Incomplete Annotated Bibliography of
Turkey Press & Edition Reese Books (1975-2015)
Turkey Press was founded by Harry Reese in 1974, when he was a graduate student at Brown University. He moved to Berkeley, California in 1975 where he met Sandra Liddell Paulson, who began working with him at Turkey Press in 1977, the year they were married and moved from Berkeley to Isla Vista. Initially a publisher of poetry books in limited editions, Turkey Press has evolved over the years. Its projects feature setting type by hand, printing with hand presses, hand papermaking, traditional and experimental printmaking, painting and drawing, and edition binding as they produce their own work or collaborate with poets, artists, writers, and thinkers. They started Edition Reese in 1990 to allow for more eccentric individual and collaborative projects, primarily artist’s books. All design, printing and binding by Harry and/or Sandra Liddell Reese, except where otherwise noted.
1 Lisabeth Bisgyer, Unbinding. Cranston, Rhode Island 1975. 22 x 15 cm. Five linocuts, printed in blue, yellow, and green throughout the book and on the cover, by the poet. 24 pps. Sixteen poems handset in Palatino. First edition: 200 copies perfect bound in paper covers.
2 Anonymous, A Kato Indian Genesis. Cranston 1975. 25 x 33 cm. Ten linocuts by Susan X. Billings, in numerous colors. Anonymous creation myth, printed by David D. Cooper on eleven single sheets of Strathmore cover papers. First edition: 80 copies signed by the artist, loosely bound in a paper wrapper with wax seal.
3 Ray DiPalma, Accidental Interludes. Cranston 1975. 22 x 14 cm. Twenty poems, handset in Palatino, printed and hand bound, with typographic cover print by David D. Cooper. 24 pps. First edition: 175 copies signed by the poet.
4 Philip Suntree, The Stray Moon. Cranston 1975. 28 x 18 cm. Cover, title page linocut, and typographic page by Harry Reese. Twenty poems, handset in Palatino. 28 pps. First edition: 175 copies bound in paper covers. 26 deluxe copies signed by the poet, bound in cloth with printed paper wrapper.
5 Randy Blasing, For the Birds. Cranston 1975. 22 x 13 cm. Cover linocut by Susan X. Billings. Twenty-five poems, handset in Palatino, printed by David D. Cooper. 42 pps. First edition: 175 copies perfect bound in a paper cover.
6 Glen Martin, My Youth in Utah. Cranston 1975. 22 x 13 cm. Introduction by William Lewis. A long poem, in two voices, printed from handset Palatino. 40 pps. First edition: 175 copies perfect bound in a paper cover.
7 Robert Gibb, Whale Songs. Cranston 1976. 23 x 15 cm. Twenty poems printed from linotype Palatino by David
- Cooper. 42 pps. First edition: 175 copies smythe sewn with a printed paper wrapper.
8 Harry Reese, Unknown Friends. Cranston 1975. 23 x 15 cm. First book by the poet, selected primarily from his manuscript submitted as a master’s thesis in Creative Writing at Brown University. Afterword by David D. Cooper, who handset and printed the poems in a two-color format. 60 pps. First edition: 175 signed copies smythe sewn in a printed paper wrapper. 26 deluxe copies signed by the poet. Marbled endpapers by Mary Beath and Sandra Reinbold.
9 James Reinbold, Black Dogs. Cranston 1976. 15 x 13 cm. Woodcut by Ethan Berry. Short prose handset and printed by David D. Cooper. 8 pps. First edition: 150 copies signed by the author and artist, in printed paper wrappers.
10 James Hickson, November Barometer. Berkeley, California 1976. 23 x 17 cm. Hand colored relief print on cover by Harry Reese. Twenty poems, handset in Bembo. 40 pps. First edition: 200 copies hand bound in paper covers. 26 signed copies bound in cloth with printed paper wrapper.
11 Anonymous, A Kato Indian Genesis. Berkeley 1976. 25 x 33 cm. Ten linocuts in various colors by Susan X. Billings. Anonymous creation myth, printed by Harry Reese. Second Turkey Press edition: 75 copies. Eleven sheets loosely bound in a paper wrapper.
12 Michael Hogan, Rust. Berkeley 1977. 23 x 15 cm. Linocut on cover and title page by Sandra Liddell Reese. Twenty poems, handset in Bembo. 48 pp. First edition: 900 copies in paper covers. 100 signed copies bound in cloth with printed paper wrapper.
13 William Lewis, Son of Sato. Isla Vista, California 1978. 16 x 15 cm. Title page illustration by the author of this short prose piece. 12 pps. First edition: 150 signed copies sewn in a paper cover. 26 signed copies bound in cloth with hand-painted title page illustration by the author.
