Related posts:

1. Verdigris — Judith Rothchild — Un Jardin au bord de l’eau.
2. Verdigris — Ruth Fainlight & Judith Rothchild — Nacre
3. Verdigris — Judith Rothchild — Clair De Lune

Related posts:

1. Verdigris — Ruth Fainlight & Judith Rothchild — Nacre
2. Verdigris — Judith Rothchild — Of Light and Shade — From the notebooks of Leonardo da Vinci
3. Verdigris — Judith Rothchild — Un Jardin au bord de l’eau.

The text is based on Temple’s childhood memories of the Aveyron. A very beautiful book with the text and illustrations complementing each other in perfect order.

Related posts:

1. Verdigris — Ruth Fainlight & Judith Rothchild — Nacre
2. Verdigris — Judith Rothchild — Of Light and Shade — From the notebooks of Leonardo da Vinci
3. Verdigris — Judith Rothchild — Clair De Lune

(Verdigris) Aux États-Unis d’Amérique. [To The United States of America.] (In English and French.) [By] Victor Hugo. Mezzotint by Judith Rothchild. [Octon, France.] 2007. 8” x 5”. Accordion fold book with four boards.  Printed by Mark Lintott on Rives BFK on an Albion press. Mezzotint printed on Hahnemühle. The French text is attached to the inside of the front board and the English text is attached to the inside of the back board. The two bottom boards lie flat to allow the full view of the mezzotint. Black cloth outer spine with tan paper title label; relief title on front board. Inner boards with black cloth spines. Slipcase of tan/brown marbled paper, which tones with the brown/black outer boardcovers; inner board covers of beige/light brown. All covers are in toning shades. An edition of 45 copies, signed in pencil by Judith Rothchild. Fine.

A letter written by Victor Hugo on December 2nd, 1859. It is a passionate plea to the people of the United States to save John Brown from the gallows.

Related posts:

1. Broaddus, John Eric – Seasons of the Pine
2. High Tide Press — An Architectural Bestiary Black & White Version
3. Dean Allen Dass

(Verdigris) Magie blanche. [French.] Text by Marie Rouanet. Mezzotints by Judith Rothchild. [Octon.] 2006. 16” x 12”. A suite of 10 mezzotints (11 plates) and text in loose sheets of Hahnemühle paper. Mezzotints and screen prints printed by the artist. Text printed in handset letterpress in Vendome Romain on an Albion press by Mark Lintott.  Yellow dropback box covered in Fabriano Ingress screen printed with mimosa leaves; Gray cloth spine with paper title label. Loose gray sheet printed with the mimosa pattern laid on top of the sheets. One in an edition of 30 copies, signed and numbered by the author and artist, with the individual prints initialed by the artist. 21 loose sheets. Fine.

The original text by Marie Rouanet was inspired by ten mezzotints by Judith Rothchild and the spirit of the restaurant, The Mimosa, created by Bridget and David Pugh.

Related posts:

1. High Tide Press — An Architectural Bestiary Black & White Version
2. Eighteen lithographs by Henry Moore
3. Campbell, Ken — Father’s Hook

(Verdigris) Écriture aux objets d’encre. [French.] Original text by James Sacré written in response to a series of four mezzotints by Judith Rothchild. {Octon. France.] 2005. 7.75” x 8.75”. Mark Lintott printed the text letterpress,handset in Vendome Romain on an Albion press. Printed in the form of aleporello on Hahnemühle paper. The mezzotints are composed of five objects of different periods and continents which fold out to form a unity of similar volumes and helixes. The mezzotints, as well as the screen prints on the charcoal/black wrappers and slipcases, are printed by the artist. Lintottmade the slipcase and the gray marbled endpapers are by Lintott and Rothchild. One in an edition of 50 copies signed by the author and artist. Fine.

Related posts:

1. The Age of Partial Objects, by book artist Dean Dass
2. High Tide Press — An Architectural Bestiary Black & White Version
3. Opposite Attraction, artist’s book by Kerry McAleer-Keeler

(Verdigris) 12 O’Clock News. [Text by] Elizabeth Bishop. [Mezzotintsby] Judith Rothchild. [Octon.] 2005. n.p. 11.5” x 18”. Two mezzotints by Judith Rothchild. Eight fragments of the second plate have been printed following the indication given by the author in the text. Printed on Hahnemühle paper and bound in the Japanese style. Gray boards with maroon inset at spine. The mezzotints and screenprints on the covers and slipcases have been printed by the artist. Mark Lintott handset and printed the text letterpress in Vendome Romain on an Albion press. maroon endpapers. Binding and slipcase by Lintott.  One in an edition of 50 copies, signed by Judith Rothchild and Mark Lintott in pencil. Fine.

12 O’Clock News was first published in 1976 in the collection Geography III. The text is a seeming description of a landscape, but we are made aware at the end of the book just what kind of a landscape it is!

