Allix susan (19 Ergebnisse)

Farbradierung. Zustand: Sehr gut. 1 Original Farbradierung der britischen Künstlerin; Künstlerabzug / Artist's Proof; A/P gezeichnet und von Susan Allix signiert; mit Schutzblatt (leicht knickspurig); Blatt ca. 33x25cm; die Farbradierung ist sehr gut erhalten; aus der Sammlung des bekannten Buchkunsthändlers Günther Rossipaul B02-01-05F Sprache: Englisch Gewicht in Gramm: 951.…

Farbradierung. Zustand: Sehr gut. 1 Original Farbradierung der britischen Künstlerin; Künstlerabzug / Artist's Proof; A/P gezeichnet und von Susan Allix signiert; mit Schutzblatt (leicht knickspurig); Blatt ca. 33x25cm; die Farbradierung ist sehr gut erhalten; aus der Sammlung des bekannten Buchkunsthändlers Günther Rossipaul B02-01-05F Sprache: Englisch Gewicht in Gramm: 951.…

Farbradierung. Zustand: Sehr gut. 1 Original Farbradierung der britischen Künstlerin; Künstlerabzug / Artist's Proof; A/P gezeichnet und von Susan Allix signiert; mit Schutzblatt (leicht knickspurig); Blatt ca. 33x25cm; die Farbradierung ist sehr gut erhalten; aus der Sammlung des bekannten Buchkunsthändlers Günther Rossipaul B02-01-05F Sprache: Englisch Gewicht in Gramm: 951.…

One of an unspecified limited edition, printed and illustrated by the author under her 'Willow Press' imprint. Blue cloth with illustrated white cloth inlay, gilt lettering to the spine and blue endpapers. 12mo., 136 x 150 mm, pp. [48] with 13 colour illustrations. A book in Fine condition. Susan Allix (b. 1943) is a British typesetter, bookbinder, and artist known for her work in book arts. She attended Guildford School of Art where she studied painting. She has an MA in printmaking at the Royal College of Art. She studied engraving in Italy while on a Prix de Rome scholarship. The Smithsonian says of Allix's work, "Allix's books are distinctive in that she handles every aspect from conception to production: printing, typography, layout, and binding or box making. She prints in limited editions using letterpress-printed text, illustrations printed as etchings, linoleum cuts, woodcuts, pochoir stenciling, and hand-painted additions; she also binds the books herself. The paper used for the books' pages is usually collected from her travels or ordered with a specific purpose in mind and runs the gamut from commercially molded sheets, to decoratively patterned sheets, to handmade fine art papers.".…

Folio. (290 x 230 mm). [50 unnumbered leaves including blanks]. Printed text in various types and illustration in various media all on various paper stock in various formats, final leaf with justification and colophon. Full burgundy crushed morocco, excised sections with curvilinear edges reveal a checkerboard pattern of gilt, pink and café crème paper, front board with three applied sections of white paper with monochrome drawings and four colour paintings (see below) mounted to squares or rectangles of burgundy crushed morocco with magnetic fastenings, single painting mounted to rectangle of burgundy morocco affixed to centre of rear board, smooth spine with tooled title in black, cream handmade patterned paper doublures, bronze free endpapers, burgundy velvet-lined oatmeal drop-back box with morocco label to spine with title in black. The édition de tête in the deluxe magnetic binding of one of Susan Allix's most extraordinary, inventive, capricious and whimsical artist books. From the edition limited to 24 numbered copies signed and numbered by Allix in pencil, with this one of 8 from the édition de tête in the deluxe binding. Allix's detail regarding the book taken from the colophon is instructive: 'Authors: old or unknown. / Typefaces: various (but including Grotesque, Gill, Granby and Gallia, with Caslon, ENgravers Roman & altered and un-altered wood letter). / Papers: various (including Arches, Somerset, Zerkall). / Printing: by hand, by letterpress; with new intaglio plates and lino-cuts and old printer's blocks.' Also included, inserted loose, is the prospectus for the book, a sheet folded in three (210 x 98 mm folded) with printed text recto only together with the price list which also gives detail of the price for 'Pagoda Memories'. 'On a nonsensical scale this book is not deeply nonsensical. It looks like a book; it has pages that turn conventionally and its contents are not gibberish. Most of the words have been around for many years, some so long their authors have been forgotten. But they are set in a variety of arrangements, using more typefaces than are usually expected in one book. There is a new piece of punctuation I invented, some woodletter I altered and some old printers' blocks reprinted . The initial idea . was for the reader to be able to do more than turn the pages; to be able to move or change images. Small pictures on the binding would be turned or re-located over others by the use of magnets. As the results of this were not intended to be serious, they would be accompanied by some nonsensical words . The different sizes, shapes and tones of the various papers used sustain a vitality in the flow of pages, while the limited colour scheme of terracotta, red and cream unifies the collection of odd, puzzling or humorous verses and extracts.' (From Susan Allix's text from the prospectus for the book).…