14 Philip Suntree, Kid Nigredo. Isla Vista 1978. 23 x 15 cm. Cover and title page illustration by Sandra Liddell Reese. Twenty poems handset in Bembo. 48 pps. First edition: 200 copies in paper covers. 26 signed copies bound in cloth with marbled endpapers by Sandra Liddell Reese.
15 Christopher Gautschi, Delectable Mountains. Isla Vista 1978. 23 x 15 cm. Serigraphy for cover and title page by Merrily Peebles, printed from photoengravings. Fifteen poems handset in Pabst Old Style. 38 pps. First edition: 200 copies in paper covers. 26 signed copies bound in cloth with printed paper wrapper.
16 Michael Hannon, Ship Without Paper. Isla Vista 1978. 23 x 15 cm. Cover and title page illustration by Sandra Liddell Reese, printed from photoengravings. Three long poems selected from the poet’s earlier work. Handset in Bembo. 44 pps. 200 copies in paper covers. 26 signed copies bound with printed paper over boards.
17 Robert Gibb, Whalesongs. Isla Vista 1979. 25 x 18 cm. Woodcuts by 16th century naturalist, Konrad Gesner, printed from photoengravings. Twenty poems printed from handset Centaur on Rives heavyweight. 48 pps. First illustrated edition: 100 signed copies with embossed Turkey Press paper over boards.
18 Harry Reese, Arplines. Isla Vista 1980. 13 x 13 cm. Selected text lines from the poems and writing of Jean (Hans) Arp, collaged together to form new poems. 16 pps. First edition (no illustrations): 75 signed copies on Nideggen sewn into paper wrappers. 30 signed copies printed on Turkey Press handmade paper bound in printed paper over boards.
19 David Roberts, The Secret of the Heart. Isla Vista 1980. 23 x 18 cm. Unique paper pulp painting on each cover and three drawings, printed in red ink from photoengravings, by Harry Reese. Prose poem handset in Palatino on Ragston. 20 pps. First edition: 100 signed copies full bound with paper pulp painting over boards.
20 Kirk Robertson, Origins, Initiations. Isla Vista 1980. 25 x 18 cm. Two illustrations inside the book and one on the cover by Bern Porter, printed in yellow ink. 44 pps. First edition. 200 copies in paper cover. 100 deluxe signed copies bound with printed Turkey Press handmade paper over boards.
21 Tom Clark, Nine Songs. Isla Vista 1981. 23 x 15 cm. Illustration by the poet. Hand-inked wood type prints in red and blue ink on paper wrapper by Sandra Liddell Reese. 14 pps. First edition: 100 signed copies on Gutenberg laid, bound with Turkey Press paper over boards. 26 signed copies printed on purple Turkey Press handmade paper, and bound in the same handmade paper over boards.
22 Kirk Robertson, West Nevada Waltz. Isla Vista 1981. 32 x 24 cm. Handmade paper and paper paintings by Harry Reese from materials gathered in West Nevada—Levis from a closed Indian boarding school, American flags from the Churchill County Museum and pigment dug from the hills around Fallon, Nevada. Eleven poems about the place handset in Palatino. First edition: 50 signed copies bound in natural linen with slipcase. Pulp painting on title page. Ten deluxe copies signed by the poet and the artist. Twelve paper paintings on fifteen single sheets of Turkey Press paper loose in natural linen box by Sandra Liddell Reese.
23 Anne E. Edge, A Slice of Wry. Isla Vista 1981. 24 x 17 cm. Illustration by Doug Edge, relief printed from photoengraving, with “ghost print” on title page. Poems from performance art presentation, printed in two color format. 44 pps. First edition: 200 copies sewn into paper wrappers. 26 deluxe signed copies. Printed paper over board with hand-colored illustration by Doug Edge.
24 The Firesign Theatre, Bozobook, or clam calendar and book of ours. Isla Vista 1981. 17 x 24 cm. Visual poems, typographic prints, found art, linocuts, and rubber stamps from 1969-1970 journal by The Firesign Theatre, shown in 24 double-page spreads. Centerfold from script of Zaccariah, the 1970 psychedelic western movie written by and starring The Firesign Theatre. Typographic interpretations by Harry and Sandra Liddell Reese, edited by David Ossman. 56 pps. First edition: 400 copies sewn into paper cover. 26 signed copies bound with special Turkey Press paper—made from clothing and personal items contributed by The Firesign Theatre—over boards.
25 Bern Porter, Isla Vista. Isla Vista 1981. 25 x 11.5 cm. Hand-inked paper wrapper and typographic title page by Harry Reese. Minimal typographic prints spell out the name “Isla Vista” in black and gold ink on Rives heavyweight. 36 pps. First edition: 49 signed copies bound in brown buckram with brayer-printed paper wrapper.
