Following the theme of our recent on-line exhibitions, using e-mail, and featuring twenty-five works, we present a list of 25 Artists’ Portfolios and Books from our inventory. These use printmaking as a primary medium and many are experimental.
It’s a long list with lots of information and we hope you are able to take the time to peruse it. The list begins with general portfolios and then moves to the artists, alphabetically, with the names above the image and the title below, with more details.
1. Black Folio
1961; seven woodcuts; 19-7/8 x 12-7/8″ paper size; printed by Irwin Hollander on smooth antique-white wove paper; presented in a black paper folded portfolio.
Black Folio was conceived, printed, and published by Irwin Hollander in spring of 1961. The seven contributing artists who were working in San Diego at the time include: Don Dudley (born 1930); Fred Holle (born 1931), Sheldon Kirby (born 1925); William Lumpkins (1909 – 2000); Malcoln McClain (1923 – 2012); Richard Allen Morris (born 1933) and Guy Williams (1932 – 2004).
This is an early example of a portfolio and printed by Master Printer Irwin Hollander who was working in San Diego before training at Tamarind in Los Angeles as a lithographer. Hollander opened the Hollander Workshop on the Lower East Side in 1964 and “the rest is history.”
2. Drawings: a portfolio of 16 offset lithographs
1948; a portfolio of sixteen lithographs by six artists, printed by Eric Ledin of Mill Valley on antique-white Dictationbond paper by Fox River using a Multilith offset press and flexible plates; impressions are tipped onto a sheet of wove cartridge paper. The Dictationbond sheets measure 11 x 8-1/2″ and the support sheets measure 12-3/4 x 10-1/8″.
DRAWINGS was a collaborative effort by six artists who were students at the San Francisco Art Institute and exhibited together as the “Sausalito Six.” The portfolio project was conceived as an effort to raise money to assist the Seashore Gallery of Modern Art in Sausalito that showed their work.
The artists, Richard Diebenkorn, James Budd Dixon, John Hultberg, Walter Kuhlman, Frank Lobdell, and George Stillman, worked with offset printer Eric Ledin in Mill Valley, drawing on flexible aluminum and paper plates with grease crayons. The composition was printed in the same direction as the drawing. The artists then glued the prints at the corners (or upper section) to a heavier support paper, which was then signed in pencil. Unfortunately a few of the artists used rubber cement to attach the work and they are usually heavily stained and require conservation.
Black construction paper covers were created with a title sheet glued on which read: “Drawings / Dixon / Diebenkorn / Hultberg / Kuhlman / Lobdell / Stillman / Published by Eric T. Ledin Mill Valley Calif.”
A few porfolios were published in an edition of seventeen images: four works by Hultberg, three works each by Diebenkorn, Lobdell and Stillman, two works each by Dixon and Kuhlman. Hultberg allegedly drew on one plate with butter and the plate broke down after a few impressions were printed. Most portfolios have sixteen images.
The Seaside Gallery had closed by the time the portfolio was printed and published, and the artists proceeded to try to sell the portfolios for $1.00 apiece. Sales were almost nonexistent and they finally used the proceeds for a tequila party.
The condition of this portfolio should be discussed, since all the portfolios have structural problems.
The term for the American movement “Abstract Expressionism” was coined in 1946, making this perhaps the first true “Abstract Expressionist” print portfolio published in the United States.
2004; five multimedia prints utilizing digital images and hand working; 15-7/8 x 14-1/2″ sheet and image size; signed in pencil on either recto or verso; edition size: 22, with 4 of the 5 images being edition Variées; printed by David Salgado, Kris Stoll, and Tania Lipskind at Trilium Press on heavy white wove paper.
The MOCA 5 Star Portfolio was published by Trillium Press and the now defunct Museum of California Art, which was located in Sonoma County, California. The portfolios were produced at Trillium Fine Art Press in Brisbane, California. The contributing artists were Ray Beldner, Chris Finley, Mike Henderson, Frances McCormack, and Mark Perlman. The portfolios were produced at Trillium Fine Art Press in Brisbane, California. Printers on the project include master printer David Salgado, Kris Stoll, and Talia Lipskind. They are presented in a black linen clamshell box made by Arnold Martinez.