Zustand: Very Good. SIGNED! London: Susan Allix, 1995. Sm 4to Hardcover. Tan cloth with pictorial front cover. Unpaginated. Color illustrations. Limited edition No. 22 of 80 copies. Signed by Susan Allix in pencil on limitation page. Very Good book and Good slipcase. Some light dampstains and rubbing to edges of slipcase. In polypropylene bag. (artists' books, england, travelers' writings, british, 19th century, travelers) Inquire if you need further information.…

Zustand: Fine. Limited edition artist's book that reflects on the colors, textures, and history of two ancient cities, incorporating a variety of illustration methods and materials. Susan Allix reflects on her creative philosophy, "I am concerned with visual things so I see books as full of colour and form in a pictorial sense as well as through the images created in my mind by the words, and through the sculptural qualities a book possesses" (artist statement). This richly-illustrated textural travelogue, with only two pages of text, is a beautiful example of Allix's artistry and skill at telling stories through visuals. Only nine copies of EAST FROM HERE were produced, one of her smallest limitations. 13.25'' x 10.5''. Original black goatskin-backed white linen boards. Original stiff paper dust jacket with color, embossed, suede, and metal clip elements, with cut-outs revealing the boards. Endpapers of hand-made blue paper. Illustrated with etchings, aquatints, collograph, drypoint, and other methods in color, gilt, and black and white. [50] leaves, [1] half-sheet, some with cut-outs. Signed by Allix to colophon and numbered 7 of 9 copies. In original blue cloth box with paper labels to spine and front joint, lined with soft material and suede. Metal clips a touch tarnished, with a tiny area of rubbing to jacket. Bright and clean. Signed.…

Six etchings by Susan Allix, four in colour. One of 12 copies, this marked as an out of series Artists Proof, signed by the artist on the limitation page. Wide 8vo. sized, 17 x 17.5cm, c.40pp (pagination complicated by a multitude of interleaved tissue and coloured papers). Original artists' binding of green batik printed partial covers over separate green paper wrappers blind embossed with a floral pattern, title printed separately on an interleaved paper strip, numerous interleaved handmade papers in various colours throughout, with original purple cloth drop-back box, with green cloth batik printed tie. London, Susan Allix.  Fine.  In Allix's words, her book explores the physical surroundings of an imagined paradise which 'evoke a pleasurable and undemanding experience. Each section of the book is a separate proposal that is expressed through the shapes, textures and colours of the pages and the prints. This means that pages are different sizes and prints reveal themselves from out of folds and angles of semi-transparent, printed or manipulated papers. The words are brief; short lines found in Coleridge, a hymn, Kipling or Shakespeare.'.…

5/10 COPIES signed by Susan Allix, printed in various colours and using various papers (Somerset mouldmade and Korean handmade), 15 illustrations by the artist in various media with facing text, predominantly intaglio and lino-cut, in the case of the former using shaped plates, coloured and with use of embossing, graphite, metallic foil (preponderance of copper) and chine collé, tissue guards, oblong 8vo, original quarter blue-grey morocco, grey cloth sides with collaged illustrations of sea-birds using different papers, leather and a copper-strip, in a cloth dropback box with a tray of pebbles mounted to the inside-lid (see below), fine. An imaginative evocation of the coast through layered images and sparse text; most ingeniously, it adds a sound element by incorporating into its box the enduring device of a tray of pebbles collected from the shore, providing a tidal shuffle when opened.…

12/13 COPIES (from an edition of 18 copies) printed on Lana Royal Crown 220 gsm paper and signed by Susan Allix, 12 illustrations in different media, the majority either colour-printed or hand-coloured: woodcut, linocut, etching, pen & ink, gouache, the frontispiece signed by the artist in pencil, title-page printed in sandy brown and sea-green, the pen and ink drawing with some tiny spots, use of different papers with apertures, pp. [40], oblong 8vo, original quarter teal morocco, onlay of mid-blue morocco lettered in blue, white cloth sides, with a tidal wash in different shades of blue to inner margins, a couple of faint handling marks at head, in a white with blue stripes drawstring beach-bag, one tie with shells attached, pocket to front enclosing card bearing title, very good. A seaside story, whose textual component has been eroded to leave only punctuation - allowing each reader to either add their own verbal component, or enjoy the artist's visual response to the coast in near-silence. It is a companion-work to Allix's most recent book, 'Shoreline', wherein the images evoking the landscape are accompanied by the quiet-audio element of pebbles held within the binding. …

