Artists' Books and Rare Books for Sale » Wayzgoose Press

Wayzgoose Press — The Collected Private Impressions. Deluxe edition. [Numbers 5-8.] Written by Mike Hudson & Jadwiga Jarvis

wstahl — Fri, 13 Jan 2012 22:38:48 +0000

(Wayzgoose Press) The Collected Private Impressions. Deluxe edition. [Numbers 5-8.] Written by Mike Hudson & Jadwiga Jarvis. Katoomba. NSW Australia. 2000-2001. 76p. Approx. 12″ x 8.5″. This is a new printing, repaginated into 8-page signatures. The pages are numbered (numbers printed over a color patch) and have running shoulders – this means 3 colors on every page of text, plus others if and when there are illustrations. The double-page spread from Monograph #7 has been expanded with more text to make a triple-gate fold-out. An original 2-color wood engraving printed from the block is tipped-in. The endpapers, which relate to the content, have been designed and printed exclusively for this edition. One in an edition of 15 signed and numbered copies; (3 in designer binding sold out) with 12 copies bound in full bottle green cloth with two recessed labels on the cover. Slipcase. Fine.
This book considers the ‘big picture’ of bookmaking – from early written documents to the book as we know it today. It tells the story of the early Greek convention of ‘aural reading’ from papyrus rolls, through the Dark Ages and the monastic traditions. The ‘invention’ of the Carolingian manuscript style and the rise of secular, silent reading practices in the early Renaissance. It presents the Gutenberg Bible as the beginning not just of a new technological age but as the start of the compromise work practices that mass production activities encourage. It discusses the fits and starts of the book trade and the drive for rationalization of techniques at the expense of the creative potentials of authorship throughout the 20th century. The value of Stanley Morison’s & Beatrice Warde’s sobering influence is examined and questioned. It weighs the benefits to text and reader of an individual and creative approach to book design, typography and illustration against the losses inflicted by mass production principles.

Wayzgoose Press Ephemera

sara — Fri, 18 Dec 2009 05:10:50 +0000

A special gathering of some of the great productions of the Wayzgoose Press – 32 prospectuses & other ephemera

(Wayzgoose Press) Wayzgoose Press Ephemera. [Katoomba.] Portfolio size – 21” x 16”. Various dates. Approximately 32 items relating to various publications and announcements of the Wayzgoose Press. Custom-made red cloth board portfolio with tan paper label on front. Fine.

Wayzgoose Press – Private Impressions (No. 1-8) Plus Introduction

sara — Mon, 11 Aug 2008 21:31:08 +0000

Helping to redress the imbalance in the general understanding of what constitutes quality book production

(Wayzgoose Press) Private Impressions (No. 1-8). Plus Introduction. A collection of monographs about printing and other book arts. Written by Mike Hudson & Jadwiga Jarvis. Katoomba. NSW Australia. 1995-1996. 2000-2001 n.p. 11.75″ x8.25″. Illustrated with appropriate examples of printing from the periods under discussion, hand set and printed letterpress in several colors on Mohawk Superfine 148 gsm. and stitched into stiff printed wrappers with the monograph number highlighted in color. The set includes the 8-page wrappered Prospectus produced in 1995.

The Introduction to Private Impressions is No. 13 in an edition of 45 copies.

Nos. 1-4: A Pressing Argument, May 1995; It goes against the Grain …, August, 1995; Broadly Speaking, November 1995; Printers & Politics, February 1996.

All Nos. 1-4 in an edition of 50 copies signed by Hudson and Jarvis.

Nos. 5-8: Evolution (including Introduction.) June 2000. Tells the story of the early Greek convention of ‘aural reading’from papyrus rolls, through the Dark Ages and the monastic traditions. The ‘invention’ of the Carolingian manuscriptstyle and the rise of secular, silent reading practices in the early Renaissance.

No. 6: Revolution. Presents the Gutenberg Bible as the beginning not just of a new technological age but as the start ofthe compromise work practices that mass production activities encourage.

No. 7: discusses the fits and starts of the book trade and the drive for rationalization of techniques at the expense ofthe creative potential of authorship throughout the 20th century. The value of Stanley Morison’s & Beatrice Warde’ssobering influence is examined and questioned.

No. 8: Re-evaluation. Weighs the benefits to text and reader of an individual and creative approach to book design,typography and illustration against the losses inflicted by mass production principles.

Nos. 5-8 are number No. 13 in an edition of 60 copies signed and numbered by Hudson and Jarvis. Fine.