There is an appendix titled “On the Making of the Five Star Portfolio / Tales From Trillium – the Land of Yes” written by Trillium President Richard Lang. Each artist’s approach is discussed.
1968; mixed media and techniques; unsigned; unnumbered, from an edition of 2000; printed by William Copely and The Letter Edged in Black Press; six folded corrugated portfolios containing various numbers of works; portfolios measure approximately 7-1/2 height, 13-3/4 width, and 1-3/4″ depth. The original corrugated cardboard box that contained the work disintegrated and was replaced by an acid-free box.
The brainchild of American Surrealist William Copley, the SMS (Shit Must Stop) workshop’s periodical was a portfolio of works mailed from the Copley’s studio to its subscribers, for the year of 1968. Compiled of art in various media including prints, die-cut assemblages, handwritten letters, cassette tapes, and more, the result was a collaborative effort in presenting the artists to the public directly, forgoing galleries and dealers for a more intimate and powerful approach.
Despite their position in the art world, every contributing artist received a flat rate of $100 as payment. Published by The Letter Edged in Black Press, the works created by each artist had to be duplicated 2000 times. These included traditional techniques that could be easily reproduced, such as prints and cassette tapes, but also included unique items more laborious to replicate, such as bow-ties that had to be burnt individually (SMS folder no. 4), or empty pill capsules assembled and carefully placed into each portfolio box (SMS folder no. 1). Accidents were often preserved to maintain the immediacy and personal nature of the work.
Included in this complete collection of SMS portfolios are works by Marcel Duchamp, Roy Lichtenstein, Man Ray, Alain Jacquet, Christo, Claes Oldenburg, Meret Oppenheim, Yoko Ono, and many others.
1993; twenty-six images in various techniques and in various sizes; sheet size: 15 x 11-1/2″; pencil signed and ink numbered: 15/75; printed by the artists on cream Rives BFK France, Hosho, or Magnani papers; published by Mayacama Press, Sonoma, California; typography by Barbara and Gilman Parsons; presented in a clamshell portfolio box, covered in gray linen.
A portfolio of broadsides created by twenty-six women printmakers from the San Francisco Bay Area. The broadsides are presented in a gray clothbound, clamshell box. The images were created to accompany works by various authors and poets. The works were produced using various printmaking techniques including: mixed technique intaglio, pure etching, lithography, screenprinting, and block printing in both color and black and white.
Contributing artists are Betty Bates, Sherry Smith Bell, Linda Lee Boyd, Kate Delos, Lilibet Dewey, Holly Downing, Carol Meyer Doyle, Barbara Foster, Norma Anderson Fox, Sherana Harriette Frances, Victoria Johnson, Jackie Kirk, Catherine LeCleire, Yun Sun Lee, Roberta Loach, Katherine Metz, Keiko Nelson, Barbara Galuszka Parsons, Glen Rogers Perrotto, Elizabeth Quandt, Eleanor Rappe, Sue Rifenberick, Anne Hicks Siberell, Patricia Sondgren Smith, Barbara Leventhal Stern, and Sylvia Solochek Walters.
2008; various printing media; 11 x 8″ paper size; each pencil signed; edition size: 14/20; printed by artists on various papers ranging from white to cream wove and thin laid papers; published by Sherry Bell Smith at Blue Sky Press, Lafayette, California; presented in a black linen clamshell portfolio box created by Sabina U. Nies, SUN Book Arts.
Blue Sky Press’s fourth portfolio addresses the reproductive print from the perspective of the 21st century. The eleven selected artists expand the sources of interpretation to include sculpture, drawing, and painting. The artists were asked to translate their choice of work, staying true to the original but to approach the work with a contemporary eye.