3/10 COPIES signed by Susan Allix, printed on Zerkall mouldmade and Sekishu Mare handmade paper, 8 photographs, 5 linocuts and an etching, these and the letterpress printed in various colours, pp. [42], crown 8vo, original binding of silk washed in various shades of blue, lettered in black to front, in a blue cloth chemise, a panel to front with two bark-specimens mounted above a printed paper label, in a felt slipcase, fine. An absorbing record of travels, and palm trees encountered, in Valencia, Kolkata, Alexandria, Puri, and Taranto - using the artist's photographs and illustrations (based on sketches in her journals), and accompanied by brief texts drawn from the same source. …

One of 30 copies, this being one of the 20 regular copies with an additional 10 specially bound copies issued with an elaborate window drop back box. Seventeen full page etchings by Susan Allix coloured à la poupée. 4to., 35.5 x 28cm, 52pp. Original full dark red goatskin by Susan Allix with elaborate onlay design, with original red cloth drop back box. London, Susan Allix. Fine.…

247 x 173 mm. (9 3/4 x 6 1/2"). 4 p.l., 41, [3] pp. Publisher's limp vellum, gilt lettering to upper cover and flat spine, yapp edges, four green silk ties. Half title with green publisher's device of the Riccardi Press and WITH THREE ORIGINAL SIGNED COLOR ETCHINGS ADDED BY ARTIST SUSAN ALLIX tipped in, all with tissue guards. Ransom, p. 396; Tomkinson, p. 150. âAN IMMACULATE COPY. This remarkably well-preserved volume is the product of a happy marriage between an Arts & Crafts private press and an inventive present-day book artist, who has supplied original illustrations here. Born in 1943, Susan Allix studied painting at the Guildford School of Art and printmaking at the Royal College of Art. She began her career as a printmaker before founding the Willow Press in 1973; for many years, she was responsible for every element of the books she issued: setting the type and printing the text, creating the illustrations, and binding the volume, often in a flamboyant design. Here, she has added her own illustrations to a book from the heyday of the modern private press movement. The three etchings juxtapose the figure of Psyche as a modern woman with a Cupid inspired by Classical statues. The colors added are deep, mysterious shades of purple and blue, in one print enlivened with a bit of pale yellow and pink. So far as we have been able to ascertain, these etchings do not occur in any other copy of this book, nor in any other volume. Allix has said, "I see books as full of colour and form in a pictorial sense as well as through the images created in my mind by the words, and through the sculptural qualities a book possesses." On her website she describes the prints she makes for books as "etchings and similar intaglio processes, used separately or together with lino cuts, wood cuts, pochoir and painting. The colours for the etchings are pigments ground into copperplate oil." Founded by Herbert Horne, the Riccardi Press was adopted as the imprint of the Medici Society in 1909 and issued books until 1933. According to Tomkinson, "the books have nearly all been printed at the Chiswick Press (under the supervision of Charles T. Jacobi until his retirement in 1922) and published by Philip Lee Warner, who was Publisher to the Medici Society until his death in 1925. . . . The aim of the Press has been to produce finely printed books at reasonable prices and for sale through the ordinary channels of trade. . . . All editions are strictly limited, and the type is distributed after the edition has been printed." A number of luxury editions of Riccardi Press books were issued with color plates by William Russell Flint (), and Allix here joins in that tradition with her compositions, which augment a book published without illustrations. No. 175 OF 525 COPIES on paper (and 12 on vellum), the ILLUSTRATIONS UNIQUE TO THIS COPY.…

300 x 230 mm. (12 x 9"). 4 p.l., 91, [1] pp., [1] leaf (colophon). Translated by A. M. Burnett. WHIMSICAL PICTORIAL MOROCCO BY SUSAN ALLIX (stamp-signed on rear pastedown), the wrap-around design showing Daphnis and Chloe in blind-tooled brown morocco silhouetted against a blue morocco sea and cream morocco sky, beneath the lovers a blind-tooled vine with 11 inlaid or onlaid citron morocco leaves, blind-stamped lettering to front cover, turquoise blue pastedowns and white free endpapers painted with blue, fore edge of front free endpaper cut into wave pattern, showing a glimpse of the yellow handmade paper front flyleaf, edges untrimmed and lightly brushed with blue paint. In the original felt-lined tan linen clamshell box, blind-lettered cream and blue morocco label on back. With etched frontispiece and 20 etchings, 14 in color and six in sepia, by Allix. As new. This is a modern take on the most popular romance of ancient Greece from book artist Susan Allix, who is responsible for the binding, illustrations, and the printing, through her Willow Press imprint. The third century pastoral romance was newly translated from the Greek by Andrew M. Burnett, and illustrated with etchings based on Allix's travels in Greece. The binding, in Allix's words, "creates an atmosphere of the sea, landscape, and figures in the story." Born in 1943 and educated at the Royal College of Art, Allix began her career as a printmaker before creating her first hand-crafted book in 1973. Mark Dimunation, Chief of the Rare Book Division at the Library of Congress, wrote of Allix's work: "her books launch you on a visual journey. Each book is a voyage propelled by color, texture, image, impression, and material. . . . Because she insists on creating the entire book--from letterpress to illustration to binding--her work has a certain recognizable aesthetic; a malleable signature that responds to the particular character of a piece, but is still unquestionably hers. Allix conceives each book visually. 'I am concerned with visual things so I see books as full of colour and form in a pictorial sense as well as through the images created in my mind by the words, and through the sculptural qualities a book possesses.' The real narrative of her books is the flow of color and image as they move throughout the piece.". No. 31 OF 55 COPIES SIGNED by artist and binder Susan Allix.…

