JOSEPH GOLDYNE: Catalogue Raisonné of Books, Portfolios, and Calligraphic Sheets by akohsassociates

JOSEPH GOLDYNE

PUBLISHEDStanfordUniversity LibrariesJOSEPH2015 RobertPeterINTRODUCTIONCalligraphicCatalogueGOLDYNE:RaisonnéofBooks,Portfolios,andSheetsRutledgeKochESSAYBringhurst

CONTENTSPREFACEMichaelA.KellerFOREWORDRobertoG.TrujilloINTRODUCTION: From a Printer’s Point of View Peter Rutledge Koch THE BOOKS OF JOSEPH GOLDYNE Robert ARTISTS’BringhurstBOOKS: Some Remarks on a Legacy of Problems Joseph COLLEAGUESGoldyne AND WORKING RELATIONSHIPS Joseph ProofingGoldynewith Joseph Goldyne at Katherine Lincoln Press Kay MatchingBradnerthe Artist’s Hand: A Boston-West Coast Partnership Robert Collaboration:TownsendImages and Calligraphy Thomas Ingmire xviixiiiix13541434549

NOTES TO THE CATALOGUE RAISONNÉ Presses and Printers Binderies and CATALOGUEBinders RAISONNÉ Limited-edition Books Unique Limited-editionBooks Portfolios Unique Portfolios Unique Sheets of Calligraphy with Prints ALPHABETICAL AUTHORILLUSTRATIONSPRINTMAKINGCHRONOLOGICALINDEXINDEXTERMSBIOGRAPHIESSELECTEDPUBLICCOLLECTIONSINDEXCOLOPHON4124033933031435753515559261355377381387401405

Joseph Goldyne is a master artist and printmaker, and to have at Stanford the finished books and the archival record of all that went into the making of his artists’ books is unusual and amazing. The student or scholar of the history of the book and printing will have at hand the works of a contemporary master artist comparable to old world master artists, with an insight into his process as he seeks to marry images with selected texts in collaboration with authors, calligraphers, typesetters, printers, and bookbinders.

opposite : Joseph Goldyne End of a Book of Poems (Dorothy Parker), 1996 Oil-based pigments on gessoed paper

PREFACEJosephGoldyne’sspirit,

The archive that is the Joseph R. Goldyne Collection at Stanford is remarkable. Most libraries acquire only published books, the final realization of a book artist’s intentions. Stanford can now offer the published works as well as a vast archive of the artist’s studies and works on paper, evidence of artistic struggle toward the perfect print.

Joseph Goldyne’s archive fits neatly into The Stanford Libraries’ initiative to pro vide rare and unique sources to excite, stimulate, and inform the developing minds and tastes of Stanford students and to offer distinctive opportunities for research and teaching by Stanford faculty based on original source materials. Goldyne’s works in their finished forms are wonderful, beautiful, and evocative, as Peter Koch’s and Robert Bringhurst’s essays illustrate. However, the studies, sketches, drawings, and print proofs that precede those final forms of Goldyne’s own imagination and taste help docu ment his creative processes. The only improvement in this record of Goldyne’s steps in

energy, and dedication to art in general and the book arts in particular are manifest in his artistic works and imbue the pages of this catalogue. Joseph Goldyne has richly earned plaudits from aficionados and collectors of books as art. He now has the gratitude of generations of scholars and students of the history of the book, book arts, and printing gathered at Stanford.

opposite :

Michael A. Keller University Librarian and Publisher of Stanford University Press Stanford University Joseph Goldyne Dark Delights of Research

, 1997 Monoprint on paper

xi conceiving and then realizing his works would be to have the artist and his collabora tors constantly present for conversation with us. Stanford’s growing collection strength in contemporary book arts has become significantly more important with the addition of the artists’ book archive in the Joseph R. Goldyne Collection. We celebrate Joseph Goldyne’s artistic works by mounting this exhibition and we express our gratitude for his gifts to the Stanford community, and over the long reaches of time to the world, by placing his archive with our Department of Special Collections. Thank you Joseph Goldyne!

opposite : Joseph Goldyne Appearances Pale Before Meaning, 1998 Colored pencil on paper

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The Department of Special Collections at the Stanford University Libraries has been acquiring the artists’ books of Joseph Goldyne since he began creating them in the 1970s. In 2014 and 2015, however, Goldyne made special gifts to the Stanford Libraries of preparatory drawings, developmental proofs, sketchbooks, and ephem era that document the various stages involved in creating the images and final prints

loved books . He is a reader and collector of books, with an extraordinary library that rivals the holdings of many institutions. He is a scholar who has researched and written about art, including essays on Richard Diebenkorn, Alberto Giacometti, Adolf von Menzel, Manuel Neri, and J.M.W. Turner, as well as numerous essays and articles about assembling and evaluating public and private art collections. But Joseph Goldyne is first and foremost an artist and a maker of extraordinary books and portfolios. For more than forty years he has collaborated with many of the best printers, binders, publishers, and calligraphers in the United States and Europe to create some of the finest contemporary artists’ books, portfolios, and single hand-written sheets of text and prints. These works combine finely crafted texts by poets, writers, and scholars – either hand-written or letterpress printed – with unique works of graphic art. The texts and artwork have been thoughtfully selected to create on the page an integrated experience that offers the viewer/reader an opportunity to participate in an act of examination and reflection. Goldyne has said that he approaches a text more as an accompanist than an illustrator: “These wonderful pieces of writing require nothing more in the way of imagery. So, if I am moved to create images for a text, they must be offered respectfully as what you could call accompanying meditations on that text.”

FOREWORDJosephGoldynehasalways

The exhibition Joseph Goldyne: Books, Prints & Proofs and the catalogue Joseph Goldyne: Catalogue Raisonné of Books, Portfolios, and Calligraphic Sheets are a collaborative initiative that interprets Goldyne’s work. The essays by renowned Canadian author, poet, and translator Robert Bringhurst, designer, printer, and publisher Peter R. Koch, Master Printers Robert Townsend and Kay Bradner, and Master Calligrapher Thomas Ingmire place Goldyne’s work in an important and critical context for continued study and enjoyment. The curatorial work for the exhibition was a collaboration of Ann K.D. Myers, Elizabeth Fischbach, and Roberto G. Trujillo. The production of the catalogue was coordinated by Anne Kohs & Associates, Inc., with text editing by Pam Rino Evans, Elizabeth Fischbach, Ann K.D. Myers, and Diane Roby; design by John Hubbard/EMKS, Finland; photography by M. Lee Fatherree, Berkeley, California;

The Stanford Libraries have had a long-standing interest in the culture of the book, in particular fine printing and the contemporary artists’ book, and Stanford’s book arts collection now encompasses some 25,000 volumes. These books and the archival materials pertinent to them make it a research collection of some import, invaluable to the University’s many courses and research interests concerned with the history of the book and printing. The book arts have an important place in the life of an institution like Stanford, as they support curriculum and research and are part of a tradition of culture that sustains humanists and humanities. Stanford has placed a new focus on the arts and humanities, and the University’s desire to attract faculty and students to these academic programs has contributed to renewed interest in the Libraries’ ever more important collections that pertain to the book arts and the culture of the book.

These “primary sources” of Joseph Goldyne’s art and collaborative process are the inspiration for this catalogue and for the exhibition at the Stanford Libraries for which the catalogue is produced. Stanford’s holdings now include all of the artist’s pub lished editions, a sampling of his unique books and portfolios, and several of the unique calligraphy sheets with prints created in collaboration with Master Calligrapher Thomas Ingmire. Goldyne’s archive at Stanford joins those of other artists such as Charles Hobson, Frank Lobdell, and Manuel Neri, whose works encompass artists’ books or portfolios illustrated with original graphic art. The Joseph R. Goldyne Collection at Stanford will be available to students, researchers, and scholars who will find in his graphic art, as in his paintings and drawings, a consistently subtle and incisive take on contemporary artistic issues.

xiv for his limited-edition books. The Joseph R. Goldyne Collection at Stanford is rich in resources for the scholar and student of the art of the book and for the study of Joseph Goldyne’s body of work. Goldyne is a powerful artist and printmaker, and his mono types, monoprints, intaglio prints, and other works represented in this collection will be a research and teaching resource like no other. This diverse selection constitutes an impressive gathering of works, meaningfully enriching our archives, and is a most welcome addition to the Libraries’ ever-growing book arts collection.

xv color and print management by Gary Hawkey and John Bailey at iocolor, LLP, Seattle, Washington; and printing and binding by Artron Color Printing Company, China. The exhibition was designed and installed by Elizabeth Fischbach. The publication of this catalogue marks a special gift to the Stanford University Libraries. In transferring this wonderful collection to Stanford, Joseph Goldyne sought to make the works more accessible for teaching and research and to add significantly to the growing critical mass of book arts collections at Stanford. We are particularly grateful for his thoughtfulness and generosity.

Roberto G. Trujillo Director and Frances & Charles Field Curator of Special Collections Department of Special Collections Stanford University Libraries

INTRODUCTION:FromaPrinter’sPoint of View

When Stephen learned that I had not entirely settled on how to illustrate the text, he suggested that I consider his friend and artist, Joseph Goldyne. I had originally opposite : Joseph Goldyne and Thomas Ingmire Preparatory monotype for William Blake’s The Marriage of Heaven and Hell: A Memorable Fancy, 1989 Monotype with calligraphy on paper Peter Rutledge Koch

From a printer’s point of view, a well-made book worthy of our consideration is largely a collaborative enterprise – a complex and demanding production that includes everyone from the writer and artist to the typographer, printer, papermaker, book binder, publisher, and ultimately the reader whose attentive touch (reading and handling) is the final stage of a well-orchestrated collaboration. At one end of the spectrum, publishing can be a hazardous business involving authors, artists, editors, lawyers, designers, production department, distribution agents, public relations and media people, departments for rights and payments, etc. At the other end of the spectrum, and closer to the private press ideal that once symbolized the golden age of the book, the entire process can be greatly simplified – in the publishing house of Editions Koch for instance, I perform all the tasks listed above with the help of my assistant, Jonathan Gerken, and a team of artisans spread across the globe.

From a bibliophile’s point of view, reading is a solitary experience that pro vides a rare island of calm in an increasingly busy world. Some would even agree that to sit in a comfortable chair and enjoy the company of a well-made and compelling book is to partake of the better part of human nature.

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One of my more successful collaborations began when I decided to publish an illustrated edition of Pablo Neruda’s “Ode to Typography” – to my knowledge the finest homage to the printing press and to typography ever written by a poet in verse form. Once committed to the project I commissioned an English version to accompany the original Spanish from the noted translator of Neruda’s poetry, Stephen Kessler.

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It is the nature of an artist to never let things rest – to pitch oneself against the successful accomplishments and satisfactions of the past. As an artist I, too, am restless, but as a typographer and designer/printer I strive instead for a balance between the hard-won and long-established principles of classical perfection and the exigencies of the present catastrophe. These two aspects of craft are the counterpoints that pose the dilemma of my own art. How close can I get to the cutting-edge of classical perfection as it grinds against the surface of time? Where to find the peace and repose of our day?

Ode to Typography (Cat. no. 007) posed problems (and eventually solutions) unique to the text. A bilaterally symmetrical arrangement of Jan van Krimpin’s sensitive re-modeling of Christoffel Van Dijck’s 18th Century Roman for the Spanish on the recto and his companion Italic on the facing page translation created a balanced mis en page that to my mind reflects the shape of thought that propelled Neruda from the pages in his books on Isla Negra to the “celestial solitudes” in the night skies above Chile and beyond. To my delight, Joseph’s aquatints depicted handsome letterforms dancing in a void between cave and cosmos – vividly recalling the poet’s metaphor of alphabets traveling with the wind from Flanders and Venice to the far ends of the world. The entire design, from the typographic cover and the compact quarter-leather binding executed by Peggy Gotthold to Joseph’s delicate aquatints, was deemed a success by book and art collectors alike and was only just announced when it was snapped-up and out-of-print – the perfect conclusion to a fortuitous and happy collaboration.

Joseph and I have worked on several other projects together including Five Ripe Pears by William Saroyan (Cat. no. 006) and The Invisible Collection by Stefan Zweig (Cat. no. 008). The title page of Five Ripe Pears is a thing of beauty for which I take little credit since the elegant pears are Joseph’s and the Delphian capitals I used for the title followed his suggestion.

intended to illustrate the work myself with abstract typographic ornament but was also predisposed to move from decorative illustration to collaboration with an artist sensitive to the subject matter. A lunch was arranged and I subsequently learned that Joseph has a keen interest in letterforms, and I began to feel confident that the suite of small aquatints he proposed at that first meeting would be precisely what was called for. Working with Joseph, who is at once an artist, a bibliophile, and a connoisseur, posed a very special challenge. With regard to the book as an art form, I instinctively felt that he and I were working from a comparable knowledge base and because we both enjoyed the pleasures of book collecting as a delightful (and sometimes nec essary) adjunct to our life’s work, there was the brotherhood of the bibliosphere to share as well. We have compatible taste in book design, a shared love of symmetry in architecture and, though I do not feel qualified to say how far our tastes align, I was confident that a satisfactory solution to any design issue would not be impossible to attain. The challenge was to surpass our private expectations.

Because the book is the perfect reading device for a warm-blooded mammal with two eyes and opposing thumbs, it is no more in need of reinvention than the spoon.

Because the book offers a synaesthetic experience not to be rivaled by or even com pared to any electronic reading device, there is a future for the book and that future is greatly enriched by the making of books like the ones in this exhibition.

recent project with Joseph Goldyne is a book of Michelangelo’s sonnets entitled Hard High-Country Poems selected by the distinguished Canadian poet and linguist Robert Bringhurst and accompanied by his English translations (Cat. no. 014).

Designing and printing the Ursus Books edition of The Invisible Collection for Peter Kraus and William Wyer was a pure delight. The clients are sophisticated, the story after my own heart, and Joseph’s concept of the two differing frontispieces was inspired.Ourmost

Young people are studying book arts and crafts all across the globe, scholars are eager to examine the material nature of the book, and great research libraries continue to add contemporary work to their special collections and rare book departments.

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This book has a deep typographic provenance as well as a small place in California printing history for having typefaces that descended from the stock at Adrian Wilson’s legendary The Press in Tuscany Alley and for having been printed on the Geitz platen that only recently passed from Jack Stauffacher’s Greenwood Press into my studio in a ceremonious ritual of tradition and camaraderie. Goldyne’s etching, based on a drawing made late in Michelangelo’s life by his contemporary Daniele da Volterra (ca. 1509–1566), is discretely emblematic and adds his particular touch of connoisseurship to the entireRecentlyproduction.Ihave often found myself saying that there has never been a better time for the book than today. In this age of onscreen information and the “internet-ofthings,” skeptics consider this to be a statement made by an ostrich who has buried his head in the sands of the romantic past. But if you take into consideration that today’s imaging technologies are continually taking paper-based print to new heights of resolution and color, and material and structural innovations have never been better doc umented and available, you can see that we are better-equipped for book production than ever before in history. Papermaking technology, from hand-made cotton fiber to the machined synthetic, is at the absolute top of its form; communications have never been swifter; and the marketplace for the book as a work of art is steadily growing.

opposite : Joseph Goldyne Medical Thinking: Many Gray Areas, 1990 Colored pencil on paper

THE BOOKS OF JOSEPH GOLDYNE

It is October in Sonoma, California . From the southeast shoulder of Sonoma Mountain, we look out at the dry hills and the inky, smoky, luminous convolutions of the clouds: fire and water, earth and air. It is the model and the proto type, we say, of a certain kind of painting. It is also like a book, we say, and at this particular moment, a Baroque book. The giant leaves lie still, then turn like breaking surf, too fast for us to read. There are eruptions and reflections, broad currents and deep stillnesses, something familiar and something new on every page. This kinetic bank of cloud is like a book, and a book is like a range of mountains, like a forest, like a river: inexhaustible though finite. And no two real ones are the same.

It is October in Sonoma, and Joseph Goldyne, lean and agile in his early sev enties, is showing me one of the many things he knows and loves so well. His gaze is gentle, but his eyes are quick and bright. “Take it!” he says. “Hold it in your hands so you can see it.” It is a fist-sized piece of greenstone, carved perhaps some centuries before the birth of Socrates by an Olmec visionary and craftsman – an artist, we would call him now – and it is carved in more than three dimensions. Using nothing, perhaps, except some other stones and slurry as sacrificial tools, the artist has worked this stone into visual polyphony, a simultaneity of independent, coextensive forms. The rock itself is a petrified river of color, and the form the artist has given it is sensuous, complex, and yet restrained. Goldyne describes it as chias tic. It is born of intersecting perspectives, for which the letter X or chi is a handy metaphor. This husbanded lump of earth laughs at Aristotelian physics. Its maker knows that several spirit beings can dance in the same space at the same time, and several souls can occupy one body, just as several melodies and rhythms can occupy

Robert Bringhurst

“Hold it in your hands so you can see it.” This is quintessential advice. The stone is like a book. It can easily rest on a table or shelf, but its contents require both mental and physical time and space in which to unfold. It remains what it is, yet becomes something more every time you turn the page. But until you get involved with it –start to understand its language, start to read it, not just look at it – it will remain quite contentedly closed.

3 one stretch of musical time.1 And he knows how to represent this in a simple, convincing way: by carving a form that mutates into other forms, depending on the angle from which it is seen. In this piece of greenstone, which Goldyne has just placed in my hands, something like a flying duck, something like a perching raven, and the head of a large cat – jaguar, presumably – all coexist. And these are not surface images; each of them occupies all the available volume. This modest piece of stone is also a handful of vision, a handful of life, a triple scoopful of the wonder of the world.

1opposite:JosephGoldyne Drawing with Olmec Sculpture, 2000 Colored pencil on paper above, left: 2 Unknown Artist (Late Olmec) Conflation of Birds (View, Owl devouring duck), c. 800–300 bc Jade on steel stand above, right: 3 Unknown Artist (Late Olmec) Conflation of Birds (View, Diving duck), c. 800–300 bc Jade on steel stand

Joseph Goldyne Sweater Closet at Dusk (State Proof), 1984 Offset lithograph on paper

II Though it has suffered many indignities in the past half century, oil painting remains on top of the heap of the visual arts in the same way that the novel remains the dominant literary form. The death of painting and of the novel has been predicted time and again, yet both have been reinvented just as persistently as they’ve been vandalized. The unexhausted potential of these genres keeps attracting artists of genuine talent and ambition – but the mere fact that these genres are dominant brings in a crowd of less talented people as well. A writer or artist whose impulse runs in a different direction – to poetry, say, or the essay; or to printmaking or drawing – risks being seen as a marginal figure on that basis alone. He risks being seen as perverse or eccentric, and possibly dangerous: someone who lurks in the cultural shadows. Margins, however, are interesting places, where many discoveries are made and tables sometimes turned.

Joseph Goldyne Sweater Closet at Dusk (22/70), 1984 Offset lithograph on paper, 25 colors on 22 plates

Joseph Goldyne is a skilled and powerful painter, but his sustained devotion to printmaking sets him apart from the great majority of serious visual artists in the last and the present century. At the same time, his devotion to making unique prints sets him apart from most other printmakers of his time and of all times. Etching, engraving,

5 and lithography are techniques that permit the artist to make multiple images, but for Goldyne, that is not their essential attraction. Lithography, etching, and engraving are also – like oil, fresco, graphite, gouache, watercolor, and so on – techniques that impart their own specific character to line, surface, and color. In this respect they are much like musical instruments. What’s important about the piano is not that you can connect it to the piano roll and force it to play the same tune over and over; what matters is that it sounds and responds like a piano. It has that compass of pitches and that pal ette of tonalities. It permits certain kinds of attack and modulation. To the practised hand or the practised ear, it is a thoroughly different instrument from the harpsichord, cello, flute, or violin. To the practised eye, a lithograph also looks like nothing but a lithograph, a drypoint looks like nothing but a drypoint, and an aquatint like nothing but an aquatint. These techniques, like musical instruments, can also be combined. A Goldyne print often involves both etching and engraving, and may involve two or three different methods of each. What a casual viewer perceives as “a print of some kind” may reveal itself to the expert as a picture that has the tonal richness of a string quartet or piano trio because of the several different techniques that are simultane ously involved.

6 Joseph Goldyne Adam’s Closet, September 1993 Etching on paper 7 Joseph Goldyne Reserves, Sept. 20, 1993 Monoprint: Drypoint and monotype on paper

86 Joseph Goldyne Tart and Strawberry: Patissier, Confiseur, Salon de Thé II, 1997 Monotype printed chine collé on green Parisian confectionery bag with gilt detailing

Broadly speaking, there are two ways of making an unrepeatable print. The two are monotype and monoprint, and Goldyne is devoted to both. A monotype is a unique print made by applying inks or pigments to a blank but temporary surface, such as glass, and then transferring them to a second, more retentive surface, such as paper. A monoprint, by contrast, is a unique print made from a normal printing plate – etched or engraved metal, for example – to which unique and unrepeatable alterations or additions have been made. A monotype, in other words, is made in such a way that it could never be anything other than a unique print. A monoprint is made in such a way that it could have been a normal, repeatable print of some kind, but the image is altered in the printing process itself in a way that makes it unrepeatable. The process also need not stop there. Goldyne is fond of altering even his monotypes and monoprints by adding further touches with other media, such as pencil or pastel. He is a printmaker with little or no interest in simple repetition – and in that respect again, it is tempting to think of him as a visual musician. Like any good chamber player or soloist, he may or may not, in a given performance, choose to play the repeats, but if he does, he will want to vary the inflection or intonation. This relentlessness extends into his work as a book artist too. Goldyne is a scholar as well as an artist, and the books he has been involved in span the range from left to right: 9 Joseph Goldyne Preserves: If There Be a Power of Sweetness, Monoprint:1995 Aquatint and monotype on paper

11 Joseph Goldyne Preserves: If There Be a Power of Sweetness (Version 6), 1995 Monoprint: Aquatint and monotype on paper

10 Joseph Goldyne Preserves: If There Be a Power of Sweetness (Version 5), 1995 Monoprint: Aquatint and monotype on paper

The

Unique book,

Joseph

15 Book in clamshell box 16 Text page with etching

Shaw: A Speech Introducing Albert Einstein, 2015 Artists’ book with introductory essay and five etchings

12 Cover, Leather cover and gold stamping 13 Title page, Monotype with calligraphy 14 Text page with monotype Josephopposite:Goldyne George

8 one-of-a-kind scribal productions to commercially printed catalogues of major exhibitions. But most of them are finely printed books, of the kind that demand substantial artistic collaboration and can be produced only in small and costly editions. It is clear that the fineness of these books gives him pleasure. But what seems to please him even more is making them still finer, by incorporating monotypes or monoprints or individual alterations of some kind. He loves the fact that books can be multiplied and shared, but he also loves the kind of work that he and other artists do: making things that are inherently immune to mass production.

I like to call books of that sort artists’ books – but this is a term Goldyne himself is understandably wary of using, so it is a term I will need to explain. Goldyne and Thomas Ingmire Song of Wandering Aengus, 1988 Poem by William Butler Yeats Bernard by Joseph Goldyne

10 III

Nearly all of us know what a book is , and most of us have an idea, per haps inarticulate yet actually quite accurate, of what an artist is. You would think that the simple phrase “artists’ book” would offer scant room for confusion. Instead, it is a two-word booby trap.

Photograph

If, in the company of those same critics and curators, you wish to refer to “a crafted vessel for the marriage of text and images” (the phrase is Goldyne’s), you might have to switch to French and say livre d’artiste. Goldyne is just as exasperated as I by this ridiculous state of affairs, but unlike me, he has learned to deal with it gracefully. Indeed, one of the best and most courteous analyses I have ever seen of this terminological muddle is one that he first published seventeen years ago.

Among art critics and curators today, “artists’ book” very often means a cheaply produced multiple or unique object made, gathered, or found by someone claiming to be an artist and bearing some vague though perhaps conceptually interesting, or challenging, resemblance to a book. It might or might not contain any words; it might or might not have a spine or leaves, much less a title page, and it might or might not include any familiar bookish materials such as paper, ink, or thread. If it exists in mul tiple copies, it may well have been made on a commercial photocopier. This is not the kind of book we have learned to associate with the name Joseph Goldyne.

French is a fine language, and if I were writing this essay in French, I would want to speak of les livres de Joseph Goldyne as livres d’artiste. Voilà ce qu’ils sont. If I were writing the essay in Spanish, I would want to call them libros de artista. But since I am writing now in English, I want an English phrase, and the obvious phrase is artists’ books. So I declare that, in the confines of this essay, “artists’ book” is nothing more 17 Chauvet Cave, Ardèche, France c. 32,000–30,000 bc on stone by Patrick Aventurier / Chauvet / Getty Images

Pigments

11 nor less than the English translation of livre d’artiste. Just permit me, please, to warn you that in other places the term is sometimes used, by earnest and serious people, to mean something else.

I’ve said that the churning clouds above Sonoma, and a certain lump of greenstone carved by an Olmec artist, resemble books. If pressed, I will admit that in some (but only some) respects, these are fanciful assertions. But I claim without any exaggeration at all that the artists’ book is one of the great and ancient genres of human enter prise. The painted caves of the Upper Paleolithic – Chauvet, Lascaux, and Altamira, for example – were surely artists’ books. All we have now are the illustrations; the texts would have been entirely oral, but surely there were stories that accompanied these images, and surely the stories were told with the kind of artistry still visible in the paintings. Much later painted caves – Ajanta, Ellora, Dūnhuáng, whose creators were well acquainted with writing – maintain this tradition. Most of the stories portrayed in those caves did and do exist in written form, but in the presence of the images, they were still delivered viva voce. An even later painted cave, the Sistine Chapel, functions the same way. It is an artists’ book and has a text, but viewers are meant to know that text by heart or hear it with their ears, so their eyes can continue to feast on the images.

At the other extreme from the painted cave is the manuscript or typographic book. Such books can be as lavish as the Book of Kells, but in its purest form, this kind of book has no illustrations whatever. It is the strict apotheosis of written language: one constellation after another of lucid, lean, unornamented letterforms perfectly arranged on an undecorated surface. The underlying presumption is not that literature ought to be segregated from images; it is that, as the reader reads the words, pictures will form of their own accord in the reader’s head. At this end of the spectrum, visual 18 Michelangelo Buonarroti Simoni (1475–1564), Sistine Chapel Ceiling, 1512, altar wall with The Last Judgment, 1541 SistineFresco Chapel, Vatican City Photograph © Mircea Costina / Alamy

21below:Ludovico degli Arrighi (1475–1527) La Operina di Ludouico Vicentino (Pages 12 and 13), 1522 Ink on RosenwaldpaperCollection, Rare Book and Special Collections Division of the Library of Congress, Washington, DC

above12 left: 19 Unknown artists, Monastery of Iona Folio 124r, Book of Kells, c. 800 Iron gall ink, dyes, pigments, and gold leaf on vellum

© The Board of Trinity College, Dublin Trinity College Library, Dublin (MS 58) above right: 20 Nicolas A. Jenson (1404–1480) Eusebius Caesariensis, Printed in Venice, 1470 Ink, pigments, and gold leaf on vellum (First book in which Jenson used the Roman typeface he designed.)

13 accompaniment above and beyond the abstract beauty of letterforms and pages can constitute unwarranted interference. Not all readers, and not all lovers of the book arts, are at home in this terrain. Yet the great purists among the calligraphers and typogra phers – Nicolas Jenson, Ludovico degli Arrighi, and the scribe of Isaiah Scroll A from Cave 1 at Qumran, for example – are surely artists, and their books are surely artists’ books of a kind. A long and eventful continuum extends from the painted cave, where invisible texts reverberate through a panoply of images, to the sober scroll or codex, whose only illustrations are those that form in the secret cave of the reader’s mind. Some where near the middle of this continuum are the much-loved artists’ books of early twentieth-century France – texts by the likes of Paul Verlaine, Blaise Cendrars, Pierre Reverdy, Paul Éluard, and René Char, with images by artists such as Sonia Delaunay, Pierre Bonnard, Henri Matisse, Pablo Picasso, and Joan Miró. These books are sumptuous indeed when judged against the calligraphic austerity of the Dead Sea Scrolls or the Oxyrhynchus papyri, but they are extraordinarily modest compared to Ajanta or Lascaux. This midway stature suits them in several ways. Almost all of them are 22 The Great Isaiah Scroll A, Qumran Cave 1, c. 100 bc Ink on parchment Shrine of the Book, © The Israel Museum, PhotographJerusalem © John C. Trever

Most of that earlier wave of artists’ books (and some in the later wave as well) struggle with a central problem: how to integrate the images with the text. In Verlaine and Bonnard’s Parallèlement (1900), the open-textured lithographs and the generously leaded text encroach quite delicately into one another, producing an early model rarely equalled or surpassed. In Éluard and Miró’s À toute épreuve (1958), the images are made in a variety of ways, with both opaque and translucent inks, and the relation of text to image – and image to image as well – is more magnetic and kinetic, with 23 Paul Verlaine (1844–1896) and Pierre Bonnard (1867–1947) Parallèlement (Pages 18 and 19), 1900 Artists’ book with lithographs and printed text

Paulopposite:Éluard (1895–1952) and Joan Miró (1893–1983) À toute épreuve, 1958 Artists’ book with woodblock prints and letterpress text © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2015 24 Title page 25 Text page with woodblock prints

These converging currents encouraged a great upwelling of artists’ books, which spread from Paris to the rest of Europe, the Americas, Australasia, and parts of Africa and the Orient. Then came cheap and easy reproduction, in the form of the photocopier, and another kind of artists’ book, self-published and inexpensively produced, spread back across the globe from its epicenter in New York.

secular and personal expressions, not tribal revelations, and they were produced, like the vast majority of modern artworks, on a scale that met the needs of private owners and collectors. Nevertheless, they have a quasi-religious and quasi-ritualistic side. They are allied in particular with the cult of personal genius. The text may be brand new or a literary classic; we assume in either case that the reader needs to read it. It needs to be revealed, or re-revealed, by its author, in the same way that the images have to be created and unveiled by the artist. Neither component can be left to the viewer’s memory or imagination.

17 strong juxtapositions and collisions. In Matisse’s interpretation of the poems of Charles d’Orléans (1950), the entire text is reproduced in the artist’s handwriting. In Miró and Jacques Prévert’s Adonides (1975), the script is that of the author himself, closely surrounded and sometimes immersed in the somewhat script-like squiggles and blobs of the artist’s color etchings. Words and images are then united further by treating them both to some abstract blind embossing. In Cendrars and Delaunay’s Prose du Trans sibérien (1913), there is not so much an integration as a confrontation of the elements. Images and text were initially allotted separate but equal columns down the length of a folding scroll. Cendrars, who was an amateur typographer, elected to liven up his text by setting it in a dozen different typefaces, sometimes flush left, sometimes flush right, with a profusion of different indents. Delaunay then used her brushes to color in nearly every bit of space around the several hundred lines of free verse. (The work, despite its title, is not composed in prose – nor is it, as it claims, an account of a journey on the Trans-Siberian Railway.) As always, however, there was and is a pure and sober alternative. The purist approach to designing an artists’ book is not to try to integrate text and images at all, but to balance them instead. The simplest way to do this is to dedicate each page to text or image but not both. The text can then be balanced against the image by creating or choosing letterforms of appropriate size and color,2 enlarging or shrinking the margins, and by making refined adjustments to the spacing of words and lines. And the images can then be printed on paper that suits their character and technique, while

Jacquesopposite:Prévert (1900–1977) and Joan Miró (1893–1983) Adonides, 1975, Artists’ book with aquatint images and letterpress text

28above:Henri Matisse (1869–1954) Poems by Charles d’Orléans (Front and back cover), 1950, Artists’ book with lithographs and hand-written text © 2015 Succession H. Matisse / Artists Rights Society (ARS), New York

18 the text is printed on a paper that is specially made for letterpress. Many of the finest artists’ books ever made have walked this simple path.

A printed book is something you can carry, and a painted cave is not. But the painted cave is also not a gallery where pictures can be handily rotated or rehung. If the book has a substantial imaginative scale and is held together by a structure, then even while you hold it in your hands, it is something you can enter, as you can a painted cave. This is a simple and familiar feat of magic, easier by far than pulling rabbits out of hats, but the feat can be accomplished only when you open the book and read, not when you dismember it and hang selected pages on the wall, and not when you close the covers and replace it on the shelf.

Blaise Cendrars (1887–1961) and Sonia Delaunay [Terk] (1885–1979) La Prose du Transsibérien et de la petite Jehanne de France, 1913 Illustrated book with pochoir The Museum of Modern Art, NY Sonia Delaunay Terk (1885–1979) © Digital image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY 29above:Horizontal view 30opposite:Vertical view

Though they were always referred to as livres, many of the celebrated artists’ books of twentieth-century Paris were left deliberately unbound, so that pages could be easily extracted and individually displayed. No matter how painstakingly composed, they were more salable as loose portfolios of art than as bound, coherent sequences of images and text. The purists’ sense that text and images should keep a civil distance from each other actually made it easier for buyers to misconceive the artists’ book as a visual sampler or satchel of frameable prints. Yet the purists say that the way to bind a book is to supply it with a physical reflection of its intellectual structure.

20 IV Hold in your hands, for example , the edition of Het Achterhuis (Anne Frank’s diary), published by Pennyroyal Press and Jewish Heritage Publishing in 1985, with ten color etchings by Joseph Goldyne (Cat. no. 002). Frank’s diary begins in 1942, the year in which Goldyne was born. He cannot have worked on this project without contemplating how different, and how brief, his own life might have been, had he been born in occupied Europe instead of in Chicago. He embarked on this project in his early forties, with the benefits of age and historical hindsight as well as material good fortune. But how easy it would have been, with those advantages, to overwhelm the diary of a thir teen-year-old girl. What makes this one of the great artists’ books of the late twentieth century is the artist’s tenderness, the lightness of his touch, as well as his precision of attention. The horrors of war, the tensions of close confinement, and the hideous pretensions of the Nuremberg Laws are not on direct display here. The iconography, decided by an adult mind and drawn with an adult hand, is nevertheless informed by a child’s eye. The tall and narrow prints, restrained in color and modest in size, show us the narrowness of the house in which Anne lived with her parents, her sister, and four others, and the minuteness of her room, which she also had to share. They show us other simple, 31 Joseph Goldyne 3 Studies for Anne’s Pen, 1985 Monoprint: Etching and monotype on mulberry-fiber paper

33 Joseph Goldyne Study for Diary of a Young Girl, April 25, 1985 Graphite on paper

21 powerful images suggested by the text: the much-loved fountain pen that was swept into the stove, a basket of shoes, a few potatoes, a pillow, an upended vase and some spilled flowers. They show us Anne at the window, a parted curtain, a faint glimpse of the tree in the yard. And they show us stars in the sky behind the barren limbs in win ter. Through these intensely delicate gestures, all that is not said is made perfectly clear.

At 450 copies, the edition of Het Achterhuis was large for an artists’ book. Nevertheless, Goldyne did find a way to make every copy unique. In the tenth print (the starry sky), the white pinpricks of the smaller stars were achieved by scattering particles of rosin and small grains of sugar or salt on the inked plate – a process that had to be repeated, with different results, for every impression.3

Goldyne went more or less directly from Het Achterhuis to another substantial artists’ book, Quartet, published by Pacific Editions the following year with four essays

32 Joseph Goldyne Study for Diary of a Young Girl, March 7, 1985 Graphite on paper

The book was designed around the prints, and it was designed by another skilled artist, Barry Moser. The type is Bembo, as unpretentious a face as one could hope to find. It would be better, in my opinion, if the text had been printed in black instead of grey, but it is clear that the grey ink was Moser’s attempt to bring the words still closer in tone to the etchings.

Each of the first four etchings addresses itself specifically to a corresponding essay, while a fifth speaks more generally to them all. Here Goldyne is working with an author substantially older, not younger, than he. But the two have more than just their talent and omnivorous intelligence in common. Like Thomas, Goldyne was trained as a physician, then went on to other things. But neither man ever left his training, nor his Hippocratic mindset, far behind.

Thomas’s first essay, “On Probability and Possibility,” mentions in passing two works by J.S. Bach: The Art of Fugue and the St. Matthew Passion. It would be unmu sical simply to repeat these allusions in visual form, and Goldyne is nothing if not musical. His work, while almost always representational, is almost never literal. He is an artist who takes delight in working with others as a visual accompanist, but he is far from what is usually meant by an illustrator. Goldyne’s etching that accompanies Thomas’s opening essay does indeed portray some sheet music, but what we see there are the first few bars of the first solo violin part from the Concerto for Two Violins (bwv 1043). And though it is perfectly recognizable, even this work is not quoted exactly. The accompanist’s job, after all, is to give an attentive, supportive performance, not to deliver a playable score. The final Quartet etching seems to me a visual meditation on the essential coexis tence of art and science, an abiding theme in Thomas’s writing. A violin and a painter’s brush are arranged in chromatic and spatial harmony with a chemistry-bench pipette, an inverted funnel, an engineer’s rule, and a fly, which may or may not have been pinned as a specimen. These are positioned behind and beneath a favorite emblem of Goldyne’s, the strawberry – in this case several strawberries, emerging, along with a blossom and leaves, on impossibly long and delicate stems from a sturdy glass vase that rests on the same bench as the upended funnel. Incremental measurements, echoing those on the rule, are also marked along the upper left and lower right edges of the image. Have I, by saying these things, successfully described the picture? I have not, nor have I any hope of doing so. As Goldyne himself has written, “pictures challenge in ways that words about pictures do not.”4 Successful pictures, like successful pieces of music, say things and do things that words cannot say and do – and admitting that this is so is about as far in that direction as words can get. It is a fine picture and makes a fine coda to the quartet.

34opposite:JosephGoldyne On Probability and Possibility from the artists’ book Quartet, 1986 Aquatint, etching, and drypoint on paper

35above:Joseph Goldyne Quartet from the artists’ book Quartet, Monoprint:1986Aquatint and monotype on paper

23 by Lewis Thomas, accompanied by five of Goldyne’s color etchings (Cat. no. 004).

In the third chamber was an Eagle with wings and feathers of air: he caused the inside of the cave to be infinite. Around were numbers of Eagle-like men who built palaces in the immense cliffs. In the fourth chamber were Lions of flaming fire, raging around & melting the metals into living fluids. In the fifth chamber were Unnam’d forms, which cast the metals into the expanse. There they were receiv’d by Men who occupied the sixth chamber, and took the forms of books & were arranged in libraries. Ingmire Calligraphy Study for William Blake’s The Marriage of Heaven and Hell: A Memorable Fancy, 1989 Ink, colored pencil, and Xerox image on Josephright:paperGoldyne and Thomas Ingmire Unique book, William Blake’s The Marriage of Heaven and Hell: A Memorable Fancy, 1989 Calligraphy text with monotype: Inks and gold leaf on paper A Firey Eagle as

36left:opposite:Thomas

24 V

38 Men

In the second chamber was a Viper folding round the rock & the cave, and others adorning it with gold, silver, & precious stones.