The main purpose of reproductive engraving was to transcribe a painted image as truly as possible. In the 18th century, new collectors emerged from the middle class. Unable to afford an original painting or a rare print, they were drawn to the affordability of reproductive engravings. In the earliest years of reproductive engraving, the images were faithful translations of a source work. With time, collectors viewed an image more as a representation of the original source work than a true copy. Given free reign for this project, the Translations artists created unique interpretations, yet retain the intent of the original work.
Artists included in this portfolio are Sherry Smith Bell, Jean Burg, Ann Chernow, Eduardo Fausti, Xenia Fedorchenko, Stephen A. Fredericks, Mitchell Friedman, Yuji Hiratsuka, Alan J. Larkin, Dan Miller, and James Reed.
7. “Alcopley” – Alfred Lewin Copley (1910-1992)
7. you dont say
1962; a portfolio / book of ninety lithographs, plus title and signature pages; designed and bound by Diter Rot (1930-1998); 9-1/2 height, 1-9/16 width, and 1-1/8″ depth images, paper and portfolio size; edition number: 29/150; ink signed on front page.
A fanning “book” of ninety abstract, calligraphic lithographs. Forty-five are black images printed on white card stock paper. On the verso, the forty-five images are reversed with white on black. The cover page reads: “Diter Rot / Lay-out / + binding / you dont say / Alcopley / 1962.” The front “page” is signed in ink and numbered 29/150 and bears a pencil dedication that is dated 8/12/1964. The pages fan out from a long bolt and two washers that hold the pages at the top. Presented in a black taped box with notches for the bolt to fit into.
8. Susan Allix (born 1943)
8. Omar Khayyam (The Rubaiyat, as rendered into English by Edward Fitzgerald)
Susan Allix; 1973; twenty-seven color etchings and intaglios; 10-1/2 height, 8-1/4 width, and 1-5/8″ depth; image sizes vary; editioned: 61/75; signed in ink on the colophon; printed by the artist at Quadrat Press on white J. Green mould-made wove paper, Imperial 40 lb HP; text typeset by Lewis R. Jones.
This is the British artist’s first effort in what has been a distinguished career in the book arts.
The book has a goatskin binding with decorative gilt stamp on front and gilt tiles on spine. The binding is tight; illustrative pages are uncut as issued; twenty-seven color etchings. Numbers 1-25 were hand-bound by the artist and numbers 26-75 were bound by Sangorsky & Sutcliffe, London.
The Rubaiyat of Omar Khayyam is a book of Persian verse written by Khayyam (1048 – 1131) loosely translated into English by Edward Fitzgerald. There are over 1000 verses attributed to Kahyyam, 100 of which Fitzgerald selected and first published in 1859. This book is based on the first published edition.
9. David Avery (born 1952)
9. God’s Food or Der singende Knochen
A portfolio of eight images based upon titles by the Brothers Grimm.
2004; eight etchings; 14 x 10″ sheet size, image sizes vary; editioned: 4/24; each etching is pencil signed and numbered; printed by the artist on Zerkall Copperplate paper; presented in a dark green cloth portfolio box created by John Demerritt Bookbinding, Emeryville, California.
The artist had friends select eight stories by the Brothers Grimm and created images based on the titles:
1. “God’s Food,” 2. “The Glass Coffin,” 3. “The Peasant and the Devil,” 4. “Death’s Messengers,” 5. “The White Bride and the Black One,”6. “The Rose,” 7. “The Lord’s Animals and the Devil’s,” 8. “The Bremen Town Musicians.”
10. Anthony Davis (born 1947)
10. Peter Grimes
1982; twenty-twp etchings and aquatints; 7-3/4 x 9″ platemarks; each print is pencil initialed; editioned: 21/50; printed by Circle Press, Guildford, England; includes thirteen pages of text; presented loose in a blue linen clothbound folder with silver lettering and contained within a blue linen clothbound slipcase.