26 Michael Hannon, Venerations & Fables. Isla Vista 1982. 18 x 25 cm. First printing of “Fables” poem series. Cover woodcut by Harry Reese. Palatino types on Rives heavyweight. 36 pps. First edition: 175 copies bound with hand-inked printed paper over board.
27 Jack Curtis, The Man in Place. Isla Vista 1982. 25 x 17 cm. Hand-inked linocut on title page by Harry Reese. Goudy Modern on Rives heavyweight. 36 pps. First edition: 175 copies bound with full linen over boards and printed paper wrapper.
28 Peter Whigham, Do’s & Don’ts of Translation. Isla Vista 1982. 20 x 14 cm. Linocut and cover print by Sandra Liddell Reese. This short essay is from a talk given by the author at the Pound Conference in Orono, Maine in 1980. Handset in Bembo and printed on Mohawk superfine. 16 pps. First edition. Of the 500 copies printed, 26 copies were bound in hand-dyed muslin over thin board, singed and lettered. The remainder of the edition was sewn into paper wrappers with overall “sandragraph” print, in 1984.
29 David Ossman, The Day-Book of the City. Isla Vista 1982. 15 x 17 cm. Title page and cover relief print by Sandra Liddell Reese. Handset in Optima and Centaur, printed on Rives heavyweight. 24 pps. First edition: 150 copies in Japanese stab-binding, with Turkey Press handmade paper on cover.
30 David Ossman, The Rainbow Café. Isla Vista 1982. 25 x 18 cm. Hand-colored linocut on title page by Harry Reese. Plastic menu cover concept by Sandra Liddell Reese. Handset in Palatino. 24 pps. First edition: 300 copies enclosed in brass-cornered plastic menu cover.
31 Tom Clark, Under the Fortune Palms. Isla Vista 1982. 25 x 17 cm. Typographic contents page by Harry Reese. Photographic cover wrapper by Harry and Sandra Liddell Reese, printed by Graham Mackintosh. Sixty poems handset in Goudy Modern. 72 pps. First edition: 175 copies bound in linen with offset-printed paper wrapper, in the style of a black and white proof sheet, showing the poet’s paintings. 26 deluxe signed copies with acrylic painting by Tom Clark wrapped over the paper cover.
32 Keith Waldrop, The Quest for Mount Misery and other studies. Isla Vista 1983. 24 x 17 cm. Title and colophon page prints by Harry Reese. Unique flight pattern maps for each cover by Harry and Sandra Liddell Reese. Twelve short prose “studies” printed from Perpetua. 48 pps. First edition: 300 copies on Mohawk superfine bound in thin board covered with maps. 100 signed copies printed on Turkey Press handmade paper bound with flight maps over board.
33 Michael Hannon, Slender Means. Isla Vista 1983. 15 x 11 cm. Design by Harry Reese, a variation of a book structure by Hedi Kyle. Ten poems handset in Centaur. 20 pps. First edition: 300 copies sewn into Turkey Press handmade cover paper.
34 Edwin Honig, Gifts of Light. Isla Vista 1983. 26 x 17 cm. Original hand-inked painting for each unique cover wrapper by Harry Reese. A long poem set in Bembo. 56 pp. First edition: 300 copies on Mohawk superfine with unique wrapper over paper cover. 100 signed copies on Arches text bound in linen with hand-inked paper wrapper.
35 David Ossman, The Moon-Sign Book. Isla Vista 1984. 24 x 17 cm. Linocut and relief pressure prints by Sandra Liddell Reese. Handset in Goudy Modern. 28 pps. First edition: 175 copies on Mohawk superfine in paper cover with printed wrapper. 40 signed copies on Gutenberg Laid, with collage covers over boards by Sandra Liddell Reese.
36 Glenna Luschei, Unexpected Grace. Isla Vista 1984. 25 x 17 cm. “Sandragraph” prints on title page and cover by Harry Reese. Perpetua type. 56 pps. First edition: 500 copies on Mohawk superfine in paper covers. 40 signed copies on Frankfurt white, with overall “sandragraph” print on Turkey Press handmade paper over boards.
37 Harry Reese, An Argument for Reorganizing the Calendar. Isla Vista 1984. 17 x 10 cm. Perpetua type for short poem with hand-inked “sandragraph” monoprint by the poet printed over three fold-out pages. 10 pps. First edition: 100 copies sewn into paper wrapper.
38 James Laughlin, Stolen & Contaminated Poems. Isla Vista 1985. 23 x 17 cm. Unique cover monoprints by Harry and Sandra Liddell Reese. Dante type. 60 pps. First edition: 200 signed copies on Frankfurt cream with monoprint over boards. 40 signed copies printed on Turkey Press handmade paper with monoprint over boards.