In the prospectus announcing this series of monographs, Jarvis and Hudson write “there is surprisingly little published material concerning the nature, craft, technology or philosophical rationale of why and how such things as private presses actually exist – particularly in these days of electronic data transmission. We hope to redress this imbalance in the general understanding of what constitutes quality book production by publishing monographs on the art & craft of letterpress printing, wood engraving, wood and linocutting, typography and layout, binding, book design, private press history, etc.”

The Wayzgoose Press published these excellent monographs to redress some of the gaps in our knowledge of the art and craft of handhand-printed bookmaking

Wayzgoose: The Australian Journal of Book Arts

sara — Thu, 24 Jul 2008 17:33:15 +0000

(Wayzgoose Press) Wayzgoose: The Australian Journal of Book Arts. No. 1. Sydney. 1985. 93p. 12” x 7.5”. Set in Linotype Palatino. Color and black-and-white tip-ins and illustrations throughout. Bound in heavy blue wrappers with title, illustration and list of contents on front cover, over Bemboka Oatmeal and Fabriano covers. In a total edition of 450 copies, this is No. 350 of 350 copies in wrappers. Fine.

This journal was inspired by the British Whittington Press’s production of Matrix. It was hoped that this fascinating work would be continued on a yearly basis, but unfortunately this did not transpire!

Katoomba Morning, wood engraving from Wayzgoose

sara — Thu, 24 Jul 2008 17:30:52 +0000

(Wayzgoose Press) Katoomba Morning. Original wood engraving by Mike Hudson. Katoomba. 1992. Mounted – 15.75”x 12”. Black and white engraving. Gray card mount. A/P signed and dated by Hudson. Fine.

Alitji in the Dreamtime, from Wayzgoose Press

sara — Thu, 24 Jul 2008 17:29:06 +0000

(Wayzgoose Press) Alitji in the Dreamtime. Original wood engraving by Mike Hudson. Katoomba. 1995. Mounted – 12”x 8”. Black and white engraving on paper watermarked with a figure. Gray card mount. A/P signed and dated by Mike Hudson. Fine.

The Auld Shop and the New, from Wayzgoose Press

sara — Thu, 24 Jul 2008 17:24:55 +0000

(Wayzgoose Press) The Auld Shop and the New. Written specially for “The Chief”, George Robertson of Angus & Robertson . … By -Henry Lawson. Katoomba. 1992. n.p. 11″ x 7.25″. Two-color linocut illustration. Designed and illustrated by Mike Hudson. Handset by Jadwiga Jarvis in Bembo and Baskerville on Mohawk Superfine Soft White. Handprinted in brown and black. Some pages narrower than others. Jarvis and Hudson bound the edition. This copy in cream boards; front cover with two-color wood engraving and title. In an edition of 70 numbered copies, signed by Mike Hudson and Jadwiga Jarvis, this is No. 29 of 49 copies bound with white spine and printed paper sides: front cover with title and illustration. Prospectus laid in. Fine.

Wayzgoose Press designer binding, the terrific days of summer

sara — Thu, 24 Jul 2008 15:31:02 +0000

(Wayzgoose Press) the terrific days of summer. Prose Poem by Ken Bolton. Katoomba. 1998. Accordion fold; 25p. each12.75” x 18.25”. Illustrated with multi-color graphic devices of collographs and monoprints, all hand-inked. Designed and letterpress printed on Magnani Incisioni 222 gsm by Mike Hudson and Jadwiga Jarvis. A separate 12p. folded illustrated Introduction by George Alexander printed on Mohawk Superfine in pocket of inside front cover. Bound in white leather with multicolored onlays and inlays.

Jadwiga Jarvis writes: “The orange ‘cloud’ shapes are collographs. After much testing and experimenting, we made the blocks out of a range of amorphous materials, wonderfully inappropriate for orthodox letterpress printing, and consequently managed to achieve something resembling an etched image which changed slightly with each pull. The graphic devices are monoprints, hand-inked on the press and later further enhanced with handpainting. In other words, each copy in the edition is unique. All in all, a huge, nerve-racking, but immensely satisfying job!

The other details … the author’s name is Ken Bolton. Bolton is a brilliant and significant contemporary Australian poet.

“This was more or less our departure point for the design of the book. The visual elements are all ‘the same’ but in constant transition, their colours, position on the page, relationship to each other and to the text ever-changing like the mood of the poem. The introduction will be an analysis/appreciation of the poet, the poem and our visual/typographic treatment of it.”

She also states: “Everything you have before you has been printed letterpress the hard way, ie. from original materials, not from …blocks. Even the squiggly line is a genuine lead rule, cajoled into performing acrobatics. The ‘binding’ involved gluing togetheralmost a half a kilometer of paper … by the time this job is finished we’ll be ready for a long holiday – in a Home for the Bewildered …!!”