A narrative poem by George Crabbe with twenty-two etchings by Anthony Davies with an introduction by Edward Lucie-Smith. Designed and printed by Ronald King in 10 pt Baskerville font onto Saunders 285 gsm rag paper; loose sections contained in clothbound slipcase and folder. The edition is limited to fifty books plus ten proof copies all signed by the artist. Published by Clare Beck and Moira Kelly.
11. Holly Downing (born 1948)
2009; handbound book containing five mezzotints by Holly DOwning with accompanying text; each mezzotint measures 6-15/16 x 4-15/16″ platemarks; 10-5/8 x 9-5/16″ book size; signed on colophon by artist and the typographer Jack Stauffacher; editioned: 18/35; mezzotints printed by Downing and Kathleen Watson; type handset by Jack Stauffacher at Greenwood Press, San Francisco; bound in a hard-cover moss green cloth and presented in a separate dark green cloth clamshell box by Foolscap Press, Santa Cruz, California.
The text is an excerpt from Paul Valéry’s Dialogues: Eupalinos, or the Atchitect, Princeton University Press, translated by William McCausland Stewart; handset in Meridien type by Jack Stauffacher.
Paul Valéry wrote Eupalinos in 1922 and it explores “the relationships of life and death, light and darkness, movement and stasis, which compose life itself” according to the Poetry Foundation. Downing explored these same relationships through the evocative medium of mezzotint and the forms of arches.
12. Eberhard Eggers (1939-2004)
1971; nine color aquatints and etchings; 16-11/16 x 13-5/8″ platemarks; each pencil signed, lower center; editioned: 47/100; printed by the artist at Atelier Wilhem Schneider & Co., Berlin, Germany on a heavy sheet of antique-white wove Zerkall Echt Butten paper; published by Aquarius Press, Baltimore; presented in a mauve-colored cloth clamshell portfolio box.
Lysistrata is a comedy by Aristophanes that was originally performed in classical Athens in 411 BC. It is a comic account of one woman’s extraordinary mission to end the Peloponnesian War. Lysistrata persuades the women of Greece to withhold sexual privileges from their husbands and lovers as a means of forcing the men to negotiate peace-a strategy, however, that inflames the battle between the sexes.
The play is notable for being an early exposé of sexual relations in a male-dominated society. The dramatic structure represents a shift away from the conventions of Old Comedy, a trend typical of the author’s career. It was produced in the same year as Thesmophoriazusae, another play with a focus on gender-based issues, and just two years after Athens’ catastrophic defeat in the Sicilian Expedition.
13. Fritz Eichenberg (1901-1990)
13. In Praise of Folly
1972; ten xylographs (wood engravings on the plank rather than the end grain); each pencil signed; numbered III/X from the preferred edition, aside from the regular edition of 150 portfolios, printed by the artist with James Lanier on a Japanese mulberry paper made specially for this edition in Japan; published by Aquarius Press, Baltimore, Maryland; presented in a red, cloth covered clamshell box containing the block for number III, “The Follies of Worshipping Idols.” The portfolio measures 21-5/8 x 15-1/4″.
Ten original prints from woodblocks by Fritz Eichenberg with excerpts of the Latin texts, selected and freely translated into English by the artist.
The Follies Include:
I) “Dame Folly Speaks.” II) “The Follies of Old Age.” III) “The Follies of Worshipping Idols” (the block for this is included in the portfolio). IV) “The Human Comedy.” V) “The Follies of Teaching.” VI) “The Follies of the Monks.” VII) “The Follies of Princely Power.” VIII) “The Follies of the Court.” IX) “The Follies of the Popes.” and X) “The Follies of War.”
In Praise of Folly is an essay written in Latin in 1509 by Desiderius Erasmus of Rotterdam and first printed in 1511. The essay was inspired by De Triumpho Stultitiae, written by the Italian humanist Faustino Perisauli.
Erasmus revised and extended the work, which he originally wrote in the space of a week while sojourning with Sir Thomas More at More’s estate in Bucklersbury. In Praise of Folly is considered one of the most notable works of the Renaissance and played an important role in the beginnings of the Protestant Reformation.