The structure of Blake’s Marriage, and even the meanings of some of the central terms employed, are inscrutable until one realizes that the work is really a parody of and dialogue with Emanuel Swedenborg, who had died in London while Blake was in his early teens. But the Memorable Fancy chosen by Ingmire and Goldyne is terri fyingly intelligible with no assistance whatsoever from the Swedish mystic. This is the full text of that section of Blake’s book: I was in a Printing house in Hell, & saw the method in which knowledge is transmitted from generation to generation.

Around the time that Het Achterhuis was published and work had begun on Quartet, Goldyne also began to collaborate with one of the finest living calligraphers, Thomas Ingmire. Both men were living in San Francisco, both are lovers of books, and both were born in 1942. More importantly, both of them understand their art as one that makes real collaboration possible. After producing several extraordinary single calligraphy sheets combining images and text, they produced a small bound book entitled A Memorable Fancy (Cat. no. 022) The text is one of the several “memorable fancies” included in William Blake’s Marriage of Heaven and Hell, which Blake himself produced as a kind of artists’ book in 1790.

In the first chamber was a Dragon-Man, clearing away the rubbish from a cave’s mouth; within, a number of Dragons were hollowing the cave.

Books

These seven short paragraphs and the four potent monotypes that accompany them occupy six pages of the twelve-page book. Three more pages are occupied by constellations of letters – exploding alphabets of the sort we might expect where printer’s metal is melted into living fluid and cast into the expanse. Two of the monotypes show what I take to be an etching press on fire. The third is an apocalyptic vision of a bird, not necessarily an eagle, with fiery eyes, a flame on his head, and upswept wings. In the fourth is a naked man who is facing away from us, confronting something like an explosion of ink. This is a world in which the gospels and the laws, the books and orthodox sayings, have all been blown to bits. Again, there is no hope of translating these pictures into words, but they portray something different, very different, from the fruitful and harmonious coexistence of art and science visible in the culminating image of Quartet.

An artists’ book like Goldyne and Ingmire’s A Memorable Fancy would have been impossible in eighteenth-century England – not for any technical reason, but because it was aesthetically and imaginatively out of reach. And so it is pointless to wish that Blake had done for himself what Ingmire and Goldyne have done, with this short text, on his behalf. Nevertheless, that is exactly what I wish. I wish that Blake could have the privilege of seeing his work in this form, and of seeing what this book has that his own books lack. Would I say the same of Byron, whose brief life fits inside Blake’s longer one? I do not think that for Byron either modernity or antiquity posed the same kind of chal lenge that they did for Blake. Be that as it may, around 1990, Goldyne bought a slightly disheveled copy of the first edition of Byron’s Hebrew Melodies (London: John Murray, 1815), and in 1991 he transformed it into a gift for his son Alfred, whose Bar Mitzvah was that year. Goldyne dismantled the book and ran some of the sheets through his etching press, printing a series of colorful monotypes onto the letterpress pages, then had it handsomely rebound (Cat. no. 023).

Hebrew Melodies includes some of Byron’s best-loved shorter poems – “She Walks in Beauty,” “All Is Vanity, Saith the Preacher,” and “The Destruction of Semnacherib”5 for example. Goldyne’s accompaniment begins pianissimo, with one of his most dimin utive prints on the half-title page. Then, as in so much romantic art, there is a sudden dramatic shift. The title page and the blank verso facing the first poem are flooded edge to edge with rich, celestial color: radiant bursts and starry skies. Then the prints become tiny again, then swell again to overtake the dimensions of the page.

39 Joseph Goldyne and Thomas Ingmire Like the Night of Cloudless Climes and Starry Skys (Monotype opposite title page), from unique book, Lord Byron’s Hebrew Melodies, Monotype1991and printed text: Inks on paper

Ingmire contributed substantially to this book too. The delicate cascade of Hebrew letters, musical notes, and flecks of color that accompanies the print on the half-title page is his. So is the handsome Hebrew acronym ( ) on page 35, which stands for the indecipherable phrase, mene mene tekel upharsin, that Belshazzar found written on his wall. And in some of the prints, Goldyne’s printmaking and Ingmire’s calligraphy are essentially fused. This happens, for instance, on page 32, where the dramatic western sky becomes a backdrop for the closing lines of one of Byron’s disserta tions on the immortality of the soul. The words, in Ingmire’s gilded capitals, need no Daniel to decipher them: “Away, away, without a wing, / O’er all, through all, its thought shall fly ....”

But the last print in this series, superimposed on the opening stanzas of “The Destruction of Semnacherib,” takes its cue from neither Byron nor the Torah. Byron could call up the Angel of Death as a trustworthy symbol of God’s regard for the Nation of Israel. The same phrase acquired quite different connotations during the Second World War. So in the image that closes this series there are no soldiers, banners, swords, or corpses. No battalions come down like wolves on the fold, and no avenging angels sally out to slay the enemy. It is not a triumphal or militaristic image at all. There may be a few spears in the low foreground – but then again, those spear-like forms, with their pliant green shafts and golden heads, may actually be flowers. Byron’s reading of the theme is full of anapestic vigor and excitement. It is also full of adolescent innocence in comparison with Goldyne’s.

Joseph Goldyne and Thomas Ingmire Unique book, Lord Byron’s Hebrew Melodies, Monotype1991 and printed text: Inks on paper 40 The Land and the Life 41 His Cohorts Were Gleaming ְת ְמ ְמ

29 VI Books are not only a favorite medium for Goldyne; they are a favorite subject as well. They appear in dozens of the prints, drawings, and paintings he has produced in the past forty years. And many of his works allude to books in other ways. He has produced some splendid portraits of literary figures – Henry James, Victor Hugo, and Hilda Doolittle, for example. There is a powerful drawing, made in 1987, which he calls Rimbaud’s Garden. And many of his prints and drawings bear titles that are quotations from Rilke, Yeats, or other poets. Flowers have obsessed him just as constantly as books. Other favorite subjects include food, stringed instruments, falling water, rising smoke, windows, clothes, and closets. No other artist I can think of has paid such attention to clothes closets – and none that I can think of has demonstrated so clearly the visual analogies between closets full of clothes and shelves full of books, or piles of folded clothes and piles of books. There was also a time, in the late 1980s and early 1990s, when Goldyne con centrated on male and female nudes and on portrayals of physical love. Ten sensitive, delicate etchings from this period went into a portfolio called Sweeter Than Honey, published in 1995 (Cat. no. 036). As a fully trained though non-practising physician, Goldyne has a more detailed knowledge of human anatomy than most of us, and no lack of experience drawing it. The obvious precursors of his artists’ books are the notebooks he kept during medical school, in 1964–8. (His undergraduate degree was in art history, and instead of doing a medical residency, he went directly into graduate work in fine arts after earning his M.D.) But there is nothing clinical about these sensuous, intimate images. They are animated by beauty and delight (Cat. nos. 015, 016).

Old Degas with Mementos, 1989 Graphite, colored pencil, and pastel on paper below left: 43 Joseph Goldyne Victor Hugo, 1988 Monotype with pastel on paper

42aboveopposite:left:JosephGoldyne

44right:Joseph Goldyne Rimbaud’s Garden, 1987 Pastel on prepared paper 45 Joseph Goldyne Sweeter Than Honey (Title page), 1990 Etching, drypoint, and letterpress on paper

The text of Sweeter Than Honey consists of nineteen love poems from that capacious, ancient grab-bag called The Greek Anthology. Six poets are represented, ranging from Asklepiades of Samos, who lived in the third century bce to Paul the Silentiary, who lived in Constantinople almost ten centuries later. Apart from a little Greek on the title page, the poems are presented only in English translation, and the translators are even more numerous than the poets. Goldyne responded to this variety by making images of varying scale and shape in several media. Of the ten prints in the series, two are drypoint, two are bichromatic lithographs, one is a bichromatic etching, two are a bichromatic combination of aquatint and drypoint, and three are monochrome aqua tint and drypoint. At least two also employ some additional techniques of etching, engraving, or both. Perhaps it is fair to say that their subject is as much the pleasures of printmaking as it is the pleasures of love.

30 VII I do not know what it was that moved the Hollywood casting agent Mindy Marin to commission Goldyne to produce an artists’ book from William Saroyan’s story “Five Ripe Pears,” but she was surely right to think that it belonged in this medium (Cat. no. 006). The story has only one significant character – a remarkably smart six-year-old boy. There is none of the suspense or romance, none of the braiding or abrading of personalities, none of the scenic effects that we might expect in a film. There isn’t even the episodic variety we might expect to find in a mural. The story is as concentrated as a still-life. And yet it is an intensely human story, deeply concerned with questions of justice and virtue, as well as with the beauty of the pears.

Goldyne produced ten prints – nine etchings and one engraving – to accompany Saroyan’s story. The text was designed, composed, and printed in Berkeley by Peter Koch, one of the great American letterpress printers. The etchings were printed by Kay Bradner at the Katherine Lincoln Press, and the book was published in 1996 by Bluewater Books and the artist. The most prominent image, with its rich colors and firm outlines, is as luminous and arresting as stained glass. The eight remaining etch ings are colored more subtly, often on the beveled edges of the plate, and the final image, the drypoint, is monochrome. This sequence, with the visual climax coming early, matches the shape of the story. First there are the pears, and then there are the moral ramifications.

46 Joseph Goldyne Five Ripe Pears (Title page), 1996 Artists’ book with story by William Saroyan Etching and letterpress on paper

31 47 Joseph Goldyne Oil study for Five Ripe Pears, 1996 Oil-based pigments on gessoed paper 48 Joseph Goldyne Five Ripe Pears (Proof), 1996 Monoprint: Etching and monotype on paper

4932 A selection of Joseph Goldyne’s limited-edition books and portfolios Photograph by M. Lee Fatherree, 2001

VIII Artists’ books, like flowers , stones, and oil paintings, are easy enough to photograph, but they are tactile, material, three-dimensional objects. They cannot be mass produced nor accurately reproduced in any other medium. An artists’ book cannot be fully or fairly represented in a non-artists’ book. Nor can it be fully described in words. An artists’ book, like a painted cave, is a little piece of reality: one in which human beings have been significantly involved. If you want to experience such a book, or any other chunk of reality, you can expect some serious pleasure, but you also have to go to the trouble required.

The six works I have mentioned – Het Achterhuis, Quartet, A Memorable Fancy, Hebrew Melodies, Sweeter Than Honey, and Five Ripe Pears – are a small part of Gol dyne’s work as a whole, but they seem to me a fair cross-section of his work in this field. One of them (Het Achterhuis) was produced in an unusually large edition for an artists’ book: 450 copies, though no two are quite identical. Quartet was produced in 165 copies, Five Ripe Pears in 50 copies, Sweeter Than Honey in only 25 copies. A Memorable Fancy and Hebrew Melodies exist in one copy each, and one of the two is still privately owned. They can all be publicly exhibited, so that thousands of people can see them, but books are books, not paintings. In order to see and appreciate a book, you have to hold it in your hands, turn the pages, savor the paper, the type, and the artwork, read and savor the text. You have to get involved with the physical object, you have to spend time with it, and you have to do it more or less alone. So of course we are told that artists’ books are elitist and therefore effete, or undemocratic and therefore irrelevant. But what is true of artists’ books is true in a way of every book, and of every painting, and of every thing that constitutes reality. If you want to understand and appreciate a book, you have to spend some time alone with it. Once you have done that, you will have had an experience that is yours and yours alone. Others can have a related experience, but not an identical one. Reality is some thing we all share, but something we never share completely. Books and paintings, like earth and air, language and thought, link us together and keep us distinct, both at once. And for that, let us be grateful.

1.NotesTheprinciple that two bodies cannot occupy the same space at the same time is not stated as such in Aristotle’s Physics; it is simply taken for granted – as proven by passages such as this: Ἀδύνατον δὲ σῶμα εἶναι τὸν τόπον ἐν ταὐτῷ γὰρ ἂν εἴη δύο σώματα “Impossible that place should be a body, for in that one place there would then be two bodies.” (Physica 209a6–7) 2. Typographers speak as if type were always printed in black. Thus the color of a text page or a typeface is merely a measure of how black it is. Letterforms that are light in weight are said to be lighter in color; those that are heavier are said to be darker in color. 3. Thomas H. Garver et al., Joseph Goldyne: The Pull of the Eye, the Play of the Hand (Washington, D.C.: Corcoran Gallery, 2003): 233. 4. These words, and others of interest, appear in the one-page “Manifestoette” that is part of the portfolio Not Conceptual, published by Goldyne in 1999 and in book form in 2015. 5. On the advice of his learned friends, Byron altered the spelling to Sennacherib in later editions.

50opposite:JosephGoldyne References [Reference] (Proof), 1987 Monoprint: Etching, drypoint, and monotype on paper Joseph Goldyne

ARTISTS’ BOOKS: Some Remarks on a Legacy of Problems

For a kid passionate about art , discovering in adolescence that there were actually books that contained original works of graphic art by admired painters was a profound revelation, akin perhaps to early erotic experience: “Oh, what have we here?” That such wonders did not similarly seduce my friends was a finding of almost equal moment, but a discouraging discovery, more like the reality check commanded by the less desirable signs of aging. Yet there it was before me, continually: wondrous indiffer ence which, as yet, has failed to evolve into a more significant receptivity. I was far too insular to fully appreciate how pervasive was the threat of the diminishing audience for many art forms. Acknowledgment of this waning audience and fear of its impact have been expressed with increasing regularity, such as in the 1998 Who Killed Homer? by Victor Davis Hanson and John Heath, and in David Remnick’s appreciative “In the Capital of Words,” in the June 22, 1998, New Yorker on the late critic and “exemplar of reading,” Alfred Kazin. As an artist, I was in my early forties before I came to participate in making a book (I had always presumed it was something that you had to wait to be asked to do, like applying for membership in some august society), and my subsequent book making has occurred at a time of somewhat unsettling consequence in the evolution of the “livre d’artiste.” Not unexpectedly, many matters of concern to the devotee of artists’ books are quite relevant to books in general. The reason for this note, however, is to consider some of the issues relevant to artists and printers who make, or would love to make, books that are works of art. Like printers, artists have been going broke for centuries laboring to produce results that variously entertained and elevated the reader who wanted a visual as well as

If not prepared to team up for and take the risks inherent in the full-blown “livre d’artiste,” what about just doing the book yourself, what we would now refer to as the “artist’s book” option – one which present technology makes possible? Run off the pages on your digital printer; let your local copy shop do your color imagery; add some touches of further color with pencils or watercolor; bind twenty-five of them in heavier paper, and voilà! Well, aside from the fact that technically, an edition of twenty-five “artist’s books” can be done for $100 (or somewhat less if you are really cautious and clever), it is also true that the spirit and quality possible in the old fashioned “livre

When hand printing was the only game in town, as it was for most of the centuries after Gutenberg, it was not so necessary to stress the need for vigilance and vitality in the work. Pictures in books could make them more salable, but also more expensive.

In many respects the greatest English color-plate book of the eighteenth century, the brilliantly conceived and beautifully executed Flora (1799 1807) by Dr. Robert John Thornton, resulted in Thornton’s ruin. In our own time, many copies of Jasper Johns’ and Samuel Beckett’s collaboration on Foirades/Fizzles (Petersburg Press, 1976), commonly hailed as the major American “livre d’artiste,” and a production to which an entire documentary coffee-table book has been devoted, was still available from the publisher more than ten years after its publication. The same has been true of too many ambitious and aesthetically successful book projects for too many centuries not to make one exceedingly wary of undertaking such efforts.

36 textual experience. To be sure, the conflict of natures often characteristic of artists and printers has sometimes compromised both teamwork and deadlines, but now there are a host of other issues with which to be concerned. As a California artist, my observa tion is that the principal problems associated with “books as and/or with art” in the Far West are unimaginative production and waning patronage. Of course, the latter concern now pervades many areas of artistic endeavor, but uninspired efforts can be a particular danger for a region rich in private presses but poor in patronage.

How good the images and how well integrated the text and pictures were simply not the pivotal matters that they became as a greater range of reproductive techniques and printing technologies gave the public more purchasing choices. In those earlier books that called for pictorial embellishment, illustrations were understood as accompaniment, and spaces were allotted for their inclusion. With the advent of the “livre d’artiste” toward the end of the nineteenth century, however, the artist was transformed from accompanist to soloist, the book often conceived as a vehicle for the images that enliven its Certainly,pages.illustrated books of unique stature such as Tasso’s Gerusalemme Liberata of 1745 with plates by G.B. Piazzetta or Gustave Doré’s masterful accompaniment for Coleridge’s Rime of the Ancient Mariner of 1876 were characterized by aesthetic com mitment and incredible financial risk. As an example, Doré himself published the Coleridge work and paid £3,500 to engrave and print the plates. It failed to sell in any meaningful way, though it stands as one of his more remarkable achievements.

37 d’artiste,” which is a crafted vessel for the marriage of text and images, will have been lost.Perhaps it is to be expected of our quick-to-document period that the nomenclature differentiating these two vastly different kinds of productions is even less mean ingful and more confusing than that arch sobriquet “postmodern.” After all, don’t “livre d’artiste” and “artist’s book” mean the same thing? Well, as we have seen, no; not in contemporary (postmodern?) discussions. The French term, which takes precedence chronologically, refers to the ambitious ventures commenced in the latter part of the nineteenth century in France and continued through our period in all of Europe , the United States, and elsewhere, featuring the work of an artist, an “important” text (new or classical), a fine typographer, printer, designer, superb paper and materials, and often a prospectus. “Artist’s book” is the new term, referring, by usage rather than literal meaning, to a more “loving hands at home” copier and paste product, but at the very least to a cheaper, less production-value oriented effort, with the artist presiding. Though my description so far smacks of prejudice, I would be the first to acknowledge that the “artist’s book” has every bit as much artistic potential as the most ambitious “livre d’artiste.” In fact, let us remember that William Blake’s most inventive productions were very much homemade, and that the more polished books of our time, incorporating original artwork and featuring a linkage of specialists, can and frequently do fail from a surfeit of product and little soul. These matters are discussed in “postmodern” fashion by Johanna Drucker in A Century of Artist’s Books (Granary 51 Jasper Johns (1930–) and Samuel Beckett (1906–1989) Foirades/Fizzles, 1976 Artists’ book of eight essays with 33 intaglio aquatint images and lithograph end papers Art © Jasper Johns / Licensed by VAGA, New York, NY

Perhaps the best way to make the “livre d’artiste” a pragmatic undertaking, assum ing it has aesthetic merit, is to limit the edition size to reduce the cost of materials and labor. I was once criticized by a curator for what he considered to be an absurdly small edition, which he attributed to a desire to enhance the value of the work. He recanted

38 Books, New York, 1995). Despite chapters with titles like “The Artist’s Book as a Rare and or Auratic Object” and “Self Reflexivity in Book Form,” Drucker gives good historical background for the present efflorescence of artist’s books. By her defining descrip tions as well as her own work, she reveals a preference for “the expressive tradition of the artist’s book” as opposed to the “craft tradition of book arts,” that is, the tradition of the “livre d’artiste.”

When they work with artists, private presses must, of necessity, be committed to the tradition of the “livre d’artiste,” for to do “artist’s books” implies eschewing the capability of the private press. The talents of printers and craftsmen as well as artists are joined in the “livre d’artiste.” For all the freedom of the “artist’s book,” the “medium” is without those rules which speak to tradition, expectation, and the exhilaration of seeing crafts work together to attain art. If not supporting the text conceptually as the art message, the graphic and/or sculptural form of the “artist’s book” often subsumes rather than features the text. The “livre d’artiste,” however, is the opera of the book arts, and all its facets have to come together harmoniously to make it an unqualified success. To those concerned principally with the future of typographic press work, it would be well to consider the profound opportunities for reinforcement afforded both printer and artist by the “livre d’artiste” done well.

Clearly the fin-de-siècle bugaboo amongst many devotees of fine printing has been the specter of digital media, but it is my contention that the looming hegemony of the digital, like the earlier ubiquity of offset, is simply a change in the kind of fast food we are served. As fine presswork has never been fast food, the digital is not what we need to worry about. In truth, its capabilities have even enhanced the way certain work is received and processed at many a small press. If artists and printers are to continue to produce notable “livres d’artistes,” what is critical is that they must be alert to the need for keeping their efforts vital. What the world and curators don’t need is another over-produced tome of little aesthetic merit. In what amounts to a silent struggle for a fashionable position in the world of contemporary book art, the expressive singularity of the “artist’s book” as opposed to the format-and-structure-restricted tradition of the “livre d’artiste” has found the most receptive critical response. But make a fine “livre d’artiste” and the admittedly limited audience will respond. I shall not name the few books that I feel qualify as outstanding collaborations that have come from California presses in the past few decades. Suffice it to say that such books have been published, but I believe them to be too few and far between. To those who say that they are too expensive to produce, the truth is that though the fine press book that incorporates original works of graphic art successfully (“successfully” is the key word) will be more expensive, it will also be more salable.

39 when the nitty gritty of the costs were spelled out. By producing a work for the audience one has, rather than the audience one might hope for, one invests a small amount for a reasonably assured return as opposed to risking a larger amount on what can only be referred to as a best-case scenario.

The next time you see a “livre d’artiste” from a private press, ask whether it fulfills the potential inherent in its union of writer, printer, and artist. How well does it integrate text and images? Does it have a distinctive cadence? Does the medium chosen for reproducing the art do justice to that art (e.g., has offset provided a quick and cheaper means for executing an image that would have been far better served by etching or drypoint)? Does the paper afford the appropriate support for the typography and images? If the book can be given high marks on most or all points, I might suggest that the most meaningful tribute would be its acquisition. If it seems to fall short, tell the publisher. As with opera, there is almost never a perfect product, but constructive criticism enhances the chances of giving birth to such a rare creature.

Note : At Robert Bringhurst’s urging, this brief essay is included in this catalogue. As it was written nearly two decades ago for the Fall 1998 issue of the Quarterly News-Letter of the Book Club of California (vol. 63, no. 4), some of the references in the text have been updated.

Printing etchings and other graphic art well is an art apart from the art of making the plate. Certain people have or have developed the facility for wiping ink on plates with an impressive range of touch. The best comparison I can make is with pianists. Some are known for exquisite technique and others for remarkable understanding of the music they interpret. To make great music, of course, one needs both, as well as the ability to reveal those qualities in performance time after time. To create excellent prints, especially in editions, one must have sensitivity, facility, and understanding as well as the patience and fortitude to sustain those qualities throughout the process of editioning. In other words, one must become an interpretive artist, in concert with the artist’s vision. I can create a print, and I can proof a print, but I am a truly bad printer of multiple impressions. With a monotype, the critical effort is in the creation of the image de novo. There is no matrix (etching, drypoint or aquatint) to worry about, no inking and selective wiping to get just right. I simply lack the patience, when it comes to repetition, to do justice to the images that I love to create. It has been my great good fortune to work for about forty years with some extremely gifted printers who have both the patience and the skill to pull multiple impressions of consistent quality. A number of these printers are working artists as well. Among the printers I’ve worked with are Lee Altman, Timothy Berry, Bruce Crownover, Rick Dula, Don Farnsworth, Herb Fox, opposite : 52 Peter Koch and Joseph Goldyne at Peter Koch, Printers, Berkeley, CA

Photograph by Elizabeth Fischbach, 2015 Joseph Goldyne

The partnership of artists and printers for the purpose of editioning original works of graphic art is, by now, a venerated one. Yet few people, even collectors of prints and artists’ books, understand how critical that partnership is in reproducing a singular vision in multiple examples.

COLLEAGUES AND WORKING RELATIONSHIPS

The two master printers with whom I have worked most closely for many years are Kay Bradner and Bob Townsend. Years ago the artist Sam Francis told me that “master printer” was a term easily bandied about, but that very few printers deserved the title because the word “master” had to imply deep knowledge of media as well as curiosity and tactile facility. These qualities are precisely what Bradner and Townsend bring to their work. They are “master printers” because of their abilities, as well as their knowledge and intelligence. Kay’s own artwork has given her endless experience with the varying behavior of a host of media, and she looks at problems in a rather scientific way, experimenting toward solutions. Bob Townsend has become the go-to printer for editioning the works of many major American artists. But it is proofing with Bob that reveals his true talents. He has saved numerous projects because he can offer so many approaches to achieving what the artist desires. Like Kay, he also has impressive patience. It is an attribute absolutely essential to working with artists who manifest an encyclopedia of idiosyncrasies. In addition to the printers who have printed my graphic work, I have worked with many other colleagues on a variety of projects, among them Peggy Gotthold and Lawrence Van Velzer, Foolscap Press; Charles Hobson, Pacific Editions; Eric Holub, Hillside Press; Andrew Hoyem, Arion Press; Peter Koch, Peter Koch, Printers; Peter Kraus and William Wyer, Ursus Books; Barry Moser and Harold P. McGrath, Pennyroyal Press; Kenneth Shure and Liv Rockefeller, Two Ponds Press LLC; and Wesley Tanner, Arif Press.In discussing this catalogue with some of my colleagues who have become friends through our years of working together, it became clear that a few paragraphs from them commenting on our collaborative working relationships would add yet another layer of insight. In this vein, I asked Bob Townsend and Kay Bradner to share their perspectives on the often complicated collaborative process involved in producing multiple identical impressions of an image. In addition, esteemed calligrapher Thomas Ingmire, whose art had long tempted my desire to collaborate, was kind enough to contribute a few words about our work together. Thomas and I were often moved by the same prose and poetry, and have collaborated to create unique books and sheets that interpret those literary passages through my prints and his exquisite calligraphic text and illuminations. Therefore, working together was and is a pleasure, and it has always been a happily anticipated surprise to receive Thomas’ inventive solutions to the marriage of text and image.

Jeanne Gantz, Scott Greene, Kate Hanlon, Mark Johnson, Kathryn Kain, David Kelso, Claire Kessler-Bradner, Ikuru Kuwahara, Paul Maguire, Stuart McKee, Rebecca Peters, John Roberts, Andrew Rubin, and Unai San Martin.

Proofing with Joseph Goldyne at Katherine Lincoln Press

Kay JosephBradnerGoldyne

and I were introduced in early 1978 by printer Jeanne Gantz, his long time friend and early collaborator. Thirty-seven years later, I am fortunate to be a longtime friend as well. My house in San Francisco and its basement print shop have been Joseph’s graphics studio away from home, and our work has been deeply collaborative.Although at times my press, the Katherine Lincoln Press, has included staff working with a variety of artists, I have always been the one to work on Joseph’s plates. The proofing of a plate prior to editioning is at once technical and intuitive, intensive, and experimental. Over the years Joseph and I have developed an ever-expanding range of approaches to drawing on copper. We learn from other artists as well as through experimentation and trial-and-error, always trying to achieve Joseph’s vision of how his edition prints should look. He has a quick and innovative mind, and it is part of his imaginative and generous nature to see mistakes or unintended effects as seeds of invention. Either Joseph would switch gears and approach the unexpected result as a new step toward some composition he had not planned initially, or I would try harder to bring his initial concept to fruition. With Joseph, the classic partnership of artist and printer sometimes approaches true collaboration. While the plates, the vision, and the work are obviously his, my participation in problem-solving, both aesthetic and practical, is always invited. Unique prints such as monotypes and monoprints are Joseph’s passion. His editions tend to be small, but even the images for his larger editions of artists’ books, 53 Kay Bradner at Katherine Lincoln Press, San Francisco, CA Photographer and date unknown

Joseph and I have used many different techniques to incorporate color into his prints. He had perfected a delicate à la poupée wiping with Jeanne Gantz and David Kelso before he began working with me. We have continued with that technique and have also used multiple registered plates in printing (such as the title page image for William Saroyan’s Five Ripe Pears, Cat. no. 006), surface rolling with transparent washes of ink, and sometimes subtly graded rolls called “rainbow rolls.” We had partic ular pleasure in using small rollers to apply color to the wide bevels of certain copper

Joseph has an enthusiasm for experimenting with new processes. When working on the etchings for Diary of a Young Girl: Het Achterhuis, he began his Smoking Pen print of a classic fountain pen by drawing with a needle on a plate coated with a hard ground. He then added spit-bite aquatint for shading. My memory is that we did many proofs before arriving at one that he felt expressed his feelings in response to the diary. Most importantly, he was after the feel of monotypes he had recently created with images of smoke. Using ink on mylar, we used direct gravure to create a monotype-like aquatint to be wiped à la poupée. We worked together to find the muted colors that fit the spirit of the print and eventually pulled proofs that we judged quite successful. To assure that the edition for the book would replicate our technique, Joseph and I, working in San Francisco, did the platemaking and proofing to get a guide print (bat, or bon à tirer) so that Bob Townsend and Kate Hanlon at R.E. Townsend Inc., located north of Boston, would be able to print the edition of 450 impressions. They did a remarkable job, and Bob’s daily and fastidious steel facing preserved all those delicate passages we were so concerned about losing. For another book, Quartet, we even made a video showing how the printing plates should be inked to achieve identical results. As opposed to these standard editions pulled by a strictly guided artist-printer, Joseph also created what, in the late 1970s, he termed “editions variées.” In these editions, the individual impressions are created from a single plate (a fixed matrix) as a base. However, for each impression the artist varies the inking, altering the appear ance of the etched marks fixed in the plate. Joseph always makes the comparison to creative stage lighting, in which the props remain the same but differences in lighting alter perceptions of mood, time of day, and even sense of place.

Anne Frank’s Diary of a Young Girl: Het Achterhuis (Cat. no. 002), for example, incorporate monotype-inspired wiping techniques such as à la poupée, in which many colors are blended on a single plate. Watching Joseph create his monotypes has been very helpful to me in understanding his particular approach to graphic subtlety. Accordingly, I used selective wiping and judicious removal of ink in edition printing to achieve highlights and passages suggestive of gradations usually associated with monotype. In that way, I was able to approach the spirit and vitality associated with uniquely worked impressions. Certainly, these prints are standard edition prints and there is the expectation, even the tradition, of absolute identity of the impressions. Nevertheless there are inevitably subtle variations, but the intention is to create an edition of prints virtually identical in feel.

Robert Townsend I first met Joseph Goldyne in 1969 at Impressions Workshop in Boston while he was attending Harvard University just across the river. I had been working at Impressions since 1968 with Master Printer Michele Durand to learn the discipline of becoming a master intaglio printer. Michele left the shop in 1970 and I was on my own, running the intaglio studio. From that point on, mastering printing was all about learning from the artists who used my services.

Matching the Artist’s Hand: A Boston-West Coast Partnership

54 Robert Townsend preparing etching chemicals at R.E. Townsend Inc., Georgetown, MA Photograph by Charlie Townsend, 2015

45 plate prints. We chose either a single color to frame the image crisply, or two to four colors to enliven the presentation. Bevel coloring, which we used most extensively in editioning the prints for Five Ripe Pears, became a way to add color to a black-andwhite etching without the challenges of achieving identical repetition in editions that incorporate à la poupée wiping. As Joseph’s printer, my job has been to help him in all the paths of his exploration. I have learned so much from witnessing his exquisite drawing, and from his persistence and optimism in the face of a process that provides constant surprises.

As I see it, the biggest problem for the printer is that the proofs on which an artist himself works are truly unique. Though Joseph always seemed very satisfied with my edition printing, I cannot feel I ever quite mastered the manner in which he achieved the results I saw in the proofs. I have always been aware of how different the results are when working with artists who also pull prints themselves. Working especially with Joseph, Michael Mazur, and Peter Milton changed the way I approached printing.

Because I was striving to capture the “feel” they had, but was never satisfied that I had achieved it, I had to accept that my hand was going to establish its own identity. We are, of course, talking about subtleties here, but they are important subtleties, and the printer’s hand can be truly burdened by trying to precisely match the artist’s hand. Yet, in the end, edition printing with an artist begins as teamwork that strives to present an aesthetically seamless entity – the “perfect” print. Though I may want a result more in keeping with some ideal I have based on the artist’s initial proof, if he or she is happy, honestly happy, with my efforts, then I guess I should be content. The guarantee of that contentment is the so-called bat – the bon à tirer (good to print). It is the proof impression, printed by me, signed and annotated “bat ” by the artist, which effectively says that the image has our “stamp” of approval and can be editioned as proofed. Most importantly, it is the absolute reference image for the printer, who uses it to keep the edition impressions looking as much like the bat as possible.

The presses I have available are in part why I am successful as a master printer; other presses cannot duplicate what the “Beast” will do for me. The “Beast,” as I call it, is a 1900 cast-iron press made in San Francisco, weighing 41/2 tons with a press bed of 70 by 100 inches. This proved useful when working with Joseph because of the way he etches his plates and the demand it places on the equipment used to print them. There must be incredibly even pressure to bring out the subtleties of his work, and the enormous eight-foot roller means that a relatively tiny plate is subjected to less varia tion in pressure across its surface as it comes under that roller. Most of Joseph’s plates have been small, but I have always encouraged him to look at the range of possibilities at whatever size he chooses for his intaglio work.

At Impressions, Joseph initially worked on litho stones with the lithography printers, but he came to feel that, generally speaking, lithography was not a medium for which he had a passion. We were able to get to know each other, but did very little artwork together in those first years. Nevertheless, Joseph brought me his very first etching plate, a kind of medical fantasy related to Pregnant Shell Landscapes, a lithographic portfolio on which he had been working. I printed that first etching with Joseph anxiously watching. He told me later that his future, in so far as his graphic art was concerned, was decided by my first pull of his etching. He loved the texture and depth of the medium, so different from the relatively flat (planographic) quality of a lithograph. Subsequently, we started working on a few projects, mostly from plates he had done in his own studio. I was not very experienced with the way Joseph worked and struggled to employ false wiping and à la poupée techniques to emulate his proofs.

I was fortunate to have printer Kate Hanlon work with me on some of the larger book projects and, to be fair, she did a better job than I could. I think it came down to the fact that she also did her own work as a painter and printer, and she was able to use her particular sensitivity to Joseph’s efforts to the advantage of his etchings. I am from New England and my roots are deeply embedded; change for me does not come easy, if at all. So staying around home, north of Boston, meant that Joseph had to come here. I believe that he and I would have done a lot more together, but distance imposes obvious obstacles, particularly with work that benefits immeasurably from printer and artist being present at the press and sharing the challenges and solutions that arise from proofing. Our lunches in the neighborhood, often in proximity to tables of friends who have no idea of what I really do, and our long discussions are all part of the enjoyment of our work. We have had a great time together with a lot of history to chat about, as well as planning for new work.

Joseph and I have done a great deal of work together including a few book projects: Diary of a Young Girl: Het Achterhuis in 1985 (a huge undertaking) (Cat. no. 002), Quartet in 1986 (Cat. no. 004), and most recently, in 2015, George Bernard Shaw: A Speech Introducing Albert Einstein (Cat. no. 011), Robert Bringhurst’s Going Down Singing (Cat. no. 012), and Michelangelo’s Hard High-Country Poems (Cat. no. 014).

55 Printing press known as the “Beast” used by Robert Townsend at R.E. Townsend Inc., Georgetown, MA Photograph by Charlie Townsend, 2015

5648 Thomas Ingmire working on calligraphy sheet at Scriptorium St. Francis, San Francisco, CA Photograph by Linda A. Cicero, 2012

Collaboration: Images and Calligraphy

One’s imagination now sees the bow of a boat and the reflections in the water of the Grand Canal of Venice, and at the same time we experience our own personal feelings and memories of Venice, which Goldyne has captured in his monotype of the water with a partial visual reference to the gondola’s bow. My working relationship with Joseph has been particularly important and formative for me because it has helped to give a clearer definition to my own ideas about the relationship between words and images and its expression in calligraphy.

Another example of this marriage of calligraphy with an image is the work titled Bitter Lemons: Venice at Dawn II (Cat. no. 058), which uses selected lines from Law rence Durrell’s text about Venice, and in which the block of hand lettering with its color and organization visually extends Joseph’s image of the water. But the text also acts in another way. Its verbal content extends the sense and meaning of the abstract image.

Thomas Ingmire My collaboration with Joseph Goldyne coincided with my initial interest in, and calligraphic experimentation with, the potential for the writing of texts to act as visual elements that we commonly associate with paintings, such as line, shape, pattern, and texture.Our first project together was in 1976 for Women 9, a unique book of monotypes for which Joseph wanted me to add embellishments of calligraphy (Cat. no. 018). Begin ning in the early 1980s, we created a number of unique books and sheets of calligraphy with prints. Usually for the calligraphy sheets, Joseph created the image first, and then would choose an appropriate text to accompany his print. Our first sheets were fairly straightforward, with the calligraphic text in an adjacent relationship to the image. One of the unique calligraphy sheets that we worked on together, titled Ut Pictura Poesis, is based on a passage in Latin from the Ars Poetica of Horace, which translates “as is painting, so is poetry.” Joseph’s monoprint also visually incorporates the words “Ut Pictura Poesis.” In many ways this work captures the essence of our collaboration (Cat. no. 056). The work evolved as we began to experiment with bringing the texts into the images. Jean Anthelme Brillat-Savarin’s text about “Sugar” is one example of this integration of the text with the image (Cat. no. 062).

The listings are organized in the following categories: Limited-edition Books Unique Books Limited-edition Portfolios Unique Portfolios

: Information about the type of object; text used; authors and translators; number and type of images; typefaces used; number of pages; and description of the cover and housing of the object.

publisher : Name of publisher (does not apply to unique works) binder : Name of binder of book and/or maker of box or slipcase cover : Dimensions of box, slipcase, book, and portfolio sheet : Type of paper and dimensions image : Printmaking media and dimensions of image. In cases where image media and/or dimensions vary, the information is listed following the Notes.

•

title : Title of book, portfolio, or calligraphy sheet with print date : Year of completion. If the object date spans more than one year, it is listed with the year of completion. The calligraphy sheets with prints are listed under the year that the calligraphy was completed, even though the print may be dated descriptionearlier.

Within each category, objects are listed chronologically by year, and alphabetically within each year. Each listing includes the following information: catalogue number : The Catalogue Raisonné number assigned in this publication, according to the order of objects listed above.

press/printer : Name of printer and print workshop for both text and images

51 NOTES TO THE CATALOGUE RAISONNÉ

opposite : 57 Joseph Goldyne Smoking Pen, 1985 Etching, aquatint, and drypoint on paper, colored à la poupée

• Unique Sheets of Calligraphy with Prints

•

ScriptoriumcalligraphySt.Francis, San Francisco, CA (Thomas Ingmire) Thomas Ingmire

52 garver catalogue number : Number assigned by Thomas H. Garver in the Catalogue Raisonné of Joseph Goldyne’s edition prints, Joseph Goldyne: The Pull of the Eye and the Play of the Hand, published in 2003 by The Corcoran Gallery of Art, Washington, DC, in association with Hudson Hills Press, New York.

