News from Heavenly Monkey regarding two new publications; you can read and see more about both of the following via Heavenly Monkey’s New & Upcoming page:
Two new books have just been issued from the Heavenly Monkey studio. Iskandariya is a prose poem by Brigit Pegeen Kelly, featuring 11 aquatints by Washington artist Briony Morrow-Cribbs. The text has been set in 18-pt Perpetua and printed damp on paper made by Reg Lissel, and specially tinted to match the color of the kitakata that the aquatints are printed on. The book (5 x 9 inches, pp of text, interleaved with aquatints) is sewn into a non-adhesive structure by Claudia Cohen, with a wraparound etching for a dust jacket. It is held in a printed paper chemise and slipcase. From the edition of 50 copies, the first 15 form the Boxed Issue: these are isued in a Japanese silk traycase and contain a suite of 12 state proofs, and a pamphlet (printed letterpress from polymer plates) chronicling the book’s design and production. By advance order, six of the Boxed Issue copies have been further embellished: these are bound in full limp vellum by Claudia Cohen, and contain a set of the aquatints hand colored by the artist. The Boxed Issue was fully subscribed (although available through HM’s regular booksellers); the slipcased copies (numbers 16 – 35) are priced at $600.
The second new title appears under the Heavenly Monkey Editions imprint. Titled The Temperamental Rose & Other Ways of Seeing Colour, it is a collaboration between Barbara Hodgson and Claudia Cohen, exploring their shared interest in systems for codyifing color. The book features 15 color charts, some reproductions of actual charts from history, and several fanciful creations drawn from literature. Each chart is hand colored, one spins, one (Purgatory) pops up, and one is embroidered. The book (7 x 9 inches, 40 pp) was set in Fournier and printed from polymer plates at Black Stone Press. The paper is Arches. The edition of 30 is uniformly bound by Claudia: leather spine, 19th century textured paper over boards, with numerous spherical leather onlays. A traycase holds the book and a set of six artist’s pigments, each in a small, labelled and wax-sealed glass vial. The first eight copies also include an original sketch for one of the charts, bound in. The edition was fully subscribed prior to publication, but copies can be had through Heavenly Monkey’s regular booksellers.