This Fall, Heavenly Monkey will release a special publication of the last chapter of the upcoming book Elements in Correlation. This chapter covers the influence of the Doves Press on Rollin Milroy’s approach to printing and is accompanied by a leaf from the Doves Press’ 1914 collection of Shelley’s poems. Only 23 copies will be produced, and I gather that most (if not all) of Heavenly Monkey’s productions sell out directly to subscribers, but I’m sure copies will be available from a few booksellers. To learn more about everything that Heavenly Monkey has going on, check out the New & Upcoming page or take a look at a PDF of the latest HM catalog.
Heavenly Monkey is celebrating their 10th Anniversary this month by reissuing an old favorite. The details:
EL AUTOBUS AZUL – HANDMADE PAPERS FROM COSTA
February, 2008 marks the tenth anniversary of HM publisher Rollin Milroy’s first letterpress book, El Autobus Azul – Handmade Papers from Costa Rica. In the decade since then Milroy has published 24 more titles, but El Autobus Azul remains one his most requested, and least seen books. To celebrate the anniversary – and get rid of the leftover scraps of samples that have been kicking around the studio for a decade – Heavenly Monkey is issuing a special revised edition of El Autobus Azul. Like the original, the anniversary edition is a miniature (50 copies, 41 pp, cased in printed paper over boards). It contains four tipped-in samples (each about 1 x 2 inches), a new preface, and two relief prints not in the original.
Six copies of the anniversary edition of El Autobus Azul are being specially bound, and issued in a dustjacket featuring an original painting of a butterfly on the front cover by renowned calligrapher Martin Jackson, who will also render the title along the spine. Proceeds from the sale of these copies are being donated to a fine arts elementary school in Vancouver which both Milroy’s daughter and Martin’s grandson attend. Given their shared connection to the school, Martin’s reputation as a lepidopterist, and Costa Rica being a major migration center for the creatures, the anniversary edition of El Autobus Azul seemed a tailor-made opportunity to once again collaborate.
Further details and images can be seen on the HM News page.
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.
Rollin Milroy of Heavenly Monkey sends word of his latest:
Chasing Paper in San Francisco
Two new books from the Heavenly Monkey studio were debuted at the recent CODEX book fair in Berkeley, CA. The first, A Young Printer in San Francisco, recounts Robert R. Reid’s trip to San Francisco in 1949, the year his first limited-edition book, The Fraser Mines Vindicated, was included in the Rounce & Coffin Club’s annual book. Driving down to attend the show, Bob stopped in San Francisco, and during just a few days there, managed to meet a number of the city’s printing luminaries: the Grabhorn brothers, Col. Carroll Harris, and perhaps most memorable of all, William Everson, then at work on A Privacy of Speech. This brief account of the trip is written in Reid’s customary style effusive for all things printed. Set by hand in 18-pt Perpetua and printed in two colors with our handpress on dampened handmade HM Text paper. The frontis is a specially commissioned contemporary linocut portrait of Robert by Andrea Taylor of Cotton Socks Press.
The edition of 50 signed and numbered copies (8vo, 12 pp) is issued in two states. The Majuscule state (numbers 1-15) has multiple signatures cased in Reg Lissel’s transparent vellum paper, lined with a custom-made sheet of paste paper. These copies feature a frontis printed chine colle and signed by Taylor, and include a photo-etching reproduction of a snapshot of Robert Reid taken en route to San Francisco. Priced at C$450, these copies were fully subscribed before publication. The Miniscule state (numbers 16-50) is a single signature sewn in a wrap of (different) paste paper made by Reg Lissel. Priced at C$150.
The second book issued at CODEX, through Heavenly Monkey Editions, was Claudia Cohen‘s Chasing Paper. This massive collection of over 300 paper samples – each spread a peacock’s plume of colors and patterns – generated significant attention at the show, with the edition of 30 copies selling out by the second day. The book’s assembled papers loosely fall into two sets of contrasts: Eastern vs Western papers, and handcrafted decorative vs commercially-printed papers. The selections include (to name a few) money, pre-20th century wallpaper, consumable packages, marbled, handmade, and labels, all varying in sizes from small scraps to full sheets. The book includes a preface by Claudia explaining her passion for paper of all sorts, and providing some context for the selections included. This, the title page and the colophon were printed at Heavenly Monkey. The book is assembled and bound by Claudia, and issued in an edition of 30 numbered and 5 AP copies. Copies are available through Heavenly Monkey’s regular booksellers.
Heavenly Monkey has two new books to report: TOPOS and The Simple Line; the former has been published and the latter should be out shortly. Here are the details (as provided by Rollin Milroy):
The last book for 2006 is TOPOS. A feast for paper collectors, it presents a dozen new paste paper designs by HM’s long-time collaborator, Reg Lissel, each rendered on his own handmade cotton paper. (The idea for the book was born last Spring, while writing a profile of Lissel for Parenthesis magazine, which is slated to run in the upcoming issue.) The samples are full pages sewn into the quarto-sized book. The title page is printed on a white-on-white paste paper sheet, and the papermaker’s introduction (set in 18-pt Centaur) is printed damp on his HM Text paper. The edition is just 25 signed & numbered copies, cased in full cloth, with a printed handmade paper jacket.
