This print is included in a portfolio made up of thirty-six prints—seventeen with poems and nineteen without text. They were created by British printmaker Dale Devereux Barker using a variety of techniques, including etching, silkscreen, linocut, wood-block and photogravure.
Paul Violi was a significant figure in the New York School of Poets, often anthologized (see, e.g., The Oxford Book of American Poetry), and a friend of mine. He taught poetry and poetry writing at the New School, Columbia University and elsewhere.
This work is a reminder to me, as one who is intensely text-driven and serious about my collecting, to not forget the powerful relation of art to language: “We whose hearts have been gripped / by life, scoff at the idea of art / as mere ornamentation …” But the playfulness in Paul’s poetry also says to me: enjoy everything art, literature and life offer, but let's not take ourselves too seriously. For this reminder I thank him often, even now.]]>Silkscreen print on Stockwell cartridge paper, 20 x 14⅞ in. No. 5/12 portfolios.
This print is included in a portfolio made up of thirty-six prints—seventeen with poems and nineteen without text. They were created by British printmaker Dale Devereux Barker using a variety of techniques, including etching, silkscreen, linocut, wood-block and photogravure.
Paul Violi was a significant figure in the New York School of Poets, often anthologized (see, e.g., The Oxford Book of American Poetry), and a friend of mine. He taught poetry and poetry writing at the New School, Columbia University and elsewhere.
This work is a reminder to me, as one who is intensely text-driven and serious about my collecting, to not forget the powerful relation of art to language: “We whose hearts have been gripped / by life, scoff at the idea of art / as mere ornamentation …” But the playfulness in Paul’s poetry also says to me: enjoy everything art, literature and life offer, but let's not take ourselves too seriously. For this reminder I thank him often, even now.My interest in A List of Medals derives from its close association between the screw-press technology employed in letterpress printing and in the impression of commemorative images and texts onto more permanent gold, silver, and bronze medallic forms. This work also illustrates the personal collection of William Blades and his own desiderata list of printing medals, which appears in multiple, detachable sheets of different colors.
As a collector of printing-related medals, I love this book. My collection includes a portion of medals that Blades also owned, as well as an extremely rare silver token—one of his few desiderata (Plate 3Q)—for the Parisian printer and lithographer, Paul Dupont, that profiles both Gutenberg, the inventor of printing by movable type, and Senefelder, the inventor of lithography.]]>One of 100 copies printed for private circulation to collectors, curators, and numismatics dealers. [And:] Paul Dupont. Silver printer’s token of Johannes Gutenberg and Alois Senefelder, [ca. 1836], diam. 1⅜ in.
My interest in A List of Medals derives from its close association between the screw-press technology employed in letterpress printing and in the impression of commemorative images and texts onto more permanent gold, silver, and bronze medallic forms. This work also illustrates the personal collection of William Blades and his own desiderata list of printing medals, which appears in multiple, detachable sheets of different colors.
As a collector of printing-related medals, I love this book. My collection includes a portion of medals that Blades also owned, as well as an extremely rare silver token—one of his few desiderata (Plate 3Q)—for the Parisian printer and lithographer, Paul Dupont, that profiles both Gutenberg, the inventor of printing by movable type, and Senefelder, the inventor of lithography.About Sylvia was conceived by Enid Mark, Sylvia Plath’s classmate and friend, and founder of ELM Press. This artist’s book was published during the tenth anniversary of the press, and contains ten poems by poets who knew Plath and by those who reflect on her from the distance of time. Its meaning for me is enhanced by having known and admired both of these women at a formative stage of our lives.
Each of the poems, including those by Diane Ackerman, John Berryman, Ann Sexton, and Richard Wilbur, conveys personal recollections about Plath. The image of shattered glass in these open pages reflects the emotional depths of Robert Lowell’s poetry; his Harvard workshop in summer 1958 introduced Plath to a boldly confessional mode of creative expression.]]>Edition of 50, with lithographs by Enid Mark printed on Arches Velin paper, hand-bound by Sarah Creighton in a chemise of black Tiziano paper from the Fabriano mill, and with title calligraphy by Jerry Kelly.
About Sylvia was conceived by Enid Mark, Sylvia Plath’s classmate and friend, and founder of ELM Press. This artist’s book was published during the tenth anniversary of the press, and contains ten poems by poets who knew Plath and by those who reflect on her from the distance of time. Its meaning for me is enhanced by having known and admired both of these women at a formative stage of our lives.
Each of the poems, including those by Diane Ackerman, John Berryman, Ann Sexton, and Richard Wilbur, conveys personal recollections about Plath. The image of shattered glass in these open pages reflects the emotional depths of Robert Lowell’s poetry; his Harvard workshop in summer 1958 introduced Plath to a boldly confessional mode of creative expression.