14. Natalia Goncharova (1881-1962)
14. La Cite
1920; book of poems by Alexandre Roubakine; fifty-five pages with forty-two original lithographs and facsimile handwritten text; 10-1/8 length x 6-5/16 width x 1/2″ depth portfolio size, with French folded double leaves (some uncut); edition of 300 aside from the preferred edition of 25; printed on Verge d’Arches wove paper, published by Alexandre Robuakine in Paris. Reference: Logan/Johnson 40.
An illustrated octavo format book of poems, with lithographs by Russian avant-garde artist and co-founder of the Rayonist style Natalia Goncharova (1881-1962). The poetry is in Russian, written by poet/publisher Alexandre Roubakine (1889-1979), the poems are lithographed facsimilie of his handwritten poetry. The front cover title is in Russian and the back cover in French. The book includes nine full-page plates and numerous vignettes throughout for a total of forty-two original lithographs in fifty-five pages.
15. Stanley William Hayter (1901-1988)
15. Nine Engravings 1933-1946
1974; portfolio of nine intaglios; plate sizes vary; sheet sizes vary but average 15-1/2 x 11-1/2″; portfolio measures 16-1/4 height, 12-2/4 width and 3/4″ depth; editioned: 45/100 (plus 20 proofs); each pencil signed; printed by Hector Saunier and Milen Poenaru on Barcham Green handmade paper at Atelier 17 in Paris; published by Associated American Artists, New York; presented in a dark green cloth portfolio.
The colophon reads: “This is the second edition of nine engravings created by Stanley William Hayter in the years 1933 through 1946…” There are two sheets detailing the first printings for each of the nine engravings.
Cirque, Cheiromancy, Facile Proie, Third Person, Invocation, Espana, Unfolding, La Chas de l’Aiguille, New Year Greeting Card
16. Art Hazelwood (born 1961)
16. Pulcinella in Hades
2007; color etchings with photo etched script throughout; closed, the book measures 9-5/8 height, 9-3/4 width x 3/4″ depth; editioned: 6/20; printed by Art Hazelwood and David Avery on Hahnemuhle wove paper at Eastside Editions, Sonoma, California. Published by Eastside Editions and Simon Blattner.
An accordion-folded series of plates connected mark-to-mark, this livres d’artiste unfolds vertically to approximately 8 feet, 9 inches, and can be hung from the loop provided or viewed from page to page as a book. The coverboards are bound in a bronze silk cloth with steelpress embossing on the front. A booklet of notes on the marginalia accompanies the work.
17. Ian Hugo (Hugh Parker Guiler) (1898-1985)
17. Ian Hugo – Ten Engravings
1979; second edition of ten engravings created in 1943, 1945, and 1946; each pencil signed; plate sizes vary; 15 x 11″ sheet size, portfolio measures 16-3/4 height, 12-3/8 width and 1-5/8″ depth; editioned 17/50 (plus eleven proofs); printed by Madeleine-Claude Jobrack Editions on Arches paper; published by Associated American Artists, New York; foreword by author Anais Nin; presented in a gray linen clothbound, clamshell portfolio box.
Ten Engravings was created by Ian Hugo at Atelier 17 in New York between 1943, 1945 and 1946. Until this printing, only proofs existed. The total number of impressions pulled was sixty-one: the first twenty were numbered 1/50 to 20/50 and were included in a portfolio, such as this; impressions numbered 21/50 through 50/50 were available individually; there are ten artist’s proof suites numbered I/X – X/X, plus one “printer’s proof” suite.
“Ian Hugo learned the technique of line engraving on copper at Atelier 17, under William Hayter, but as an artist he is essentially self taught. These engravings began as unconscious ‘doodling’; the doodling became an unpremeditated pressure on the engraving tool. Amazing and unexpected figures appeared. The lines have the purity and simplicity of cave drawings.”