31/50 COPIES signed by the artist, printed on BFK Rives Velin Cuve paper, 21 illustrations, in various colours and all tissue-guarded, pp. [40], 4to, bound by Susan Allix in grey Oasis Niger leather, tooled in gilt and blind with onlays of various colours in a design combining palm leaves and floral motifs with the abstract outline of a reclining figure, multicoloured silk endbands, edges untrimmed, the turn-ins repeating floral motif, with wood-veneer endpapers, in the original grey cloth dropdown box with original receipts (Charles W Traylen) enclosed, near fine. The second book from one of the most distinguished presses of the last 50 years; it was issued in three different colour bindings.…

London 1989. 21 : 25,6 cm. 40 unn. S. Mit 12 (9 farb.) ganzseit. Bildern in unterschiedlichen originalgraphischen Techniken, teils kombiniert mit Tuschzeichnung, Gouache und Farbstift. Orig.-Halblederband mit blauem, wellenförmigen Lederrücken mit bedrucktem Papierschild, blau-türkisfarb. aquarellierter Dekoration auf Vorderdeckel u. weissem Leinenbezug. In blau gestreiftem weissen Leinen-Strandbeutel mit drei Muscheln an einer Kordel und einer Titelkarte. In Orig.-Kassette mit hell- u. dunkelblauem Leinenbezug (Handeinband von S.Allix). Eines von lediglich 13 numer. Exemplaren auf Lana Royal Crown paper einer Gesamtauflage von nur 18 Exempl. Das Buch enthält auch zwei verschiedene japanische Papiere (Mingei und Taiei-Shi). - Die schönen stimmungsvollen Bilder in verschiedenen und teilweise von Hand überarbeiteten graphischen Techniken, wie Radierung, Linol- und Holzschnitt. Der Text", der ausser dem zweifarbigen Titel sowie dem Impressum nur aus Satzzeichen besteht in 18 Pt. Plantin. Blauer vord. Büttenvorsatz u. ein schwarzes Zwischenblatt mit ausgeschnittenem Fernglas"-Fenster. An incident by the sea forms the subject of this book. A visual description in both brilliant colour and black and white, using a variety of graphic methods, creates a mood of open-air drama and seaside activity. Only the punctuation is printed, so the reader may introduce his own words and conversations, to fit a personal interpretation of the happenings. In this way together with the visual texts, the imaginative force of a traditional book is reversed." (S.Allix). Druckvermerk von der Künstlerin signiert. Makelloses Exemplar dieses äusserst originellen Künstlerbuches. Sprache: en. …

20 etchings by Susan Allix in colour and sepia. One of 55 signed and numbered copies. 4to., 30 x 24cm, 118pp. Original binding by Susan Allix.

Number 11 of 14 copies. Illustrated throughout by Susan Allix with 20 original etchings in a variety of techniques, along with pochoir, linocut and hand colouring. 4to., 76pp. Original full black goatskin with onlay bas relief in papier-mâché of human figures striking poses on a white paper onlay background with additions in black gouache and pink onlay, small purple goatskin onlay label lettered in black, with original purple drop back box, spine lettered in black on onlay purple goatskin labels on a background of black and white paper onlay. London, Susan Allix. Fine.  'Position, pose, orientation, aspect, stance, disposition, condition, posture', so begins Susan Allix's illustrated study of the history of human 'attitudes', taking quotes from Goethe, Ovid, Livy, Titian, Madame Vigee Lebrun and others as a starting off point for a wide ranging exploration of form.…

One of 25 copies, signed and numbered by Susan Allix. Seventeen etchings, seven linocuts and two combinations of both by Susan Allix, mostly coloured in various techniques including hand-colouring. 4to., 33x27cm, 137pp. Original full blue goatskin by Susan Allix. London, Susan Allix. Fine.