Calligraphy Alphabet, 2015 Ink on paper

edition size : Number of copies published, when applicable (does not apply to unique works) proofs : Proof copies printed, when applicable

signature : Description and location of signature(s) inscriptions/markings : Description and location of marks, dedications, edition numbers, image titles, and other inscriptions notes : Commentary and further information, including background, text sources, and processes used. When applicable, the Notes include information about the specific object(s) held in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries (i.e., edition number, related studies, and archival materials), followed by the Library identifica tion number. When an object contains multiple images, image titles and details of media and dimensions are listed following the Notes.

R.E. Townsend Inc., Georgetown, MA (Robert Townsend, Kate Hanlon)

Impressions Workshop, Boston, MA (Robert Townsend, Paul Maguire, Herb Fox)

Peter Koch, Printers, Berkeley, CA (Peter Koch, Jonathan Gerken, Jonathan Fetter-Vorm)

Arion Press, San Francisco, CA (Andrew Hoyem, Gerald Reddan, Lawrence G. Van Velzer with assistance from Glenn Todd, Kathryn Hashimoto, Rick Orr, Karen Strassler) Artist’s studio, Berkeley, San Francisco, and Sonoma, CA (Joseph Goldyne, Kay Bradner, Claire Kessler-Bradner, Unai San Martin)

Ann Rosener, Woodside, CA Stamperia Valdonega, Verona, Italy (Giovanni Mardersteig)

Arif Press, Berkeley, CA (Wesley B. Tanner)

Grabhorn-Hoyem, San Francisco, CA (Andrew Hoyem)

Katherine Lincoln Press, Berkeley and San Francisco, CA (Kay Bradner, Molly Hooven, Claire Kessler-Bradner)

59 Jonathan Gerken setting type at Peter Koch, Printers, Berkeley, CA

presses and printers

Photograph by Elizabeth Fischbach, 2015 60 Peter Koch, Jonathan Gerken, and Joseph Goldyne at Peter Koch, Printers, Berkeley, PhotographCAby Elizabeth Fischbach, 2015

The James H. Barry Company, San Francisco, CA (Les Ferroggiaro) Editions Koch, Berkeley, CA (Peter Koch, Jonathan Gerken)

El Dorado Press, Berkeley, CA (Jeanne Gantz, David Kelso)

Horton Tank Graphics, Hadley, MA (Art Larson)

Claire Kessler-Bradner, San Francisco, CA

Hillside Press, San Francisco, CA (Eric Holub)

made in california, Oakland, CA (David Kelso) Magnolia Editions, Oakland, CA (Donald Farnsworth, Rick Dula, Stuart McKee)

Robert Mars and Shirley Borella, Boston, MA Pacific Editions, San Francisco, CA (Charles Hobson)

Passim Editions, Ann Arbor, MI (Wesley B. Tanner) Pennyroyal Press, West Hatfield, MA (Harold P. McGrath)

Foolscap Press, Santa Cruz, CA (Lawrence G. Van Velzer)

Two Ponds Press LLC, Camden, ME (Kenneth N. Shure, Liv Rockefeller)

Klaus-Ullrich Rötzscher, San Francisco, CA

Claire Kessler-Bradner, San Francisco, CA

Schuberth Bindery, San Francisco, CA

Betty Lou Beck, San Francisco, CA Book Island Bindery, Oakland, CA (Juliayn Coleman)

Harcourt Bindery, Boston, MA (Samuel B. Ellenport)

Arion Press, San Francisco, CA (Leif Erlandsson, Peggy Gotthold)

Heritage Bindery, Pasadena, CA

opposite, clockwise: 61 Daniel E. Kelm working on binding at Wide Awake Garage, Easthampton, MA

Photograph by Patrik Argast, 2015

62 Lawrence G. Van Velzer in print shop at Foolscap Press, Santa Cruz, CA

Claudia Cohen, Seattle, WA

Foolscap Press, Santa Cruz, CA (Peggy Gotthold)

Impressions Workshop, Boston, MA (Ivan Ruzicka)

John DeMerritt Bookbinding, Emeryville, CA

Photograph by Cassie Leone, 2015

Donald Glaister, Palo Alto, CA (now Vashon Island, WA)

Taurus Bookbindery, San Francisco, CA (Tom Conroy, Tim James)

• Alphabetical index of objects by title

63 Andrew Hoyem setting type at Arion Press, San Francisco, CA

binderies and binders

Joel Hoyer, San Francisco, CA

65 Peggy Gotthold with binding frame at Foolscap Press, Santa Cruz, CA

Neal Pollack, Chicago, IL

BookLab, Austin, TX

Photograph by Leo Holub, 2004 following page: 66 Joseph Goldyne Book of My Numberless Dreams II, 1989 Colored pencil and graphite on paper

• Chronological index of objects by year of completion

Photograph by Sami Keats, 2010

The Wide Awake Garage, East Hampton, MA (Daniel E. Kelm)

Separateindexesindexes are provided to facilitate search within the Catalogue Raisonné:

Photograph by Peggy Gotthold, 2004

64 Art Larson printing artists’ book George Bernard Shaw; A Speech Introducing Albert Einstein for Two Ponds Press at Horton Tank Graphics, Hadley, MA

CATALOGUE RAISONNÉ

notes : Goldyne wrote the poems in 1960–61 as a college freshman, under the pen name “Jeremy Roland.” The twenty poems are grouped under the headings “Land scapes,” “Sciencescapes,” and “Mythscapes.” Goad Press, a small San Francisco poetry press associated in the 1960s with certain Kenneth Rexroth poems, was resurrected by its original owner Horace Schwartz to publish this book. See: Robert D. Harlan, Bibliography of the Grabhorn Press, 1957/66 and of Grabhorn/Hoyem 1966/73, vol. III, John Howell Books, San Francisco, 1977, no. 58, p. 79. Five unnumbered editions, two of which are signed and hand colored, are in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST Z239 .G723 R57 1972 F offset reproductions of ink-wash drawings (some copies are hand colored with 1watercolor):Frontispiece 10 × 6 1/4 in. (25.4 × 15.9 cm) 2 Landscapes 10 1/2 × 5 3/4 in. (26.7 × 14.6 cm) 3 Sciencescapes 9 3/4 × 5 3/4 in. (24.8 × 14.6 cm) 4 Mythscapes 9 1/4 × 6 1/4 in. (23.5 × 15.9 cm) BOOKS

image : Offset reproductions of ink-wash drawings, image dimensions vary, see below edition size : 1,000; 20 known copies hand colored with watercolor by the artist proofs : No known proofs signature : Hand-colored copies signed in ink on colophon page either “J. Goldyne” or “Jeremy Roland, Joseph Goldyne.” Hand-colored images signed in ink lower right, “J. Goldyne.”

LIMITED-EDITION

press/printer : Andrew Hoyem, Grabhorn–Hoyem [now Arion Press], San Francisco, CA publisher : Goad Press, San Francisco, CA binder : Not stated cover : 12 1/4 × 8 1/4 × 1/2 in. (31.1 × 21 × 1.3 cm) sheet : Printed on machine-made paper, 12 × 8 in. (30.5 × 20.3 cm)

inscriptions/markings : One hand-colored copy is marked “watercolored J. Goldyne” on half-title page.

59 001 Gathering the Decade Book1972 of twenty poems by Jeremy Roland (aka Joseph Goldyne) with offset reproductions of four ink-wash drawings by Goldyne printed from photographic negatives. 51 pages. Bound with gray fabric-covered board with title printed on paper onlay on spine. A number of the books are hand colored with watercolor by Goldyne.

inscriptions/markings : Edition number written in pencil under text on colophon page. notes : This edition of Diary of a Young Girl was released on the fortieth anniver sary of the book’s publication as Het Achterhuis (The Secret Annex), its original title. Goldyne dedicated the etchings to his daughter, Naomi, who at age eleven accom panied him to Amsterdam to examine the settings for the images. Goldyne worked with printer Kay Bradner to perfect inking techniques that would convey an inner light. The prints, which Goldyne developed through many trial states with Bradner, were editioned by Robert Townsend and Kate Hanlon. Goldyne notes that the consistent quality of impressions from the plates throughout the edition of 450 was due to the expertise of Townsend, who steel-faced the plate for each day’s printing and removed the facing at the end of the day. Each daily run of thirty to forty impressions was thus newly protected by a microscopically thin coat of steel of approximately the same thickness, ensuring remarkable consistency of line and tone. Prints bound in the volume feature a large left margin; the loose prints in the separate suite are centered on the Editionsheet. number 54 is in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST Z239 .P414 F73 1985 F images : 1 Aerial View of Het Achterhuis, Prinsengracht 263 Hard-ground etching, aquatint, and drypoint; 9 × 2 3/4 in. (22.9 × 7 cm) 2 Anne’s Room from Above Hard-ground etching, aquatint, and drypoint; 9 1/4 × 2 3/4 in. (23.5 × 7 cm)

7 Anne at her Window Hard-ground etching, soft-ground etching, aquatint, “spit bite” aquatint, drypoint, roulette, and burnishing; 9 1/4 × 2 3/4 in. (23.5 × 7 cm)

63 press/printer : Harold P. McGrath, Pennyroyal Press, West Hatfield, MA. Images proofed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA; printed by Robert Townsend and Kate Hanlon, R.E. Townsend Inc., Georgetown, MA. publisher : Pennyroyal Press, West Hatfield, MA, and Jewish Heritage Publish ing, Northhampton, MA, by arrangement with Doubleday & Company, Inc. binder : Harcourt Bindery, Boston, MA, under the supervision of Samuel B. Ellenport cover : Slipcase, 14 1/4 × 9 5/8 × 2 1/4 in. (36.2 × 24.5 × 5.7 cm); book, 14 × 9 1/2 × 1 3/8 in. (35.6 × 24.1 × 3.5 cm); folder, 14 × 9 1/4 × 1/2 in. (35.6 × 23.5 × 1.3 cm). sheet : Printed on Mohawk Letterpress paper from the Mohawk Mills, Cohoes, NY, 13 5/8 × 9 in. (34.6 × 22.9 cm); images printed on gray Arches paper, 13 5/8 × 9 in. (34.6 × 22.9 cm) image : Image media and dimensions vary, see below garver catalogue no . 105–114 edition size : 450; 350 numbered, and 100 reserved for subscribers proofs : One proof, marked “Handling Copy” on the colophon page and dedicated to Naomi Goldyne, has variant binding of tan handmade paper, and is housed with the separate suite of etchings in a dark blue leather-covered box with gray leather onlay. signature : Signed on colophon page, “Joseph Goldyne” and “B Moser.” Bound images initialed in pencil lower left, “JG”; suite impressions signed in pencil lower center, “J Goldyne” or “Joseph Goldyne.” Proof copy signed in ink on colophon page, “Dad”; images in this book signed in pencil lower right, “Joseph Goldyne,” and suite impressions signed in pencil lower center, “J. Goldyne.”

002 Diary of a Young Girl: Het Achterhuis Limited-edition1985 artists’ book of the diary of Anne Frank (1929–1945) with ten intaglio prints by Joseph Goldyne and a separate suite of the ten etchings. Designed by Barry Moser, who engraved on end-grain boxwood the tail-piece printed on the colophon page. Letterpress text set in Monotype Bembo by Stinehour Press, Lunenburg, VT, and printed in gray and rose inks by Harold P. McGrath. 196 pages. Book bound in gray Morocco leather, with the separate suite of etchings in a matching quarter-leather gray linen-covered folder. Book and etchings housed in a gray linen-covered slipcase.

3 Smoking Pen Hard-ground etching, aquatint, drypoint, and monotype; 9 1/4 × 2 3/4 in. (23.5 × 7 cm) 4 Falling Pinks Hard-ground etching, “spit bite” aqua tint, and drypoint; 9 1/4 × 2 3/4 in. (23.5 × 7 cm) 5 Three Potatoes Hard-ground etching, aquatint, “spit bite” aquatint, and drypoint; 9 1/4 × 2 3/4 in. (23.5 × 7 cm) 6 Shoes with Presents in Basket Hard-ground etching, aquatint, “spit bite” aquatint, drypoint, and roulette; 9 1/4 × 2 3/4 in. (23.5 × 7 cm)

8 The Attic with Pillow Hard-ground etching, aquatint, “spit bite” aquatint, drypoint, and roulette; 9 1/4 × 2 3/4 in. (23.5 × 7 cm)

9 Middle of the Night Hard-ground etching, soft-ground etching, aquatint, “spit bite” aquatint, drypoint, and roulette; 9 1/4 × 2 3/4 in. (23.5 × 7 cm) 10 Het Achterhuis on a Fall Night Burnished aquatint, and drypoint; 9 × 2 3/4 in. (23.5 × 7 cm)

71 003 Le Centaure (The Centaur) Limited-edition1985 artists’ book of the prose poem by Maurice de Guérin (1810–1839) with title page image by Joseph Goldyne. Printed in the original French in Granjon Scholasticus and Reiner Stradivarius type. 13 pages. Bound with gray paper-covered board with a dark-gray ivy leaf pattern designed by Lisa Bruce, with title printed on paper onlay on gray fabric-covered spine. One deluxe copy (II/VI) has variant binding of blue paper-covered board with gold accents with title stamped in silver on black quarter-leather spine, and is housed in a black leather clamshell box lined with blue fabric, and with title stamped in gold on spine.

press/printer : Wesley B. Tanner, Arif Press, Berkeley, CA. Image printed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA. publisher : Wesley B. Tanner, Arif Press, Berkeley, CA binder : Not stated; cover paper designed by Lisa Bruce cover : Box (II/VI), 8 3/4 × 6 × 1 in. (22.2 × 15.2 × 2.5 cm); book, 8 1/8 × 5 1/4 × 5/16 in. (20.6 × 13.3 × .8 cm) sheet : Printed on J. Barcham Green and Magnolia papers, 7 1/2 × 5 in. (19.1 × 12.7 cm) image : Etching, drypoint, aquatint and monotype inked à la poupée, 1 15/16 × 1 15/16 in. (4.9 × 4.9 cm) garver catalogue no 100 edition size : 56, of which six are hors de commerce and numbered with Roman numerals proofs : No known proofs signature : Signed in pencil on colophon page, “Joseph Goldyne.” Title page image initialed in pencil lower right, “J.G.” inscriptions/markings : Edition number in pencil on colophon page notes : To accompany Maurice de Guérin’s poem about an old centaur nostalgically recounting his youth, Goldyne’s title page image shows a centaur with torch in hand, rearing on a promontory over San Francisco Bay with the city in the far Editiondistance.number 40/56 is in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST Z239 .T157 G84 1985

inscriptions/markings : None notes : Charles Hobson of Pacific Editions invited Joseph Goldyne, who has a doctorate in medicine, to participate in this project with the distinguished physician and essayist Dr. Lewis Thomas, then Chancellor of Sloan-Kettering Institute, and eminent chemist Dr. Carl Djerassi. Lewis Thomas was a widely respected physician, human ist and writer who won National Book Awards (in Arts and Letters and The Sciences) for work that revealed profound empathy with seemingly minor aspects of the natural world. A celebrated chemist and National Medal of Science recipient, Carl Djerassi was most famous for synthesizing the key hormonal ingredient of the birth control pill, as well as a patent on the first antihistamine. Djerassi also forged a reputation as a writer and was passionate about visual art. Archive of the making of Quartet (M1233) and edition number 88 are in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST Z239 .T157 T46 1986 F aquatint, etching, and drypoint images , 7 1/2 × 5 1/2 in. (19.1 × 14 cm): 1 On Probability and Possibility 2 The Tucson Zoo 3 Death in the Open 4 On Matters of Doubt 5 Quartet

73 004 Quartet Limited-edition1986 artists’ book of four essays by Dr. Lewis Thomas (1913–1993) and an introduction by Dr. Carl Djerassi (1923–2015), with five intaglio prints by Joseph Goldyne (four bound, plus one loose print, Quartet , in a separate folder). Design and typography by Wesley B. Tanner, Arif Press, Berkeley, CA. Display lettering by John Prestianni, Berkeley, CA. Letterpress text hand-set in Bembo and Centaur. 36 pages. Bound in Morocco leather and Twinrocker paper with title stamped in gold, and housed together with the separate folder in a brown fabric-covered clamshell box.

press/printer : Wesley B. Tanner, Arif Press, Berkeley, CA. Images proofed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA; printed by Robert Townsend and Kate Hanlon, R.E. Townsend Inc., Georgetown, MA.

publisher : Pacific Editions, Berkeley/San Francisco, CA binder : Klaus-Ullrich Rötzscher, San Francisco, CA cover : Box, 13 1/4 × 9 1/4 × 1 1/2 in. (33.7 × 23.5 × 3.8 cm); book, 12 1/4 × 8 1/2 × 3/4 in. (31.1 × 21.6 × 1.9 cm) sheet : Two papers made especially for the edition by Twinrocker Handmade Paper, Brookston, IN: buff-toned Berkeley for the text, and gray-toned Quartet for the images, 12 × 8 1/2 in. (30.5 × 21.6 cm) image : Aquatint, etching, and drypoint inked à la poupée 7 1/2 × 5 1/2 in. (19.1 × 14 cm) garver catalogue no . 122–126 edition size : 165, of which 130 were for sale proofs : No known proofs signature : Signed on colophon page, “Lewis Thomas” and “Joseph Goldyne.” Images signed in pencil lower right, “Joseph Goldyne.”

76 On Matters of Doubt, 1986 Hand-colored aquatint, etching, drypoint on paper image : 7 1/2 × 5 1/2 in. (19.1 × 14 cm) sheet : 12 × 8 1/2 in. (30.5 × 21.6 cm)

Thirty-three Sonnets of Guido Cavalcanti Limited-edition1991 artists’ book of sonnets by Guido Cavalcanti (c. 1255–1300) translated by Ezra Pound (1885–1972), and introductory essays and line-by-line prose translations by Hugh Kenner and Lowry Nelson, Jr., with one intaglio print by Joseph Goldyne Designed by Andrew Hoyem and printed in English and Italian by Arion Press, San Francisco, CA. Types are Monotype and hand-set Centaur Roman, designed by Bruce Rogers, and Arrighi italic, designed by Frederic Warde, and cast by M&H [Mackenzie & Harris] Type, San Francisco, CA. 88 pages. Hand-sewn over linen tapes with silk headbands, bound in green fabric-covered board with tan goatskin spine and title stamped in gold on spine.

press/printer : Gerald Reddan and Lawrence Van Velzer, with assistance from Glenn Todd, Kathryn Hashimoto, Rick Orr, and Karen Strassler, Arion Press, San Francisco, CA. Image proofed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA; printed by Robert Townsend and Kate Hanlon, R.E. Townsend Inc., Georgetown, MA. publisher : Arion Press, San Francisco, CA binder : Leif Erlandsson and Peggy Gotthold, Arion Press, San Francisco, CA cover : 14 × 9 5/8 × 5/8 in. (35.6 × 24.5 × 1.6 cm) sheet : Printed on handmade Fabriano Umbria paper, 13 1/2 × 9 1/2 in. (34.3 × 24.1 cm) image : Etching, drypoint, and aquatint printed in six colors (gray-mauve, black, brown, blue, yellow, orange) applied à la poupée on a single plate, 9 1/2 × 5 3/4 in. (24.1 × 14.6 cm) garver catalogue no . 189 edition size : 150 Arabic-numbered copies; in addition, 26 copies are lettered and marked hors de commerce proofs : No known proofs signature : Image signed in pencil lower right, “J. Goldyne.”

: Edition number written on colophon page notes : A leading poet of the late thirteenth century and a close friend of Dante, Cavalcanti was rescued from obscurity by American poet Ezra Pound. This edition provides four simultaneous means of comprehending the sonnets: the original Italian, Pound’s translations, line-forline prose translations, and commentaries. Lowry Nelson, Jr. (1926–1994) introduces Cavalcanti’s life and work, and Hugh Kenner (1923–2003) discusses Pound’s long involve ment with Cavalcanti. Pound’s translations are © 1966 by Ezra Pound, reprinted by permission of New Directions Publishing Corporation. The Poetry of Guido Cavalcanti, edited and translated by Lowry Nelson, Jr., © 1986 by Lowry Nelson, Jr., reprinted by permission of Garland Publishing,Goldyne’sInc.image is titled Messagger del core after Cavalcanti’s sonnet “Dante, il messagger del core.” The composition features a pale image of the poet bracketed by falling water and rising smoke, intended here as pictorial metaphors for the emotional ups and downs that invigorate Cavalcanti’s verse. Edition number 55 is in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST Z239 .H87 C373 1991 F

inscriptions/markings

79 005

81 006 Five Ripe Pears Limited-edition1996 artists’ book of the short story by William Saroyan (1908–1981) with ten intaglio prints by Joseph Goldyne. Designed by Peter Koch, Editions Koch, Berkeley, CA, in collaboration with Joseph Goldyne. Text set in Blado and Poliphilus with Delphi, Libra, and Trajan display fonts. 56 pages. Bound with paper made by David Kimball at Magnolia Paper Mill, Oakland, CA, with title and authors printed letterpress on front cover. Housed in a green fabric-covered clamshell box with brown leather spine and title stamped in gold on spine. Tooling featuring a repeated pear motif designed by Joseph Goldyne is stamped in gold on the leather. Some copies have variant bindings. press/printer : Peter Koch, Editions Koch, Berkeley, CA. Images printed by Kay Bradner and Molly Hooven, Katherine Lincoln Press, San Francisco, CA. publisher : Bluewater Books, Santa Monica, CA, and Joseph Goldyne binder : Tim James and Tom Conroy, Taurus Bookbind ery, San Francisco, CA cover : Box, 10 1/2 × 10 1/16 × 1 5/8 in. (26.7 × 25.6 × 4.1 cm); book, 9 3/4 × 9 1/2 × 7/8 in. (24.8 × 24.1 × 2.2 cm) sheet : Printed on Moravia paper, 9 1/4 × 9 1/8 in. (23.5 × 23.2 cm) image : Image media and dimensions vary, see below garver catalogue no . 212–221 edition size : 50; 40 copies numbered Arabic 1–40, and ten copies numbered with Roman numerals I–X. Roman numeral copies each contain several additional proofs of images made for the book. proofs : No known proofs signature : Signed on colophon page, “Joseph Gol dyne.” Images signed in pencil lower right, “J. Goldyne.”

inscriptions/markings : Edition number written on colophon page. Some images dated in pencil lower left, “96” or “1996.”

notes : William Saroyan’s short story “Five Ripe Pears” first appeared in The Yale Review (vol. 24, no. 4) in June 1935. It made its book debut in Inhale, Exhale, Saroyan’s second volume of collected short stories, published in 1936 by Random House. Goldyne’s friend Alden Marin recom mended Goldyne to his sister, Mindy Marin, a Los Angeles casting director and author. She had decided that Saroyan’s story would make a lovely artists’ book, and inaugurated the project with the cooperation of Robert Setrakian, trustee of the Saroyan estate. “Five Ripe Pears” is a bittersweet children’s story for adults. Goldyne was persuaded to create images to accom pany this story after reading one particular passage: “A tragic misfortune of youth is that it is speechless when it has most to say, and a sadness of maturity is that it is garrulous when it has forgotten where to begin and what language to use.” In order to underscore the sense of recol lecting a child’s experience, Goldyne wanted the work to have the large-type look of a grammar-school book, and Peter Koch agreed to incorporate the Delphi display font in his composition of the title page. Edition numbers 18 and 23 and a portfolio of proof prints for the book are in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: R BC PS3537 .A77 F58 1996 images : 1 Lips and Pear Etching (sandpaper); 2 7/8 × 3 7/8 in. (7.3 × 9.8 cm) 2 Five Ripe Pears Etching, drypoint, and aquatint; 2 3/4 × 6 in. (7 × 15.2 cm) 3 Pear Canopy Etching; 5 1/2 × 2 3/16 in. (14 × 5.6 cm) 4 Reaching Etching; 4 7/8 × 2 15 16 in. (12.4 × 7.5 cm) 5 Jumping Etching and drypoint with hand coloring; 3 × 2 in. (7.6 × 5.1 cm) 6 Pears in Memory Etching; 2 7 8 × 4 7 8 in. (7.3 × 12.4 cm) 7 One Pear, Four Cores Etching and drypoint; 7 1 16 × 7 1/8 in. (17.9 × 18.1 cm) 8 In the Office Etching; 4 1 8 × 3 1/2 in. (10.5 × 8.9 cm) 9 Red and Yellow Etching; 1 5 8 × 1 3/4 in. (4.1 × 4.5 cm) 10 Five Ripe Pears Drypoint; 1 1/2 × 2 in. (3.8 × 5.1 cm)

82 21

83 43

84 65

85 87

86 109

87 Five Ripe Pears (Early State Proof), 1995 Etching on paper 2 3/4 × 6 in. (7 × 15.2 cm) Five Ripe Pears (Early State, Working Proof), 1995 Monoprinted proof: Etching and monotype on paper 2 3/4 × 6 in. (7 × 15.2 cm)

proofs : No known proofs signature : Signed in pencil on colophon page, “Joseph Goldyne” and “Peter Koch.” Copy E signed in ink on colo phon page, “Joseph Goldyne.” Images signed in pencil lower right, “J. Goldyne.”

Limited-edition1998–99 artists’ book of the poem by Pablo Neruda (1904–1973) with six aquatints by Joseph Goldyne. Deluxe copies have monoprinted impressions. Printed in the original Spanish, with English translation by Stephen Kessler. Text set in Van Dijck by M & H Type, San Francisco, CA. 56 pages. Bound in tan paper-covered board with the alphabet printed letterpress on front cover, and black spine with title stamped on spine.

publisher : Peter Koch, Editions Koch, Berkeley, CA binder : Peggy Gotthold, Foolscap Press, Santa Cruz, CA cover : 9 1/4 × 4 3/4 × 1/2 in. (23.5 × 12.1 × 1.3 cm) sheet : Printed on Zerkall-Nideggen paper, 9 × 4 1/2 in. (22.9 × 11.4 cm); images printed on Zerkall-Frankfurt paper, 9 × 4 1/2 in. (22.9 × 11.4 cm). image : Aquatint; image dimensions vary, see below garver catalogue no . 230–235 edition size : 132; 100 regular edition copies, 20 lettered participants’ copies, and 12 copies numbered in Roman numerals I–XII with monoprinted impressions of the aquatints, some of these annotated “hors commerce” on the colophon page.

press/printer : Designed and printed by Peter Koch, Editions Koch, Berkeley, CA. Images printed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA.

89 007 Oda a la Tipografía (Ode to Typography)

inscriptions/markings : Edition number written in pencil on colophon page notes : The book is dated 1998 on the colophon page; however, the aquatints were editioned and the book com pleted in 1999. Neruda’s “Ode to Typography” celebrates the letters that have been used to express some of man kind’s greatest ideas. Goldyne experienced the ode as flowing down the page like a river, gaining strength as it moves toward its conclusion. Goldyne notes that his images address the letter forms as “mysterious denizens of a won derland of light and dark ink, appearing and disappearing as if to reference reading and forgetting, learning and recalling.” The poem “Oda a la Tipografía” is © 1956 by Pablo Neruda and his heirs, reprinted with permission. Edition number XII/XII is in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST Z239 .K73 N47 1998 aquatint images (deluxe copies have monoprint images): 1 Suddenly, 1997 2 7/16 × 1 3/8 in. (6.2 × 3.5 cm) 2 Light Tower with Letters, 1999 3 × 2 in. (7.6 × 5.1 cm) 3 Shadow Letters, 1999 3 × 2 in. (7.6 × 5.1 cm) 4 Sky Stream Letters, 1999 3 × 2 in. (7.6 × 5.1 cm) 5 Type of Smoke, 1999 3 × 2 in. (7.6 × 5.1 cm) 6 Letterbed, 1999 3 × 2 in. (7.6 × 5.1 cm)

Monoprinted variations of Suddenly

90 1

93 2

95 3

98 4

100 5

101

102 6

103 Letterbed (Monoprinted Proof)

104 As the Blind Remember (Frontispiece)

press/printer : Designed and printed by Peter Rutledge Koch with the assistance of Jonathan Gerken and Jonathan Fetter-Vorm, Peter Koch, Printers, Berkeley, CA. Image printed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA. publisher : Ursus Books, Inc., New York, NY (two editions) binder : John DeMerritt Bookbinding, Emeryville, CA cover : 9 1/16 × 5 9/16 × 1/4 in. (23 × 14.1 × .6 cm) sheet : Printed on Hahnemühle Biblio paper, 9 × 5 1/2 in. (22.9 × 14 cm); image printed on seventeenth-century paper, 4 1/2 × 3 5/8 in. (11.4 × 9.2 cm) image : First edition, etching and aquatint, 3 1/8 × 2 5/16 in. (7.9 × 5.9 cm) edition size : 50 numbered copies with frontispiece illustration; second edition of 100 numbered copies has a “Missing Frontispiece,” a blank sheet of seventeenth-cen tury paper proofs : First edition, 12 artist’s proofs and 12 printer’s proofs; second edition, 25 artist’s proofs and 25 printer’s proofs

signature : Signed in pencil on colophon page, “J. Goldyne” and “Peter Koch.” Frontispiece etching and “Missing Frontispiece” signed in pencil lower right, “J. Goldyne.” inscriptions/markings : Edition number written in pencil on colophon page notes : Stefan Zweig’s classic fable about the joys of collecting, set in Germany in the aftermath of World War I, was first published in German in 1925, and in book form in 1927 as Die Unsichtbare Sammlung. Peter Kraus issued this book in commemoration of the thirtieth anniversary of his firm, Ursus Books in Manhattan. An original signed etching and aquatint, titled As the Blind Remember, is the frontis piece for an edition of fifty numbered copies. A separate edition of one hundred numbered copies substitutes a blank piece of seventeenth-century paper for the signed etching. As an echo of the story, this blank paper, signed by the artist, is titled Missing Frontispiece, and so labeled on the title Editionpage.number 17/50, an unnumbered edition, and an unnumbered copy of the “Missing Frontispiece” edition are in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST Z239 .K73 Z94 2007 (two copies), and GUNST Z239 .K73 Z94 2007A (“Missing Frontispiece” Edition) images Frontispiece,: first edition As the Blind Remember Frontispiece, second edition Missing Frontispiece

105 008

The Invisible Collection

Limited-edition2007 artists’ book of the short story by Stefan Zweig (1881–1942) with frontispiece illustration by Joseph Goldyne. The intaglio print on seventeenth-century paper is tipped in opposite the title page of the first edition of fifty; a second edition of one hundred copies has a “Missing Frontispiece” of blank seventeenth-century paper. Type set in Trajanus, Lombardic Capitals, Libra and Schraffierte Antigua. 15 pages. First-edition copies bound in sepia-colored fabric-covered board with title printed letterpress on paper onlay on front cover, and black Morocco leather spine with title stamped in gold on spine. Second edition bound in sepia-colored fabric-covered board with title stamped on spine and printed letterpress on paper onlay on front cover.

106

107

108 1

press/printer : Claire Kessler-Bradner, San Francisco, CA. Images printed by Joseph Goldyne, Sonoma, CA. publisher : Joseph Goldyne binder : Claire Kessler-Bradner, San Francisco, CA cover : 13 × 11 1/2 × 3/4 in. (33 × 29.2 × 1.9 cm) sheet : Printed on Magnani Pescia paper, 12 3/4 × 11 in. (32.4 × 27.9 cm); images printed on eighteenth-century laid paper and nineteenth-century wove paper of varying dimensions, tipped into a debossed sheet of Magnani Pescia paper. image : Digitally produced photographs; image dimensions vary, see below edition size : Eight; five Arabic-numbered copies, and three deluxe copies numbered in Roman numerals proofs : One printer’s proof signature : Signed in pencil lower right on colophon page, “J. Goldyne.” Images initialed in pencil lower right, “J.G.”

inscriptions/markings : Edition number written in pencil on colophon page, lower right below text. notes : The text by William Hogarth is from Analysis of Beauty chapter VII, page 37, published in 1753. Goldyne has photographed actively since childhood. For this book, he selected compositionally simple and nearly abstract images, which he printed using digital processes and laserjet inks on eighteenth- and nineteenth-century papers to take advantage of the special quality of light instilled by this combination, as if the images emitted an inner light. A copy of this book is in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST N7433.4 .G66 C66 2010 F digitally produced photographic images : 1 Untitled, 5 × 7 in. (12.7 × 17.8 cm) 2 Untitled, 10 × 6 5/8 in. (25.4 × 16.8 cm) 3 Untitled, 10 × 7 1/2 in. (25.4 × 19.1 cm) 4 Untitled, 10 × 7 1/2 in. (25.4 × 19.1 cm) 5 Untitled, 9 5/8 × 7 3/8 in. (24.5 × 18.7 cm) 6 Untitled, 10 × 7 3/8 in. (25.4 × 18.7 cm) 7 Untitled, 7 3/4 × 10 in. (19.7 × 25.4 cm) 8 Untitled, 5 × 8 in. (12.7 × 20.3 cm)

Limited-edition2010 book of selected lines from Analysis of Beauty (1753) by William Hogarth (1697–1764) and text by Joseph Goldyne, printed letterpress, with eight digital images of photographs by Goldyne printed on an ink-jet printer with Durabrite inks. Designed by Joseph Goldyne and Claire Kessler-Bradner. 20 pages. Bound with gray paper with the title printed letterpress on front cover.

109 009 Common Geometries

110 2

111 53 64

112 7

113 8

114

artists’ book of a text written by Joseph Goldyne titled “Manifestoette,” title page, colophon page, twelve intaglio prints and one monoprint by Goldyne. Text hand-set in Spectrum by Eric Holub and printed at Hillside Press, San Francisco, CA. Originally published as a portfolio (Cat. no. 037), four proof copies were bound as books in 2015. 37 pages. Bound in gray goatskin leather with orange goatskin leather on spine with title and author stamped on spine. Housed in orange paper-covered box with gray spine, title printed on orange paper onlay on spine, and lined with cream-colored Ultrasuede.

press/printer : Eric Holub, Hillside Press, San Francisco, CA. Images printed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA.

signature : Signed in pencil lower right on colophon page, “Joseph Goldyne.” Images signed in pencil lower right, “J. Goldyne.” inscriptions/markings : Edition number lower right in pencil on colophon page notes : Originally printed as the limited-edition portfolio Not Conceptual (Cat. no. 037), four proof copies from the portfolio edition were bound as books in 2015. The spirit that animates Not Conceptual was born in an academic milieu that emphasized the importance of a rigorous con cept governing meaningful pictorial art, which Goldyne perceived as a textually driven academic fad. The prints, along with Goldyne’s “Manifestoette,” were intended to make the point that to achieve rewarding imagery, visual art must stress the visual, and that text, if included, should be an intrinsic aspect of the compositional, coloristic and technical qualities of the work. An artists’ proof of this book is in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, GUNSTCA: N7433.4 .G66 N68 2015 FF images : 1 Reflections on Conceptual Aquatint; 4 5 8 × 6 7/16 in. (11.8 × 16.4 cm) 2 Art or Bust Drypoint; 6 3/16 × 3 3 8 in. (15.7 × 8.6 cm) 3 Precise Directions Aquatint,; 6 3 4 × 10 1 8 in. (17.2 × 25.7 cm) 4 It may be beautiful, but that’s just the way it looks Drypoint; 3 in. diameter (7.6 cm) 5 Accommodation Aquatint with rolled color; 7 7 8 × 4 in. (20 × 10.2 cm) 6 Smoke and Mirrors (3 plates printed together) Aquatint; 8 1 8 × 5 in. (20.6 × 12.7 cm) 7 Rebus Aquatint; 9 3 4 × 4 11/16 in. (24.8 × 11.9 cm) 8 Cold Front Aquatint; 3 1 16 × 8 in. (7.8 × 20.3 cm) 9 Switch Etching and aquatint; 4 1 2 × 2 3 4 in. (11.4 × 7 cm) 10 Not Conceptual Monotype and aquatint; 11 3 4 × 2 15 16 in. (29.9 × 7.5 cm) 11 Fake (edition 1999; plate and proofs mid-1980s) Drypoint; 3 7 8 × 5 1 4 in. (9.8 × 13.3 cm) on paper 7 3 8 × 10 3 4 in. (18.7 × 27.3 cm) 12 Eye Etching and aquatint; 1 1/16 × 1 5 8 in. (2.7 × 4.1 cm) 13 Mouth Etching; 1 1 16 × 1 5 8 in. (2.7 × 4.1 cm)

115 010 Not Conceptual Limited-edition1999/2015

publisher : Joseph Goldyne binder : Peggy Gotthold, Foolscap Press, Santa Cruz, CA cover : Box, 19 3/4 × 14 × 2 1/8 in. (50.2 × 35.6 × 5.4 cm); book, 18 3/4 × 13 × 1 1/4 in. (47.6 × 33 × 3.2 cm) sheet : Printed on Magnani paper, 19 1/8 × 25 1/4 in. (48.6 × 64.1 cm), folded to 19 1/8 × 12 5/8 in. (48.6 × 32.1 cm); the print Fake is printed on seventeenth-century paper image : Image media and dimensions vary, see below garver catalogue no 236–248 (portfolio) edition size : 20 in portfolio edition (see Cat. no. 037) proofs : Five in portfolio edition; four proofs from portfolio edition have been bound as books.