1994; six color collographs with verse; sheets measure 13-1/4 x 12-1/2″; portfolio measures 13-3/4 height, 6-1/2 width and 1/2″ depth; size; each print initialed; signed, dated, and editioned in blue pencil on the verso of the first sheet; editioned: 14/50; printed by Giorgio Upiglio, Grafica Uno Press, Milano, Italy on wove Hahnemühle paper; published by the artist; presented in a folded portfolio with mustard-colored paper cover and black lettering.
19. William Kent (1919-2012) and Dave Jones??
19. Slideopera No. 1, Volume One with Slideopera No. 1, Volume Two
The Philistine Traveler
A rare and unusual proto ‘Video Art’ publication. The author and composer assembled together an amalgam of the life of Davy Crockett, nineteenth century American history interspersed with biblical texts.
Their intention, which they seem to have demonstrated in at least one live performance in 1953, was the interaction between the reading of the text, a LP record, and a series of photographic slides used in conjunction to form a unique work of art.
Sculptor, musician William Kent was a most innovative printmaker, working in the unique medium of the planographic slate print; that is, the engraving of images onto slate blackboards to produce lithographic prints. Working this medium since the 1950s, he created ‘broadside commentaries’ on contemporary political events, such as D.A.R. censors in indignant postures, and gathering KKK lynch mobs. They printed a small initial edition to raise funds to manufacture the slides and the LP record to accompany the score. Kent stated that this was never achieved and the projected 1000 copies of the score were never actually printed. They gave some of the printed editions higher numbers to give the impression they were selling.
20. Leopoldo Méndez (1902-1969)
20. Leopoldo Méndez: Diez Aguafuertes
1964; portfolio of ten etchings; each etching is pencil signed by Méndez in the lower right; the portfolio cover measures 13-3/16 height x 10-1/16″ width; plates measure to various sizes; this portfolio is numbered 9/20; printed by the artist on ivory wove C M Fabriano paper; reference: Manuel Maples Arce, Leopoldo Méndez, illustrations 78, 79, and 81. Méndez, plates 118-121.
In 1964, Méndez created thirty etchings to illustrate Manuel Maples Arce’s, A la Orilla de este Rio. Ten of these etchings are presented in the portfolio: Leopoldo Méndez: Diez Aguafuertes. From the collection of Taller de Grafica Popular (TGP) artist, Seymour Kaplan. This portfolio is extremely RARE.
21. Peter Milton (born 1930)
21. The Jolly Corner
1971; suite of twenty-one resist-ground etchings and engravings; plate sizes vary; 19 x 15″ sheet size; the portfolio measures 20 height, 16-1/4 width, and 1-1/4″ depth; the colophon is pencil signed and editioned by the artist; image II:2 (McNutty 70) is pencil signed and dated in the lower right; editioned 138/150; there were an additional twenty-five various proofs; printed on Rives Heavyweight Buff paper by Robert Townsend and Gretchen Ewert, Impressions Workshop, Boston, under the artist’s supervision; published by Aquarius Press, Baltimore, Maryland; reference: McNulty 62-82.
The suite is housed in a brown linen folding portfolio box made by Moroquain, Inc., New York City. The prints are in three segments of seven images to illustrate Henry James’ story, which is told over twenty-nine typeset pages. The text was set on Rives paper by the Press of A. Colish in Mount Vernon, New York. Abe Lerner did the typography and design.
“The Jolly Corner” is a short story by Henry James published first in the magazine The English Review of December 1908. One of James’ most noted ghost stories, “The Jolly Corner” describes the adventures of Spencer Brydon as he prowls the now-empty New York house where he grew up. He encounters a “sensation more complex than had ever before found itself consistent with sanity.”