We also have one regular binding of this book available for $2500.

Wayzgoose Press – the terrific days of summer, very rare

sara — Wed, 23 Jul 2008 22:04:31 +0000

(Wayzgoose Press) the terrific days of summer. Prose Poem by Ken Bolton. Katoomba. 1998. Accordion fold; 25p. each12.75” x 18.25”. Illustrated with multi-color graphic devices of collographs and monoprints, all hand-inked. Designed and letterpress printed on Magnani Incisioni 222 gsm by Mike Hudson and Jadwiga Jarvis. A separate 12p. folded illustrated Introduction by George Alexander printed on Mohawk Superfine in pocket of inside front cover. Contained in a multi-colored cloth covered portfolio on which the title and some of the graphic devices are printed. No. 20 in an edition of 35 signed copies, of which 30 are for sale. Prospectus laid in. Small bump at lower outer side of box, else fine.

The other details … the author’s name is Ken Bolton. Bolton is a brilliant and significant contemporary Australian poet.

We also have received the very special Designer Binding in full leather of this book. One of only 2 copies.

Ockers, The Special Binding — from Wayzgoose Press

sara — Wed, 23 Jul 2008 21:56:07 +0000

(Wayzgoose Press) Ockers. A prose poem by the poet called ?.o. – or Pi.O. Katoomba. NSW. Australia. 1999. Concertina format. Approximately 40′ long when fully opened, folds into 14″ x 19.5″ pages. Conceived, designed and illustrated with linocuts by Mike Hudson, and the type set by Jadwiga Jarvis. All aspects of production were manually executed at the press by the two partners. Printed letterpress on Magnani Incisioni using a Western proof press. Brilliantly colored binding of man-made materials by Mike Hudson. Laid in Booklet ‘Introduction and a Glossary of Ockerisms.’ No. 3 of 3 Special Bindings in an edition of 40 signed and numbered copies, of which numbers I-V are not for sale. Prospectus laid in. Fine.
This work was part of an ongoing series of extravagant typographic acrobatics – pushing the envelope with the marriage of exciting typography and exacting and complex illustration. All these factors combine to dramatize and express the energy and aesthetic shock of new contemporary poetry. The partnership of Jadwiga Jarvis and Mike Hudson has previously published Dada Kampfen un Leben und Tod (Dada fight for Life and Death) in 1996, and The Terrific Days of Summer in 1998. (Both these titles sold out on publication.)

Ockers is a prose poem by the contemporary Greek-born Australian poet called ?.o. – or Pi.O. (N.B. ?.o. wrote one of the two introductory pieces for Dada Kampfen.) It’s a satirical look at the “Ocker” phenomenon as seen through the eyes of a bemused outsider. The Ocker rage (one could hardly call it a ‘cultural’ movement) lasted for about a decade: films were made, fame and fortune achieved by some (Paul Hogan of “Crocodile Dundee” amongst them). In international terms, Jonathan Swift’s definition of a ‘yahoo’ as used in Gulliver’s Travels can be related to an Ocker.

The poem is a kind of social documentary of the events of the time. Since the whole thing was a bit of a joke, the work is treated as such and designed a la comic book: voice balloons, thought bubbles, frames around the pages, etc. To keep in the spirit of ‘Ockerism’ (bold, brash and boisterous), and at the same time with the art/commercial art/comic book trends of the 60s and 70s, the illustrations (big, bold, boisterous and very colorful) have echoes of Roy Lichtenstein and Andy Warhol mixed in with pure Mike Hudson. The typography is, as ever, anarchic, using every sans serif known to man (plus a few unknown, hand drawn especially for the occasion) and a few serifed type faces thrown in. The colors are numerous, the number of illustrations too great to count. The average number of passes through the press per page was EIGHT, often more … Partly due to the number of different colors used, and partly to the complexity of the layout – in a couple of instances four passes just to print all the black elements on the page.

The Wayzgoose Press’s books in this series are held by the following institutions:
The National Gallery of Art, Washington, DC; Cary Graphic Arts Collection, Rochester Institute of Technology; Sterling Memorial Library, Yale; Marriott Library, University of Utah; Kennedy Library, California Polytechnic State; Green Library, Stanford University; University of Ohio Library, Athens; Louisiana State University Special Collections Library, Baton Rouge; The British Library, London; as well as in distinguished private collections.
As part of their grand trilogy of illustrated ‘in-your-face’ typographically exuberant book-making, this work, with its roistering, rollicking narrative, is arguably one of their best and boldest books!!

The last available copy.