116 21

117 43

118 65

119 87

120 109

121 12/1311

122 Portrait of Albert Einstein, 2015, Graphite on paper 8 3/16 × 7 1/2 in. (20.8 × 19 cm)

press/printer : Art Larson, Horton Tank Graphics, Hadley, MA. Images proofed by Kay Bradner and Unai San Martin in Sonoma, CA; printed by Robert Townsend, R.E. Townsend Inc., Georgetown, MA. publisher : Two Ponds Press LLC, Camden, ME binder : Claudia Cohen, Seattle, WA cover : Clamshell box, 11 1/4 × 7 3/16 × 1 in. (28.6 × 18.3 × 2.5 cm); book, 10 5/8 × 6 3/4 × 1/2 in. (27 × 17.2 × 1.3 cm) sheet : Printed on paper handmade by Velké Losiny in the Czech Republic, 10 1/2 × 6 1/2 in. (26.7 × 16.5 cm) image : Image media and dimensions vary, see below edition size : 75 proofs : No known proofs signature : In pencil lower right under images, “J.G.” Signed on colophon page, “Joseph Goldyne.” inscriptions/markings : Two Ponds Press printer’s chop mark at bottom of colophon page. notes : Joseph Goldyne first came across Shaw’s speech introducing Einstein while in medical school in the late 1960s and was impressed by its combination of historical thrust and pervasive humor, which he found particularly compelling due to the unsettled time in which it was delivered. Kenneth N. Shure and Liv Rockefeller, propri etors of Two Ponds Press, encouraged Goldyne to write the historical introduction for this book. His essay, titled “An Introduction to an Introduction,” discusses Shaw’s talents while drawing attention to his complex personality as well as to the outrage and confusion engendered by many of his statements during the 1930s and 1940s. Also included is an English translation of Einstein’s remarks following Shaw’s speech, which he delivered in German. Edition number 10 is in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST Z239 .T967 S53 2015 images : 1 Portrait of Albert Einstein and George Bernard Shaw, Drypoint2014 with rolled tone; 2 3/4 × 4 1/2 in. (7 × 11.4 cm) 2 Portrait of George Bernard Shaw c. 1930, 2013 Sandpaper etching with à la poupée coloring and rolled tone; 3 1/16 × 2 7/8 in. (7.8 × 7.3 cm) 3 Portrait of Albert Einstein c. 1930, 2013 Sandpaper etching; 4 11/16 × 3 1/4 in. (11.9 × 8.3 cm) 4 Toast, Burnished2013aquatint; 3 1/4 × 2 1/4 in. (8.3 × 5.7 cm) 5 Night Sky, 2014 Burnished aquatint; 2 15/16 × 1 15/16 in. (7.5 × 4.9 cm)

George Bernard Shaw: A Speech Introducing Albert Einstein Limited-edition2015 artists’ book of a speech by George Bernard Shaw (1856–1950) introducing Albert Einstein (1879–1955) at a dinner in Einstein’s honor at the Savoy Hotel, London, October 28, 1930, followed by Einstein’s remarks, with introductory essay and five etchings by Joseph Goldyne. Design and typography conceived by Michael Russem. Texts set in Bembo and Gill Sans types cast at the Press and Letterfoundry of Michael & Winifred Bixler, with additional hand composition by Rose Wisotzky. 47 pages. Bound in ivory Fabriano Roma paper-covered board with gray leather spine and edge, with title stamped in gold on spine, gold foil tooling and initials “S|E” on front cover. Housed in fabric-covered clamshell box with gold-stamped leather onlay on spine with initials “S|E.”

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126 Going JOsEPH GOLDYNE DoW n ROBERT BrINGHUrST Singing Two Ponds Press 2016 Ten burnished aquatints by Joseph Goldyne with a poem in nine parts by Robert Bringhurst 2015

127 012 Going Down Singing

The1 scroll unrolling without end, the sound of everything unfolding, uncomposing and unspelling, disassembling, surrendering its knowing to unknowing, and floundering and learning how to swim again and going on its way.

That’s how it seems. But where it comes from comes from finding where it butEverythinggoes.flows,notallthesame speed nor in just one direction. So it can seem there is someone to trip, and something to trip on and someplace or other to land when you fall, though in fact, overall, there is nothing but falling.

press/printer : Kenneth N. Shure and Liv Rockefeller, Two Ponds Press LLC, Camden, ME. Images printed by Robert Townsend, R.E. Townsend Inc., Georgetown, MA. binder : Peggy Gotthold, Foolscap Press, Santa Cruz, CA cover : Box, 14 1/4 × 7 1/2 in. (36.2 × 19 cm); book, 14 × 7 in. (35.6 × 17.8 cm) sheet : Printed on BFK Rives paper, 13 1/2 × 6 in. (34.3 × 15.2 cm) image : Burnished aquatints; 9 × 2 7/8 in. (22.9 × 7.3 cm) edition size : To be determined signature : Signed on colophon page, “Robert Bringhurst” and “Joseph Goldyne”

inscriptions/markings : Edition number written on colophon page notes : Canadian poet and linguist Robert Bringhurst, whose translations of Haida myth have been called “gigantic as well as heroic” by Margaret Atwood, composed the poem “Going Down Singing.” Bringhurst had been working on the poem, which he completed after seeing this group of aquatints at Goldyne’s studio, when the two discussed the possibility of joining forces for an artists’ book. Bringhurst’s philosophical interests and empathy with the natural order inform every passage of the poem. Goldyne’s aquatints venture beyond representational images to explore both the display and energy of waterfalls. At the time of the printing of this catalogue, the book is still in production. burnished aquatint images , all Untitled, 9 × 2 7/8 in. (22.9 × 7.3 cm) Monotype Frontispiece in the deluxe edition: Joseph Going Goldyne DoW n Robert Singing Bringhurst ¶ Going Down Singing was designed and set in type by Robert Bringhurst on Quadra Island, British Columbia. The etchings were printed in Georgetown, Massachusetts, by Robert E. Townsend. The text was printed at the Foolscap Press in Santa Cruz, California, by Lawrence G. Van Velzer. The binding was designed and executed at the Foolscap Press by Peggy Gotthold. The paper is XXX, made at XXX. The types are Aldus, Sistina, Michelangelo, and foundry Palatino, designed in Frankfurt am Main and Darmstadt by Hermann Zapf. There are XXX copies of this book. This is copy number Two Ponds Press Rockport, Maine

Limited-edition2015 book of the nine-part poem “Going Down Singing” by Robert Bringhurst, with ten burnished aquatints of waterfalls by Joseph Goldyne. Robert Bringhurst designed the book, which is set in Aldus, Sistina, Michelangelo, and foundry Palatino types, all designed by Hermann Zapf. 56 pages. Bound in grey Fabriano Roma paper-covered board with title printed in black and names of author and artist printed in red, and with black leather spine and edge. Housed in grey fabric-covered clamshell box with leather onlay on spine. Deluxe copies, which include a mono type frontispiece, are bound in black leather with grey leather inset on front cover. Deluxe copies housed in black fabric-covered box with grey Ultrasuede lining.

128 Oinochoe (Frontispiece)

inscriptions/markings : All inscriptions written in pencil: Frontispiece, centered under image, “Oinochoe”; image 1, lower left under image, “proof Jan 98,” and centered under image, “Essay on Antiquity II”; image 3, centered under image, “Selene Horse”; image 4, centered under image, “Essay on Antiquity III”; image 6, lower left under image, “Aug, 13, 2014,” and centered under image, “Fallen Column”; image 8, lower left under image, “proof,” and centered under image, “Essay on Antiquity I.”

notes : The title of the book refers to the “fragments” of descriptive text taken from a variety of sources: poems, prose and plays from the Greek Classics, as well as commentary by poets and scholars. At the time of the printing of this catalogue, the book is still in production. A copy of this book will be in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA images Frontispiece: – Oinochoe Etching; 4 3/8 × 2 15/16 in. (11.1 × 7.5 cm) 1 Mouth Etching; 1 1 8 × 1 3/4 in. (2.9 × 4.4 cm) 2 Essay on Antiquity II Etching; 3 3/16 × 2 1/8 in. (8.1 × 5.4 cm) 3 Selene Horse Etching; 5 1/16 × 3 in. (12.9 × 7.6 cm) 4 Essay on Antiquity III Etching; 4 × 4 7/8 in. (10.2 × 12.4 cm) 5 Orator’s Hand Etching; 3 1/2 × 2 1/2 in. (8.9 × 6.4 cm) 6 Fallen Column Etching; 2 1/2 × 3 1/2 in. (6.4 × 8.9 cm) 7 The Orator Etching; 3 1/4 × 4 1/8 in. (8.3 × 10.5 cm) 8 Essay on Antiquity I Proof Monotype; 3 3/16 × 2 3/16 (8.1 × 5.6 cm) 9 Athenian Owl Cup Drypoint; 4 × 3 in. (10.2 × 7.6 cm) 10 Moving Kouros (not illustrated, in progress) 11 Cycladic Coast (not illustrated, in progress) 1

press/printer : Lawrence G. Van Velzer, Foolscap Press, Santa Cruz, CA. Images proofed by Kay Bradner and Unai San Martin in Sonoma, CA; printed by Robert Townsend, R.E. Townsend, Inc., Georgetown, MA binder : Peggy Gotthold, Foolscap Press, Santa Cruz, CA cover : Box: 13 1/2 × 10 1/2 × 1 1/2 in. (34.3 × 26.7 × 3.8 cm); book 13 1/4 × 10 1/4 × 1 in. (33.7 × 26 × 3.8 cm) sheet : 13 × 10 in. (33 × 25.4 cm); images printed on BFK Rives paper image : Image media and dimensions vary, see below edition size : 25 proofs : One signature : The frontispiece and images 2, 3, 4, 5, 6, and 7 signed in pencil lower right under image, “J. Goldyne”; images 1 and 8 signed in pencil lower right under image, “J. G.”

129 013 Greek Fragments Limited-edition2015 artists’ book of selected lines from the poems, prose, and plays: “Don Juan,”

The Isles of Greece by George Gordon Byron (Lord Byron) (1788–1824); Eumenides by Aeschylus (c. 525/524–c. 456/455 bc), translated by E.D.A. Morshead; Lectures on Poetry (1832–1841) by John Keble (1792–1866), translated by Edward Kershaw Francis; “Ode for Hieron of Syracuse Winner in the Horse Race 476 b.c.” by Pindar (522–443 bc), translated by Sir John Sandys; Pindar by Gilbert Norwood (1880–1954); Nichomachaen Ethics by Aristotle (384–322 bc), translated by Sir William David Ross; unknown text by Plutarch (45–120 ad); “Iconic” by Constantine P. Cavafy (1863–1933), translated by Edmund Keeley and Philip Sherrard; and The Greek Commonwealth by Alfred Zimmern (1879–1957), with eleven etchings and one monotype by Joseph Goldyne. The proof copy is bound in vellum with title printed in black, and housed in a fabric-covered clamshell box.

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135 9 ( State II)

136

Limited-edition2015 artists’ book of poems by Michelangelo Buonarroti Simoni (1475–1564) in Italian with English translation and preface by Robert Bringhurst, with drypoint portrait of Michelangelo by Joseph Goldyne. Designed and printed by Peter Rutledge Koch with assistance from Jonathan Gerken. Text for the Italian sonnets set by Michael Bixler in Monotype Arrighi. English transla tion hand-set by Mark Livingston from original foundry Vicenza & Arrighi type cut in 1925–26 by Charles Plumet for Frederic Warde. Cover design by Peter Rutledge Koch from type specimens of Frederic Warde’s Vicenza & Arrighi, formerly in the collection of Adrian Wilson at The Press in Tuscany Alley, San Francisco, CA. Quarter-leather binding, housed in a slipcase with companion volume, The Typographic Legacy of Ludovico degli Arrighi press/printer : Peter Rutledge Koch with the assis tance of Jonathan Gerken, Peter Koch, Printers, Berkeley, CA. Image proofed and printed by Robert Townsend, R.E. Townsend Inc., Georgetown, MA. publisher : Peter Koch, Printers, Berkeley, CA binder : John DeMerritt Bookbinding, Emeryville, CA cover : Book, 5 5/8 × 9 5/8 in. (14.3 × 24.5 cm) sheet : Printed on vintage Amalfi handmade paper, 5 3/4 × 9 1/2 in. (14.6 × 24.1 cm); image printed on Abracadabra paper image : Drypoint, 3 × 4 in. (7.6 × 10.2 cm) edition size : 112 Arabic-numbered copies proofs : Ten artist’s proofs and four printer’s proofs signature : Signed on colophon page, “Robert Bringhurst” and “Joseph Goldyne.” Image signed in pencil lower right. inscriptions/markings : Edition number written on colophon page. notes : Steeped in the classics of the Mediterranean and Arab worlds as well as in Native American lore, Robert Bringhurst takes on a select group of the long-acclaimed poems of Michelangelo. Bringhurst pays special attention to their barely containable energy, as well as to the sculptor’s references to his approach to working in stone. Goldyne’s drypoint print, interpreted from a contemporary drawing of Michelangelo as an old man by his colleague, the painter Daniele da Voltera (c. 1509–1566), is intended as a pictorial exclamation mark. It serves as a point of attention, paying homage visually before the reader proceeds textually. At the time of the printing of this catalogue, the book is still in production. A copy of this book will be in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA

137 014 Hard High-Country Poems

138 Michelangelo (Proof), 2014, Drypoint on paper 4 × 3 in. (10.1 × 7.6 cm)

139

140 Michelangelo II (State II Proof), 2014, Drypoint on paper 3 3/8 × 2 1/2 in. (8.6 × 6.3 cm)

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Black1966–68vinyl-covered six-ring loose-leaf notebook with alphabetical dividers with 115 pages of medical notes, including ten pages of medical illustrations in ballpoint pen and colored pencil by Joseph Goldyne. A green printed label taped upper center on front cover reads, “INFECTED/ Handle with Care” and is signed in ink, “J. Goldyne.”

inscriptions/markings : First sheet printed in ink, “University of California S.O.M. / Joseph R. Goldyne / 325 San Benito Way / San Francisco California / DE 4 1351”

press/printer : Not printed binder : Commercial binding by National cover : 6 5/16 × 4 1/2 × 7/8 in. (16 × 11.4 × 2.2 cm) sheet : Unknown lined paper, 6 × 3 1/2 in. (15.2 × 8.9 cm)

notes : Joseph Goldyne carried two small notebooks with him in his junior and senior years at medical school. They contained his medical notes and descriptive drawings: he carried one notebook identified as Infected in the left pocket of his lab coat, and the other notebook identified as Isolation in the right pocket, both notebooks accessible for easy reference. The notes describe various medical conditions, how to identify them, symptoms, possible treatments and reactions. See Isolation (Cat. no. 016). , 6 × 3 1/2 in. (15.2 × 8.9 cm): 1 ANESTHESIA – Continuous Caudal, Ink and colored pencil Illustrations of Brain Stem Lesions, Blue ink Brain Stem Lesions, Blue ink 4 Breast Ink and colored pencil CORD, Ink, graphite and colored pencil Parts of the Inner Ear, Ink and red pencil Working of the Ear, Ink and red pencil Mechanism of Hearing, Ink Embryology of Female Genital Tract Ink and graphite 9 Layers of Hand in Central Palm, Blue and black inks

UNIQUE BOOKS

143 015 Infected: Medical Notes and Drawings

image : Medical drawings in inks and colored pencils, 6 × 3 1/2 in. (15.2 × 8.9 cm); some are horizontal, 3 1/2 × 6 in. (8.9 × 15.2 cm) edition size : No edition; unique book signature : Signed in ballpoint pen on front cover label, “J. Goldyne.”

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press/printer

149 016 Isolation: Medical Notes and Drawings

Black1967–68Morocco leather-covered six-ring loose-leaf notebook with alphabetical dividers and printed calendar for 1966-67, with 111 pages of hand-written medical notes by Joseph Goldyne, including eleven pages of medical illustrations in ink, graphite and colored pencils, and additional loose pages of notes inserted in flap of inside back cover. Front cover has yellow tape with “ISOLATION” printed in black and is stamped in gold lower right, “Joseph R. Goldyne.” : Not printed binder : Commercial binding by Lilly cover : 6 1/2 × 4 1/4 × 1 in. (16.5 × 10.8 × 2.5 cm) sheet : Unknown lined paper, 6 × 3 1/2 in. (15.2 × 8.9 cm); some are horizontal, 3 1/2 × 6 in. (8.9 × 15.2 cm) image : Medical drawings in inks and colored pencils, 6 × 3 1/2 in. (15.2 × 8.9 cm) edition size : No edition; unique book signature : Not signed (see below) inscriptions/markings : Stamped in gold on front cover lower right, “Joseph R. Goldyne” notes : See notes for Infected (Cat. no. 015). images , 6 × 3 1/2 in. (15.2 × 8.9 cm): Nine Abdominal layers of this area, Ink, colored pencil and graphite 2 Heisselbach’s Triangle, Ink and colored pencil Hernia: Bassini and Andrews, Ink 4 Hernia: McVay-Anson Repair, Ink and orange pencil Larynx, Blue ink Nasal Cavity, Ink and red pencil Nerve Pattern, Ink and colored pencil Pelvis, Ink 9 Pelvic Diaphragm, Ink 10 Forceps Delivery, Ink 11 Pelvis, Ink

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155 017 Sibyl the Scribble Unique1973 book of a poem and six monoprints by Joseph Goldyne, with image and text etched together on each plate. Bound in red Morocco leather with gold foil stamping. press/printer : Text and images printed by Joseph Goldyne binder : Not stated cover : 10 5/8 × 8 1/4 × 3/8 in. (27 × 21 × 1 cm) sheet : Printed on Fabriano Umbria Italia paper; sheets vary in size, average dimension 10 1/8 × 7 5/8 in. (25.7 × 19.4 cm) image : Monoprint; image dimensions vary, see below edition size : No edition; unique book signature : Signed and inscribed on second blank sheet, see below inscriptions/markings : Cover stamped in gold foil with title and “FOR ADAM.” Second blank sheet inscribed in ink, “for Adam Goldyne / from Joseph Goldyne.” Second to last blank sheet inscribed in ink, “for my little boy / Adam / with love from / his Dad.” Dated in ink at bottom of last endpaper, “1973.” notes : This book was made as a gift for Joseph and Deborah Goldyne’s first child, Adam, when he was three years old. The plates were etched with image and text at roughly the same time as the poem was being written. Collection of Adam Goldyne. monoprint images : 1 Above a little boy…, 5 × 4 in. (12.7 × 10.2 cm) 2 She danced through the fog…, 4 × 5 in. (10.2 × 12.7 cm) 3 And one day…, 4 × 5 in. (10.2 × 12.7 cm) 4 Sibyl lived in the tome… 5 × 4 in. (12.7 × 10.2 cm) 5 At last on the 100 th sheet…, 4 × 5 in. (10.2 × 12.7 cm) 6 Most wonderfull of all…, 5 × 4 in. (12.7 × 10.2 cm) 2

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press/printer : Text hand lettered by Thomas Ingmire. Images printed by Joseph Goldyne. binder : Betty Lou Beck, San Francisco, CA COVER: Box, 15 3/8 × 11 7/8 × 1 1/2 in. (39.1 × 30.2 × 3.8 cm); book, 14 1/2 × 11 1/4 × 3/4 in. (36.8 × 28.6 × 1.91 cm) sheet : Hand lettered on tan Fabriano paper, 14 1/4 × 10 3/4 in. (36.2 × 27.3 cm); images printed on cream-colored Umbria Italia paper, 13 7/8 × 10 1/2 in. (35.2 × 26.7 cm) image : Monotype, 6 7/8 × 4 7/8 in. (17.5 × 12.4 cm) edition size : No edition; unique book signature : Images initialed in ink lower right, “J.G.”

159 018 Women 9 Unique1976 book of text from “Lola de Valence” by Charles Baudelaire (1821–1867) and “Sonnet 3” by William Shakespeare (1564–1616) with nine monotypes by Joseph Goldyne. Calligraphy and illuminations by Thomas Ingmire. 30 pages. Bound in navy-blue leather with color accents and gold foil stamping, orange suede lining, and marbled endpapers. Housed in marbled-paper-covered box with maroon leather spine and maroon leather panel at lower right on front of box with title stamped in gold, lined with orange suede.

inscriptions/markings : Dated “November 17, 1976” in gold on page before title page. Written in gold on first page after title, “Nine monotypes for my mother.” Written in ink on colophon page, “This book was made for Joseph Goldyne’s monotypes [sic] during the months of October and November of 1976. Calligraphy and illumination were the work of Thomas Ingmire. Binding and endpapers were created by Betty Lou Beck. In San Francisco.” Back cover stamped lower left with gold foil, “HSG.”

notes : This book was a gift for the artist’s mother, Helen Goldyne (1917–2014), whose initials are stamped on the back cover. This was the first of Goldyne’s collaborations with Master Calligrapher Thomas Ingmire, who has hand lettered a number of Goldyne’s unique prints and books. Goldyne’s monotypes are studies after images of women in paintings by Pieter de Hooch (1629–1684), Rembrandt van Rijn (1606–1669), Nicolas de Largillière (1656–1746), Jean-Auguste Dominique Ingres (1780–1867), Vito d’Ancona (1825–1884), John Singer Sargent (1856–1925), Édouard Vuillard (1868–1940), and Pablo Picasso (1881–1973), which range from the contemplative to the surreal. Goldyne’s works of the 1970s often reference art-historical images and take the form of homage, but with a contemporary sensibility. monotype images , 6 7/8 × 4 7/8 in. (17.5 × 12.4 cm): 1 Woman from de Hooch 2 Woman from van Rijn 3 Woman from van Rijn 4 Woman from Largillière 5 Woman from Ingres 6 Woman from Ancona 7 Woman from Sergeant [sic] 8 Woman from Vuillard 9 Woman from Picasso

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167 019 Adam Unique1983 book designed by Joseph Goldyne with hand-lettered text of letters written by family members to his son Adam on the occasion of his Bar Mitzvah, with eighteen monotypes and one drawing by Joseph Goldyne. Illuminations in gold foil and calligraphy in brown, red, and blue inks by Thomas Ingmire. Bound with dark-blue leather with gold stamping. Housed in a navy leather and fabric-covered clamshell box lined with pale gray fabric and inset on the spine with a silver Sheckel from 66–67 ad, the first year of the Jewish revolt against the Romans.

notes : This unique book was made as a gift to Adam Goldyne. The hand-lettered text includes letters written to Adam by his grandmother Helen Goldyne (Nana), his parents Joseph and Deborah Goldyne, his sister Naomi and his brother Alfred. On the page with his grandmother’s letter is a portrait of Helen Goldyne by Joseph Goldyne, a drawing titled Nana (image 17). Collection of Adam Goldyne. images (all but image 17 are monotype): 1 Untitled, 4 × 3 in. (10.2 × 7.6 cm), inscribed “for Adam” 2 Untitled, 7 7/8 × 1 15/16 in. (20 × 4.9 cm) 3 Untitled, 1 7/8 × 1 7/8 in. (4.8 × 4.8 cm) 4 Untitled, 1 7/8 × 1 7/8 in. (4.8 × 4.8 cm), with photograph of Adam 5 Untitled, 3 7/8 × 3 in. (9.8 × 7.6 cm) 6 Untitled, 4 × 3 in. (10.2 × 7.6 cm) 7 Untitled, 4 × 3 in. (10.2 × 7.6 cm) 8 Untitled, 4 × 3 in. (10.2 × 7.6 cm) 9 Untitled, 3 × 4 in. (7.6 × 10.2 cm) 10 Untitled, 1 15/16 × 1 7/8 in. (4.9 × 4.8 cm) 11 Untitled, 1 15/16 × 1 7/8 in. (4.9 × 4.8 cm) 12 Untitled, 1 × 7 7/8 in. (2.5 × 20 cm) 13 Untitled, 4 × 3 in. (10.2 × 7.6 cm) 14 Untitled, 7 7/8 × 1 in. (20 × 2.5 cm) 15 Untitled, 7 7/8 × 1 in. (20 × 2.5 cm) 16 Untitled, 3 × 3 1/2 in. (7.6 × 8.9 cm) 17 Nana [Portrait of Helen Goldyne] Colored pencil; 4 1/8 × 3 in. (10.5 × 7.6 cm) 18 Untitled, 3 7/8 × 3 in. (9.8 × 7.6 cm) 19 Untitled, 1 1/2 in. diameter (3.8 cm)

press/printer : Text hand lettered by Thomas Ingmire. Images printed by Joseph Goldyne. binder : Donald Glaister, Palo Alto, CA; coin inset by Neal Pollack, Chicago, IL cover : Box, 11 5/8 × 11 1/4 × 1 1/2 in. (29.5 × 28.6 × 3.8 cm); book 10 3/8 × 10 × 1/2 in. (26.4 × 25.4 × 1.3 cm) sheet : Hand lettered and printed on J. Whatman mould-made paper, 10 1/4 × 9 1/2 in. (26 × 24.1 cm) image : Monotype, with one original drawing; image dimensions vary, see below edition size : No edition; unique book signature : Some images signed in pencil lower right, “Daddy,” “Dad,” or initialed “J.G.” inscriptions/markings : Adam’s name is blind stamped in Hebrew letters on first and last endpapers. His name is engraved in gold disks inset on front and back covers; front cover is in Hebrew, and back cover in English. A few of the images are titled in pencil. Typeset inscription on colophon page reads: “This Book / was made during the months / of February, March and April 1983 / for / ADAM JACOB-LEV GOLDYNE / on the occasion of / his Bar Mitzvah.”

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171 020 For Naomi (two-volume set) This1986 two-volume set was a gift to Goldyne’s daughter Naomi. Volume I is a unique book of letters addressed to Naomi by her grandmother, parents, and brothers, with one monoprint and four monotypes by Joseph Goldyne. Calligraphy in gold and colored inks by Thomas Ingmire. This volume is bound in off-white vellum-covered board. Volume II is a letterpress book of a bedtime story, Naomi Visits Ambrosia , written by Joseph Goldyne, with seven monoprinted aquatint etch ings by Joseph Goldyne. Type hand-set by Andrew Hoyem, Arion Press, San Francisco, CA. Bound in red leather with tan leather onlay and title stamped in gold on front cover. Both volumes are housed together in a tan leather-covered box with suede lining with “NAOMI” and “Nov. 1, 1986” stamped in gold on spine, with gold and platinum-plated etching plate Tallit for Naomi inset on front of box. press/printer : Volume I: Text hand lettered by Thomas Ingmire; images printed by Joseph Goldyne. Volume II: Text printed by Andrew Hoyem, Arion Press, San Francisco, CA; images printed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA. binder : Not stated cover : Box, 11 1/8 × 7 1/2 × 2 1/2 in. (28.3 × 19.1 × 6.4 cm); book of letters, 9 7/8 × 6 1/2 × 3/4 in. (25.1 × 16.5 × 1.9 cm); book Naomi Visits Ambrosia 9 1/4 × 6 1/4 × 7/8 in (23.5 × 15.9 × 2.2 cm) sheet : Volume I hand lettered on light gray J. Whatman mould-made paper marked 1961, 9 3/4 × 6 1/4 in. (24.8 × 15.9 cm). Volume II, Naomi Visits Ambrosia printed on unknown paper, 9 × 6 in. (22.9 × 15.2 cm). image : Monoprint and monotype; image dimensions vary, see below edition size : Volume I: no edition; unique book. Volume II: 20 signature : Images in volume I signed in pencil under image, “J.G.” or “Daddy.” Images in volume II, Naomi Visits Ambrosia signed in pencil lower right, “Daddy.” inscriptions/markings : Title written in pencil under each image in both volumes. In letterpress on final page of Naomi Visits Ambrosia, “This story was presented to / Naomi Goldyne / on November 1, 1986, the day of her Bat Mitzvah. / It was a gift from her mother and father, / dear friends of the author.” An upper case “N” is stamped in gold foil on the inside corners of the binding.

notes : This book was made as a gift for the Goldynes’ daughter, Naomi, on the occasion of her Bat Mitzvah. Volume I includes personal letters addressed to Naomi by her grandmother Helen Goldyne (Nana), her parents Joseph and Deborah Goldyne, and her two brothers Adam and Alfred. In volume II, the short story Naomi Visits Ambrosia by Joseph Goldyne is subtitled A Mouse Tale about the adventures of a very extraordinary young lady. Inset on the front of the box is the etching plate for Goldyne’s print Tallit for Naomi, 1986. Collection of Naomi Sloane. volume i – images (all but image 1 are monotype): 1 Tallit for Naomi Monoprint; 3 7/8 × 1 1/4 in. (9.8 × 3.2 cm) 2 Rose, 4 7/8 × 1 1/2 in. (12.4 × 3.8 cm) 3 Tallit 3 7/8 × 1 1/4 in. (9.8 × 3.2 cm) 4 Alfred’s 2-wheeler 2 × 2 in. (5.1 × 5.1 cm) 5 Adam’s Cassette and Keys, 1 1/2 × 1 1/2 in. (3.8 × 3.8 cm) volume ii – monoprint images : 1 Naomi’s Room as seen from Daddy’s Desk 2 7/8 × 1 7/8 in. (7.3 × 4.8 cm) 2 Looking over the forest from Naomi’s Room 2 7/8 × 1 7/8 in. (7.3 × 4.8 cm) 3 Tractor mower going up the grass wall 2 7/8 × 7/8 in. (7.3 × 2.2 cm) 4 Gefiltus Regularis Edibilis on a dish with garnish 2 1/8 × 1 3/8 in. (5.4 × 3.5 cm) 5 The Green Whale of Ambrosia as seen from the Cliffs Above 2 7/8 × 1 7/8 in. (7.3 × 4.8 cm) 6 An older Matzah Ball Tree Pollinating 2 7/8 × 1 7/8 in. (7.3 × 4.8 cm) 7 Naomi’s Room at Night with love from Daddy 2 1/8 × 1 3/8 in. (5.4 × 3.5 cm)

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The Song of Wandering Aengus Unique1988 book of the poem by William Butler Yeats (1865–1939) with three monotypes by Joseph Goldyne. Calligraphy by Thomas Ingmire. Bound in coral and gray leather with title and author stamped in gold on front cover and “GOLDYNE & INGMIRE” stamped in gold on spine. A small, red “apple” outlined in gold is stamped in the center of the back cover. The book is housed in a marbled-paper-covered slipcase. press/printer : Text hand lettered by Thomas Ingmire. Images printed by Joseph Goldyne. binder : Heritage Bindery, Pasadena, CA cover : Slipcase, 10 1/2 × 8 3/4 × 3/4 in. (26.7 × 22.2 × 1.9 cm); book, 10 1/4 × 8 1/2 × 1/2 in. (26 × 21.6 × 1.3 cm) sheet : Hand lettered and printed on J. Whatman paper, 9 5/8 × 7 5/8 in. (24.5 × 19.4 cm) image : Monotype; image dimensions vary, see below edition size : No edition; unique book signature : Signed in pencil on colophon page, “Joseph Goldyne” and “Thomas Ingmire.” Frontispiece image signed in pencil lower right, “Joseph Goldyne.” inscriptions/markings : In pencil lower left under frontispiece image, “86”; in pencil centered under image, “Yeats.” notes : “The Song of Wandering Aengus” was published in Yeats’ collection The Wind Among the Reeds, 1899. This book was made for Goldyne’s youngest child, Alfred, who had memorized Yeats’ magical poem. Collection of Dr. Alfred S. Goldyne. monotype images : 1 Yeats’ Apple (Frontispiece), 4 × 1 7/8 in. (10.2 × 4.8 cm) 2 Untitled, 4 1/16 × 2 in. (10.3 × 5.1 cm) 3 Untitled, 2 3/8 × 1 3/16 in. (6 × 3 cm)

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inscriptions/markings : In pencil lower left under the first image in book, “Monotype” notes : The text for this small, unique book is one of several “memorable fancies” Blake describes in his book The Marriage of Heaven and Hell. Joseph Goldyne first worked with Thomas Ingmire on the unique book Women 9 in 1976 (Cat. no. 018). Beginning in the mid-1980s Ingmire and Goldyne together produced a series of unique calligraphic sheets with lines from poems or prose that related to a single etching or monotype (Cat. nos. 045–065). These unique sheets led to more complex collaborations between Ingmire and Goldyne, including Hebrew Melodies (Cat. no. William023).Blake gave any artist enough leeway to put his or her imagination to work. The challenge for Goldyne and Ingmire was to integrate calligraphic text and monotype to give visual cadence and surprise to the book. As in illumi nated manuscripts of the early Renaissance, some pages sparkle with text alone and others weave text and image together. For this volume, Goldyne encouraged Ingmire to write over portions of his monotypes, and Ingmire found that the dried monotype inks made a receptive surface for his calligraphy and gilding. The Marriage of Heaven and Hell: A Memorable Fancy was purchased from the artist by Mr. and Mrs. Gerald D. Kohs in 1991 and was gifted to the Stanford Libraries Special Collections in 2013. This unique book is held in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST N7433.4 .G66 B63 1989 BB monotype images , 5 × 4 in. (12.7 × 10.2 cm): 1 Untitled (Frontispiece) 2 Printing Press by Candlelight 3 A Firey Eagle 4 Men as Books

The Marriage of Heaven and Hell: A Memorable Fancy Unique1989 book of selected lines from the poem “A Memorable Fancy” from The Marriage of Heaven and Hell by William Blake (1757-1827) with four monotypes by Joseph Goldyne. Calligraphy and illuminations by Thomas Ingmire. 12 pages. The cover of Fabriano Roma light gray paper has the title “A Memorable Fancy,” author’s name, and “Monotypes by Joseph Goldyne and calligraphy by Thomas Ingmire” stamped in gold. Housed in a cream-colored Ultrasuede clamshell box with gold foil stamping on spine and front cover. The book and box are housed in a brown fabric-covered clamshell box with paper label attached to the spine stamped with the author’s name, title “A Memorable Fancy,” “Goldyne,” “Ingmire,” and the date “1989.” press/printer : Text hand lettered by Thomas Ingmire. Images printed by Joseph Goldyne. binder : Not stated cover : Clamshell box, 10 15/16 × 7 5/8 × 1 1/2 in. (27.8 × 19.4 × 3.8 cm); leather box, 10 1/4 × 7 × 1 in. (26 × 17.8 × 2.5 cm); book, 9 1/4 × 6 1/4 × 1/2 in. (23.5 × 15.9 x 1.3 cm) sheet : Hand lettered and printed on J. Whatman paper, 9 × 6 in. (22.9 × 15.2 cm) image : Monotype, 5 × 4 in. (12.7 × 10.2 cm) edition size : No edition; unique book signature : Signed in pencil at bottom of colophon page, “Joseph Goldyne” and “Thomas Ingmire.” First image signed in pencil lower right, “Joseph Goldyne”; all other images signed in pencil lower right, “Goldyne.”

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inscriptions/markings : Written under first image, “1992 for Alfie. S. Goldyne”; two illustrations titled in pencil under image. Stamped with gold foil on front cover of book, “HEBREW MELODIES / Lord Byron / 1815 / With Illustrations by Joseph Ronald Goldyne / 1992 / For Alfred Seth Goldyne.” Initial “A” stamped in gold foil on back cover of book and front endpaper. Stamped on spine of box in gold foil, “Hebrew Melodies for Alfred Goldyne 1992.”

press/printer : T. Davidson, London (first edition, 1815). Images printed by Joseph Goldyne. publisher : Originally published by John Murray, London, 1815 binder : Heritage Bindery, Pasadena, CA cover : Box, 9 3/16 × 6 1/16 × 1 1/8 in. (23.3 × 15.4 × 2.9 cm); book, 8 1/4 × 5 3/8 × 5/8 in. (21 × 13.7 × 1.6 cm) sheet : Printed on unknown paper, 8 × 5 in. (20.3 × 12.7 cm) image : Monotype; image dimensions vary, see below edition size : Uniquely illustrated book signature : Images signed in pencil lower right, “J. Goldyne” or “J.G.”; images 16 and 17 signed in pencil upper right, “J. Goldyne.”

notes : Hebrew Melodies was a gift for Goldyne’s young est child, Alfred. The book contains some of Lord Byron’s most celebrated verse, including “She Walks in Beauty” and “The Destruction of Semnacherib.” Goldyne obtained a first-edition copy that was missing its original paper wrap pers and some end sheets. Because of the book’s imperfect condition, he carefully took it apart in order to monotype certain pages. Embellishments were added by Thomas Ingmire, and the book was then re-sewn and rebound. Collection of Dr. Alfred S. Goldyne. monotype images: 1 Untitled, 3 7/8 × 2 7/8 in. (9.8 × 7.3 cm) 2 Untitled, 1 7/16 × 1 7/16 in. (3.7 × 3.7 cm) 3 Sunburst (Title page image), 7 3/4 × 5 in. (19.7 × 12.7 cm) 4 Of Cloudless Climes and Starry Skies, 7 3/4 × 5 in. (19.7 × 12.7 cm) 5 Untitled, 2 1/4 × 1 1/16 in. (5.7 × 2.7 cm) 6 Untitled, 7 3/4 × 5 in. (19.7 × 12.7 cm) 7 Untitled, 1 × 1 in. (2.5 × 2.5 cm) 8 Untitled, 8 × 5 in. (20.3 × 12.7 cm) 9 Untitled, 1 × 1 in. (2.5 × 2.5 cm) 10 Untitled, 1 7/8 × 1 7/8 in. (4.8 × 4.8 cm) 11 It is the Hour, 2 7/8 × 1 7/8 in. (7.3 × 4.8 cm) 12 Away, Away Without a Wing, 3 7/8 × 2 7/8 in. (9.8 × 7.3 cm) 13 Untitled, 8 × 5 in. (20.3 × 12.7 cm) 14 The Land and the Life, 8 × 5 in. (20.3 × 12.7 cm) 15 Untitled, 8 × 5 in. (20.3 × 12.7 cm) 16 His Cohorts Were Gleaming, 8 × 5 in. (20.3 × 12.7 cm) 17 Untitled, 8 × 5 in. (20.3 × 12.7 cm) 2

187 023 Hebrew Melodies Unique1991–92book of poetry from an 1815 first edition of Hebrew Melodies by George Gordon Byron (Lord Byron) (1788–1824) with seventeen monotypes by Joseph Goldyne. Illuminations by calligrapher Thomas Ingmire. Bound in tan and black leather with gold foil stamping and black endpapers. Housed in black leather-covered clamshell box lined with paper, with title stamped in gold on spine.

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197 024 Book of Life

Unique1998 book with a title page written in calligraphy over a monotype by Joseph Goldyne. The text is from a famous quote by Hillel the Elder [also known as Hillel HaGadol, Hillel HaZaken, Hillel HaBavli, HaBavli] (c. 110 bc –10 ad). Calligraphy is written over the monotype in gold leaf by Thomas Ingmire. Bound in handmade paper-covered board with quarter-binding in navy Morocco leather with gold-foil tooling and stamping. On the front cover is a leather onlay with the title stamped in gold. The book is housed in a maple wood box with glass-enclosed cover with relief carving of the Star of David, and quote from Hillel the Elder carved into the sides.

press/printer : Printed by Peter Koch, Editions Koch, Berkeley, CA; hand-lettered calligraphy by Thomas Ingmire. Image printed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA publisher : The Jewish Community Federation of San Francisco, the Peninsula, Marin, and Sonoma Counties, CA binder : Daniel E. Kelm, The Wide Awake Garage, Easthampton, MA, designed by Joseph Goldyne. Box by Ervin Somogyi, with lettering around sides carved by Christopher Stinehour, Berkeley, CA. cover : Box, 19 1/4 × 13 3/4 × 4 3/8 in. (48.9 × 34.9 × 11.1 cm); book, 17 1/16 × 11 5/8 × 3 1/4 in. (43.3 × 29.5 × 8.3 cm) sheet : Hand lettered and printed on unknown paper, 16 5/16 × 11 5/8 in. (41.4 × 29.5 cm) image : Hand-colored monotype with calligraphy in gold leaf over the image, 16 5/16 × 11 5/8 in. (41.4 × 29.5 cm) edition size : No edition; unique book signature : Signed in pencil lower right under image, “Joseph Goldyne” inscriptions/markings : None notes : This book was made for the Jewish Community Federation of the Bay Area. The pages that follow the title page record testaments by members of the Jewish commu nity of San Francisco and the greater Bay Area who, over the years, have made contributions to the Jewish Commu nity Endowment Fund of the Jewish Community Federa tion of San Francisco, the Peninsula, Marin, and Sonoma Counties, California. Recorded in their texts are memories of family and motivations for philanthropic engagement. The text on the monotype and wood box is a famous quote by Hillel the Elder: “If I am not for myself, who will be for me? And if only for myself, what am I? And if not now, when?” More accurate dates for Hillel the Elder are most probably late first century ad, rather than the usual dates given (110 bc –10 ad ), which would make his life span 120 years.Goldyne also conceived the design for the maple box. The box and carving on the hinged lid were commissioned from Hungarian Holocaust survivor and craftsman Ervin Somogyi. The box has beveled framing on the lid to enclose a cross-grained wood relief of a Star of David and has a protective glass cover. Christopher Stinehour carved the quote from Hillel into the four sides of the box.