22. Barbara Neustadt (1922-1998)
22. A Dream of Love / Poem by Joseph Langland / Etchings by Barbara Neustadt
1986; hand-bound book containing eighteen etchings using mixed intaglio techniques by Barbara Neustadt; the frontispiece etching is by David Wright; the poetry is by Joseph Langland; the book measures 10-5/8″ height, 14″ width and 1-1/4″ depth; each etching is pencil signed and editioned 35/40; the etchings, printed by the artist with the assistance of David Wright at Pleiades Press/ Studio Graphic Workshop, Bradenton, Florida, are on handmade waterleaf rag made by Antonio Sarda of Crespia, Gerona, Spain; letterpress by Anachronic Editions in Winter Haven, Florida; published by the artist; the book has a hand sewn dust cover in paper relief and is enclosed in a linen covered clam shell portfolio with brown lettering; reference: Neustadt 183.
Joseph Langland (1917-2007) was an American poet who taught poetry at the University of Massachusetts, Amherst, where he founded the MFA Program for Poets and Writers. He was a faculty member at the University of Massachusetts from 1959 to 1979 and a professor emeritus from 1979 until his death in 2007.
23. Max Thalmann (1890-1940)
23. Rhythmus der Neuen Welt – Amerika im Holzschnitt (Rhythm of the New World – America in Woodcuts)
1927; a book of twenty-four woodcuts; book measures 11-1/2 height, 9-1/8 width and 3/8 depth”; image sizes vary; unsigned and not editioned; printed by Dietsch & Bruckner Akt.-Ges., Weimar on an ivory wove paper; published by Eugen Dierderichs Verlag, Jena, Germany; references: Sennewald S. 227, 27,3. – Pommeranz-Liedtke S. 218.
Twenty-four modernist woodcut images of American cities with no text associated. There is an introduction in German by Swiss author and director Albert Talhoff (1888-1956).
The work of the Weimar graphic artist and book designer Max Thalmann is a rediscovery. He belongs to the so-called “lost” generation of artists whose main work was written between the two world wars and no longer fell into the public eye after 1945. Thalmann’s last exhibition took place in 1926 at the National Museum Weimar.
Thalmann made a significant contribution to the expressionist landscape with his graphic works folders “Passion” (1921) and “The Cathedral” (1923). His outstanding work remains the extensive wood cutting cycle “America in woodcut” done between 1924 and 1925 and published in 1927. Thalmann was appointed book designer for the Eugen Diederichs Verlag in Jena. There he designed almost the entire editorial production until his untimely death in 1944.
24. Kenneth Tyler (born in 1931)
24. Pendant World
1963; suite of eight lithographs plus title page and colophon; 18 x 15″ sheet sizes; each sheet is pencil signed and the colophon is editioned: 10/10; printed by the artist at the Herron School of Art, Indianapolis, Indiana on ivory Arches wove paper; published by the artist; presented loose in a black linen box with a natural linen interior.
An early, rare example of master printer Kenneth Tyler’s own work, before he began printing for other artists. This portfolio was created in 1963, the year Tyler graduated from the Herron School of Art in Indianapolis, Indiana, where he studied with Garo Antreasian. Tyler founded Gemini GEL and then Tyler Graphics.
The colophon reads: “Pendant World, a suite of 8 lithographs plus title page and colophon was handprinted by the artist, in Garo Antreasian’s Print Department, at the Herron School of Fine Art, Indianapolis, Indiana – 1963. The edition consists of ten numbered impressions on Arches and some artist proofs on Arches and Copperplate. All stones have been effaced – This is No. 10/10.”
25. Sandy Walker (born 1942)
25. Regarding Mountain/Sky
1996; ten wood block prints; 20 x 16″ paper size, images vary; each print is pencil initialed, dated, and editioned 12/15; blocks were carved by the artist and printed by Romi Slobada, Red Press Studio, St. Louis, Missouri (blindstamp, lower left corner) on Iyo Glazed Japanese paper using Daniel Smith relief ink; published by Robert Dance, Inc., New York; letterpress by Richard Seibert; presented in a cream cloth clamshell portfolio box with black lettering.
A portfolio of expressive, directly cut woodcuts by San Francisco printmaker Sandy Walker, exquisitely printed, with intense black contrasted with the white of the paper.
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Daniel Lienau and Gala Chamberlain
The Annex Galleries