johanknecht susan (21 risultati)

New paperback. 41 pp Card wraps. Illustrated. The picture on this listing page is of the actual book for sale.

Soft cover. Condizione: Very Good. Pbk, 24pp square 12mo, illustr in b+w, lacks title band, gift inscr neatly on title page, otherwise a very good+ clean, tight and unmarked copy of this interesting Gefn Press title.

Paperback. Condizione: Fine. White duodecimo with two inch original paper band printed with title; [24] p, b&w illus; 14 cm. Signed and inscribed by author. Biblical poetry; Christianity. A fine, crisp copy in tight binding. First edition (presumed; no earlier dates stated).

Papered Boards. Condizione: Very Good Minus. Condizione sovraccoperta: None. Susan Johanknecht - woodcuts (illustratore). First Edition. 26 cm, [19] pp, woodcut illus, papered boards. Copy 121 of 150 copies signed in pencil by author and illustrator. Very tidy library-cancelled copy which has minimal markings, and has seen little use. Signed by Author(s).

Paperback. Condizione: Very Good. Limited edition of 60 copies signed by author on colophon. Minor wear to wraps. Text and images unmarked. Signed by Author.

London : Gefn Press, 2010. Octavo (28 x 21cm), publisher's brown-marbled ledger wrappers, sewn binding, housed in a cream card document folder, 38pp, with red and blue line decorations; ink jet printed onto Zerkall paper, internally pristine, a fine copy. One of 100 copies. "Text derived from research at the Baring Archive, Nathaniel Hawthorne?s Marble Faun and Joshua Bates? diary. Themes of finance, politics and the arts, personal and private. London, 2010. Remaining copies sold in a double document folder with Bishopsgate Within. CITY A.M." - Gefn Press [with the second work, Bishopsgate within. CITY A.M.]: London : Gefn Press, 2011. Octavo (28 x 21cm), publisher's blue patterned wrappers, sewn binding, housed in a cream card document folder, 38pp, illustrated with black and white photos; ink jet printed onto Zerkall paper, internally pristine, a fine copy. No. 11 of 75 copies. "Text derived from research at the Baring Archive, photographs of bankers taken in 1903 with texts referencing account keepers duties and contemporary City of London architecture." -Gefn Press.

Paperback. Condizione: Very Good. Opaque plastic covers, no markings; binding tight; pages unmarked with black and white illustrations. ; 8.25 x 0.25 x 8.5 inches; 47 pages.

8vo. pp 47. Original publisher's clear textured plastic wraps. Black and white illustrations throughout. ISBN: 9780940155015 May show some slight shelfwear but content clean and unread. Very good indeed.

Soft cover. Condizione: Very Good. Limited Edition. Paperback. Signed by both authors Susan Johanknecht & Katharine Magnell on the limitation page. Limited and numbered edition, this is copy #20. Brown textures cover shows wear & bumps to edges. Some spotting throughout, otherwise very good. * missing original linen napkin overlay. Signed by Author(s).

Gefn Press (illustratore). 16mo. cloth, with strip of Chinese tea-chest paper on front cover on fore-edge side. unpaginated. Limited to 75 numbered copies, signed by author and illustrator on colophon (Gefn Press Catalogue Raisonne p.33). There is some oxidation of that, else a near fine copy. The second publication of this press. Wood engravings by Susan Kronfeld. Written as a tribute to artist Gwen John. Silver in binding is Chinese tea-chest paper. cloth, with strip of Chinese tea-chest paper on front cover on fore-edge side.

paperback. Condizione: Fine. Meynell, Katharine and Susan Johanknecht (illustratore). Designed by Susan Johanknecht. Images by Katharine Meynell and Susan Johanknecht. Additional relief printing at the Janus Press where the book was sewn by Linda Wray. One of 150 copies signed by Meynell and Johanknecht. Text includes recipes and writings on food, with black and white textual illustrations and full page brown and white illustrations (one two sides, another folds out to four sides). Textured brown cover (13x9 1/2 inches, 34 x 24 1/2 cm). Wrapped and tied in a miniature white tablecloth (21 x 21 1/2 inches, 54 x 55 cm).Fine condition.

Original Wrappers. Condizione: Fine binding. Accordion. 9-1/2" x 4-3/4" closed. [12] pp. Limited edition, one of 100 copies. Signed by Johankneckt, Van Vliet, and Miller-Brown at the colophon. As issued, in stiff wrappers of Barcham Green India Office illustrated with an image of Bach's last known musical score, the unfinished Fugue of The Art of the Fugue. The accordion style structure, designed by Van Vliet folds into 12 unnumbered pages that read parallel to the folds, recto and verso. All housed in a handmade paper slipcase with "fugal" printed on the spine. A fine copy. A wonderful collaboration between Susan Johanknecht, Claire Van Vliet, and Andrew Miller-Brown. Inspired by Bach Fugues, Johanknecht's poem is printed on the recto of accordion-fold. As Van Vliet and Miller-Brown were puzzling over the project last fall, it became apparent that the lines could be read aloud in any order. This morphed into the accumulating text on the verso. True to the musical definition of a fugue, this presentation of the poem develops through repetition and interweaving. A wonderful homage to the musical form, and to Bach in particular; all the while developing into something that is not merely an homage.

Wrappers. Condizione: 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.