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199 025 A Few Places, A Few Poems

Unique2010 book of selected lines from poetry and prose: Confessions by St. Augustine (354–430 ad), translated by E.B. Pusey; “Sonnets to Orpheus” by Rainer Maria Rilke (1875–1926), translated by Anita Barrows and Joanna Macy; “Signature of All Things” by Kenneth Rexroth (1905–1982); “A Sketch for a Modern Love Poem” by Tadeusz Ròzewicz (1921–2014), translated by Czeslaw Milosz; The Tempest , Act IV, Scene 1 by William Shakespeare (1564–1616); “Intimations of Immortality” by William Wordsworth (1770–1850); “Memoire” (“Memory”) by Arthur Rimbaud (1854–1891), translated by Wallace Fowlie; and “Storm on Lake Asquam” by John Greenleaf Whittier (1807–1892), with nine monotypes of landscapes by Joseph Goldyne and text hand written in ink by the artist. Bound in light-gray paper with title printed letterpress on cover. Housed in gray leather clamshell box lined with paper, with gold-stamped detail on spine and black leather onlay on front with gold-foil tooling and title, artist’s name, and date stamped in gold. press/printer : Cover and typographic stamping printed by Kay Bradner and Claire Kessler-Bradner, San Francisco, CA. Images printed by Joseph Goldyne, Sonoma, CA. binder : Juliayn Coleman, Book Island Bindery, Oakland, CA cover : Clamshell box, 5 5/8 × 10 × 1 1/8 in. (14.3 × 25.4 × 2.9 cm); book, 4 3/4 × 9 3/16 × 3/8 in. (12.1 × 23.3 × 1 cm) sheet : Hand written and printed on J. Whatman 1961 paper with deckled edges, 4 1/2 × 18 1/8 in. (11.4 × 46 cm), folded to 4 1/2 × 9 1/16 in. (11.4 × 23 cm) image : Monotype; image dimensions vary, see below edition size : No edition; unique book signature : Signed in ink on title page, “Joseph Goldyne.” Images signed in ink lower right, “J. Goldyne.”

inscriptions/markings : Written in ink on first page, “A Few Places, A Few Poems / Joseph Goldyne / 2010.” Image 1 is marked lower left in ink, “M.T.” and titled in pencil under image. All text is hand written in ink by Joseph Goldyne. notes : Because of the time required to set and proof type, Goldyne desired instead to make a series of manu script books, writing the selected texts by hand with pen and ink. Because it was intended to be bound as a book, Goldyne made the illustrations as monotypes rather than drawings, in order to give the work a partially printed feeling. monotype images : 1 Curved Road, 1 1/2 × 3 7/8 in. (3.8 × 9.8 cm) 2 Distance is the Soul of Beauty, 2 3/4 × 3 3/4 in. (7 × 9.5 cm) 3 Einzig das Lied überm Land Heilligt Und Feiert, 2 7/8 × 3 7/8 in. (7.3 × 9.8 cm) 4 I think of those who have loved me…, 2 3/4 × 3 3/4 in. (7 × 9.5 cm) 5 Love poems of old, 2 7/8 × 3 7/8 in. (7.3 × 9.8 cm) 6 The Clowd-capt towers…, 2 7/8 × 3 7/8 in. (7.3 × 9.8 cm) 7 One moment, as if challenging the storms…, 2 3/4 × 3 3/4 in. (7 × 9.5 cm) 8 The Play of Angels…, 2 3/4 × 3 3/4 in. (7 × 9.5 cm) 9 There was a time…, 2 3/4 × 3 3/4 in. (7 × 9.5 cm)

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A Few Waterfalls Unique2010 book of selected lines from seven poems: “As I Walked Out One Evening” by W.H. Auden (1907–1973); “The Wise Sense Imminent Events” by Constantine P. Cavafy (1863–1933); “A White Turtle Under a Waterfall” by Wang Wei (c. 701–761), translated by Tony and Willis Bernstone and Xu Haixin; “Niagara” by José María Heredia (1803–1839); “Inferno,” Canto XVI, lines 90–105 from The Divine Comedy by Dante Alighieri (1265–1321), translated by Robert Pinsky; “Under the Water fall” by Thomas Hardy (1840–1928); “Let this Darkness be a Bell Tower” from Sonnets to Orpheus , Part 2, XXIX, by Rainer Maria Rilke (1875–1926), translated by Anita Barrows and Joanna Macy; and “Ode to Memory” by Alfred Lord Tennyson (1809–1892), with ten monotypes of waterfalls by Joseph Goldyne and text hand written in ink by the artist. Bound in cream-colored paper with title printed letterpress on cover. Housed in gray leather clamshell box lined with gray paper, gold-stamped detail on spine, and black leather onlay on front with gold-foil tooling and title, artist’s name, and date stamped in gold. press/printer : Cover and typographic stamping printed by Kay Bradner and Claire Kessler-Bradner, San Francisco, CA. Images printed by Joseph Goldyne, Sonoma, CA, with assistance from Unai San Martin, Kay Bradner, and Claire Kessler-Bradner. binder : Claire Kessler-Bradner, San Francisco, CA. Box conceived and made by Juliayn Coleman, Book Island Bindery, Oakland, CA cover : Clamshell box, 10 1/8 × 5 1/4 × 1 1/8 in. (25.7 × 13.3 × 2.9 cm); book, 9 1/4 × 4 1/4 × 3/8 in. (23.5 × 10.8 × 1.0 cm) sheet : Hand written and printed on cream-colored J. Whatman paper with deckled edges, 9 1/8 × 4 1/8 in. (23.2 × 10.5) image : Monotype; image dimensions vary, see below edition size : No edition; unique book signature : Signed in ink lower right under each image, “J. Goldyne” inscriptions/markings : Title and date written in ink by the artist on first page, “A Few Waterfalls 2010.” All lines from poems are hand written in ink by Joseph Goldyne.

notes : Collection of Neil Elliott, Santa Barbara, CA monotype images : 1 O plunge your hands in water… (Auden), 3 15/16 × 2 7/8 in. (10 × 7.3 cm) 2 The Wise Sense Imminent Events (Cavafy), 3 7/8 × 2 7/8 in. (9.8 × 7.3 cm) 3 A White Turtle Under a Waterfall (Wang Wei), 3 15/16 × 2 7/8 in. (10 × 7.3 cm) 4 My brain… (Heredia), 3 15/16 × 2 15/16 in. (10 × 7.5 cm) 5 Untitled, 3 7/8 × 2 7/8 in. (9.8 × 7.3 cm) 6 And then my master left… (Dante) 3 15/16 × 2 15/16 in. (10 × 7.5 cm) 7 In stir of kingdoms, in wars, in peaces… (Hardy), 3 15/16 × 2 15/16 in. (10 × 7.5 cm) 8 And if the world has ceased to hear you… (Rilke), 3 15/16 × 2 15/16 in. (10 × 7.5 cm) 9 Untitled, 3 7/8 × 2 7/8 in. (9.8 × 7.3 cm) 10 Thou wert not nursed by the waterfall… (Tennyson), 3 7/8 × 2 7/8 in. (9.8 × 7.3 cm)

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217 027 Some Skies, Some Clouds Unique2010 book of selected lines from poems and prose: “The Birds Have Vanished” by Li Po (701–762 ad), translated by Sam Harnill; “I Thank You God” by e.e. cummings (1894–1962); quote from Jason’s Farewell to Medea (lines 1026-27) by Seneca (c. 4 bc –65 ad); “Morning, Sailing into Xingang” by Wang Wei (c. 701–761), translated by Tony and Willis Barnstone and Xu Haixin; “Hymn to Intellectual Beauty” by Percy Bysshe Shelley (1792–1822); and “Dusk in Winter” by W.S. Merwin (1927–), with nine monotypes of clouds by Joseph Goldyne and text hand written in ink by the artist. Bound in light gray paper with title printed letterpress on cover. Housed in gray leather clamshell box lined with paper, gold-stamped detail on spine, and black leather onlay on front with gold-foil tooling and title, artist’s name, and date stamped in gold.

press/printer : Cover and typographic stamping printed by Kay Bradner and Claire Kessler-Bradner, San Francisco, CA. Images printed by Joseph Goldyne, Sonoma, CA, with assistance from Unai San Martin, Kay Bradner, and Claire Kessler-Bradner.

binder : Claire Kessler-Bradner, San Francisco, CA. Box conceived and made by Juliayn Coleman, Book Island Bindery, Oakland, CA cover : Clamshell box, 5 5/8 × 10 × 1 1/8 in. (14.3 × 25.4 × 2.9 cm); book, 4 3/4 × 9 3/16 × 3/8 in. (12.1 × 23.3 × 1 cm) sheet : Hand written and printed on J. Whatman 1961 paper with deckled edges, 4 1/2 × 18 1/8 in. (11.4 × 46 cm), folded to 4 1/2 × 9 1/16 in. (11.4 × 23 cm) image : Monotype, 2 3/4 × 3 3/4 in. (7 × 9.5 cm) edition size : No edition; unique book signature : Signed in ink on title page, “Joseph Goldyne.” Images signed in ink lower right under images, “J. Goldyne.” inscriptions/markings : Written in ink on first page, “Some Skies, Some Clouds / Joseph Goldyne / 2010.” Image I is titled in pencil under image. Image II is dated lower left in ink, “2010.” All text is hand written in ink by Joseph Goldyne. inscriptions/markings : Some images numbered and/or titled on verso notes : Skies have been a popular focus of artistic study, especially among English and French plein-air painters of the early nineteenth century. Best known of these studies are those of John Constable (1776–1837), which were oriented toward observation of atmospheric phenomena and were annotated accordingly. Goldyne’s cloud studies are imaginary and serve to inspire the selection of these poetic lines chosen to accompany them. monotype images , 2 3/4 × 3 3/4 in. (7 × 9.5 cm): 1 Break Through 2 The Birds Have Vanished 3 Top and High… 4 A wind has blown… 5 Go on through… 6 I’m heading away 7 Love is Less 8 A Harmony in Autumn 9 The Sun Sets

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223 028 Falls (Sketchbook I) Unique2013–14 sketchbook with fifty-eight pages of small black ink-wash studies of waterfalls and landscapes by Joseph Goldyne. Commercially bound with white fabric-covered cover, and an ink-wash painting by Joseph Goldyne on the front cover. press/printer : Not printed binder : Commercial binding cover : 5 1/8 × 4 × 3/4 in. (13 × 10.2 × 1.9 cm) sheet : 4 3/4 × 3 1/2 in. (12.1 × 8.9 cm) image : Ink wash, some with white watercolor, 4 3/4 × 3 1/2 in. (12.1 × 8.9 cm); some images are horizontal, 3 1/2 × 4 3/4 in. (8.9 × 12.1 cm) edition size : No edition; unique book signature : Signed in ink on front and back covers, “J. Goldyne”; signed and dated in ink on inside front cover, “2013/2014 Joseph Goldyne.” Some pages numbered and initialed or signed in ink on verso upper left. inscriptions/markings : Some images numbered and/or titled on verso notes : In 2005, Goldyne began a series of paintings of waterfalls, which over time have become more minimal in presentation. The paintings, measuring six feet high by eighteen inches wide, invent variants of a pictorial image that stresses geometry and contrast. To complement the paintings, he made more than 250 small studies, which though also imaginary, are more naturalistic. Collection of Joseph Goldyne ink-wash images , 4 3/4 × 3 1/2 in. (12.1 × 8.9 cm)

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233 029 Falls (Sketchbook II) Unique2014 sketchbook with twenty-five pages of black ink-wash studies of waterfalls by Joseph Goldyne. Commercially bound with white fabric-covered cover, with an ink-wash painting by Joseph Goldyne on the cover. press/printer : Not printed binder : Commercial binding cover : 11 × 8 1/2 × 1 1/2 in. (27.9 × 21.6 × 3.8 cm) sheet : 10 5/8 × 8 1/4 in. (27 × 21 cm) image : Ink wash, 10 5/8 × 8 1/4 in. (27 × 21 cm) edition size : No edition; unique book signature : Signed in ink on spine, “J. Goldyne.” Signed and dated in ink on first page upper right, “J. Goldyne 2014.” Some images signed in ink lower right or on verso, “J. G.” or “J. Goldyne.” inscriptions/markings : “FALLS” hand lettered vertically on spine in black ink notes : This sketchbook has ink-wash studies on the cover and first twenty-five pages; the remaining pages are blank. See Notes for Falls (Sketchbook I) (Cat. no. 028). ink-wash images , all Untitled, 10 5/8 × 8 1/4 in. (27 × 21 cm).

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12 Roxbury Falls, Monotype; signed in pencil lower right, “J. Goldyne”; in pencil lower left, “Monotype”

7 Untitled, 2014, Monotype; signed in pencil lower right, “J. Goldyne”; in pencil lower left, “monotype 2014” 8 Untitled, Monotype; signed in pencil lower right, “J. Goldyne”; in pencil lower left, “monotype” 9 Untitled, Monoprint; signed in pencil lower right, “J. Goldyne”; in pencil lower left, “monoprint”

239 030 Falls Unique2015 book of three poems: “Gazing at the Lu Mountain Waterfall” by Li Po (701–762), translated by David Hinton, and two anonymous poems, “The Wishes of Fishes” and “High, White and Far,” with twelve images of waterfalls by Joseph Goldyne. Images include etchings, monoprints, and monotypes. Bound in black leather with white leather inset on front cover stamped with title and author. Housed in black fabric-covered box with ivory Ultrasuede lining.

press/printer : Lawrence G. Van Velzer, Foolscap Press, Santa Cruz, CA. Images printed by Kay Bradner and Unai San Martin in Sonoma, CA, and Robert Townsend, R.E. Townsend Inc., Georgetown, MA. binder : Peggy Gotthold, Foolscap Press, Santa Cruz, CA cover : Box, 17 7/8 × 10 1/4 × 1 3/4 in. (45.4 × 26 × 4.5 cm); book, 17 × 9 1/4 × 1 in. (43.2 × 23.5 × 2.5 cm) sheet : Printed on Hahnemühle Bugra paper, folded to 16 3/4 × 9 in. (42.6 × 22.9 cm); images printed on various papers, 10 × 4 in. (25.4 × 10.2 cm) tipped into Hahnemühle Bugra paper image : Etching, monoprint, and monotype, 9 × 3 in. (22.9 × 7.6 cm) edition size : No edition; unique book signature : Signed in pencil on colophon page, “Joseph Goldyne.” Some images signed in pencil lower right, “J. Goldyne” or “J.G.”

inscriptions/markings : “Proof,” “Monotype,” “Monoprint” or other notations in pencil under some of the images, see below notes : Goldyne began a series of large waterfall paintings in 2005. Like the ink-wash studies and aquatints that followed, all are imaginary; but unlike the larger paintings that emphasize attenuation, geometry and contrast, the small ink-wash studies suggest variations on natural scen ery. This unique book is intended as a prelude to the limited-edition book Going Down Singing (2015) featuring Robert Bringhurst’s poem of that title with Goldyne’s images of waterfalls (Cat. no. 012). images , 9 × 3 in. (22.9 × 7.6 cm): 1 Untitled (“The Wishes of Fishes”), Etching and aquatint; signed in pencil lower right, “Joseph Goldyne”; in pencil lower left, “proof”

2 Untitled (May 3, 2014), Monoprint; initialed in pencil lower right, “J.G.”; in pencil lower left, “May 3, 2014”

10 Broad Fall 2014, Monoprint; signed in pencil lower right, “J. Goldyne”; in pencil lower left, “Aug. 2014”; title in pencil lower center 11 Sept. 10, 2014, Georgetown, Mass., Etching; initialed in pencil lower right, “J.G.”; in pencil lower left, “1st state / Sept. 10, 2014 / Georgetown, Mass.”

5 Untitled, 2011, Monotype; signed in pencil lower right, “J. Goldyne”; in pencil lower left, “monotype”; in pencil lower center, “2011” 6 Untitled, 2014, Monoprint; signed in pencil lower right, “J. Goldyne”; in pencil lower left, “2014 monoprint”

3 Fog Roll Fall Monotype; signed in pencil lower right, “Joseph Goldyne”; in pencil lower left, “monotype”; title in pencil lower center 4 Untitled, Monoprint; signed in pencil lower right, “J. Goldyne”; in pencil lower left, “monoprint”

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press/printer : Lawrence G. Van Velzer, Foolscap Press, Santa Cruz, CA binder : Peggy Gotthold, Foolscap Press, Santa Cruz, CA cover : Box, 19 3/16 × 15 11/16 × 1 1/4 in. (48.7 × 39.8 × 3.2 cm); book, 18 15/16 × 15 7/16 × 1 in (48.1 × 39.2 × 2.5 cm) sheet : Printed on BFK Rives paper, 18 1/2 × 14 7/8 in. (47 × 37.8 cm); images printed on French prepared paper used for metal-point drawings image : Gold-point drawings; image dimensions vary, see below. edition size : No edition; unique book signature : Signature and location on drawings vary, see below. Signed and dated in ink on colophon page centered below text, “Joseph Goldyne.”

Unique2015 book of selected text from an essay by Robert Flynn Johnson first published in April 1996 in Gold Records/1989–1996 , Richard York Gallery, New York, with twelve gold-point drawings by Joseph Goldyne. 19 pages. Bound with a vellum spine and fore-edge and Japanese fabric sides, with title stamped in gold on brown leather onlay on spine. Housed in a fabric-covered clamshell box lined with Ultrasuede.

inscriptions/markings : Titles and dates of drawings are written in gold point upper right, except for drawing 11, Hapuna Hotel, Hawaii, April 20, 2010, title and date written in gold point upper left. notes : Goldyne began making drawings with silverand gold-point tools in the 1970s. Gold point, in particular, appealed to him for its ability to present lines as soft rather than hard elements, and for the way that closely drawn parallel lines seem to merge while retaining their individuality. These metal-point tools, together with the coated paper required to reveal the metallic line, are ideal companions for Goldyne when traveling. This book brings together drawings that span a twenty-one-year period.

gold-point drawing images : 1 Books, Monterey Plaza Hotel, January 2, 1989, 7 1/4 × 7 1/2 in. (18.4 × 19.1 cm); signed in gold point lower right, “J. R. Goldyne“ 2 New York: Looking West from 115 Central Park West, Apt. 31C, June 18, 1994, 10 × 7 1/8 in. (25.4 × 18.1 cm); not signed 3 Near Corfu on Astarte II, July 24, 1995, 8 3/8 × 7 7/8 in. (21.3 × 20 cm); signed in gold point lower right, “J. Goldyne“ 4 Martha’s Vineyard, Edgartown Lighthouse from Room 215, Harbor View, Oct. 16, 1996 5 11/16 × 8 in. (14.5 × 20.3 cm); not signed 5 National Gallery of Art, Washington, D.C., Oct. 25, 1996 5 11/16 × 8 in. (14.5 × 20.3 cm); signed in gold point lower right, “J. Goldyne” 6 Southampton, Long Island, Platzman Home, 1997, 11 11/16 × 8 5/16 in. (29.7 × 21.7 cm); not signed 7 Cricket Club Jacket of Clem Gibson, c. 1920, Westwell Manor, Cotswolds, England, June 15, 1998, 8 1/2 × 8 1/4 in. (21.6 × 20.1 cm); signed in gold point lower right “Joseph Goldyne“ 8 Acropolis from Room 844, Intercontinental Hotel, Athens, Thursday at Sunset (8:30–9:00 pm), temp. 78° F, Breezy, June 18, 1998, 4 1/4 × 7 3/4 in. (10.8 × 19.7 cm); not signed 9 Metropolitan Museum from Stanhope Hotel, Room 1411, April 13, 1999; not signed; 9 7/8 × 7 7/8 in. (25.1 × 20 cm) 10 Dad’s Guadagnini, Nov 16, 2002, 5 1/2 x 9 5/8 in. (14 × 24.4 cm); signed in gold point lower right, “J. Goldyne“ 11 Hapuna Hotel, Hawaii, April 20, 2010 11 13/16 × 8 11/16 in. (30 × 22.1 cm); not signed, title written upper left 12 Varga apartment, Pelican Cove, Sarasota, Florida, June 9th, 2010, 5 1/4 × 8 11/16 in. (13.3 × 22.1 cm); signed in gold point upper right, “J. Goldyne”

247 031 Gold Records

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The Trial and Death of Socrates 1962; 1993–2015 Book of four dialogues by Plato (c. 428 bc–c. 348 bc), translated by Benjamin Jowett, published by The Limited Editions Club, 1962, illustrated with mechanically reproduced line drawings by Hans Erni (1909–2015), and enhanced with monotypes and etchings by Joseph Goldyne tipped in selected pages. 292 pages. Hard bound and covered with light gray paper, with a print by Joseph Goldyne on front cover. Housed in maroon fabric-covered slipcase.

inscriptions/markings : Titles written in pencil under Goldyne’s images; most images dated lower left in pencil, “ ’93.” Inscribed on front endpaper in ink, “For Anne from Joseph & Debbie / Love & Best Wishes for a special birthday! / May 10th 1993 / San Francisco.” Inscribed on title page in ink, “and extra illustrated by / Joseph Goldyne / in honor of the birthday of / Anne Kohs / May 10, 1993.” Edition number “198” written in ink on colophon page, under which Goldyne has written, “which has been ‘extra illustrated’ by Joseph Goldyne in May of 1993.” notes : This book comprises Plato’s four dialogues on The Trial and Death of Socrates, translated and with intro ductory analysis by Benjamin Jowett and a preface by Huntington Cairns. This edition was printed in 1962 for members of the Limited Editions Club, and was designed and printed at the Stamperia Valdonega in Verona, Italy, by Giovanni Mardersteig, one of the most renowned printer-designers of the twentieth century. Originally illustrated with mechanically reproduced line drawings by Hans Erni, this volume, number 198, has been uniquely altered beginning in 1993 with monotypes and etchings by Joseph Goldyne tipped in various pages. Goldyne notes that, like his alteration of the first edition of Lord Byron’s Hebrew Melodies (Cat. no. 023), his additions to this volume suggest no disrespect for the original. Both books were thoughtfully altered as special gifts. His first edition of Hebrew Melodies was falling apart, and this volume of Plato’s dialogues had employed mechanically reproduced drawings rather than original prints. Goldyne tipped in his original prints to personalize this copy of Plato’s classic. New images continue to be added, and this book is a work-in-progress.

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Private collection.

press/printer : Giovanni Mardersteig, Stamperia Valdonega, Verona, Italy. Images printed by Joseph Goldyne. publisher : Originally published by The Limited Editions Club, 1962; this volume, number 198, has been uniquely altered binder : Not stated cover : Slipcase, 12 × 8 1/2 × 1 1/2 in. (30.5 × 21.6 × 3.8 cm); book, 11 3/4 × 8 1/4 × 1 1/8 in. (29.9 × 21 × 2.9 cm) sheet : Printed on handmade Italian paper, 8 × 11 1/2 in. (20.3 x 29.2 cm); images printed on various papers image : Monotype and etching; image dimensions vary edition size : Uniquely altered book, number 198 of an edition of 1500 signature : Signed in ink on title page, “Joseph Goldyne.” Images signed in ink or pencil lower right, “J. Goldyne,” “Joseph Goldyne,” or “J.G.” Book is signed on colophon page by Giovanni Mardersteig and Hans Erni.

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261 033 Shell Landscapes Limited-edition1969 portfolio with three poems and five black-and-white stone lithographs by Joseph Goldyne. The text was hand-set in 18-point Garamond. The sheets are loose in a tan paper-covered folder, housed in a tan fabric-covered slipcase with title and artist’s name printed on a paper label affixed to front of slipcase. Portfolios numbered one through ten have vellum spine and are lined with hand-marbled papers specially made for this edition.

press/printer : Robert Mars and Shirley Borella, Boston, MA. Images printed by Paul Maguire and Herbert A. Fox, Impressions Workshop, Boston, MA.

publisher : Impressions Workshop, Boston, MA

inscriptions/markings : Edition number written in ink on title page or colophon page, and lower left under each image. Impressions Workshop chop mark embossed lower left under each image. notes : The portfolio is dedicated in the colophon to Deborah Goldyne. This was Goldyne’s first portfolio, and these were his first edition prints, inspired by his wife’s pregnancy with their first child. At the time, Goldyne was in graduate school at Harvard University. Although large prints were the fashion at the time, the relatively small scale of these prints was inspired by his looking at master draw ings and old-master prints at the Fogg Art Museum in Cambridge and the Museum of Fine Arts, Boston. The lithographs are individually titled Pregnant Shell Landscape I through V. Approximately ten portfolios were destroyed by water damage. Edition number 29/30 is in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST N7433.4 .G66 P74 1969 F lithographs : 1 Pregnant Shell Landscape I 16 3/16 × 12 13/16 in. (41.1 × 32.5 cm) 2 Pregnant Shell Landscape II 12 13/16 × 16 3/16 in. (32.5 × 41.1 cm) 3 Pregnant Shell Landscape III 12 13/16 × 16 3/16 in. (32.5 × 41.1 cm) 4 Pregnant Shell Landscape IV 16 3/16 × 12 13/16 in. (41.1 × 32.5 cm) 5 Pregnant Shell Landscape V 12 13/16 × 16 3/16 in. (32.5 × 41.1 cm) PORTFOLIOS

binder : Designed and created by Ivan Ruzicka, Impressions Workshop, Boston, MA cover : Slipcase, 17 3/8 × 13 1/4 × 3/4 in. (44.1 × 33.7 × 1.9 cm); folder, 17 × 13 1/8 × 1/2 in. (43.2 × 33.3 × 1.3 cm) sheet : Printed on Arches Buff paper, 16 3/16 × 12 13/16 in. (41.1 × 32.5 cm) image : Lithograph; image dimensions vary, see below garver catalogue no 2–6 edition size : 30; portfolios one through 10 include one additional impression of Pregnant Shell Landscape I, hand colored with watercolor signature : Images signed in pencil lower right, “Joseph Goldyne.” Colophon page signed and numbered in ink lower right under text, “Joseph Goldyne.”

LIMITED-EDITION

Pregnant

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265 034 Ten Firsts in the History of Printmaking

inscriptions/markings : Edition number written in ink on colophon page. Print edition number and title notation in pencil under each image; El Dorado Press printer’s chop embossed at bottom of each sheet.

8 The first chine collé, spit bite and drypoint rendering of a glass pear featuring color and highlights which suggest its vitreous character Aquatint and drypoint on pale ochre paper; 3 13 16 × 2 15/16 in. (9.7 × 7.5 cm)

10 Off: The first depiction of the former bulb in its non-illuminated state Aquatint and drypoint on gray paper; 2 15/16 × 3 15 16 in. (7.5 × 10 cm)

Limited-edition1978 portfolio of ten aquatints by Joseph Goldyne with title page, list of prints, and colophon page. Typographic page design by Ann Rosener. Gray fabric-covered portfolio stamped in gold with Joseph Goldyne signature upper left and portfolio title lower right. press/printer : Ann Rosener, Woodside, CA. Images printed by Jeanne Gantz and David Kelso, El Dorado Press, Berkeley, CA. publisher : Joseph Goldyne binder : Schuberth Bindery, San Francisco, CA cover : 13 5/8 × 10 × 3/8 in. (34.6 × 25.4 × 1 cm) sheet : Printed on fine Oriental paper simultaneously affixed to Fabriano Roma colored stock with aqueous paste (chine collé), 13 1/8 × 9 1/2 in. (33.3 × 24.1 cm) image : Aquatint; image dimensions vary, see below garver catalogue no 36–45 (catalogue incor rectly lists publication date as 1976) edition size : Ten proofs : Six signature : Signed in ink on colophon page, “Joseph Goldyne.” Images signed in pencil lower right, “J.R.G.”

9 On: The first post-Johns incandescent bulb fashioned in spit bite and drypoint and depicted, with the aid of à la poupée coloring, to characterize its illuminated state Aquatint and drypoint on pale ochre paper; 2 7 8 × 3 7/8 in. (7.3 × 9.8 cm)

notes : This portfolio was not about historical firsts in printmaking, but about “new” firsts conjured by the artist. Taking an ironic view of current artistic innovation, Goldyne intentionally assigned pretentious titles to the prints, each proclaiming a “first” in some trifling, albeit unique, combination of subjects. Goldyne notes that the prints were intended as a visual invitation to reconsider the rank of innovation in the arts, which he feels should be subordinated to the quality of achievement. Images 2 and 3 also exist in proof editions of ten copies each, printed on Arches Buff paper. There are a few addi tional proofs of images 5, 6, 7, 9 and 10 on various papers, some with hand coloring. Edition number 6/10 is in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST N7433.4 .G66 T46 1978 F aquatint images : 1 The first intaglio Cubist image impressed on a chine collé preparation against a maroon field suggesting a note of fenestral sanctity Aquatint and drypoint on maroon paper; 7 × 5 7/16 in. (17.8 × 13.8 cm) 2 The first vertically oriented spit bite homage to E. Hopper’s barber pole Aquatint on gray paper; 7 × 2 7 16 in. (17.8 × 6.2 cm) 3 The first aquatint pearl, colored à la poupée, set on an etched and aquatinted Cubist field Aquatint, etching, and drypoint on warm gray paper; 5 1/16 × 3 3 8 in. (12.9 × 8.6 cm) 4 The first chine collé six-pack, employing etching, softground drypoint and spit bite, wiped à la poupée and incorporating orange, bottle top, cubical grid, meter and crayon images arranged in two rows of three objects Aquatint, etching, and drypoint on gray paper; 4 7 8 × 6 7 8 in. (12.4 × 17.5 cm) 5 Mammary grid: The first juxtaposition of a soft-ground grid with select spot coloration and a single breast, the nipple casting a shadow rendered with watercolor Aquatint, soft-ground with watercolor on gray paper; 3 × 5 7/16 in. (7.6 × 13.8 cm) 6 The first horizontally and frontally oriented hierarchical depiction in spit bite, etching and drypoint of a cracker and cheese slice Aquatint, etching, and drypoint on brown paper; 3 15/16 × 5 3 4 in. (10 × 14.6 cm) 7 The first faintly emergent nude couple rendered in spit bite, softened with acid wash and minimally delineated by drypoint accents Aquatint and drypoint on brown paper; 3 15/16 × 5 3 4 in. (10 × 14.6 cm)

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inscriptions/markings : Edition number written on colophon page. Print edition number and title written under each image; El Dorado Press printer’s chop embossed at lower center of each sheet. notes : The aquatint and drypoint etchings in this portfo lio were created by Joseph Goldyne as studies exploring the ways in which glass objects manifest ambient light. Glass objects are not only illuminated by light, they alter its direction and intensity in innumerable ways. Goldyne began to treat this theme in the 1970s. He had been paint ing on printing plates with acid (spit bite) and found that the technique could reproduce a glass-like appearance, and that stopping out passages of bright reflection heightened the effects of glass and light.

275 035 Vitrine Limited-edition1978 portfolio of ten aquatints with drypoint accents by Joseph Goldyne with title page, list of prints, and colophon page. Typography and letterpress by Les Ferroggiaro, The James H. Barry Company, San Francisco, CA. Housed in an off-white silk-covered portfolio.

press/printer : Les Ferroggiaro, The James H. Barry Company, San Francisco, CA. Images printed by Jeanne Gantz and David Kelso, El Dorado Press, Berkeley, CA. publisher : Smith Andersen Editions, Palo Alto, CA, and Jeanne Gantz, Berkeley, CA binder : Not stated cover : 15 × 11 3/8 × 1/2 in. (38.1 × 28.9 × 1.3 cm) sheet : Images printed on Hosho paper affixed to Fabriano Roma Michelangelo paper (chine collé), 13 × 9 5/8 in. (33 × 24.4 cm) image : Aquatint with drypoint accents inked à la poupée; image dimensions vary, see below garver catalogue no 55–64 edition size : 30 proofs : Ten; six artist’s proofs, two printer’s proofs, one bon à tirer, and one hors de commerce signature : Images initialed in pencil lower right, “J.R.G.”

Edition number 20/30 is in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST N7433.4 .G66 V58 1978 F aquatint images : 1 Chalice, 5 3/8 × 3 13/16 in. (13.7 × 9.7 cm) 2 Rock Crystal Watch, 2 15/16 × 3 13/16 in. (7.5 × 9.7 cm) 3 Cut Glass Window, 5 3/8 × 3 7/8 in. (13.7 × 9.8 cm) 4 Faceted Scent Bottle, 5 3/8 × 3 7/8 in. (13.7 × 9.8 cm) 5 Favrille Vase, 5 7/8 × 3 7/8 in. (14.9 × 9.8 cm) 6 Atomizer, 4 13/16 × 3 7/8 in. (12.2 × 9.8 cm) 7 Captain’s Decanter, 5 3/8 × 3 7/8 in. (13.7 × 9.8 cm) 8 Flame Bulb, 2 15/16 × 3 7/8 in. (7.5 × 9.8 cm) 9 Glass Cookie Jar, 5 3/8 × 3 7/8 in. (13.7 × 9.8 cm) 10 Crystal Door Knob, 2 3/4 × 3 7/8 in. (7 × 9.8 cm) 1 2

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press/printer : Wesley B. Tanner, Passim Editions, Ann Arbor, MI. Lithographs (plates 2, 10) proofed and printed in 1991 by Rick Dula, Magnolia Editions, Oakland, CA; intaglio prints proofed by Joseph Goldyne at Magnolia Editions, Oakland, CA, at Katherine Lincoln Press, San Francisco, CA, and at R.E. Townsend Inc., Georgetown, MA; printed in 1994 by Robert Townsend and Kate Hanlon, R.E. Townsend Inc., Georgetown, MA.

inscriptions/markings : Edition number written in pencil on colophon page. notes : Publisher and designer Wesley B. Tanner selected the poems from the nine books of The Greek Anthology, a series of cycles of Greek poems written by numerous authors between 400 bc and 600 ad. The poems selected for this edition – by turns loving, erotic and profound –express the eternal longing of human desire. Goldyne notes that the poems selected by Tanner motivated him to envision a visual compendium of ancient as well as modern flavor. The timeless and erotic nature of the verses presented an opportunity for inventive figurative imagery. The prints employ a range of intaglio techniques as well as lithography, providing variations in texture as well as suggestive subtleties akin to the poetry. An unnumbered edition is in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST N7433.4 .G66 S94 1995 FF images : 1 Hand in Hand, 1991 93 Drypoint; 3 × 4 3 4 in. (7.6 × 12.1 cm) 2 Lust, Lithograph1991; 19 × 12 1 2 in. (48.3 × 31.8 cm) 3 Back to Back, 1993 Etching; 1 7 8 × 2 7 8 in. (4.8 × 7.3 cm) 4 Male and Female, 1990 Aquatint and drypoint; 2 3 4 × 8 3 16 in. (7

publisher : Passim Editions, Ann Arbor, MI binder : Box made by BookLab, Austin, TX cover : Box, 20 1/4 × 13 1/2 × 1 1/2 in. (51.4 × 34.3 × 3.8 cm); folder, 19 × 12 5/8 × 3/4 in. (48.3 × 32.1 × 1.9 cm) sheet : Images printed on Magnani Incisioni mould-made paper, 19 × 24 3/4 in. (48.3 × 62.9 cm), folded to 19 × 12 3/8 in. (48.3 × 31.4 cm) image : Image media and dimensions vary, see below garver catalogue no . 165–174 edition size : 25 proofs : No known proofs signature : Signed in pencil on colophon page, “Joseph Goldyne.”

× 20.8 cm) 5 Afternoon, 1991 Drypoint; 3 1 8 × 4 1 8 in. (7.9 × 10.5 cm) 6 Frontal Nude, 1991 Aquatint and drypoint; 8 × 6 1 2 in. (20.3 × 16.5 cm) 7 Embrace From Behind (Nude Couple), 1986 Aquatint and drypoint; 5 × 4 3 8 in. (12.7 × 11.1 cm) 8 Kimon, Aquatint1990and drypoint; 4 1 4 × 3 3 8 in. (10.8 × 8.6 cm) 9 Vertical Embrace, 1990 Etching, aquatint, roulette, and drypoint; 5 7 8 × 2 in. (14.9 × 5.1 cm) 10 Couple, Lithograph;,1991 19 × 12 1 2 in. (48.3 × 31.8 cm)

283 036 Sweeter Than Honey

Limited-edition1995 portfolio of nineteen erotic poems from The Greek Anthology with ten prints by Joseph Goldyne (two lithographs and eight intaglio prints). The poets, traditional numbering of the poems, and translators in this edition are: Nossis (c. 300 bc), v. 170 on the title page, translated by Peter Jay; Asklepiades (c. 320 bc), v. 169, translated by Barriss Mills; Meleager (first century bc), v. 147, 156, and xiii 132 translated by Barriss Mills, v. 24 translated by W.R. Patton, and v. 166 translated by Robin Skelton; Marcus Argentarius (first century bc), v. 89, 104 and 105, translated by Fleur Adcock; Paulos [Paulos Silentarius] (c. 575–580), v. 241, 244, and 290, translated by Robin Skelton; Philodemus (c. 110–c. 40 or 35 bc), v. 132, translated by Barriss Mills; Rufinus (dates unknown), v. 48 and 62, translated by Robin Skelton; Antipater of Thessalonika (first century bc –first century ad), xi 224, translated by Barriss Mills; and Anonymous, v. 51 and 84, translated by Barriss Mills. Text editing and design by Wesley B. Tanner, Passim Editions, Ann Arbor, MI, who hand-set the type in Caslon and Lithos Roman and Greek. The 40 loose pages are in an olive-colored Twinrocker paper folder, housed in a blue Japanese-fabric-covered box.

