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WATERMARK
Brodsky, Joseph
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One of only 35 copies for sale (out of an edition of 50). This beautifully produced edition of Watermark was letterpress printed and designed by Peter Rutledge Koch. The paper is Twinrocker Da Vinci, hand-made especially for this edition, with its own watermark designed by Christopher Stinehour & Susan Filter. Robert Morgan's photographs were digitally re-configured by Donald Farnsworth. The photogravure printing plates were made by Unai San Martin and were printed at Magnolia Editions under Donald Farnsworth's supervision. Once printed, the sheets were shipped to Venice, Italy, where the text was printed at the Scuola Internazionale di Grafica di Venezia from Monotype Dante types cast at the Monotipia Olivieri in Milan. The press used was brought to Venice "on loan" from the Tipoteca Italiana Fondazione printing museum in Cornuda. Following the printing, the paper was shipped to the Berkeley studio where the book was bound in papers specially made for this edition by Cave Papers.
First published as Fondamenta Degli Ingurabili, Iosif Brodskij. Translated into the Italian by Ilberto Forty and published by Consortia Venezia Nova, Venezia 1989. Reprinted by arrangement with Farrar, Straus & Giroux, LLC. Copyright 1992 by Joseph Brodsky. All rights reserved.
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[A COLLECTION OF NINE DESIGNER BOOKBINDINGS BY THIS GERMA...
A unique collection of nine designer bindings, many of which were part of a 1982 exhibit at the Salzburg Werkstatte für Buchkunst. The display of these works was documented in an exhibition catalogue, printed in an edition of 500 numbered and signed copies, a copy of which is also included with the collection. The catalogue has two photographs of the binder, eleven black-and-white and twelve color illustrations of his work. The bindings in the collection demonstrate a wide range of technical prowess and decorative ingenuity. Three of the bindings are traditional contemporary designer bindings composed of full leather with colored leather inlays, which take the form of Miro like abstractions in two examples. Two other bindings demonstrate Stock's ability to create painted leather and parchment bindings. One binding demonstrates his use of contemporary marbled paper and vellum covered boards. Three other bindings demonstrate his ability to provide books with less traditional but more elemental book coverings. One has a simple loose leather covering with a simple gold rule bound by simple leather ties. Another covering loosely gathered in suede is fixed with a tie and a metal dagger. The other, a bit more artistic, is a similar loose vellum covering with ties, but is painted with an original abstract design. Two of the bindings are for blank books. A third covering is a prayer book, in a suitably ecclesiastical-looking binding with flaps and ties. One full leather binding with inlays is a German translation of a work by Walter Crane. The painted leather is the autobiography of Albert Schweitzer. The rest are works having something to do with binding or other aspects of book making. Unlike some art-bindings, Stock's are clearly meant as functional books, with texts intended to be used as texts. The collection of nine bindings together with the exhibition catalogue describing his work gives a remarkable sense of this man's range of binding ability and personal sense of style.
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