The book with which we kick off 2007 in Charles van Sandwyk’s The Simple Line. This is a brief essay by the artist (known most recently for his Folio Society edition of Wind in the Willows) about his approach to & passion for copper engraving, accompanied by six original prints plus a title page illustration colored by him. The essay was originally written for his book Twenty-One Years, Twenty-One Prints, issued in an edition of just 10 copies, each containing over 40 original etchings, all bound up in full leather by Claudia Cohen. That book (issued by the artist) is scheduled to come out around the same time as The Simple Line. The essay was set in 18-pt Centaur and printed on Somerset paper (its setting and content are identical in the two books, including the four tipped-in etchings). The Simple Line (quarto, 12 pp) is issued in an edition of 50 copies, signed and numbered by van Sandwyk, and cased in full linen by Claudia Cohen.
The latest news from Heavenly Monkey:
Heavenly Monkey Editions has just issued The Tale of Three Black Boxes, a book and companion suite of prints by Shinsuke Minegishi. The project merges and juxtaposes Minegishi’s interests in fine printmaking and fine bookmaking, presenting a series of new wood engravings in two strikingly different contexts and formats.
The core of the project consists of six wood engravings (each about 3 inches sq) that tell a sequential narrative about the adventures of three black boxes ("the smallest number a traditional family can be"). This story is told, with spare text, in a single signature book. The text is hand set in Gill Sans and printed on Arches paper with the HM handpress. The engravings were printed by the artist on gampi made in Japan by Shiho Nao, and mounted to the text sheets, which were then sewn into a single signature book with an embossed and debossed wrap.
A companion volume holds a suite of six prints that delve more deeply into the specific imagery of each engraving. The prints are multicolor woodcuts that incorporate an engraving, through windows and openings cut into the printed sheet. These prints – along with a title sheet, one-page essay by the artist, and colophon – are held loose in a black portfolio. Both cases are held in a matching slipcase with printed spine label. All cases are made by the artist.
The edition is limited to 25 sets, of which five are reserved for distribution exclusively in Japan. The book and portfolio (both 8.5 x 7 inches) in each set feature descriptive colophons, numbered and signed by Minegishi (the book in English, the portfolio in Japanese). The Tale of Three Black Boxes is Minegishi’s most ambitious publishing project to date, hence the small edition; at the time of publication, just five copies remain available from the publisher.
This is HM's second publication for 2006. It was preceded by a checklist of the 17 titles published from 1998 – 2005, and the first ever attempt at recording the studio's ephemera and Christmas books. Two hundred copies of this 8-page pamphlet, printed from polymer plates and sewn in a printed wrap featuring our new press device, were issued in February.
News of the latest from Heavenly Monkey, courtesy of an e-mail from Rollin Milroy:Heavenly Monkey's new edition of H.P. Lovecraft's novella The Shadow Over Innsmouth will be launched at the upcoming Seattle Antiquarian Book Fair (October 8-9). The book, issued in two states, was developed from HM's digitally-printed edition of ten copies issued in 2002. The 60,000-word story was set in Centaur and Arrighi, and printed in from polymer plates by David Clifford at Black Stone Press. The book features the Hieronymus Bosch-inspired wood engravings created by Shinsuke Minegishi for the 2002 project (frontis shown below).
Lovecraft was primarily an author of short stories published in pulp magazines during the 1920s and '30s. Innsmouth is one of just a few novellas he wrote, and the only book published during his lifetime. It was a poorly produced hardcover of about 400 copies, of which fewer than half were sold. Except for the handful of austere (yet beautiful) chapbooks published by Roy Squires, Lovecraft's stories have remained the realm of small, genre publishers and cheap paperbacks since his death in 1937. Recent years have, however, seen a growing critical re-evaluation of his work, including a new collection of stories issued as part of the Library of America series earlier this year.
The two issues of the book (small octavo, 150 pp) take their names from Lovecraft's description of Innsmouth's inhabitants' odd countenance.
The Batrachian issue (125 copies with the imprint Heavenly Monkey Editions) was printed on Mohawk Superfine, with the engravings reproduced from polymer as chapter openings. These copies are hand-sewn and cased in gilt-stamped cloth. C$200
The Ichthyic issue (25 copies with the imprint Heavenly Monkey) was printed on Nideggen and features proofs of the six engravings printed at HM on gampi and sewn in as overlays to the chapter openings. These copies have been signed by the artist, and are hand-bound at the studio in a printed wrap inside a translucent limp case made from Reg Lissel's vellum paper. By advance arrangement with subscribers, five of these copies had the proofs hand-colored by the artist. Issued at C$600, this issue is fully subscribed (copies can be had from our regular dealers).
Further details can be seen at http://www.heavenlymonkey.com/upcoming.htm. Copies of both issues, including two colored copies, will be on display in Seattle at the booths of Wessel & Lieberman and Vamp & Tramp. This is the third book issued by HM in 2005. It follows a monograph by Charles van Sandwyk on several bookplates he created for a private collector in the 1990s (The Mouse & The Lizard, edition of 12 copies), and a newly discovered letter from T.E. Lawrence to a correspondent in British Columbia (An Invitation to British Columbia, edition of 50 copies), both of which were out of print upon publication.