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293 037 Not Conceptual Limited-edition1999 portfolio of a text written by Joseph Goldyne titled “manifestoette,” with title page, colophon page, twelve intaglio prints, and one monoprint by Joseph Goldyne. Images are held within folded sheets of Magnani paper with title printed lower right on folded sheet. Text hand-set in Spectrum by Eric Holub and printed at Hillside Press, San Francisco, CA. Housed in black fabric-covered clamshell box lined with gray Ultrasuede, with the title embossed on a metal plate affixed to the spine.

proofs : Five known proofs signature : Signed in pencil on colophon page, “Joseph Goldyne.” Images signed in pencil lower right, “J. Goldyne.”

inscriptions/markings : Edition number in pencil on colophon page notes : The spirit that animates Not Conceptual was born in an academic milieu that emphasized the importance of a rigorous concept governing meaningful pictorial art, which Goldyne perceived as a textually driven academic fad. The prints in this portfolio, along with Goldyne’s “manifestoette,” were intended to make the point that to achieve rewarding imagery, visual art must stress the visual, and that text, if included, should be an intrinsic aspect of the compositional, coloristic and technical qualities of the work. Originally issued as a portfolio, four proof portfolios from this edition were bound as books in 2015 (Cat. no. Proof010). portfolio I is in the Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries, Stanford, CA: GUNST N7433.4 .G66 N68 1999 FF images : 1 Reflections on Conceptual Aquatint; 4 5 8 × 6 7/16 in. (11.75 × 16.4 cm) 2 Art or Bust Drypoint; 6 3/16 × 3 3 8 in. (15.7 × 8.6 cm) 3 Precise Directions Aquatint; 6 3 4 × 10 1 8 in. (17.1 × 25.7 cm) 4 It may be beautiful, but that’s just the way it looks Drypoint; 3 in. diameter (7.6 cm) 5 Accommodation Aquatint with rolled color; 7 7 8 × 4 in. (20 × 10.2 cm) 6 Smoke and Mirrors Aquatint; 8 1 8 × 5 in. (20.6 × 12.7 cm) (3 plates printed together) 7 Rebus Aquatint; 9 3 4 × 4 11/16 in. (24.75 × 11.9 cm) 8 Cold Front Aquatint; 3 1 16 × 8 in. (7.8 × 20.3 cm) 9 Switch Etching and aquatint; 4 1 2 × 2 3 4 in. (11.4 × 7 cm) 10 Not Conceptual Aquatint and monotype; 11 3 4 × 2 15 16 in. (30 × 7.5 cm) 11 Fake (edition 1999; plate and proofs mid-1980s) Drypoint; 3 7 8 × 5 1 4 in. (9.8 × 13.3 cm) 12 Eye Etching and aquatint; 1 1/16 × 1 5 8 in. (2.7 × 4.1 cm) 13 Mouth Etching; 1 1 16 × 1 5 8 in. (2.7 × 4.1 cm)

image : Image dimensions vary, see below garver catalogue no 236–248 edition size : 20, numbered Arabic 1/20–20/20

press/printer : Eric Holub, Hillside Press, San Francisco, CA. Images printed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA.

publisher : Joseph Goldyne binder : Box constructed by Tim James, Taurus Bookbindery, San Francisco, CA cover : Box, 20 × 13 3/8 × 2 in. (50.8 × 34 × 5.1 cm) sheet : Printed on Magnani paper, 19 1/8 × 25 1/4 in. (48.6 × 64.1 cm), folded to 19 1/8 × 12 5/8 in. (48.6 × 32 cm); images printed on white paper, 18 1/2 × 12 1/2 in. (47 × 31.8 cm); image 11, Fake printed on seventeenth–century paper, 7 3 8 × 10 3 4 in. (18.7 × 27.3 cm)

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UNIQUE PORTFOLIOS

303 038 Adam’s Album Unique1973 portfolio of fourteen etchings and monoprints by Joseph Goldyne, matted with rag mat. Housed in a red leather clamshell box lined with tan paper, and with title stamped in gold on front and spine. press/printer : Not stated binder : Not stated cover : Box, 16 3/8 × 12 1/4 × 2 1/8 in. (41.6 × 31.1 × 5.4 cm) sheet : Title page printed on unknown paper, 15 1/2 × 23 in. (39.4 × 58.4 cm), folded to 15 1/2 × 11 1/2 in. (39.4 × 29.2 cm). Images printed on Arches Buff paper, approximately 15 × 11 in. (38.1 × 27.9 cm), uniformly matted to 15 1/2 × 11 1/2 in. (39.4 × 29.2 cm). image : Etching and monoprint; image dimensions vary, see below edition size : No edition; unique portfolio signature : Images initialed in pencil lower right, “J.R.G.”

Collection of Adam Goldyne. images : 1 Blushing Saltine, Monoprint; 2 × 2 in. (5.1 × 5.1 cm); in pencil lower left under image, “only version”; in pencil at bottom center of sheet, “Actually – a saltine cracker / with shrimp sauce” 2 Plaid Mousie, Etching; 5 × 6 7/8 in. (12.7 × 17.5 cm); in pencil lower left under image, “black and white version” 3 Plaid Mousie, Monoprint; 5 × 6 7/8 in. (12.7 × 17.5 cm); in pencil lower left under image, “color version” 4 Boodie Bits, Monoprints; four plates arranged vertically, each 2 × 2 in. (5.1 × 5.1 cm); in pencil lower left under image, “only color version” 5 Boodie Bits, Etching; four plates arranged vertically, each 2 × 2 in. (5.1 × 5.1 cm); in pencil lower left under image, “black and white version” 6 Boodie Bits, Monoprint; four plates arranged vertically, each 2 × 2 in. (5.1 × 5.1 cm) 7 Boodie Bits, Monoprint; four plates arranged vertically, each 2 × 2 in. (5.1 × 5.1 cm) 8 Adam’s Apple, Monoprint; 5 × 3 15/16 in. (12.7 × 10 cm); in pencil lower left under image, “version 1” 9 Boodie and the Great Mousie, Etching; 3 15/16 × 5 in. (10 × 12.7 cm) 10 Boodie and the Great Mousie Under a Rainbow, Monoprint; 3 15/16 × 5 in. (10 × 12.7 cm); in pencil lower left under image, “color version 1” 11 Flying Horsie, Monoprint; 3 15/16 × 5 in. (10 × 12.7 cm); in pencil lower left under image, “version 4, color”; in pencil at bottom of sheet, “other three versions called Homage to Redon” 12 Orrey at Dusk Monoprint; 5 × 3 15/16 in. (12.7 × 10 cm); in pencil lower left under image, “only version” 13 Saltine, Shell, Olive and Peas, Monoprint; 2 7/8 × 6 15/16 in. (7.3 × 17.6 cm); in pencil lower left under image, “version 2” 14 Choo-Choo, Monoprint; 3 15/16 × 4 7/8 in. (10 × 12.4 cm); in pencil lower left under image, “2/2”

inscriptions/markings : Stamped in gold on front cover and spine, “ADAM’S ALBUM / FROM DADDY.” Printed on title page, “Adam’s Album / From and by his Daddy / March 31, 1973.” Titles and notations written in pencil under images. notes : Goldyne has always had a special affection for children’s books, especially those that don’t overly tax a child’s imagination. Adam’s Album was made for the Goldynes’ first child when he was three years old. The images feature Adam’s toys as well as the little boy himself. Goldyne believes that books given to children should not be expected to remain in pristine condition, and the present condition of the leather box testifies to its use.

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inscriptions/markings : List of images is anno tated “plus ‘Asparagus for Debbie’ for our Anniversary. Joseph.” Medium and title are written in pencil under images. Additional image is dated in pencil lower left, “June 78,” with title in center and under title, “Happy 10th Anniversary.”

press/printer : Images printed by Joseph Goldyne, Berkeley and Sonoma, CA binder : Not stated cover : Box, 12 7/16 × 8 7/8 × 1 in. (32.5 × 22.5 × 2.5 cm) sheet : Printed on Arches Buff paper, 11 1/8 × 7 1/2 in. (28.3 × 19.2 cm); additional monotype on Arches Buff paper, 11 1/8 × 15 in. (28.3 × 38.4 cm), folded to 11 1/8 × 7 1/2 in. (28.3 × 19.2 cm) image : Monotype, 6 7/8 × 4 7/8 in. (17.5 × 12.4 cm) edition size : No edition; unique portfolio signature : Sheet with hand-lettered title signed in ink, “Joseph Goldyne.” Images signed in pencil lower right, “J. Goldyne” or “J.R.G.” Additional monotype signed in pencil lower right, “Joseph.”

notes : In 1978, Harry and Mary Margaret Anderson commissioned Goldyne to do a series of monotypes of food subjects (Cat. no. 041). To prepare for that work, Goldyne did this trial group of monotypes, which he retained for his family. The portfolio includes a second pull of each monotype (i.e., cognate impression), heightened with watercolor. As most of the ink colors transfer to the paper in the first impressions, second pulls are paler impressions, but provide an opportunity to vary the mood by employing media such as watercolor or pastel to select certain passages for emphasis. One of the cognate impressions, Onion and Soil (image 6), has been removed from the portfolio. An additional monotype, Asparagus for Debbie (image 11), is included with the portfolio. monotype images , 6 7/8 × 4 7/8 in. (17.5 × 12.4 cm): 1 Coast Apple, Monotype with watercolor 2 Coast Apple (after impression), Monotype 3 Asparagus, Monotype 4 Asparagus (after impression), Monotype with watercolor 5 Onion and Soil 6 Onion and Soil (after impression), Monotype with watercolor 7 Two Resting Persimmons – one wrapped, Monotype 8 Two Resting Persimmons – one wrapped (after impression), Monotype 9 Apple and Pear Diagonal, Monotype 10 Apple and Pear Diagonal (after impression), Monotype 11 Asparagus for Debbie Monotype

313 039 Produce 1 Unique1977–78 portfolio of ten monotypes by Joseph Goldyne and one additional monotype, sheet with embossed title, printed title page, list of images, and sheet with title printed in block letters and signed by Joseph Goldyne. Five of the monotypes are first pulls from the inked plate, and five are cognate impressions, or second pulls from the plate, which are lighter and often highlighted with watercolor. Housed in brown leather clamshell box with red leather onlay and gold tooling, lined with ivory moiré fabric.

314 31 42

315 5 6

316 7 8 9 10

317 11

318 1

319 040 À la Carte Unique1978 portfolio of ten monotypes by Joseph Goldyne, matted uniformly, with title page. Housed in a burl wood box with brass hinges and title plate. press/printer : Images printed by Joseph Goldyne, Berkeley and Sonoma, CA. binder : Box by Joel Hoyer, San Francisco, CA cover : Box, 5 3/8 × 13 3/4 × 12 3/16 in. (13.7 × 34.9 × 31 cm) sheet : Printed on Fabriano Umbria paper; title page 8 5/8 × 7 1/2 in. (21.9 × 19 cm); images matted to 9 15/16 × 8 1/2 in. (25.2 × 21.6 cm); sheet dimensions vary, see below image : Monotype; image dimensions vary, see below edition size : No edition; unique portfolio signature : Signed and dated in ink at bottom of title page, “1978—Joseph Goldyne.” Images signed in pencil lower right, “J. Goldyne” or “JRG.”

inscriptions/markings : A bronze plate affixed to the side of the burl wood box is etched, “à la carte / JOSEPH GOLDYNE.” Titles written in pencil under images. notes : The monotypes were all printed from the same plate and are uniformly matted; six images are horizontal, four are vertical. Goldyne felt the title À la Carte seemed appropriate to the unrelated images gathered in this box of prints, which include homages to artists, landscapes, and still lifes that show what the monotype medium can convey. monotype images : 1 Crunch Roll Snack 4 7/8 × 3 7/8 in. (12.4 × 9.8 cm), on sheet 9 × 7 5/8 in. (22.9 × 19.4 cm) 2 Boucher Sleigh Vignette 3 7/8 × 4 7/8 in. (9.8 × 12.4 cm), on sheet 7 1/2 × 8 1/4 in. (19 × 21 cm) 3 Hopper’s Ghost 4 7/8 × 3 7/8 in. (12.4 × 9.8 cm), on sheet 8 7/8 × 7 1/2 in. (22.5 × 19 cm) 4 Moon and Smoking Stacks 3 7/8 × 4 7/8 in. (9.8 × 12.4 cm), on sheet 7 1/2 × 8 1/4 in. (19 × 21 cm) 5 Nineteenth-century Breakfast Vignette 3 7/8 × 4 7/8 in. (9.8 × 12.4 cm), on sheet 7 5/8 × 8 3/8 in. (19.4 × 21.3 cm) 6 Diagonal Eggplant 3 7/8 × 4 7/8 in. (9.8 × 12.4 cm), on sheet 7 1/2 × 8 1/4 in. (19 × 21 cm) 7 Desert Vignette I 3 7/8 × 4 7/8 in. (9.8 × 12.4 cm), on sheet 7 5/8 × 8 3/8 in. (19.4 × 21.3 cm) 8 Desert Vignette II 3 7/8 × 4 7/8 in. (9.8 × 12.4 cm), on sheet 7 5/8 × 8 3/8 in. (19.4 × 21.3 cm) 9 Night Bouquet 4 7/8 × 3 7/8 in. (12.4 × 9.8 cm), on sheet 9 × 7 5/8 in. (22.9 × 19.4 cm) 10 Bedroom 4 7/8 × 3 7/8 in. (12.4 × 9.8 cm), on sheet 9 × 7 1/2 in. (22.9 × 19 cm)

320 2 3

321 4

322 65

323 87

324 9

325 10

326

Unique1978 portfolio of twelve monotypes by Joseph Goldyne with a title page, list of images, a sheet with the word “PRODUCE” embossed within a de-bossed outline of the plate used for printing the images, and a pencil drawing for the design of the cover of the clamshell box. Housed in a brown leather clamshell box with gold stamping on spine; bottom of front cover stamped with gold, “Anderson.” The front and back covers have wood onlays; the wood onlay on front has “PRODUCE” stenciled in black ink. The box is lined with ivory fabric and has an inner cover to secure the sheets.

inscriptions/markings : Inscribed in ink on sheet embossed with the word PRODUCE, “for / the Andersons / Joseph Goldyne / Dec 1, 1978.” Written in pencil lower left under each image, “Monotype for H & M”; image title written in pencil lower center under image.

327 041

notes : Portfolio commissioned by Harry and Mary Margaret Anderson to accompany the 1979 book/calendar issued by their company, Saga Foods. The Andersons retained the portfolio as part of their collection of American graphic art. Collection of Harry W. and Mary Margaret Anderson (1978.02601–12). monotype images , 6 7/8 × 4 15/16 in. (17.5 × 12.5 cm): 1 Pink Asparagus Huddle 2 Arrangement with Blackberry Escort 3 Aubergine Passing at Dusk 4 Flame Lettuce 5 Composition Featuring Banana 6 Watermelon Sections, Mit, Ball 7 Grapes and Guadagnini 8 Diagonal Husk 9 Poire Hollandaise 10 Falling Apple Meadow 11 Squash Icon 12 Winter Onion

press/printer : Images printed by Joseph Goldyne, Sonoma, CA binder : Donald Glaister, Palo Alto, CA cover : 12 1/4 × 8 1/2 × 1 1/2 in. (31.1 × 21.6 × 3.8 cm) sheet : Printed on Arches Buff paper, 11 1/8 × 14 7/8 in. (28.3 × 37.8 cm), folded to 11 1/8 × 7 7/16 in. (28.3 × 18.9 cm) image : Monotype, 6 7/8 × 4 15/16 in. (17.5 × 12.5 cm) edition size : No edition; unique portfolio signature : Signed in ink on embossed introductory sheet, “Joseph Goldyne.” Images signed in pencil lower right, “J. Goldyne.”

Produce: A Portfolio of Twelve Monotypes

328

329 1

330 2

331 3 4

332 5

333 786 9

334 10

335 11 12

336

337 042 Night Lights Unique1979 portfolio of ten monotypes by Joseph Goldyne with printed title page and list of images. Housed in a black leather clamshell box with title stamped in gold on spine, wood inlay on front cover, decorated with inlaid ivory elements and water-based pigments, and lined with gray moiré fabric and beige striped ribbon.

inscriptions/markings : In pencil lower left under each image, “M.T. 79”; title written in pencil centered under image. notes : Before executing these monotypes, Goldyne made a list of remembered moments where a scene in natural or man-made light had left an impression. He selected from these recollections and created the monotypes from memory. Night Lights was, from the outset, conceived as a totality: monotypes presented in a harmonious binding that includes an arched painted plaquette, with ivory inlays, inset on the cover and suggesting a scene of San Francisco at night. Joel Hoyer made the arched gessoed plaquette and inlaid the ivory disks. Collection of Joseph Goldyne. monotype images , 8 7/8 × 5 15/16 in. (22.5 × 15 cm): 1 Royal Window Corner, Twilight 2 Dusk Arc Pane 3 Deep End 4 Stockton Tunnel, Fog Above 5 Rock Shadow, Moonlit Surf 6 Carmel, July 4th 7 Inner Light, Night 8 Narcissus 9 Grove Setting 10 Stack Lights, Lurid Smoke

press/printer : Images printed by Joseph Goldyne. binder : Donald Glaister, Palo Alto, CA, and Joel Hoyer, San Francisco, CA cover : Clamshell box, 12 5/8 × 8 3/4 × 1 1/4 in. (32 × 22.3 × 3.2 cm) sheet : Printed on Arches paper, 11 × 7 1/2 in. (28 × 19 cm) image : Monotype, 8 7/8 × 5 15/16 in. (22.5 × 15 cm) edition size : No edition; unique portfolio signature : Images signed in pencil lower right, “Joseph Goldyne”; in pencil on verso of some images, “© J.R. Goldyne.”

338 1

339 2

3403 4

341 65

342 7 8 9

343 10

344 1

inscriptions/markings : Title written in pencil under each image, some with notation “M.T.” or “Monotype” at lower left.

043

edition

notes : In the early 1970s, Goldyne came to see unex pected relationships in artworks that were far apart chronologically and compositionally. The five monotypes that comprise Après unlike his more typical juxtapositions of chronologically distant art-historical passages, focus on sections of admired works. These images offer only venera tion, as opposed to pictorial essays intended to reveal unexpected relationships across the history of art. Private collection. monotype images , 5 × 3 15/16 in. (12.8 × 10 cm): 1 L’artiste anonyme 2 Après Picasso 3 Après Redon 4 Après Eakins 5 Après Sargent

345 Après Unique1980 portfolio of five monotypes by Joseph Goldyne with printed title page. Housed in brown leather clamshell box lined with ivory moiré fabric, with title impressed in script on front cover. : Images printed by Joseph Goldyne, Sonoma, CA binder : Box by Donald Glaister, Palo Alto, CA cover : Box, 14 1/4 × 9 1/8 × 1 1/4 in. (36.2 × 23.2 × 3 cm) sheet : Printed on Zerkall paper; sheet dimensions vary, approximately 13 × 7 7/8 in. (33 × 20 cm) image : Monotype, 5 × 3 15/16 in. (12.8 × 10 cm) size : No edition; unique portfolio signature : Images signed and dated in pencil lower right, “Joseph Goldyne 1980.”

press/printer

346 2

347 3

348 4

349 5

350 1

351 044 5 Nudes Unique1980 portfolio of five monotypes of male and female nudes by Joseph Goldyne. Housed in maroon Morocco leather clamshell box with gold leaf tooling, lined with moiré fabrics. press/printer : Images printed by Joseph Goldyne, Sonoma, CA binder : Box by Donald Glaister, Palo Alto, CA cover : Box, 12 5/8 × 8 1/4 × 1 1/8 in. (32.1 × 21 × 2.9 cm) sheet : Images printed on Arches paper, 11 × 7 1/2 in. (27.9 × 19 cm) image : Monotype; image dimensions vary, see below edition size : No edition; unique portfolio signature : Signed and dated in ink at top of colophon page, “Joseph Goldyne 1980.” inscriptions/markings : Written in pencil lower left under images, “Monotype”; image number written in pencil lower center notes : The five images are not titled, but are numbered in script. monotype images : 1 One, 4 15/16 × 3 7/8 in. (12.5 × 9.8 cm) 2 Two, 4 15/16 × 3 7/8 in. (12.5 × 9.8 cm) 3 Three, 4 15/16 × 3 7/8 in. (12.5 × 9.8 cm) 4 Four, 4 15/16 × 3 7/8 in. (12.5 × 9.8 cm) 5 Five, 3 7/8 × 4 15/16 in. (9.8 × 12.5 cm)

352 32 5

353 4

Opening, 1984, Lithograph on paper 23 1/2 × 18 in. ( 59.7 × 45.7 cm)

355 045 50 Treasures Unique1984 calligraphy sheet marking the opening of The Jewish Community Museum in San Francisco in October 1984, with a watercolored early state proof of a lithograph titled Opening by Joseph Goldyne. Hand-lettered text and illuminations by Thomas Ingmire in blue ink and gold leaf. press/printer : Text hand lettered by Thomas Ingmire. Image printed by Donald Farnsworth and Stuart McKee, Magnolia Editions, Oakland, CA. sheet : Hand lettered and printed on Kensington Handmade paper, 30 × 22 in. (76.2 × 55.9 cm) image : Offset lithography with watercolor, 23 1/2 × 18 in. (59.7 × 45.7 cm) edition size : No edition; unique sheet signature : Signed in pencil lower right under image, “Joseph Goldyne” inscriptions/markings : Printed at top, “The Jewish Community Museum”; printed at bottom of sheet, “Opening / October 10 1984 / 121 Steuart San Francisco.” “50 Treasures” written four times around edges of image in blue ink and gold leaf, with “50” in gold at center over image. notes : The image on this sheet is an early state proof impression of the lithograph Opening (1984), created to mark the opening of the Jewish Community Museum in San Francisco (Garver catalogue number UNIQUE97). SHEETS OF CALLIGRAPHY WITH PRINTS

inscriptions/markings : In pencil lower left under image, “a.p.”; in pencil centered under image, “Prinsengracht 263.”

356 046 Aerial View Unique1985 calligraphy sheet of selected lines from the diary of Anne Frank (1929–1945) with a proof impression of an etching titled Aerial View of Het Achterhuis, Prinsengracht 263 by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in charcoal, brown, and ochre inks.

notes : The text is from Anne Frank’s diary entry dated 3 May 1944. The etching is a proof impression of one of the etchings bound in the limited-edition book Diary of a Young Girl: Het Achterhuis, published by Pennyroyal Press in 1985 (Cat. no. 002).

press/printer : Text hand lettered by Thomas Ingmire. Image printed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA. sheet : Hand lettered and printed on light gray BFK Rives paper, 15 × 6 3/8 in. (38.1 × 16.2 cm) image : Hard-ground etching, aquatint, and drypoint, 9 × 2 3/4 in. (22.9 × 7 cm) edition size : No edition; unique sheet signature : Signed in pencil lower right under image, “J. Goldyne”; signed in pencil centered under text, “Ingmire.”

edition size : No edition; unique sheet signature : Unknown inscriptions/markings : Unknown notes : This sheet is recorded in Thomas Ingmire’s log of completed works; however, an image of the full sheet is not available. Three proofs were made of this print. Two were printed in brown ink on gray Arches paper; one is annotated “Proof,” and the other is the impression that was used for this sheet. The third proof was printed in black ink on BFK Rives paper. (See Garver Catalogue number 101 in Joseph Goldyne: The Pull of the Eye and the Play of the Hand, The Corcoran Gallery of Art, Washington, DC, in association with Hudson Hills Press, New York, 2003.)

357 047 Spilled Pinks Unique1985 calligraphy sheet of selected lines from the diary of Anne Frank (1929–1945) with a proof impression of an aquatint, etching and drypoint print by Joseph Goldyne. Hand-lettered text in ink and gold leaf by Thomas Ingmire. press/printer : Text hand lettered by Thomas Ingmire. Image printed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA. sheet : Hand lettered and printed on gray Arches paper, 10 5/8 × 9 1/8 in. (27 × 23.2 cm) image : Aquatint, etching, and drypoint printed in brown ink, 5 3/16 × 5 in. (13.2 × 12.7 cm)

press/printer : Text hand lettered by Thomas Ingmire. Image printed by Joseph Goldyne, Sonoma, CA. sheet : Hand lettered and printed on J. Whatman 1961 paper, 18 × 11 1/8 in. (45.7 × 28.3 cm)

358 048 My God Those Anxieties (Letter from van Gogh to Signac)

notes : Van Gogh’s plaintive letter to his fellow artist, Paul Signac, which thanks Signac for his visit and describes some of the canvases on which van Gogh was working, moved Goldyne and inspired his monotype of the hospital at St. Remy, where van Gogh was to be a self-admitted patient from May 1889 until May 1890, and where he painted some of his most compelling works. Expressing both hope and despair, the text is a single paragraph from the long letter.

signature : Signed in pencil lower right under image, “J. Goldyne.” Signed in pencil centered under text, “Ingmire.”

inscriptions/markings : In pencil lower left under image, “Aug 22 1985”; in pencil centered under image, “The Hospital at Arles”

Unique1985 calligraphy sheet of a letter written by Vincent van Gogh (1853–1890) to Paul Signac (1863–1935) dated Arles, April 5, 1889, with a hand-colored monotype, The Hospital at Arles, by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in blue and red inks and gold leaf.

image : Monotype, 3 1/2 × 5 7/16 in. (8.9 × 13.8 cm)

edition size : No edition; unique sheet

359 049 Bitter Lemons: Venice at Dawn I Unique1986 calligraphy sheet of selected lines from the book Bitter Lemons by Lawrence Durrell (1912–1990) with a monotype proof by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in colored inks and gold leaf. press/printer : Text is hand lettered by Thomas Ingmire. Image printed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA. sheet : Hand lettered and printed on J. Whatman paper, 10 × 10 in. (25.4 × 25.4 cm) image : Monotype, 4 3/8 × 2 7/8 in. (11.1 × 7.3 cm) edition size : No edition; unique sheet signature : Unknown inscriptions/markings : Unknown notes : Bitter Lemons (also called Bitter Lemons of Cyprus) is Lawrence Durrell’s account of his time in Cyprus during the 1950s Enosis movement for independence from British colonial rule. Goldyne and Ingmire did three different sheets based on passages from this work about Venice (see Cat. nos. 058 and 061). Goldyne saw Durrell’s paean to Venice as a cascade of bright words that flow to express the author’s impressions of a Venetian morning. Ingmire’s calligraphy, in combination with Goldyne’s multi-colored monotype, conjures the sun-drenched waters at dawn. Image of full sheet is not available. Private collection.

360 050 Jean de la Bruyère – The Lover of Flowers 1688

Unique1986 calligraphy sheet of selected lines from “The Lover of Flowers” by Jean de la Bruyère (1645–1696), translated by Henri van Laun, with a hand-colored monoprint proof by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in green, yellow, red, and black ink and gold leaf.

notes : Jean de la Bruyère’s “The Lover of Flowers” appeared in his book Les Caractères (1688). This hand-colored monoprint is one of a series of proofs made with printer David Kelso at his studio, made in california, Oakland, CA. One of the proofs was used as the color image on the announcement for the May 1983 exhibition Tulip Time at Impressions Gallery, Boston. Another monoprint proof from this series was used for a 1987 unique calligraphy sheet (Cat. no. 053). Further proofs were pulled from the plate in 1992 by Robert Townsend, who editioned the plate as Uplifted, 1995, drypoint and aquatint.

press/printer : Text hand lettered by Thomas Ingmire. Image printed by David Kelso, made in california, Oakland, CA. sheet : Hand lettered and printed on Saunders paper, 17 1/2 × 14 1/8 in. (44.5 × 35.9 cm)

image : Monotype, 11 3/4 × 3 in. (29.8 × 7.6 cm)

edition size : No edition; unique sheet signature : Signed in pencil lower right under image, “J. Goldyne.” Signed in pencil lower right under text, “Ingmire.”

inscriptions/markings : In pencil lower left under image, “1986.”

361 051 Eurydice Unique1987 calligraphy sheet of selected lines from the poem “Eurydice” by Hilda “H.D.” Doolittle (1886–1961) with a monotype by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in ink and gold leaf. press/printer : Text hand lettered by Thomas Ingmire. Image printed by Joseph Goldyne. sheet : Hand lettered and printed on J. Whatman paper, 9 3/8 × 4 3/8 in. (23.8 × 11.1 cm) image : Monotype, 7 × 2 1/8 in. (17.8 × 5.4 cm) edition size : No edition; unique sheet signature : Signed in pencil lower right, “Ingmire.” Signed in pencil upper right above image, “J. Goldyne.” inscriptions/markings : Dated in pencil upper left above image, “’87.” notes : Wesley Tanner introduced Goldyne to the poetry of H.D. “Eurydice,” with its extensive use of floral metaphor, celebrates the poet’s drive for autonomy in her life and work. This passage from the poem presented the opportunity for Goldyne to align its floral imagery with his small monotype.

362 052 Flowers Unique1987 calligraphy sheet of lines from the poem “Flowers” by Arthur Rimbaud (1854–1891), translated by E.R. Peschel, with a drypoint by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in colored ink and gold leaf. press/printer : Text hand lettered by Thomas Ingmire. Image printed by David Kelso, made in california, Oakland, CA. sheet : Hand lettered and printed on white BFK Rives paper, 11 1/8 × 9 1/4 in. (28.3 × 23.5 cm) image : Drypoint, 6 7/8 × 4 7/8 in. (17.5 × 12.4 cm) edition size : No edition; unique sheet signature : Signed in pencil lower right under image, “Joseph Goldyne.” Signed in pencil lower center under text, “Ingmire.” inscriptions/markings : In pencil lower left under image, “1987.” notes : Goldyne and Ingmire were impressed with Rimbaud’s superbly descriptive passage on flowers, and they sought to compose images with calligraphy that celebrated their affection for the poet (see Cat. nos. 054, 063). The image is an early state of a print to which aquatint was later added.

363 053

The Lover of Flowers – Jean de la Bruyère Unique1987 calligraphy sheet of selected lines from “The Lover of Flowers” by Jean de la Bruyère (1645–1696), translated by Henri van Laun, with a hand-colored monoprint proof by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in gray and black ink and gold leaf. press/printer : Text hand lettered by Thomas Ingmire. Image printed by David Kelso, made in california, Oakland, CA. sheet : Hand lettered and printed on white BFK Rives paper, 22 1/4 × 15 in. (56.5 × 38.1 cm) image : Hand-colored monoprint, 11 3/4 × 3 in. (29.8 × 7.6 cm) edition size : No edition; unique sheet signature : Signed in pencil under image, “J. Goldyne.” Signed in pencil lower center under text, “Ingmire.”

inscriptions/markings : None notes : Jean de la Bruyère’s “The Lover of Flowers” appeared in his book Les Caractères (1688). Goldyne and Ingmire used excerpts from the poem for both this sheet and Cat. no. 050. This monoprint is one of a series of proofs made with printer David Kelso at his studio, made in california, Oakland, CA. One of the proofs was used as the color image on the invitation for the May 1983 exhibition Tulip Time at Impressions Gallery, Boston. Further proofs were pulled from the plate in 1992 by Robert Townsend, who editioned the plate as Uplifted, 1983–1995, drypoint and aquatint (Garver Catalogue number 94).

Unique1987 calligraphy sheet of selected lines from the poem “To the Poet on the Subject of Flowers” by Arthur Rimbaud (1854–1891), from a letter to Théodore de Banville, translated by Paul Schmidt, with a monotype by Joseph Goldyne dated 1985. Hand-lettered text by Thomas Ingmire in ink and gold leaf.

edition size : No edition; unique sheet signature : Signed in pencil lower right under image, “Joseph Goldyne.” Signed in pencil lower center under text, “Ingmire 87.” inscriptions/markings : In pencil lower left under image, “85”

notes : Rimbaud’s poem “To the Poet on the Subject of Flowers” is the text of a letter from Rimbaud to Théodore de Banville dated August 15, 1871. Goldyne selected Paul Schmidt’s translation of Rimbaud’s poem for Thomas Ingmire to illuminate on this printed sheet with Goldyne’s monotype of lilies.

press/printer : Text hand lettered by Thomas Ingmire. Image printed by Joseph Goldyne. sheet : Hand lettered and printed on J. Whatman paper, 18 × 12 in. (45.7 × 30.5 cm) image : Monotype, 12 7/8 × 2 in. (32.7 × 5.1 cm)

364 054 Remarks to a Poet on the Subject of Flowers

365 055 Smoked Mackerel Unique1987 calligraphy sheet of a recipe for “Smoked Mackerel” written over a monotype by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in colored inks. press/printer : Text hand lettered by Thomas Ingmire. Image printed by Joseph Goldyne, Sonoma, CA. sheet : Hand lettered and printed on unknown paper; dimensions unknown image : Monoprint, dimensions unknown edition size : No edition; unique sheet signature : Unknown inscriptions/markings : Unknown notes : Goldyne made this monotype for Thomas Ingmire to write over; it was their first experiment in writing the full text over the image. For Ingmire, the dark dried inks of the back ground provided a receptive surface for the calligraphy in gold and white. The text is a recipe for smoked mackerel pate, repeated once as it descends into the darkness above the fish. The calligraphic overlay enlivens the presentation, as the written words echo the glazes of color in the monotype. The work was commissioned by Steve Koman for his restaurant in Winchester, PrivateVirginia.collection.

inscriptions/markings : In pencil lower left under image, “July 21, 1981”; in pencil lower center under image, “Monoprint of 3.”

366 056 Ut Pictura Poesis Unique1981/87 calligraphy sheet of a passage in Latin from the Ars Poetica of Horace (65 bc –8 bc), “Ut pictura poesis” (“As is painting, so is poetry”), with a monoprinted proof impression of the drypoint and aquatint Ut Pictura Poesis by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in blue and ochre inks and gold leaf.

press/printer : Text hand lettered by Thomas Ingmire. Image printed by David Kelso, made in california, Oakland, CA. sheet : Hand lettered and printed on BFK Rives paper, 7 1/8 × 10 7/8 in. (18.1 × 27.6 cm) image : Monoprint: drypoint and aquatint, 2 × 5 7/8 in. (5.1 × 14.9 cm) edition size : No edition; unique sheet signature : Signed in pencil lower right under image “J. Goldyne.” Signed in pencil lower right under text, “Ingmire.”

notes : Goldyne’s 1981 etching (Garver Catalogue number 80) is laid out in ticket-like format to pictorialize the quote. The left panel has the letters U and T (Ut, Latin, “as is”) written on the sides to resemble a ticket revealing both row and seat. The center panel has the word pictura (“painting”).

The right panel has aquatint splashes with the word poesis (“poetry”). The calligraphy by Thomas Ingmire is dated 1987 in his log of completed works.

press/printer : Text hand lettered by Thomas Ingmire. Image printed by Joseph Goldyne, Sonoma, CA. sheet : Hand lettered and printed on unknown paper, 20 1/4 × 7 7/8 in. (51.4 × 20 cm) image : Monotype; 12 3/4 × 2 in. (32.4 × 5.1 cm) edition size : No edition; unique sheet signature : Signed in pencil lower right under image, “J. Goldyne”; in pencil at lower right of sheet, “Ingmire.”

inscriptions/markings : None notes : This sheet was inspired by Rimbaud’s poem “Voyelles” (“Vowels”) of 1872, as well as by “Une Saison en Enfer” (“A Season in Hell/The Drunken Boat”) of 1873. Only a few passages from the poems were chosen for this sheet, and fused in a manner meant to be reflective of the surprising juxtapositions and cadence of the poet’s words. The remarkable poetic genius Rimbaud, who stopped writing after his teen years, was the inspiration for a number of collaborations between Goldyne and Ingmire (see also Cat. nos. 052, 054, 063). They found that the descriptive richness of Rimbaud’s verse, as well as his inventive word combinations, provide almost inexhaustible sources for pictorial and calligraphic interpretation. Goldyne’s monotype depicts a single carnation in a partially shown globular bowl floating in a vaporous cloud. Emerging from the dark mist is a diagonal rain of pencil-like marks, alongside which Ingmire has written the letters of the vowels.

367 057 A E I O U Unique1988 calligraphy sheet of text by Arthur Rimbaud (1854–1891) with a monotype by Joseph Goldyne. Text hand lettered by Thomas Ingmire in colored inks and gold leaf.

368 058 Bitter Lemons: Venice at Dawn II Unique1988 calligraphy sheet of selected lines from the book Bitter Lemons by Lawrence Durrell (1912–1990), with a hand-colored monotype by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in blue ink and gold leaf. press/printer : Text hand lettered by Thomas Ingmire. Image printed by Joseph Goldyne, Sonoma, CA. sheet : Hand lettered and printed on BFK Rives paper, 11 7/8 × 3 3/4 in. (30.2 × 9.5 cm) image : Monotype, 4 3/8 × 2 7/8 in. (11.1 × 7.3 cm) edition size : No edition; unique sheet signature : Signed in pencil lower right under image, “Joseph Goldyne.” Signed lower center under text, “Ingmire.” inscriptions/markings : None notes : Bitter Lemons (also called Bitter Lemons of Cyprus) is Lawrence Durrell’s account of his time in Cyprus during the 1950s Enosis movement for independence from British colonial rule. Goldyne and Ingmire did three different sheets based on passages from this work (see Cat. nos. 049 and 061). Goldyne saw Durrell’s paean to Venice as a cascade of bright words that flow to express the author’s impressions. Ingmire’s calligraphy, in combination with Goldyne’s pale image, is meant to conjure a sun-drenched Venetian morning. Private collection

inscriptions/markings : None notes : Thomas Gray referred to Richard Stonehewer as his closest friend, and there was considerable correspon dence between them. In addition to his importance as an eighteenth-century poet, Thomas Gray was a fine letter writer. The Shaftsbury to whom he refers in this excerpt from a letter is Anthony Ashley Cooper, Third Earl of Shaftsbury, an eighteenth-century English philosopher who gradually fell out of fashion. In this correspondence, Gray attempts to explain Shaftsbury’s once sterling reputation as a thinker.Thissheet offers another example of how Goldyne and Ingmire integrate their work in monotype and calligraphy. The vertical image of Goldyne’s print on the left anchors the flag of text that Ingmire has invigorated with color. Private collection

Unique1988 calligraphy sheet of a letter dated August 18, 1758, written by Thomas Gray (1716–1771) to his friend Richard Stonehewer about the Earl of Shaftsbury, with a monotype by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in red and black inks and gold leaf. press/printer : Text hand lettered by Thomas Ingmire. Image printed by Joseph Goldyne, Sonoma, CA. sheet : Hand lettered and printed on unknown paper, 15 3/4 × 10 3/8 in. (40 × 26.4 cm) image : Monotype, 12 7/8 × 2 1/16 in. (32.7 × 5.2 cm) edition size : No edition; unique sheet signature : Signed in pencil lower right under image, “J. Goldyne.”

369 059 Letter to Stonehewer Regarding Lord Shaftsbury

370 060

image : Monotype, 4 × 1 7/8 in. (10.2 × 4.8 cm)

inscriptions/markings : In pencil lower left under image, “Apple / August 87.”