Soft cover. Condizione: Fine. No Jacket. 1st Edition. 11 x 10 1/4", unnumbered pages with 8 deeply textured collagraphs by Susan Johanknecht, printed on a thick paper, & thinner, tissue guard-type leaves with printed lunar surface details. In flexible paper wrappers covered with a bubbled/corrugated type of iridescent plastic, with wire stitching along the cover fore edges, & housed in a dark blue, denim cloth sleeve. Fine. Signed by Illustrator(s).

Condizione: Fine copy. 8vo, original unprinted wrappers, printed paper spine label. Fine copy. First edition. One of 75 numbered copies signed by Johanknecht (the entire edition).

12 1/2 x 10 in. coptic bound into titled mill boards, housed in a linen slipcase. With saddle-stitched, 16 pp. color booklet containing contributor statements and more information about the book. This project was on display at the entrance hall of the British Library from October 25 to December 31, 2007, and the book explores the question of how conservators might approach works by artists that are intentionally ephemeral, auto-destructive, or otherwise have a "loss of information" embedded into their material forms. The book was on display near the then-new Centre for Conservation at the British Library, which had an exhibition on display at the time. Divided into thirteen "chapters" that are printed using various techniques and materials, contributors include Stephen Bury, William Cobbing, Georgios Boudalis, Clippetyclop (a band, with Aaron Williamson), Electric Cronolines (a band, with Redell Olson and Drew Milne), Finlay Taylor, Sigrid Holmwood, Susan Johanknecht, Katharine Meynell, Kate Srivener, and Louisa Minkin. Ephemeral substrates (such as newspaper, paper eaten by snails, and other forms likely to deteriorate) are placed in contrast to durable forms including rag paper, as well as the coptic binding and linen enclosure of the book's overarching structure. The edition was created in London, and there are 60 copies, of which 20 are for sale to public institutions. As new.

Hardcover. Condizione: Very Good. No. 37 of 75 signed copies printed. [19] pages : illustrations ; 21 cm. Good binding and cover. Clean, unmarked pages. Hand made. Artists' illustrated books.Livres d'art.

Condizione: Fine copy. Large 8vo, original illustrated wrappers. Fine copy. First edition. One of 50 numbered copies signed by Johanknecht (the entire edition).

Condizione: Near fine. First Edition. 15 x 22cm 20pp a near fine artists' book which takes the form of clear plastic sheets, secured with thread, the contents involving three screen print images (two translucent white and one red-brown), five encapsulated plastic bags containing hair, wax and other emissions, and four photographic transparencies. Clear sheets secured with thread.

11 x 7 x 5 in. aluminum tin, containing 23 artists' books. Accompanied by fold-out catalog with introductory essay by Clive Phillpot, with contributions by Susan Johanknecht, KatharineMaynell, and Colin Sackett. In his introductory essay, Phillpot notes: "this millennial project brings together two ideas, measurement and risk, at one location: the bookand its relatives." The artists' books within range in format, including traditional sewn booklets, a variety of single-sheet foldouts, photobooks, chapbooks with 3-D items tipped in, a compact disk, a cassette tape, and more. Together, the contents of the artists' books and the materials that comprise their physical form play with the idea of "vulnerability," an emotional and developmental state that encompasses the first millennium. Phillpot notes the role of "vulnerability" in terms of access and preservation: "some of the works in this tin time-capsule will be more vulnerable to physical change over time than others, the photographic pieces especially. But, given events such as the discovery of ancient papyri in Egypt, scrolls by the Dead Sea, and codices in Latin America, it is not unlikely that some of these seemingly vulnerable volumes that long outlast the heroic monuments of this agebarring celestial accidents!" Contributors include: Sophie Artemis, Caroline Bergvall, Penny Bernand & Stephen Williams, Stephen Bury, Helen Douglas, Cate Elwes, Joanna Hoffmann, Susan Johanknecht, Lilian Lijn, Lily Markiewicz, Katharine Meynell, Jim Mooney, Shariff Moossun/Alistair Skinner/Martin Ford/Ed Spencer, Hayley Newman, Colin Sackett, Gary Stevens, Ulrike Stoltz, David Thorne, Claire Van Vliet, and Elaine Worth. Gefn Press, the publisher, is based in London. Susan Johanknecht, who began the press in Vermont in 1977, was apprenticed to Claire Van Vliet and the Janus Press. This is from an edition of 160 copies; the catalog was produced in an edition of 500 copies. The catalog is printed by Michael Taylor at Paupers Press. Tin and all contents are as new from publisher. There are a few minor imperfections on the tin, including a small scuff on front; overall as near fine as possible.

Boxed poem-object. (247 x 750 x 140 mm). McPherson's poem 'Eve' printed in grey on an accordion-folded cream-coloured sheet attached to the base of a paper hanging construction of the same colour by Susan Johanknecht, both wrapped in sheer black fabric; two loose pieces of paper-covered card with printed publication details to inner lid and base of box. Original publisher's cream linen box with 'Eve' printed in silver to the long edge. A highly original collaborative poem-construction, 'Eve.' This is one of 50 copies, signed by McPherson in pencil at the foot of the poem. McPherson's poem had previously appeared in the American Poetry Review before being transformed, with Johanknecht's original hanging construction, into this unique and beautifully conceived poem-object. Susan Johanknecht is an artist and founder of the Gefn Press. There is are no other copies of 'Eve' on the market.