Related posts:

1. Broaddus, John Eric – Green Cow
2. Circle Press — An African Folktale
3. High Tide Press — An Architectural Bestiary Black & White Version

(Verdigris) Tempête et Calme. [French.] Poems de Jules Verne. Mezzotintes de Judith Rothchild. [Octon.] 2004. 12.25”x 6.5”. The poem is superimposed on a series of four mezzotints, and unfolds as a vertical accordion fold. Printed on Hahnemühle by Mark Lintott on an Albion press. Mezzotints and screenprints on the cover and lining the gray drop-back box were printed by the artist.  One in  an edition of 38 copies, numbered and  signed by Judith Rothchild and Mark Lintott. Fine.

This poem was written in 1848 when Jules Verne was only twenty years old. The poem describes passing through a storm before reaching safe haven on the other side.

Related posts:

1. Eighteen lithographs by Henry Moore
2. High Tide Press — An Architectural Bestiary Black & White Version
3. Campbell, Ken – A Knife Romance

(Verdigris) Feathers. Eight Poems by Ruth Fainlight & Mezzotints by Judith Rothchild. Octon. MMII.  15.75” x 12.75”. Loose in signatures. Eight mezzotints in nine plates and two embossments on the title and contents pages printed by the artist. Printed on Hahnemühle paper in letterpress, hand-set in Vendome Romain, on a Stanhope press by Mark Lintott. Wrappers and slipcases screen-printed by the artist on Canevas paper, with slipcases by Claude Vallin and Mark Lintott. Slipcase with top and bottom covered in the same plum paper over board and illustration as the wrappers: sides of the box are natural light color wood. One of 22 regular copies in an edition of 30, signed by the poet and artist. Fine.

The poet writes: “The general nature of the subject proposed for this book – feathers made me wonder at first how I could write something as specific as a poem. but it was just this aspect which allowed the freedom to approach the subject from different angles and speak in various and distinct voices. The reality of a visual image can trigger verbal associations, as words will generate images.

“Some of these poems are entirely products of the imagination … some are descriptions of particular scenes or incidents lodged in my memory … Other poems are a direct response to the first sight of one of the mezzotints … the glorious print of peacock feather evoked the flaunting birds in Holland Park, which, when the wind is in the right direction, I can hear from my London flat …

“This is not the first time Judith Rothchild and I have worked together, and our collaboration continues to be a mutually inspiring and very satisfying relationship.”

Ruth Fainlight was born in New York City, and has lived mostly in England since the age of 15. She was educated at schools in America and England and married the writer, Alan Sillitoe, in 1959. She was Poet in Residence at Vanderbilt University, Nashville,Tennessee, in 1985 and 1990, and received a Cholmondeley Award for Poetry in 1994. Fainlight has written many books, which include poetry, short stories, translations, drama and opera libretti. She has also translated two books of poetry from Portuguese, and collaborated with Alan Sillitoe on a translation of a Lope de Vega play. Her own poetry has been published in Portuguese, French and Spanish editions.

Related posts:

1. Circle Press – Late August on the Coast
2. John Eric Broaddus
3. Eighteen lithographs by Henry Moore

“Most people consider mezzotinting to be so long and tedious, they are astonished that anyone would consider doing it in this age of instant technology. It is, in fact, the time element which creates the process and knowing how to work with it, rather than against it, is the essence of the problem. Preparing the plate with the mezzotint rocker is long and meditative, but I have the satisfaction of knowing that the plate will have a rich velvety texture that will be an ideal surface for drawing. …

“For over thirty years, my work in pastel has been concerned with the color of light and how it creates form. My work in mezzotint has taken that process one step farther, simplifying the question of pure light, letting the object glow in the darkness. The subject of these prints is really the pleasure of looking and in this age of zapping and video clips, it is more than ever essential to take the time to observe and to share these moments of concentration with the viewer.” – Judith Rothchild, Gravures en manière noire mezzotints 2004-2007.

Ruth Fainlight, the poet, writes in the Introduction to a catalogue of the work of Judith Rothchild [2007].

“Are these the images of feathers – with their weightlessness and subtle mottling, the varied textures of down and vane and quill evoked by her masterly skill – or are they actual feathers pressed into the creamy paper? Are those translucent pomegranate seeds the same seven seeds Persephone ate, tempted by Pluto? The shine on a plate and the glint along a glass, the faintly speckled tender smoothness or silvery fuzz of begonia leaves against the dense blackness evoked with her burin, are so convincing that they seem absolutely real.

“Since our first meeting more than twenty years ago, I know that each chance to view Judith Rothchild’s latest work will be a sure source of pleasure. Her prints, etchings and mezzotints, the exquisite embossments which ornament her beautifully produced artist books ( on some of which we have collaborated), unfailingly increase my admiration for her artistry and the delicacy and nobility of her vision.”

See the books of Verdigris and Judith Rothchild

No related posts.