The Song of Wandering Aengus: Something Rustled Unique1988 calligraphy sheet of selected lines from the poem “The Song of Wandering Aengus” by William Butler Yeats (1865–1939) with a monotype, Apple , by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in ink and gold leaf.

signature : Signed in pencil lower right under image, “Joseph Goldyne.”

notes : The Aengus in this poem was an old Irish God, who was said to have fallen in love with a girl he had seen in his dreams. The passages “apples of the sun” and “apples of the moon” were particularly evocative for Goldyne. This image is an early state impression of the plate also used for the book The Song of Wandering Aengus (Cat. no. 021). The book and calligraphy sheets were inspired by his younger son Alfred’s childhood love for Yeats’ poem (see also Cat. nos. 064 and 065).

press/printer : Text hand lettered by Thomas Ingmire. Image printed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA. sheet : Printed on unknown paper, 9 × 5 1/2 in. (22.9 × 14 cm)

edition size : No edition, unique sheet

371 061 Bitter Lemons: Venice at Dawn III Unique1989 calligraphy sheet of selected lines from the book Bitter Lemons by Lawrence Durrell (1912–1990) with a hand-colored monotype by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in colored inks and gold leaf. press/printer : Text hand lettered by Thomas Ingmire. Image printed by Joseph Goldyne, Sonoma, CA. sheet : Hand lettered and printed on J. Whatman mould-made paper, 13 7/8 × 9 5/8 in. (35.2 × 24.4 cm) image : Monotype, 4 3/8 × 2 7/8 in. (11.1 × 7.3 cm) edition size : No edition; unique sheet signature : Signed in pencil lower right under image, “Joseph Goldyne.” Signed in pencil lower center under text, “Thomas Ingmire.” inscriptions/markings : None notes : Bitter Lemons (also called Bitter Lemons of Cyprus) is Lawrence Durrell’s account of his time in Cyprus during the 1950s Enosis movement for independence from British colonial rule. Goldyne and Ingmire did three different sheets based on passages about Venice from Durrell’s book (see Cat. nos. 049 and Private058).collection.

372 062 Sugar Unique1989 calligraphy sheet of selected text from The Physiology of Taste , Meditation IV, Section VIII (1825) by Jean Anthelme Brillat-Savarin (1755–1826), with three monotypes by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in ink and gold leaf. press/printer : Text hand lettered by Thomas Ingmire. Images printed by Donald Farnsworth, Magnolia Editions, Oaskland, CA sheet : Hand lettered and printed on unknown paper, 46 3/4 × 18 1/8 in. (118.8 × 46 cm) image : Three monotypes: above, 10 1/2 × 10 1/2 in. (26.7 × 26.7 cm); center, 16 × 10 1/2 in. (40.6 × 26.7 cm); below, 14 × 10 1/2 in. (35.6 × 26.7 cm) edition size : No edition; unique sheet signature : Signed in pencil lower left, “Thomas Ingmire” inscriptions/markings : None notes : Brillat-Savarin was a French lawyer and politician also famed as an epicure and gastronome. His book Physiologie du goût (The Physiology of Taste), subtitled Meditations on Transcendental Gastronomy, has been continuously in print since its publication in 1825.

373 063 Flowers: I See the Foxglove Open Unique1990 calligraphy sheet of lines from the poem “Flowers” by Arthur Rimbaud (1854–1891) with a monotype by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in ink, with illuminations in gold leaf. press/printer : Text hand lettered by Thomas Ingmire. Image printed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA. sheet : Hand lettered and printed on J. Whatman paper, 9 7/8 × 5 3/8 in. (25.1 × 13.7 cm) image : Monotype, 5 × 1 1/2 in. (12.7 × 3.8 cm) edition size : No edition; unique sheet signature : Signed in pencil lower left under text, “Ingmire.” inscriptions/markings : In pencil lower right under text, “Flowers Arthur Rimbaud.” notes : Goldyne and Ingmire enjoyed collaborating on Rimbaud’s poetry with floral subjects as the texts presented an opportunity for colorful imagery and expressive calligraphy.

The Song of Wandering Aengus: I Went Out to the Hazel Wood Unique1990 calligraphy sheet of selected lines from the poem “The Song of Wandering Aengus” by William Butler Yeats (1865–1939) with a monoprint by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in brown ink and gold leaf.

374 064

press/printer : Text hand lettered by Thomas Ingmire. Image printed by Kay Bradner, Katherine Lincoln Press, San Francisco, CA. sheet : Hand lettered and printed on unknown paper, 11 1/4 × 7 1/2 in. (28.6 × 19.1 cm) image : Monoprint, 4 × 1 7/8 in. (10.2 × 4.8 cm)

edition size : No edition, unique sheet signature : Signed in pencil centered under image, “J. Goldyne.” Signed in pencil centered at bottom of sheet, “Ingmire.” inscriptions/markings : In pencil at bottom of sheet, “The Song of the Wandering Aengus. W.B. Yeats.” notes : This image is an early state impression of the plate used for the book The Song of Wandering Aengus (Cat. no. 021). The book and calligraphy sheets were inspired by Goldyne’s younger son Alfred’s childhood love for Yeats’ poem (see also Cat. nos. 060, 065).

375 065 The Song of Wandering Aengus: Though I Am Old with Wandering Unique1990 calligraphy sheet of selected lines from the poem “The Song of Wandering Aengus” by William Butler Yeats (1865–1939) with a monotype by Joseph Goldyne. Hand-lettered text by Thomas Ingmire in colored inks. press/printer : Text hand lettered by Thomas Ingmire. Image printed by Joseph Goldyne. sheet : Hand lettered and printed on unknown paper, 9 5/8 × 7 5/8 in. (24.4 × 19.4 cm) image : Monoprint, 4 5/8 × 1 7/8 in. (11.7 × 4.8 cm) edition size : No edition, unique sheet signature : Signed in pencil centered under image, “J. Goldyne.” Signed in pencil lower left at bottom of sheet, “Ingmire.” inscriptions/markings : In pencil lower right at bottom of sheet, “The Song of the Wandering Aengus. W.B. Yeats.” notes : Goldyne and Ingmire collaborated on several projects inspired by Yeats’ poem, including the unique book The Song of Wandering Aengus (Cat. no. 021) and three calligraphy sheets (see also Cat. nos. 060, 064).

377 ALPHABETICAL INDEX 5 Nudes Cat. no. 044 50 Treasures Cat. no. 045 A A E I O U Cat. no. 057 À la Carte Cat. no. 040 Adam Cat. no. 019 Adam’s Album Cat. no. 038 Aerial View Cat. no. 046 Après Cat. no. 043 B Bitter Lemons: Venice at Dawn I Cat. no. 049 Bitter Lemons: Venice at Dawn II Cat. no. 058 Bitter Lemons: Venice at Dawn III Cat. no. 061 Book of Life Cat. no. 024 C Common Geometries Cat. no. 009 D Diary of a Young Girl: Het Achterhuis [The Diary of Anne Frank] Cat. no. 002 E Eurydice Cat. no. 051 F Falls Cat. no. 030 Falls (Sketchbook I) Cat. no. 028 Falls (Sketchbook II) Cat. no. 029 A Few Places, A Few Poems Cat. no. 025 A Few Waterfalls Cat. no. 026 Five Ripe Pears Cat. no. 006 Flowers Cat. no. 052 opposite : 67 Joseph Goldyne Pale Alignment, 2008 Oil-based pigments on gessoed wood panel

I Infected: Medical Notes and Drawings Cat. no. 015 The Invisible Collection Cat. no. 008

N Night Lights Cat. no. 042 Not Conceptual (book) Cat. no. 010 Not Conceptual (portfolio) Cat. no. 037

George Bernard Shaw: A Speech Introducing Albert Einstein Cat. no. 011 Going Down Singing Cat. no. 012 Gold Records Cat. no. 031

Flowers: I See the Foxglove Open Cat. no. 063

Greek Fragments Cat. no. 013

The Lover of Flowers – Jean de la Bruyère Cat. no. 053 M The Marriage of Heaven and Hell: A Memorable Fancy Cat. no. 022

Isolation: Medical Notes and Drawings Cat. no. 016 J Jean de la Bruyère – The Lover of Flowers 1688 Cat. no. 050

For Naomi (Two-volume set) Cat. no. 020 G Gathering the Decade Cat. no. 001

Hebrew Melodies Cat. no. 023

My God Those Anxieties (Letter from van Gogh to Signac) Cat. no. 048

Letter to Stonehewer Regarding Lord Shaftsbury Cat. no. 059

O Oda a la Tipografía (Ode to Typography) Cat. no. 007

L Le Centaure (The Centaur) Cat. no. 003

H Hard High-Country Poems Cat. no. 014

378

The Song of Wandering Aengus: Something Rustled Cat. no. 060

Sweeter Than Honey Cat. no. 036 Ten Firsts in the History of Printmaking Cat. no. 034 Sonnets of Guido Cavalcanti Cat. no. 005 Trial and Death of Socrates Cat. no. 032 Ut Pictura Poesis Cat. no. 056 Vitrine Cat. no. 035 Women 9 Cat. no. 018

The Song of Wandering Aengus: I Went Out to the Hazel Wood Cat. no. 064

379 P Pregnant Shell Landscapes Cat. no. 033 Produce: A Portfolio of Twelve Monotypes Cat. no. 041 Produce 1 Cat. no. 039 Q Quartet Cat. no. 004 R Remarks to a Poet on the Subject of Flowers Cat. no. 054 S Sibyl the Scribble Cat. no. 017 Smoked Mackerel Cat. no. 055 Some Skies, Some Clouds Cat. no. 027

Spilled Pinks Cat. no. 047 Sugar Cat. no. 062

Thirty-three

The Song of Wandering Aengus: Though I Am Old With Wandering Cat. no. 065

The Song of Wandering Aengus Cat. no. 021

The

381 CHRONOLOGICAL INDEX 1966–68 Infected: Medical Notes and Drawings Cat. no. 015 1967–68 Isolation: Medical Notes and Drawings Cat. no. 016 1969 Pregnant Shell Landscapes Cat. no. 033 1972 Gathering the Decade Cat. no. 001 1973 Adam’s Album Cat. no. 038 Sibyl the Scribble Cat. no. 017 1976 Women 9 Cat. no. 018 1977–78 Produce 1 Cat. no. 039 1978 À la Carte Cat. no. 040 Produce: A Portfolio of Twelve Monotypes Cat. no. 041 Ten Firsts in the History of Printmaking Cat. no. 034 Vitrine Cat. no. 035 1979 Night Lights Cat. no. 042 1980 5 Nudes Cat. no. 044 Après Cat. no. 043 opposite : 68 Joseph Goldyne Lawsuit, Oil-based2008pigments on gessoed wood panel

Book of Life Cat. no. 024

1985 Aerial View Cat. no. 046

1986 Bitter Lemons: Venice at Dawn I Cat. no. 049

1984 50 Treasures Cat. no. 045

Diary of a Young Girl: Het Achterhuis [The Diary of Anne Frank] Cat. no. 002

Jean de la Bruyére – The Lover of Flowers 1688 Cat. no. 050

Quartet Cat. no. 004

Spilled Pinks Cat. no. 047

The Lover of Flowers – Jean de la Bruyére Cat. no. 053

Letter to Stonehewer Regarding Lord Shaftsbury Cat. no. 059

The Song of Wandering Aengus Cat. no. 021

1983 Adam Cat. no. 019

1988 A E I O U Cat. no. 057

My God Those Anxieties (Letter from van Gogh to Signac) Cat. no. 048

Bitter Lemons: Venice at Dawn II Cat. no. 058

383

1981/1987 Ut Pictura Poesis Cat. no. 056 1987 Eurydice Cat. no. 051 Flowers Cat. no. 052

Remarks to a Poet on the Subject of Flowers Cat. no. 054 Smoked Mackerel Cat. no. 055

For Naomi (Two-volume set) Cat. no. 020

The Song of Wandering Aengus: Something Rustled Cat. no. 060

1989 Bitter Lemons: Venice at Dawn III Cat. no. 061

Le Centaure (The Centaur) Cat. no. 003

The Marriage of Heaven and Hell: A Memorable Fancy Cat. no. 022 Sugar Cat. no. 062 opposite : 69 Joseph Goldyne Day and Night in the Library (Proof), 1996 Etching, aquatint, and drypoint on paper

384 1990 Flowers: I See the Foxglove Open Cat. no. 063 The Song of Wandering Aengus: I Went Out to the Hazel Wood Cat. no. 064 The Song of Wandering Aengus: Though I am Old With Wandering Cat. no. 065 1991 Thirty-three Sonnets of Guido Cavalcanti Cat. no. 005 1991–92 Hebrew Melodies Cat. no. 023 1995 Sweeter Than Honey Cat. no. 036 1996 Five Ripe Pears Cat. no. 006 1998–99 Oda a la Tipografía (Ode to Typography) Cat. no. 007 1999 Not Conceptual Cat. no. 037 2007 The Invisible Collection Cat. no. 008 2010 Common Geometries Cat. no. 009 A Few Places, A Few Poems Cat. no. 025 A Few Waterfalls Cat. no. 026 Some Skies, Some Clouds Cat. no. 027 2013–14 Falls (Sketchbook I) Cat. no. 028 2014 Falls (Sketchbook II) Cat. no. 029 1962; 1993–2015 The Trial and Death of Socrates Cat. no. 032

385 1999/2015 Not Conceptual Cat. no. 010 2015 Falls Cat. no. 030 George Bernard Shaw: A Speech Introducing Albert Einstein Cat. no. 011 Going Down Singing Cat. no. 012 Gold Records Cat. no. 031 Greek Fragments Cat. no. 013 Hard High-Country Poems Cat. no. 014

PRINTMAKING TERMS

Burin: A simple hand-held tool that includes a shaft, often v-shaped and sharpened at its end, that can engrave a line into a copper, brass or other metal plate. The burin may or may not include a wooden handle. The term also may apply to a tapered metal tool (etching burin) brought to a very sharp point that can be used in the way an etching nee dle is employed – to make a fine line through the thin ground on a copper or zinc plate.

387

Aquatint : An intaglio method developed in the eighteenth century for etching tonal ity, in which fine rosin powder is deposited on the plate and melted. The fine melted rosin prevents the acid from biting, but in between the dots of melted rosin, exposed microscopic areas of the plate are etched by the acid. The result is a skein of etched marks of varying sizes, which hold ink to varying degrees. A longer etching time creates a deeper mark and darker tone. Passages not to be etched with acid are “stopped out” by painting them with a varnish that keeps the acid from penetrating those areas of the metal plate.

opposite : 70 Joseph Goldyne Reference (Proof), Sept. 1987 Monoprint: Etching, drypoint, and monotype on paper

À la poupée : The term derives from the French word for doll (poupée) and refers to the application of colored inks to specific passages of a plate by means of cotton daubs called “dollies.” This is a method for coloring an image without resorting to the more time-consuming method of registering a number of plates, each inked with a separate color. À la poupée inking is harder to control than registered color printing, but if planned properly, not overly complex, and executed by a master printer, it is practically impossible to detect variations in a carefully printed edition.

Burnishing : In intaglio printmaking (e.g., etching, aquatint, mezzotint or any “matrix” cut into a metal plate), burnishing refers essentially to a process of lessening the depth of the lines or marks made into the plate. The shallower the lines or marks, the less ink they hold and the lighter they print. Burnishing is thus a method for correcting or erasing passages in the plate. Burnishing is usually accomplished by use of a steel tool (burnisher), the leading end of which comes to a point. By pressing the burnisher back and forth over a passage to be lightened or even totally effaced, the lines or marks are gradually diminished in depth. Often, a scraper is used prior to burnishing, especially when the aim is to completely efface an ink-holding passage. The scraper removes metal more grossly and speeds the process. The burnisher is then used to polish and refine the plate.

388

Chine collé : A method of presenting an etched image by printing it on a delicate piece of paper affixed to another, stronger paper at the time of printing. This is accomplished by using an aqueous glue to coat the fine paper intended to take the impression. It is then sandwiched between the plate and the sheet to which it will be affixed, and run together through the press. Ideally, the finished print achieves a more delicate presentation because of the quality of the finer paper displaying the image.

Drypoint : A classic method similar to line engraving, but typically with a different appearance when printed. Both drypoint and line engraving are direct methods, no acid being employed to fix the lines on the plate. The minute though rough metal slivers that are thrown up on either side of the ‘scratched’ line by the drypoint tool (usually a steel, carbide or diamond point) hold ink in an irregular, feathery manner. Thus the lines appear fuzzy when printed. Many drypoint lines close together will achieve a rich texture. Examples of passages that classically invite drypoint work are fur garments, hair, or trees. In a non-representational work, the dark and furry nature of a well-inked drypoint passage offers an opportunity for rich contrast. Because of the relative delicacy of the metal slivers, the amount of ink they hold diminishes with each successive roll through the press. Thus, the fuzzy effect lessens with continued printing until one has only the line remaining to hold ink. Steel facing enables many more impressions of a drypoint plate. Connoisseurs of graphic art often prize early impressions that preserve drypoint work.

Etching : The generic term that refers to any of the procedures that employ acids to eat into a metal plate for the purpose of creating a printable matrix (e.g. hard ground etching, soft ground etching, sandpaper etching, aquatint). In etching, the artist creates a surface of marks (i.e. lines or dots, which when inked comprise the etching). Because these marks are “bitten” into the plate matrix, it can be re-inked and thus has the potential for producing many identical impressions.

Hard ground : To be etched in acid, a metal plate must first have a ground applied to the surface in order to protect the plate from the action of the acid. Hard ground is usually composed of asphaltum, beeswax, and resin that is applied hot to the plate and rolled evenly over the surface. When hot, hard ground is viscous and can be rolled on the plate by means of a rubber brayer, or roller; when it is cold, it is hard and immov able. Only those marks that are drawn through the hard ground by the sharp point of the etching needle are exposed to the bite of the acid and etched into the plate. Once the plate has been etched, the ground is removed with mineral spirits and the image can be inked. (See also soft ground.)

Intaglio : Any of several printmaking techniques, such as etching, aquatint or mez zotint, that involve cutting into the surface of a metal plate, either directly by using a

Letterpress : Letterpress, the oldest form of printing, is a relief printing method based on inking a raised arrangement of letters. The classical method for printing text, letterpress has all but disappeared except at the small shops of fine printers.

Lithograph (lithography) : A method of planographic (flat-surface) printing in which an image is created on the surface of a stone or thin metal plate without incising. Lithography is based on the incompatibility of grease and water. Traditionally, greasy ink or crayon was employed to draw an image on a special limestone that was then treated with nitric acid and gum arabic. The solution of acid and gum arabic allowed the stone to retain a thin layer of water. The stone could then be wetted with water and rolled with a greasy ink, which would adhere only to the greasy drawing. The inked image could then be printed.

Mezzotint : A method of intaglio printing, invented in the seventeenth century, which achieves a rich tonal range. In mezzotint, the plate surface is ground by means of a chisel-like tool (rocker) consisting of many small sharp points. The artist then scrapes away at the resulting rough and dark-printing surface, and to the degree a passage is scraped and burnished, it will print gradations from black to white. Because of the almost infinite range of tonalities achievable, in the eighteenth and nineteenth cen turies mezzotint became the most desirable method for the reproduction of paintings.

389 burin or by “biting” the surface with acid. The plate is then wiped with ink, and the etched or inscribed lines hold the ink, thus producing the image. Intaglio methods are classically distinguished from planographic techniques such as lithography and screen-printing by the way each approach holds the ink that actually makes the print.

Monoprint : Refers to any unique printed image resulting from a surface prepared by a combination of techniques such as etching, drypoint, aquatint or lithography with monotype. The monotype passages, which are uniquely inked or painted on the plate, exclude the possibility of producing identical impressions. Thus, if one were to ink an etching plate and then paint a passage with printing ink, an impression of that etched and painted plate would be unique, and would be a monoprint.

Monotype : A unique printed image executed with transferable pigments, such as printing inks or watercolor, applied on any surface (traditionally metal and occasionally glass). By placing a dampened sheet of paper over the plate and applying pressure to the back of the sheet, the inked image is transferred to the paper. The quality of the transfer depends on many factors, from the moisture of the paper and the viscosity of

Intaglio techniques hold ink in etched lines or dots below the surface of the metal plate and impress the ink into the paper as plate and paper are rolled through the press under great pressure.

Planographic : A term applied to printing methods such as lithography and screen printing to describe the way each approach holds the ink that actually makes the print. Planographic media are the opposite of intaglio media, in which the ink is held beneath the surface in the etched or engraved lines and dots. Planographic techniques hold ink on the surface of the stone (lithography), or squeegee it directly onto paper through a mesh screen (silkscreen printing). In screen printing, the ink is prevented from transferring to the paper by means of a blocking stencil.

390 the pigment to the amount of pressure and its distribution. Today, most monotypes are printed with an etching press on which the rollers can be adjusted to provide even pressure across the surface of the image. However, other methods can also be used, such as rubbing the back of the paper with a spoon, applying enough pressure to transfer the image to the sheet. Often, second or even further “ghost” impressions are taken from the plate, but they too will vary, as each succeeding impression will be lighter than its predecessor. The uniqueness of the image results from the fact that there is no permanent matrix to hold the pigments and insure repeated identical impressions, as in a monoprint (i.e., etching, drypoint, or aquatint in combination with monotype).

Sandpaper etching : A sandpaper etching is made by placing a piece of fine-grained sandpaper (e.g. 200 to 600 grit) between an etching plate grounded with asphaltum and a thin piece of paper on which the artist makes a drawing. The pressure of the drawing implement impresses the image through the sandpaper to the plate. The sandpaper grains breaking through the hard ground create a fine or coarse quality to the image on the plate. The plate is then placed in acid, and the image emerges as it etches. This image will have a distinctive grainy quality, not dissimilar to the effect Seurat and the Neo-impressionists achieved in their drawings. An advantage of sandpaper etching is that by pressing harder, a darker passage is achieved, but without having to keep the plate in the acid bath for a longer period of time. All gradations of intensity can, in fact,

Roulette : A burin-like device, but with a rolling serrated blade on a little axle that engraves a small repeated pattern of dots when rolled across the surface of the plate.

Relief printing : A way of making repeatable prints by cutting away all surface areas that are not to hold ink, which is thus held only by the remaining raised surface. Examples of relief printing are woodcut, metalcut, linocut, relief etching, and rubber stamp.

Offset lithography : Contemporary lithography often employs a commercial “offset” press, in which the image is drawn directly on a thin aluminum plate, or transferred to photosensitized plates that are then “developed.” These plates are then placed on a press, inked, and printed indirectly (offset) by a rubber roller that picks up the inked image from the plate and “rolls” it onto the paper.

391 be attained from a single immersion in the acid, without stopping out or having to etch for a longer period to achieve darker tones.

Steel facing : An electroplating method of protecting a copper plate from the wear associated with the printing of multiple impressions. Steel facing was invented by Salmon and Garner, who took out a patent for the method in 1857. An etched or drypointed copper plate is cleaned of all grease and suspended in a conducting solution of water, ammonium chloride and ferrous sulphide. Another steel plate, connected to a positive pole, is placed near the etched plate, and carries a continuous electrical current. Over a period of time (which varies depending on multiple factors), a micro-thin layer of iron is deposited over the surface of the etched plate, providing a hardened surface that protects the plate. Steel-faced plates can be printed hundreds of times without the noticeable losses in impression quality common to printing multiple impressions from a typical copper plate. This is especially true for drypoints.

Stopping out : The process of applying an acid-resistant solution (typically varnish) to block the action of acid on an etched plate. “Stopout” is used when one wishes to end the process of etching a portion of an etched plate, another part of which is intended for further etching. Classically, this was the method for keeping an area (e.g. distant landscape) lightly etched so that it would print more faintly, while allowing foreground passages such as trees, vegetation and figures to be exposed to the “bite” of acid for a longer time so that they would print more strongly.

Spit bite : A somewhat common, though no longer accurate, term used to describe a method of painting with acid directly onto a copper plate grounded with aquatint. The term was derived from the early use of saliva to break the surface tension of the brushed field, allowing a more even dispersal of the fluid over the passage being painted. The modern substitute for saliva is gum arabic

Substrate : The term used to refer to the material onto which the ink is printed. In the making of books, paper is the typical substrate. However, silk, vellum, plastic, metal, and fabric can also be used.

Soft ground : A preparation for coating an etching plate that preserves a crayon-like line, as opposed to a fine pencil or pen-like stroke (see also hard ground). Like a hard ground, soft ground also protects the plate from the acid, but includes grease in its com position and thus remains tacky or soft after cooling. The soft coating on the plate is then covered with a sheet of paper, and a drawing in pencil on the paper breaks away the soft ground to expose the raw metal. When the drawing is completed, the plate is etched in acid.

393 ILLUSTRATIONS opposite : 71 Joseph Goldyne Do Not Forget Dorothy, 1996 Colored pencil on paper page JosephiiGoldyne Compilation and Containment, 1991 Monotype on paper 9 7/8 × 7 3/4 in. (25.1 × 19.7 cm) Collection of Joseph Goldyne page JosephivGoldyne Phaidon, Monotype1984on blue Magnani paper 9 × 6 in. (22.9 × 15.2 cm) Private collection, courtesy of Addison Fine Arts, San Francisco page JosephviGoldyne References [Reference] (State I, Proof), 1987 Etching and drypoint on paper 9 1/8 × 2 5/8 in. (23.2 × 6.7 cm) Private collection page JosephviiiGoldyne End of a Book of Poems (Dorothy Parker), Oil-based1996 pigments on gessoed paper 4 × 6 1/2 in. (10.2 × 16.5 cm) Collection of Mr. Irving Zaretsky page JosephxGoldyne Dark Delights of Research, 1997 Monoprint on paper 12 × 9 in. (30.5 × 22.9 cm) Collection of Joseph Goldyne

page394 JosephxiiGoldyne Appearances Pale Before Meaning, 1998 Colored pencil on paper 19 1/2 × 12 3/8 in. (49.5 × 31.4 cm) Private collection, London; courtesy of Thomas Gibson Fine Art, London page JosephxviGoldyne and Thomas Ingmire Preparatory monotype for William Blake’s The Marriage of Heaven and Hell: A Memorable Fancy, 1989 Monotype with calligraphy on paper 5 × 4 in. (12.7 × 10.2 cm) Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries page JosephxxGoldyne Medical Thinking: Many Gray Areas, 1990 Colored pencil on paper 19 1/2 × 12 1/2 in. (49.5 × 31.8 cm) Private collection 1 Joseph Goldyne Drawing with Olmec Sculpture, c. 2000 Colored pencil on blue Whatman 1949 paper 15 1/4 × 13 1/8 in. (38.7 × 33.3 cm) Collection of Joseph Goldyne 2–3 Unknown Artist (Late Olmec) Conflation of Birds, c. 800–300 bc 2. View, Owl devouring duck 3. View, Diving duck Jade on steel stand 6 5/8 × 3 3/4 × 3 in. (16.8 × 9.5 × 7.6 cm) Collection of Joseph Goldyne 4 Joseph Goldyne Sweater Closet at Dusk (State Proof), 1984 Offset lithograph on paper 26 × 18 in. (66 × 45.7 cm) Collection of Joseph Goldyne 5 Joseph Goldyne Sweater Closet at Dusk (22/70), 1984 Offset lithograph, 25 colors on 22 plates, on Kensington hand-made paper 26 × 18 in. (66 × 45.7 cm)

Collection of Naomi Sloane 6 Joseph Goldyne Adam’s Closet, September 1993 Etching on paper 6 7/8 × 5 in. (17.5 × 12.7 cm) Private collection 7 Joseph Goldyne Reserves, Sept. 20, 1993 Monoprint: Drypoint and monotype on paper 6 7/8 × 5 in. (17.5 × 12.7 cm) 8 Joseph Goldyne Tart and Strawberry: Patissier, Confiseur, Salon de Thé II, 1997 Monotype printed chine collé on green Parisian confectionery bag with gilt detailing 7 1/2 × 5 1/2 in. (19.1 × 14 cm) Collection of Natasha Nicholson 9 Joseph Goldyne Preserves: If There Be a Power of Sweetness, 1995 Monoprint: Aquatint and monotype on paper 4 7/8 × 2 1/2 in. (12.4 × 6.4 cm) Collection of Joseph Goldyne 10 Joseph Goldyne Preserves: If There Be a Power of Sweetness (Version 5), 1995 Monoprint: Aquatint and monotype on paper 4 7/8 × 2 1/2 in. (12.4 × 6.4 cm) Private collection 11 Joseph Goldyne Preserves: If There Be a Power of Sweetness (Version 6), 1995 Monoprint: Aquatint and monotype on paper 4 7/8 × 2 1/2 in. (12.4 × 6.4 cm) Collection of Joseph Goldyne

Rosenwald Collection, Rare Book and Special Collections Division of the Library of Congress, Washington, DC 22 The Great Isaiah Scroll A, Qumran Cave 1, c. 100 bc Ink on parchment 9 3/4 × 289 in. (24.8 × 734 cm) Shrine of the Book, © The Israel Museum, Jerusalem Photograph © John C. Trever 23 Paul Verlaine (1844–1896) and Pierre Bonnard (1867–1947) Parallèlement (Pages 18 and 19), 1900 Artists’ book with lithographs and printed text 13 3/4 × 9 13/16 in. (35 × 25 cm) Edited and published by Ambroise Vollard, Paris Fine Arts Museums of San Francisco, San Francisco, CA

La Operina di Ludouico Vicentino (Pages 12 and 13), 1522 Ink on paper 7 3/4 in. (19.8 cm)

395 12–14 Joseph Goldyne and Thomas Ingmire The Song of Wandering Aengus, 1988 Unique book, poem by William Butler Yeats 12. Leather cover and gold stamping 13. Title page with monotype and calligraphy 14. Text page with monotype Book: 10 1/4 × 8 1/2 × 1/2 in. (26 × 21.6 × 1.3 cm) Sheet: 9 5/8 × 7 5/8 in. (24.5 × 19.4 cm) Collection of Dr. Alfred S. Goldyne (Cat. no. 021) 15–16 Joseph Goldyne George Bernard Shaw: A Speech Introducing Albert Einstein, 2015 Artists’ book with introductory essay and five etchings by Joseph Goldyne 15. Book in clamshell box 16. Text page with etching Book: 11 1/4 × 14 3/8 × 1 in. (28.6 × 36.6 × 2.5 cm) Sheet: 10 1/2 × 13 in. (26.7 × 33 cm) Published by Two Ponds Press LLC, Camden, ME Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries (Cat. no. 011) 17 Chauvet Cave, Ardèche, France c. 32,000–30,000 bc Pigments on stone Photograph by Patrick Aventurier / Chauvet / Getty Images 18 Michelangelo Buonarroti Simoni Sistine(1475–1564)Chapel Ceiling, 1512; altar wall, The Last Judgment, 1541 SistineFresco Chapel, Vatican City Photograph © Mircea Costina / Alamy

19 Unknown artists, Monastery of Iona Folio 124r, Book of Kells, c. 800 Iron gall ink, dyes, pigments, and gold leaf on vellum 13 × 9 7/8 in. (33 × 25 cm)

© The Board of Trinity College, Dublin Trinity College Library, Dublin (MS 58) 20 Nicolas A. Jenson (1404–1480) Eusebius Caesariensis, Printed in Venice, 1470 Ink, pigments, and gold leaf on vellum Sheet: 29 × 37 13/16 in. (73.6 × 96 cm) (First book in which Jenson used the Roman typeface he designed.) 21 Ludovico degli Arrighi (1475–1527)

with

24.

Folio: 16 1/8 × 10 7/16 in. (41 × 26.5 cm)

and

Published by Maeght Editeur, Paris

24–25396 Paul Éluard (1895–1952) and Joan Miró (1893–1983) À toute épreuve, 1958 Artists’ book with woodblock prints and letterpress text Title Page 25. Text page with woodblock prints 12 1/2 × 9 11/16 in (31.7 × 24.6 cm)

© Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2015 28 Henri Matisse (1869–1954) Poems by Charles d’Orléans (Front and back cover), 1950, Artists’ book with lithographs and hand-written text

29–30

open) 30.

Photograph by M. Lee Fatherree

Published by Gérald Cramer, Geneva by M. Lee Fatherree Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2015 26–27 Jacques Prévert (1900–1977) and Joan Miró (1893–1983) Adonides, 1975 Artists’ book with aquatint images and letterpress text Title Page 27. Plate 16 16 5/16 × 14 in. (42.5 × 35.5 cm)

Published by Tériade Editeur, Paris Reva and David Logan Collection of Illustrated Books

Photograph

, 1913 Illustrated

29.

Photograph

26.

Gift of Reva and David Logan Foundation Arts Museums of San Francisco, San Francisco, CA by M. Lee Fatherree 2015 Succession H. Matisse / Artists Rights Society (ARS), New York Blaise Cendrars (1887–1961) Sonia Delaunay Terk (1885–1979) Prose du Transsibérien et de la petite Jehanne de France book pochoir Horizontal: 14 1/4 × 78 3/8 in. (36.2 × 199 cm, Vertical: 78 3/8 × 1/4 in. (199 × 36.2 cm, open) Published by Éditions des Hommes Nouveaux, Paris The Museum of Modern Art, New York Sonia Delaunay Terk (1885–1979) © Digital image © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY 31 Joseph Goldyne 3 Studies for Anne’s Pen, 1985 Monoprint: Etching and monotype on mulberry-fiber paper Sheet: 17 1/4 × 12 1/2 in. (43.8 × 31.8 cm) Each image: 6 × 2 in. (15.2 × 5.1 cm) Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries 32 Joseph Goldyne Study for Diary of a Young Girl, March 7, 1985, Graphite on paper 9 1/2 × 6 1/2 in. (24.1 × 16.5 cm) Collection of Joseph Goldyne 33 Joseph Goldyne Study for Diary of a Young Girl, April 25, 1985, Graphite on paper 9 1/2 × 6 1/2 in. (24.1 × 16.5 cm) Collection of Joseph Goldyne 34 Joseph Goldyne On Probability and Possibility from the artists’ book Quartet, 1986 Aquatint, etching, and drypoint on paper 7 1/2 × 5 1/2 in. (19.1 × 14 cm) Published by Pacific Editions, Berkeley / San Francisco, CA (Cat. no. 004)

Fine

397

Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries (Cat. no. 036) 46 Joseph Goldyne Five Ripe Pears (Title page), 1996 Artists’ book with story by William Saroyan, Etching and letterpress on paper. Sheet: 9 1/4 × 9 1/8 in. (23.5 × 23.2 cm) Published by Bluewater Books, Santa Monica, CA, and Joseph Goldyne Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries (Cat. no. 006)

40.

39–41

35 Joseph Goldyne Quartet from the artists’ book Quartet, 1986 Monoprint: Aquatint and monotype on paper 7 1/2 × 5 1/2 in. (19.1 × 14 cm) Published by Pacific Editions, Berkeley / San Francisco, CA (Cat. no. 004) 36 Thomas Ingmire Calligraphy Study for William Blake’s The Marriage of Heaven and Hell: A Memorable Fancy, 1989 Ink, colored pencil, and Xerox image on paper 25 3/4 × 11 3/8 in. (65.4 × 28.9 cm) Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries (Cat. no. 022) Joseph Goldyne and Thomas Ingmire Unique book, William Blake’s The Marriage of Heaven and Hell: A Memorable Fancy, 1989 Calligraphy text with monotype: Inks and gold leaf on J. Whatman paper A Firey Eagle 38. Men as Books Sheet: 9 × 6 in. (22.9 × 15.2 cm) Joseph R. Goldyne Collection, Department of Special Collections and University Archives, Stanford University Libraries (Cat. no. 022) Joseph Goldyne and Thomas Ingmire Unique book, Lord Byron’s Hebrew Melodies, 1991 Monotype and printed text: Inks on paper Like the Night of Cloudless Climes and Starry Skys (Monotype opposite title page) The Land and the Life 41. His Cohorts Were Gleaming Sheet: 8 × 5 in. (20.3 × 12.7 cm) Collection of Dr. Alfred S. Goldyne (Cat. no. 023) 42 Joseph Goldyne Old Degas with Mementos, 1989 Graphite, colored pencil, and pastel on paper 20 1/2 × 14 in. (52.1 × 35.5 cm) Collection of Joseph Goldyne 43 Joseph Goldyne Victor Hugo, 1988 Monotype with pastel on paper 41 × 28 1/2 in. (104.1 × 72.4 cm) Collection of Dr. Alfred S. Goldyne 44 Joseph Goldyne Rimbaud’s Garden, 1987 Pastel on prepared paper 44 × 29 3/4 in. (111.8 × 75.6 cm) Private collection 45 Joseph Goldyne Sweeter Than Honey (Title page), 1990 Etching, drypoint, and letterpress on paper 19 × 12 5/8 in. (48.3 × 32.1 cm) Published by Passim Editions, Ann Arbor, MI

37.

37–38

39.

