasized by the diverse deformations of each of the plastic sheets. "How fascinating that the book is immaculate and glamorous while its topic - waste - implies what's dirty and distasteful. The ironic disjunction dramatizes the tension between the allure of easy labor magical communications and other seductions of our high tech culture and the tarnished other side of the coin deadly byproducts with tenacious half-lives. The book uses the very products it condemns. We can't do without it can we" Yvonne Korshak and Robert J. Rubin. Beyond the Text: Artists' Books from the Collection of Robert J. Ruben. Grolier Club 2010. Janus Press unknown
2019réf. 9784Newark VT: Janus Press 2019. Hard Cover. Fine binding. Quarto. 6 pp. illus. Limited edition one of 120 numbered copies. Bound in a digital print on heavily textured paper over boards. Colophon inside the front cover the textblock is a 5-panel accordion foldout: the first three panels comprise a large vitreograph print by Van Vliet printed by Judith O'Rourke at Littleton Studios; this is followed by two panels each containing a poem by Ensing letterpress printed by Andrew Miller-Brown. The rear pastedown is a foldout digital print. All housed in a paper portfolio with author title and "Janus Press" on the front. A fine copy. Born in the Netherlands Ensing moved to New Zealand as a young girl. As a poet she has become a voice of New Zealand and these two evocative poems "Muriwai" and "At Muriwai" capture both a sense of place but also a certain transience of time. Beautifully illustrated by Van Vliet's images. A book that can be leafed through or folded out to striking effect displaying Van Vliet's images of the reef at Muriwai in New Zealand. Janus Press unknown
1624réf. WB16963Argentorati: Sumptibus Haeredum Lazari Zetzneri 1624. Hardcover. Very Good. Thick folio. Two volumes in one. 12 1050; 1 -blank 8 994. Modern rear blank. Collation jumps from 980 to 985 at the end of volume two but the text seems complete there. Contemporary vellum with unidentified gilt armorial device to front board. Early signature to title. Pages a bit toned throughout but a sound copy of a scarce book. A mammoth volume of maxims by Flemish-born scholar and librarian Janus Gruterus. Gruterus was a professor of History at the University of Wittenburg until he lost his job in 1592 for refusing to compromise his Calvinist faith and subscribe to the Lutheran Formula of Concord. In this enclyclopedic humanist endeavor Gruterus presents the theological historical ancient and poetic occurences and significations of each subject. Sumptibus Haeredum Lazari Zetzneri hardcover books
1624réf. WB16963Argentorati: Sumptibus Haeredum Lazari Zetzneri 1624. Hardcover. Very Good. Thick folio. Two volumes in one. 12 1050; 1 -blank 8 994. Modern rear blank. Collation jumps from 980 to 985 at the end of volume two but the text seems complete there. Contemporary vellum with unidentified gilt armorial device to front board. Early signature to title. Pages a bit toned throughout but a sound copy of a scarce book. A mammoth volume of maxims by Flemish-born scholar and librarian Janus Gruterus. Gruterus was a professor of History at the University of Wittenburg until he lost his job in 1592 for refusing to compromise his Calvinist faith and subscribe to the Lutheran Formula of Concord. In this enclyclopedic humanist endeavor Gruterus presents the theological historical ancient and poetic occurences and significations of each subject. Sumptibus Haeredum Lazari Zetzneri hardcover
réf. 102259589X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 1021023329.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 102096314X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 1347003258.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1977réf. 28200Milan: Luciano Anselmino. 1977. First Edition; First Printing. Softcover. Wraps a fine copy of this exhibition catalog pink wraps stamped in gold. 1000 copies were printed.; Small 4to 9" - 11" . Luciano Anselmino paperback books
1980réf. 26935WOODBURY: BARRON'S. Fine. 1980. First American Edition. Close to fine in a priceclipped otherwise about fine dj. Slight discoloration to orange titles on spine of dj. . BARRON'S. unknown