Photograph by M. Lee Fatherree, 2015 52 Peter Koch and Joseph Goldyne at Peter Koch, Printers, Berkeley, PhotographCAby Elizabeth Fischbach, 2015 53 Kay Bradner at Katherine Lincoln Press, San Francisco, CA Photographer and date unknown

54 Robert Townsend preparing etching chemicals at R.E. Townsend Inc., Georgetown, MA Photograph by Charlie Townsend, 2015 55 Printing press known as the “Beast” used by Robert Townsend at R.E. Townsend Inc., Georgetown, MA Photograph by Charlie Townsend, 2015 56 Thomas Ingmire working on calligraphy sheet at Scriptorium St. Francis, San Francisco, CA

59 Jonathan Gerken setting etting type at Peter Koch, Printers, Berkeley, CA

Photograph by Elizabeth Fischbach, 2015 60 Peter Koch, Jonathan Gerken, and Joseph Goldyne at Peter Koch, Printers, Berkeley, PhotographCAby Elizabeth Fischbach, 2015

Photograph by M. Lee Fatherree, 2001 50 Joseph Goldyne References [Reference] (Proof), 1987 Monoprint: Etching, drypoint, and monotype on paper 9 1/8 × 2 5/8 in. (23.2 × 6.4 cm)

47398 Joseph Goldyne Oil study for Five Ripe Pears, 1996 Oil-based pigments on gessoed paper 5 1/4 × 8 1/4 (13.3 × 21 cm)

Collection of Joseph Goldyne 48 Joseph Goldyne Five Ripe Pears (Proof), 1996 Monoprint: Etching and monotype on paper 2 3/4 × 6 in. (7 × 15.2 cm) Private collection 49 A selection of Joseph Goldyne’s limited-edition books and portfolios

Private collection 51 Jasper Johns (1930–) and Samuel Beckett (1906–1989) Foirades/Fizzles, 1976 Artists’ book with eight essays, 33 intaglio aquatint images, and lithograph end papers 13 × 9 3/4 in. (33 × 24.7 cm) Published by Éditions de Minuit and Petersburg Press, London, Paris, and New York

57 Joseph Goldyne Smoking Pen, 1985 Etching, aquatint, and drypoint on paper, colored à la poupée Image: 9 1/4 × 2 3/4 in. (23.5 × 7 cm)

58 Thomas Ingmire Calligraphy Alphabet, 2015 Ink on paper 5 1/4 × 7 3/4 in. (13.3 × 19.7 cm)

61 Daniel E. Kelm working on binding at Wide Awake Garage, Easthampton, MA Photograph by Sami Keats, 2010 62 Lawrence G. Van Velzer in print shop at Foolscap Press, Santa Cruz, CA Photograph by Peggy Gotthold, 2004

Photograph by Linda A. Cicero, 2012

399 63 Andrew Hoyem setting type at Arion Press, San Francisco, CA Photograph by Patrik Argast, 2015 64 Art Larson printing artists’ book George Bernard Shaw: A Speech Introducing Albert Einstein for Two Ponds Press at Horton Tank Graphics, Hadley, MA Photograph by Cassie Leone, 2015 65 Peggy Gotthold with binding frame at Foolscap Press, Santa Cruz, CA Photograph by Leo Holub, 2004 66 Joseph Goldyne Book of My Numberless Dreams II, 1989 Colored pencil and graphite on paper 21 × 10 1/4 in. (53.3 × 26 cm) Private collection, Chicago, IL 67 Joseph Goldyne Pale Alignment, 2008 Oil-based pigments on gessoed wood panel 14 1/4 × 16 1/2 (36.2 × 42 cm) Collection of Joseph Goldyne 68 Joseph Goldyne Lawsuit, Oil-based2008pigments on gessoed wood panel 16 × 16 in. (40.6 × 40.6 cm) Collection of Joseph Goldyne 69 Joseph Goldyne Day and Night in the Library (Proof), 1996 Etching, aquatint, and drypoint on paper 5 1/2 × 4 1/4 in. (13.9 × 10.8 cm) 70 Joseph Goldyne Reference (Proof), Sept. 1987 Monoprint: Etching, drypoint, and monotype on paper 9 1/8 × 2 5/8 in. (23.2 × 6.7 cm) Collection of Joseph Goldyne 71 Joseph Goldyne Do Not Forget Dorothy, 1996 Colored pencil on paper 17 3/8 × 13 3/4 in. (44.1 × 34.9 cm) Private collection 72 Joseph Goldyne New Art References: Appearances Pale Before Meaning, 1990 Colored pencil on J. Whatman paper 19 5/8 × 12 1/2 in. (49.8 × 31.8 cm) Collection of Joseph Goldyne 73 Joseph Goldyne Rarities, Oil-based1996pigments on gessoed paper 12 × 10 in. (30.5 × 25.4 cm) Private collection 74 Joseph Goldyne Old Poem, Old Medium, Sept. 23, 2000 Drypoint and etching on paper 7 1/8 × 7 1/8 in. (18.1 × 18.1 cm) Collection of Joseph Goldyne

PETER RUTLEDGE KOCH, artist and printer, has been designing and printing books and ephemera since 1974. He invented Cowboy Surrealism and practiced printing in Missoula, Montana. He later settled in the San Francisco Bay Area, following the San Francisco literary tradition of fine printing. Editions Koch in Berkeley, California, specializes in publishing limited-edition artists’ books, broadsides, portfolios, and text transmission objects. His books have been the subject of solo exhibitions at The New York Public Library, San Francisco Public Library, and The Widener Library at Harvard University, and have been included in exhibitions at museums throughout the West. He founded the Codex Foundation and has acquired an international reputation for his work. A 40-year retrospective is scheduled for Stanford University Library in 2017.

opposite : 72 Joseph Goldyne New Art References: Appearances Pale Before Meaning, 1990 Colored pencil on paper

ROBERT BRINGHURST is a Canadian poet, typographer, and linguist, born in Los Angeles in 1946. His latest book, Selected Poems, is published by Jonathan Cape, Lon don. Two volumes of his essays and lectures – The Tree of Meaning and Everywhere Being Is Dancing – are published by Counterpoint, Berkeley. His book The Elements of Typographic Style (now in its 4th edition) has been translated into ten languages and is widely regarded as “the typographer’s Bible.” He was named an Officer of the Order of Canada in 2013.

401

JOSEPH R. GOLDYNE is an artist who has shown his work internationally. He has authored numerous essays and articles on artists who include Richard Diebenkorn, Alberto Giacometti, Henri Matisse, Adolf von Menzel, Giorgio Morandi, Manuel Neri, and J.M.W. Turner, among others. Goldyne came to prominence as an artist on the West Coast in 1973 with his first solo exhibition of monoprints at Quay Gallery, San Francisco. He has been credited as one of the artists responsible for the rebirth of monotype and monoprint as art media. Educated as a physician (MD 1968) before earning a graduate degree in art history, Goldyne taught courses in the History of Art at University of California, Berkeley, from 1973 to 1975. He has exhibited his paint ings, drawings, prints, and monotypes at museums and galleries in the U.S. and Europe, including solo museum exhibitions at the Honolulu Museum of Art, Honolulu, HI; National Museum of American Art, Smithsonian Institution, Washington, DC; The Israel Museum, Jerusalem; Chazen [Elvehjem] Museum of Art, University of Wisconsin, Madison; New York Academy of Sciences, New York, NY; a retrospective in 2001 at the Corcoran Gallery of Art, Washington DC, and others.

AUTHOR BIOGRAPHIES

opposite : 73 Joseph Goldyne Rarities, Oil-based1996pigments on gessoed paper

Minneapolis Institute of Arts, Minneapolis, Minnesota

Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Stanford, California

Chazen Museum of Art, University of Wisconsin, Madison, Wisconsin

SELECTED PUBLIC COLLECTIONS

Sterling and Francine Clark Art Institute, Williamstown, Massachusetts

The de Saisset Museum at Santa Clara University, Santa Clara, California Fine Arts Museums of San Francisco, San Francisco, California

The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York

The New York Public Library, New York, New York

Oakland Museum of California, Oakland, California

Saint Louis Art Museum, Saint Louis, Missouri

Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts

403

Crocker Art Museum, Sacramento, California

The Art Institute of Chicago, Chicago, Illinois Museum of Fine Arts, Boston, Massachusetts

Victoria and Albert Museum, London

The Phillips Collection, Washington, DC

Honolulu Museum of Art, Honolulu, Hawaii

National Museum of American Art, Smithsonian Institution, Washington, DC

Stanford University Libraries, Department of Special Collections, Stanford, California

The Fralin Museum of Art, University of Virginia, Charlottesville, Virginia

Whitney Museum of American Art, New York, New York

Beinecke Rare Book & Manuscript Library, Yale University, New Haven, Connecticut

Entries in the Catalogue Raisonné and page numbers with an image are in listed in bold. Poem titles and artwork titles are italicized with author’s/artist’s name in parenthesis. note : There are two indexes for the Catalogue Raisonné entries, an Alphabetical Index (pages 377-379), and Chronological Index (pages 381-385).

Accommodation (Goldyne) 115, 118, 293, 297 Acropolis from Room 844, Intercontinental Hotel, Athens (Goldyne) 247, 252 Adam (Cat. no. 019) 166-169 Adam’s Album (Cat. no. 038) 302-311 Adam’s Apple (Goldyne) 303, 307 Adam’s Cassette and Keys (Goldyne) 171, 173 Adam’s Closet (Goldyne) 5 Adonides (Miró and Prévert) 16, 17 Aerial View (Cat. no. 046) 356 Afternoon (Goldyne) 283, 286 Alfred’s 2-wheeler (Goldyne) 171, 173 Altman, Lee 41 Analysis of Beauty (Hogarth) 109 Ancona, Vito d’ 159, 163 And if the world has ceased to hear you…(Rilke) (Goldyne) 205, 213

405 INDEX

Above a little Boy… (Goldyne) 154, 155

74 Joseph Goldyne Old Poem, Old Medium, Sept. 23, 2000 Drypoint and etching on paper 5 Nudes (Cat. no. 044) 351-353 50 Treasures (Cat. no. 045) 355 A A E I O U (Cat. no. 057) 367 À la Carte (Cat. no. 040) 318-325 à la poupée 44, 45, 46, 51, 71, 73, 79, 123, 265, 275, 387

The Birds have Vanished (Li Po) 217, 218 Bitter Lemons (Durrell) 359, 368, 371 Bitter Lemons: Venice at Dawn I (Cat. no. 049) 359, 368, 371 Bitter Lemons: Venice at Dawn II (Cat. no. 058) 49, 359, 368, 371 Bitter Lemons: Venice at Dawn III (Cat. no. 061) 359, 368, 371 Bixler, Michael 123, 137 Bixler, Winifred 123 Blake, William 24, 26, 37, 183 Blushing Saltine (Goldyne) 302, 303 bon à tirer (BAT) 44, 46, 275 Bonnard, Pierre 14 Boodie and the Great Mousie (Goldyne) 303, 308 Boodie and the Great Mousie Under a Rainbow (Goldyne) 303, 308 Boodie Bits (Goldyne) 303, 305, 306 Book of Life (Cat. no. 024) 196-197 BookLab 55, 283 Borella, Shirley 53, 261 Bradner, Kay 30, 42, 43-45, 53, 63, 71, 73, 79, 81, 89, 105, 115, 123, 129, 171, 197, 199, 205, 217, 239, 293, 356, 357, 359, 370, 373, 374 Brillat-Savarin, Jeanne Anthelme 49, 372 Bringhurst, Robert ix, xiv, xix, 1-33, 39, 47, 126, 127, 137, 239, 401 Byron, George Gordon Lord 26, 27, 33, 129, 187, 257 C Captain’s Decanter (Goldyne) 275, 278 Carmel, July 4th (Goldyne) 337, 341 Cavafy, Constantine P. 129, 205, 207 A Century of Artist’s Books (Drucker) 37 Choo-Choo (Goldyne) 303, 311 Coast Apple (Goldyne) 313, 314 Cold Front (Goldyne) 115, 119, 293, 299 Coleman, Juliayn 55, 199, 205, 217 Coleridge, Samuel Taylor 36 Common Geometries (Cat. no. 009) 108-114 Composition Featuring Banana (Goldyne) 327, 332 Concerto for Two Violins (Bach) 23 Conroy, Tom 55, 81 Constable, John 217 Cricket Club Jacket of Clem Gibson, c.1920, Westwell Manor, Cotswolds, England (Goldyne) 247, 250 Crownover, Bruce 41 Crunch Roll Snack (Goldyne) 318, 319 Crystal Door Knob (Goldyne) 275, 280 Curved Road (Goldyne) 198, 199 Cut Glass Window (Goldyne) 275, 276 D Dad’s Guadagnini (Goldyne) 247, 254 Dante 79, 205 Dead Sea Scrolls 13 Deep End (Goldyne) 337, 340 Delaunay [Terk], Sonia 13, 17, 18, 19 DeMerritt, John 55, 105, 137 Desert Vignette I (Goldyne) 319, 323 Desert Vignette II (Goldyne) 319, 323 The Destruction of Semnacherib (Byron) 26-27, 187 Diagonal Eggplant

(Goldyne) 319, 322 Diagonal Husk (Goldyne) 327, 333 Diary of a Young Girl: Het Achterhuis (Cat. no. 002), 20, 21, 24, 33, 44, 47, 62-69, 356 Distance is the Soul of Beauty (Goldyne) 198, 199 Djerassi, Dr. Carl 73 Don Juan/The Isles of Greece (Byron) 129 Doré, Gustave 36 Drawing with Olmec Sculpture (Goldyne) 2, Drucker,3 Johanna 37 Dula, Rick 41, 53, 283 Durand, Michele 45 Dusk Arc Pane (Goldyne) 337, 339 Dusk in Winter (Merwin) 217, 221 E Einstein, Albert 8, 9, 47, 55, 122, 123, 124 Einzig das lied uberm Land Heilligt und Feiert (Goldyne) 199, 200 El Dorado Press 53, 265, 275 Ellenport, Samuel B. 55, 63

406 And one day… (Goldyne) 155, 156 And then my master left… (Dante) (Goldyne) 205, 211 Anderson, Harry W. and Mary Margaret 313, Antipater327 of Thessalonika 283 Apple and Pear Diagonal (Goldyne) 313, 316 Après (Cat. no. 043) 344-349 Après Eakins (Goldyne) 345, 348 Après Picasso (Goldyne) 345, 346 Après Redon (Goldyne) 345, 347 Après Sargent (Goldyne) 345, 349 Arif Press 42, 53, 71, 73 Arion Press 42, 53, 55, 59, 79, 171 Aristotle 33, 129 Arrangement with Blackberry Escort (Goldyne) 327, 330 Arrighi, Ludovico degli 12, 13, 79, 137 Ars Poetica (Horace) 49, 366 Art of Fugue (Bach) 23 Art or Bust (Goldyne) 115, 116, 293, 295 As I Walked Out One Evening (Auden) 205, 206 As The Blind Remember (Goldyne) 104, 105, 106 Asklepiades 29, 283 Asparagus (Goldyne) 313, 314 Asparagus for Debbie (Goldyne) 313, 317 At Last on the 100th sheet… (Goldyne) 155, 157 Atomizer (Goldyne) 275, 278 Atwood, Margaret 127 Aubergine Passing at Dusk (Goldyne) 327, 331 B Back to Back (Goldyne) 283, 285 Barnstone, Tony and Willis (translators) 217 Barrows, Anita (translator) 199, 205 Baudelaire, Charles 159, 165 Beck, Betty Lou 55, 159 Beckett, Samuel 36, 37 Bedroom (Goldyne) 319, 325 Belshazzar 27 Bembo, type face 21, 63, 73, 123 Berry, Timothy 41

End of a Book of Poems (Dorothy Parker) (Goldyne) viii, ix Erni, Hans 257 Essay on Antiquity I (Goldyne) 129, 135 Essay on Antiquity II (Goldyne) 129, 130 Essay on Antiquity III (Goldyne) 129, 132 Eumenides (Aeschylus) 129 Eurydice (Doolittle) 361 Eurydice (Cat. no. 051) 361 Eye (Goldyne) 115, 121, 293, 301 F Faceted Scent Bottle (Goldyne) 275, 276, Fake (Goldyne) 115, 121, 293, 300 Fallen Column (Goldyne) 129, 134 Falling Apple Meadow (Goldyne) 327, 334 Falls (Sketchbook I) (Cat. no. 028) 222–231 Falls (Sketchbook II) (Cat. no. 029) 232-237 Falls (Cat. no. 030) 238-245 Farewell to Medea (Seneca) 217, 219 Farnsworth, Donald 41, 53, 355, 372 Favrille Vase (Goldyne) 275, 277 A Few Places, A Few Poems (Cat. no. 025) 198-203 A Few Waterfalls (Cat. no. 026) 204-215 A Firey Eagle (Goldyne) 24, 25, 183, 185, 397

The first chine collé, spit bite and drypoint rendering of a glass pear… (Goldyne) 265, 271

Het Achterhuis (See Diary of a Young Girl: Het Achterhuis)

Hanson, Victor Davis 35 Harcourt Bindery 55, 63 Hard High-Country Poems (Cat. no. 014) xix, 47, 136–141

Hinton, David 239, 243-245

Gefiltus Regularis Edibilis on a dish with garnish (Goldyne) 171, 175

George Bernard Shaw: A Speech Introducing Albert Einstein (Cat. no. 011) 8, 9, 47, 55, 122-125 Gerusalemme Liberata (Tasso) 36 Glaister, Donald 55, 167, 327, 337, 345, 351 Glass Cookie Jar (Goldyne) 275, 280 Goad Press 59 Going Down Singing (Cat. no. 012) 47, 126 -128, 239 Gold Records (Cat. no. 031) 246-255 Gold-point drawings 247, 248-255 Goldyne, Adam 5, 155, 167, 171, 303 Goldyne, Alfred 26, 167, 171, 177, 179, 187, 370, Goldyne,374 Helen (Nana) 159, 167, 171 Goldyne, Naomi (Naomi Sloane) 63, 167, 171 Gotthold, Peggy xviii 42, 55, 79, 89, 115, 127, 129, 239, Grabhorn-Hoyem247 Press 53, 59 Grand Canal of Venice 49 Grapes and Guadagnini (Goldyne) 327, 333

The Greek Anthology 29, 283

Hillside Press 42, 53, 115, 293

The first aquatint pearl, colored à la poupée… (Goldyne) 265, 268

The first faintly emergent nude couple… (Goldyne) 265, 270

The first vertically oriented spit bite homage to E. Hopper’s barber pole (Goldyne) 265, 267 Five Ripe Pears (Goldyne) 31, 87 Five Ripe Pears (Saroyan) 30, 44 Five Ripe Pears (Cat. no. 006) xviii, 30, 31, 33, 44, 45, 80, 82-87 Flame Bulb (Goldyne) 275, 279 Flame Lettuce (Goldyne) 327, 331 Flora (Thornton) 36 Flowers (Rimbaud) 362 Flowers (Cat. no. 052) 362, 373 Flowers: I see the Foxgloves Open (Rimbaud) 373 Flowers: I see the Foxgloves Open (Cat. no. 063) 373 Flying Horsie (Goldyne) 303, 309 Fog Roll Fall (Goldyne) 239, 240 Foirades/Fizzles (Johns and Beckett) 36, 37 Foolscap Press 42, 53, 54, 55, 89, 115, 127, 129, 239, 247 For Naomi (Cat. no. 020) 170-177 Fowlie, Wallace 199 Fox, Herb 41, 53, 261 Francis, Edward Kershaw 129 Frank, Anne 20, 63, 356, 357 Frontal Nude (Goldyne) 283, 287 G Gantz, Jeanne 42, 43, 44, 53, 265, 275 Gathering the Decade (Cat. no. 001) 58-61 Gazing at the Lu Mountain Waterfall (Li Po) 239, 243-245

Harnill, Sam 217 Harvard University 45, 261, 401

The first chine collé six-pack… (Goldyne) 265, 269

The Green Whale of Ambrosia as seen from the Cliffs Above (Goldyne) 171, 176 Greene, Scott 42 Greenwood Press xix Grove Setting (Goldyne) 337, 342 Guèrin, Maurice de 71 H Hand in Hand (Goldyne) 283, 284

Hanlon, Kate 42, 44, 47, 53, 63, 73, 79, 283

High, White and Far (anonymous) 239, 241-243 Hillel the Elder 197

Hobson, Charles xiv, 42, 53, 73

Hooch, Pieter de 159, 161 Hooven, Molly 53, 81 Hopper’s Ghost (Goldyne) 319, 320 Horace 49, 366

The Greek Commonwealth (Zimmern) 129 Greek Fragments (Cat. no. 013) 128-135

407

The first horizontally and frontally oriented hierarchial depiction… (Goldyne) 265, 270

Hashimoto, Kathryn 53, 79 Heath, John 35 Hebrew Melodies (Byron) 187 Hebrew Melodies (Cat. no. 023) 26, 27, 33, 183, 186-195, 257

Hecksher, George 124 Heredia, José María 205, 209 Heritage Bindery 55, 179, 187

Holub, Eric 42, 53, 115, 293

The first intaglio Cubist image impressed on a chine collé preparation… (Goldyne) 265, 264

408 Horton Tank Graphics 53, 55, 123 Hoyem, Andrew 42, 53, 54, 55, 59 79, 171 Hoyer, Joel 55, 319, 337 Hugo, Victor 28, 29 Hymn to intellectual Beauty (Shelley) 217, 221 I I Thank You God (cummings) 217, 219 I think of those who have loved me… (Goldyne) 199, 200 Iconic (Cavafy) 129 Impressions Workshop 45, 53, 261 In the Capital of Words (Remnick) 35 Infected: Medical Notes and Drawings (Cat. no. 015) 142-147 Ingmire, Thomas xiv, xvii, 8, 24, 26, 27, 42, 48, 49-50, 52, 159, 167, 171, 179, 183, 187, 197, 355-375 Ingres, Jean-Auguste Dominique 159, 163 Inner Light, Night (Goldyne) 337, 342

The Lover of Flowers (Bruyère) 360, 363

The Invisible Collection (Cat. no. 008) xix, 104-107 Isolation (Cat. no. 016) 143, 148-153

It may be beautiful, but that’s just the way it looks (Goldyne) 115, 117, 293, 297 J James H. Barry Co. 53, 275 James, Henry 29 James, Tim 55, 81, 293 Jay, Peter 283 Jean de la Bruyère – The Lover of Flowers (Cat. no. 050) 360 Jenson, Nicolas 12, 13 Jewish Community Endowment Fund 217 Jewish Community Federation of the Bay Area 217 Jewish Heritage Publishing 20, 63 Johns, Jasper 36, 37 Johnson, Mark 42 Johnson, Robert Flynn 246, 247 K Kain, Kathryn 42 Katherine Lincoln Press 30, 43, 53, 63, 71, 73, 79, 81, 89, 105, 115, 171, 197, 283, 356, 357, 359, 370, 373, 374 Kazin, Alfred 35 Keble, John 129 Keeley, Edmund 129 Kelm, Daniel E. 54, 55, 197 Kelso, David 42, 44, 53, 265, 275, 360, 362, 363, 366 Kenner, Hugh 79 Kessler, Stephen (translator of Neruda’s poetry) xvii, Kessler-Bradner,89Claire 42, 53, 55, 109, 199, 205, Kimball,217David 81 Kimon (Goldyne) 283, 288 Koch, Peter ix, xiv, xvii-xix, 30, 40, 41, 42, 53, 81, 89, 105, 137, 197 Kraus, Peter xix, 42, 105 Krimpin, Jan van xviii Kuwahara, Ikuru 42 L Largilliére, Nicholas de 159, 162 Larson, Art 53, 54, 55, 123 L’artiste anonyme (Goldyne) 344, 345, Le Centaure (Guérin) 71 Le Centaure (Cat. no. 003) 70-71

A Memorable Fancy (Blake) 183 Men as Books (Goldyne) 24, 25, 183, 185

Martha’s Vineyard, Edgartown Lighthouse from Room 215, Harbor View, Oct. 16, 1996 (Goldyne) 247, 250 Matisse, Henri 13, 17, 401 Mazur, Michael 46 McGrath, Harold P. 42, 53, 63 McKee, Stuart 42, 53, 355 medical notes and drawings 143, 149 medical school 29, 123, 143, 149 Medical Thinking: Many Gray Areas (Goldyne) xx, 1 Memoire (Rimbaud) 199, 202, 203

Mene mene tekel upharsin 27

Letter to Stonehewer Regarding Lord Shaftsbury (Cat. no. 059) 369 Li Po 217, 218, 239

The Marriage of Heaven and Hell (Blake) xvii, 17, 24, 183

Lectures on Poetry (Keble) 129

Metropolitan Museum from Stanhope Hotel, Room 1411, April 13, 1999 (Goldyne) 247, 253 Michelangelo xix, 47, 127, 137, 138, 140 Mills, Barriss 283 Milosz, Czeslaw 199, 201 Milton, Peter 46 Miró, Joan 13-14, 15-16, 17 Missing Frontispiece, 105, 107 monoprint, explanation of the process 7, 389

Looking over the forest from Naomi’s Room (Goldyne) 171, 174 Love poems of old (Goldyne) 99, 201

Intimations of Immortality (Wordsworth) 199, 203 Invisible Collection (Zweig) xviii, 105, 106, 107

The Limited Editions Club 257 Livingston, Mark 137 livre d’artiste 10-11, 35-39 Lola de Valence (Baudelaire) 159, 165

The Marriage of Heaven and Hell: A Memorable Fancy (Cat. no. 022) xvi, xvii, 24, 25, 26, 33, 182-185 Mars, Robert 53, 261

Magnolia Editions 53, 283, 355 372 Magnolia Paper Mill 81 Maguire, Paul 42, 53, 261 Male and Female (Goldyne) 282, 283, Mammary Grid: The first juxtaposition of a softground grid… (Goldyne) 265, 269 Manifestoette (Goldyne) 33, 114, 115, 288, 292, Mardersteig,293 Giovanni 53, 257 Marin, Alden 81 Marin, Mindy 30, 81

The Lover of Flowers – Jean de la Bruyère (Cat. no. 053) 363 Lust (Goldyne) 283, 284 M Mackenzie & Harris Type 79 made in california 53, 265, 360, 362, 363, 366

Prose du transsibérien (Cendrars and Delaunay) 17, 18, 19

E.B. 198, 199 Q Quartet (Cat. no. 004) 21, 22, 23, 24, 25, 33, 44, 47, 72-77 Qumran 13 R R.E. Townsend Inc. 44, 45, 47, 53, 63, 73, 79, 123, 123, 126, 127, 129, 129, 137, 137, 239, Rainbow283 roll 44 Rebus (Goldyne) 115, 119, 293, 298 Reddan, Gerald 53, 79 Reflections on Conceptual (Goldyne) 115, 116, 293, Remarks295to a Poet on the Subject of Flowers (Cat. no. 054) 364 Rembrandt van Rijn 159, 161, 162 Reserves (Goldyne) 5 Reverdy, Pierre 13 Rexroth, Kenneth, 59, 199, 200 Richard York Gallery 247 Rilke, Rainer Maria 29, 199, 200, 205, 213 Rimbaud, Arthur 29, 199, 203, 362, 364, 367, 373 Rimbaud’s Garden (Goldyne) 28, 29 Rime of the Ancient Mariner (Coleridge) 36 Roberts, John 42 Rock Crystal Watch (Goldyne) 275 Rock Shadow, Moonlit Surf (Goldyne) 337, 341 Rockefeller, Liv 42, 53, 123, 127

Preserves (Goldyne) 7

Most wonderfull of all… (Goldyne) 155, 157 Mouth (Goldyne) 115, 121, 129, 293, 301 My brain…(Heredia) (Goldyne) 205, 209 My God Those Anxieties (Letter from van Gogh to Signac) (Cat. no. 048) 358 N Naomi Visits Ambrosia (Goldyne) 171, 174-177 Naomi’s Room as seen from Daddy’s Desk (Goldyne) 171, 174 Naomi’s Room at Night with love from Daddy (Goldyne) 171, 177 Narcissus (Goldyne) 337, 342 National Gallery of Art, Washington D.C., Oct 25, 1996 (Goldyne) 247, 251 Near Corfu on Astarte II, July 24, 1995 (Goldyne) 247, 250 Nelson Jr., Lowry 79 Neri, Manuel xiii-xiv Neruda, Pablo xvii, xviii, 89 Niagara (Heredia) 205, 209 Nichomachean Ethics (Aristotle) 129 Night Bouquet (Goldyne) 319, 324 Night Lights (Cat. no. 042) 336-343 Night Sky (Goldyne) 123, 125 Nineteenth-century Breakfast Vignette (Goldyne) 319, 322 Not Conceptual (book) (Cat. no. 010) 33, 114-121, 292 Not Conceptual (portfolio) (Cat. no. 037) 33, 115, 292-301 O O plunge your hands in water… (Auden) (Goldyne) 205, 206 Ode to Typography (Oda a la Tipografía) (Cat. no. 007) xvii –xviii, 88-103 Off: The first depiction of the former bulb in its non-illuminated state… (Goldyne) 265, 272 Old Degas with Mementos (Goldyne) 28, 29 An older Matzah Ball Tree Pollinating (Goldyne) 171, 176 Olmec (sculpture) 1, 2-3, 11 On Probability and Possibility (Thomas) 23 On Probability and Possibility (Goldyne) 22, 23, 73, 74 On: The first post-Johns incandescent bulb… (Goldyne) 265, 272 One moment, as if challenging the storms… (Goldyne) 199, 203 Onion and Soil (Goldyne) 313, 315 Opening (Goldyne) 354, 355 The Orator (Goldyne) 129, 134 Orator’s Hand (Goldyne) 129, 133 Orr, Rick 53, 79 Orrey at Dusk (Goldyne) 303, 310 P Pacific Editions 21, 42, 53, 73 Parallèlement (Verlaine and Bonnard) 14 Passim Editions 53, 283 Patton, W.R. 283 Pennyroyal Press 20, 42, 53, 63, 356 Peter Koch, Printers 40, 41, 42, 53, 105 Peters, Rebecca 42 Petersburg Press 36 physician, training of 23, 29, 73, 143-153 Physics (Aristotle) 33 Piazzetta, G.B. 36 Picasso, Pablo 13, 159, 165, 345, 346 Pink Asparagus Huddle (Goldyne) 327, 329 Plaid Mousie (Goldyne) 303, 304 The Play of Angels (Goldyne) 199, 202, 203 Plutarch 129 Poire Hollandaise (Goldyne) 327, 333 Pollack, Neal 55, 167 postmodern 37 Pound, Ezra 79 Precise directions (Goldyne) 115, 117, 293, 296 Pregnant Shell Landscapes (Cat. no. 033) 46, 260-263

The Press in Tuscany Alley xix, 137

Prestianni, John 73 Prévert, Jacques 16, 17

Produce: A Portfolio of Twelve Monotypes (Cat. no. 041) 326-335

409 monoprint, passion for 43, 389 monotype, explanation of the process 7, 389 monotype, passion for 43, 389 Moon and Smoking Stacks (Goldyne) 319, 321 Morning, Sailing into Xingang (Wang Wei) 217, 220 Morshead, E.D.A. 129 Moser, Barry 21, 42, 63

Printing Press by Candlelight (Goldyne) 183, 184

Pusey,

Produce 1 (Cat. no. 039) 312-317

Thirty-three Sonnets of Guido Cavalcanti (Cat. no. 005) 78-79 Thomas, Dr. Lewis 23, 73 Thornton, Dr. Robert John 36 Thou wert not nursed by the waterfall… (Tennyson) (Goldyne) 205, 215 Toast (Goldyne) 123, 125 Todd, Glenn 53, 79 A toute épreuve (Èluard and Miró) 14, 15 Townsend, Charlie 45, 47 Townsend, Robert xiv, 42, 44, 45-47, 53, 63, 73, 79, 123, 127, 129, 137, 239, 283, 360, 363

Two Ponds Press 42, 53, 55, 123, 127

Tasso, Torquato 36 Taurus Bookbindery 55, 81, 293, The Tempest (Shakespeare) 199, 201 Ten Firsts in the History of Printmaking (Cat. no. 034) 264-273 There was a time… (Goldyne) 199, 203

The Song of Wandering Aengus: Though I Am Old with Wandering (Cat. no. 065) 370, 374, 375 Sonnet xix, 79, 137, 139, 159, 160, 165, 199, 200, 205 Sonnets (Michelangelo) xix, 137, 139 Sonnets to Orpheus (Rilke) 199, 200, 205, 213 Southampton, Long Island, Platzman Home, 1997 (Goldyne) 247, 250 A Speech Introducing Albert Einstein (Shaw) 8, 9, 47, 123, 124 Spilled Pinks (Cat. no. 047) 357 Spit bite 44, 63, 265, 275, 391 Squash Icon (Goldyne) 327, 335 St. Matthew Passion (Bach) 23 Stack Lights, Lurid Smoke (Goldyne) 337, 343 Stamperia Valdonega 53, 257 Stanford University Libraries, Department of Special Collections xiii, xv, 52, 59, 63, 71, 73, 79, 81, 89, 105, 109, 115, 123, 129, 137, 183, 261, 265, 275, 283, 293 Stauffacher, Jack xix Stinehour Press 63 Stinehour, Christopher 197 Stockton Tunnel, Fog Above (Goldyne) 337, 340 Storm on Lake Asquam (Whittier) 199, 203 Strassler, Karen 53, 79 Sugar (Cat. no. 062) xix, 49, 372 Sweater Closet at Dusk (Goldyne) 4 Swedenborg, Emanuel 24 Sweeter Than Honey (Cat. no. 036) 29, 33, 283-291 Switch (Goldyne) 115, 120, 293, 299 T Tallit for Naomi (Goldyne) 171 Tanner, Wesley B. 42, 53, 71, 73, 283, 361

Tractor mower going up the grass wall (Goldyne) 171, 175

Signature of All Things (Rexroth) 199, 200 Sistine Chapel Ceiling 11 Skelton, Robin 283 A Sketch for a Modern Love Poem (Ròzewicz) 199, 201 Sloane, Naomi (Naomi Goldyne) 63, 167, 171 Smith Andersen Editions 275 Smoke and Mirrors (Goldyne) 115, 118, 293, 298 Smoked Mackerel (Cat. no. 055) 365 Smoking Pen (Goldyne) 44, 50, 63, 65 Socrates 1, 257 Some Skies, Some Clouds (Cat. no. 027) 216-221 Somogyi, Erwin 197

The Trial and Death of Socrates (Cat. no. 032) 256-259 Trujillo, Roberto xiii-xv Turner, J.M.W. xiii, 401

Two Resting Persimmons – one wrapped (Goldyne) 313, 316 U Ursus Books xix, 42, 105 Ut Pictura Poesis (Goldyne) 366 Ut Pictura Poesis (Cat. no. 056) 49, 366, 379, 383 V Van Dijck, Christoffel xviii Van Velzer, Lawrence G. 42, 53, 54, 55, 79, 129, 239, 247

The Song of Wandering Aengus (Yeats) 179, 370, 374, 375

The Song of Wandering Aengus (Cat. no. 021) 8, 178-181, 370, 374, 375 The Song of Wandering Aengus: Something Rustled (Cat. no. 060) 370, 374, 375 The Song of Wandering Aengus: I Went Out to the Hazel Wood (Cat. no. 064) 370, 374, 375

The Trial and Death of Socrates (Plato) 257

410 Roland, Jeremy (aka Joseph Goldyne) 59 Rose (Goldyne) 171, 172 Rosener, Ann 53, 265 Rötzscher, Klaus-Ullrich 55, 73 Roxbury Falls (Goldyne) 239, 245 Rubin, Andrew 42 Russem, Michael 123 Ruzicka, Ivan 261 S Saga Foods 327 Saltine, Shell, Olive and Peas (Goldyne) 303, 310 San Martin, Unai 42, 53, 123, 129, 205, 217, Sargent,239 John Singer 159, 164, 345, 349 Saroyan, William xviii, 30, 44, 81 Savoy Hotel, London 123 Schuberth Bindery 55, 265 Schwartz, Horace 59 Selene Horse (Goldyne) 129, 131 Sept. 10, 2014, Georgetown, Mass. (Goldyne) 239, 244 Setrakian, Robert 81 Shakespeare, William 159, 199 Shaw, George Bernard 8, 9, 47, 122, 123, 124 She danced through the fog… (Goldyne) 155 She Walks in Beauty (Byron) 26, 187, 188 Sheckel Sherrard,167Philip 129 Shure, Kenneth 42, 53, 123, 127 Sibyl lived in the tome… (Goldyne) 155, 156 Sibyl the Scribble (Cat. no. 017) 154-157

411 Varga Apartment, Pelican Cove, Sarasota, Florida, June 9th, 2010 (Goldyne) 247, 250 Verlaine, Paul 13, 34 Vertical Embrace (Goldyne) 283, 289 Vitrine (Cat. no. 035) 274-281 Volterra, Daniele da xix Vuillard, Edouard 159, 164 W Wang Wei 217 Watermelon Sections, Mit, Ball (Goldyne) 327, 333 A White Turtle Under a Waterfall (Wang Wei) 205, 208 Who Killed Homer (Hanson and Heath) 35 The Wide Awake Garage 55, 197 Wilson, Adrian xix, 137 The Wind Among the Reeds (Yeats) 179 Winter Onion (Goldyne) 327, 335 The Wise Sense Imminent Events (Cavafy) 205, 207 The Wishes of Fishes (anonymous) 238, 239 Wisotzky, Rose 123 Women 9 (Cat. no. 018) 49, 158-165 Wyer, William xix, 42 X Xu Haixin 217 Y Yeats, William Butler 8, 29, 179, 370, 374, 375 Yeats’ Apple (Goldyne) 179 Z Zimmern, Alfred E. 129 Zweig, Stefan xviii, 105

Printed and bound by Artron Color Printing Company, China.

ThisCOLOPHONcatalogueisproducedinconjunction

Copies of Joseph Goldyne’s limited-edition artists’ books and portfolios, as well as a selection of preparatory drawings and prints related to his artists’ books, portfolios, and calligraphy sheets are in the Joseph R. Goldyne Collection, Special Collections and University Archives, Stanford University Libraries, Stanford, California.

All works by Joseph Goldyne are copyright © Joseph Goldyne. Texts by authors are copyright by the respective copyright holders. Artworks in the Robert Bringhurst essay, reproduced by permission of the respective copyright holders, are listed in the Illustrations section of this Exceptpublication.where noted, all photography is by M. Lee Fatherree, Oakland, CatalogueCalifornia.

concept, research, and project coordination by Anne Kohs & Associates, Inc., Portola Valley, California. www.artistsforum.com

cover image: Joseph Goldyne Smoking Pen , 1985 Etching, aquatint, and drypoint on paper, printed à la poupée Image: 9 1/4 × 2 3/4 in. (23.5 × 7 cm)

Published by the Stanford University Libraries 2015 Library of Congress Control Number: 2015950079

ISBN: Designed978-0-911221-57-2byJohnHubbard/EMKS, Finland. Typesetting by EMKS, Finland.

The English and Greek typeface used in this publication is Huronia, designed by Ross Mills in 2010. The Hebrew typeface is Natan Hebrew, designed by William Montrose for release in 2016. Color and print management by iocolor, LLP, Seattle, Washington.

with the exhibition, JOSEPH GOLDYNE: Books, Prints & Proofs presented at the Stanford University Libraries, September 14, 2015 – January 31, 2016.

All rights reserved under International and Pan-American Copyright Conventions. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical including photo copy, recording or any other information storage and retrieval system, or otherwise without written permission from Anne Kohs & Associates, Inc.

For their enthusiasm and support for this project, we would like to Acknowledge Michael A. Keller, University Librarian and Publisher of Stanford University Press, and Roberto G. Trujillo, Director and Frances & Charles Field Curator of Special Collections, Stanford University Libraries; Dr. Hilarie Faberman; Peter Rutledge Koch; Thomas Ingmire, Scriptorium St. Francis; Kenneth Shure and Liv Rockefeller, Two Ponds Press; iocolor; David Březina and Rosetta Type; Karin Breuer, Curator in Charge of the Achenbach Foundation for Graphic Arts, Colleen Terry, Assistant Curator, Achenbach Foundation for Graphic Arts, and Susan Grinols, Director of Photo Services and Imaging, Fine Arts Museums of San Francisco.

Information regarding the artists’ books, portfolios, and calligraphy sheets was researched and documented by Diane Roby. The digital images of Joseph Goldyne’s artwork and supplemental images were organized by Pam Rino Evans. The author biographies and public collections were researched and documented by Diane Roby. Permissions for supplemental images and artwork cited in the Robert Bringhurst essay were secured by Diane Roby.