39 Sam Hamill, Night Traveling: Translations from the Chinese. Isla Vista 1985. 24 x 17 cm. Fifty classical Chinese poems, a number of which have never before appeared in English, date from the 2nd Century A. D. (Han Dynasty) to the 14th Century (Yuan Dynasty). Handset in Perpetua. 68 pps. First edition: 400 copies on Mohawk superfine with Japanese Moriki paper wrapper. 50 signed copies on Frankfurt white with full printed linen binding.
40 David Ossman, Hopi Set. Isla Vista 1985. 10 x 14 cm. A book disguised as a set of cards. Cover and concept by Sandra Liddell Reese. Found photo from the poet’s archive. Offset print by Graham Mackintosh. 12 cards. First edition: 300 copies in “sandragraph” style printed paper enclosure.
41 Carlos Oquendo de Amat, (translation by David M. Guss), Five Meters of Poems. Isla Vista 1986. 27 x 22 cm. Woodcuts by Antonio Frasconi, reproduced from photoengravings. 38 pages fold out five meters in length. Handset in Goudy Modern and Underwood typewriter types. First edition in English (original publication was in Spanish, published in Lima, Peru 1928). 300 copies on Mohawk superfine with printed BFK Rives tan paper over thin board. 40 deluxe copies signed by the translator and the artist on Barcham Green handmade India Office. Visual typography by Harry Reese for the deluxe box cover printed on Turkey Press handmade paper. Binding and presswork by Sandra Liddell Reese.
42 Harry Reese, Lunch. Isla Vista 1986. 15 x 13 cm. Woodcut by Antonio Frasconi, reproduced from a photoengraving. Short prose piece handset in Optima. 12 pps. First edition: 150 copies in printed Barcham Green handmade paper wrapper.
43 Michael Hannon, Slender Means. Isla Vista 1986. 15 x 11 cm. Design by Harry Reese, a variation of a book structure by Hedi Kyle. Ten poems handset in Centaur. 20 pps. Second Turkey Press edition: 300 copies sewn into printed Turkey Press handmade paper.
44 Rupert Revelstoke, A Journey to Lambay. Isla Vista 1987. 15 x 11 cm. Cover embossment and title page illustration are replications of Lambay (family owned island near Dublin, in the Irish Sea) stationery. 24 pps. First edition: 120 copies signed by the 4th Lord Revelstoke sewn in to back-to-back format, with Arches Text on one side and Ingres gray on the other. Turkey Press handmade paper (made from “butcher blue linen” from the island) for the cover.
45 Thomas Merton, The Alaskan Journal. Isla Vista 1988. 26 x 18 cm. Edited by Robert E. Daggy. Slipcase image created by Harry and Sandra Liddell Reese based on a photograph by the author. Spectrum type on Barcham Green Hayle Mill handmade paper. 88 pps. First edition: 140 copies bound in black and white linen over board by Sandra Liddell Reese. An aerial photograph taken by Merton in Alaska in 1968 was reproduced for the slipcase from a photoengraving. In 1989, New Directions issued Thomas Merton in Alaska, using the design and typography of this limited edition.
46 Michael Hannon, Fables. Isla Vista 1989. 33 x 23 cm. Drawings by William T. Wiley, printed from photoengravings on handmade kozo paper from the Fuji Mill in Japan. Spectrum, Neuland, and Albertus types. 60 pps. First illustrated edition: 125 copies signed by the poet and the artist. Bound by Sandra Liddell Reese in printed kakishibu over boards, enclosed in a hand-painted and printed cloth covered box.
47 Harry Reese, Arplines. Isla Vista 1990. 20 x 33 cm. Drawing, prints, collages, typographic prints, painting, and collaged poems by Harry Reese. A variety of types on Arches Cover. Ten folded sheets bound by Sandra Liddell Reese in a chemise wrapper and box. The cover panel of each box is an original acrylic painting by Harry Reese. First illustrated edition (expanded from the 1980 Turkey Press publication). 43 signed copies.
48 Octavio Paz, (translation by Eliot Weinberger), Wind, Water, Stone. Isla Vista 1991. Four linoleum cuts by Leonardo Nuñez. 30.5 x 46 cm. Hand-set in Times Roman. First illustrated edition. 20 copies on BFK Rives, signed by the artist. Six sheets of Arches cover loosely bound in printed grey paper chemise by Sandra Liddell Reese.
49 Sam Hamill, (translated from Japanese), Five Mountains. Isla Vista 1992. 15 x 13 cm. Overall monoprints by Sam Hamill and Harry Reese. Handset in Times Roman on Arches text printed by Sandra Liddell Reese. First illustrated edition. 100 signed copies in 8-fold format.
50 James Laughlin, Heart Island. Isla Vista 1995. 18 x 11 cm. 44 poems set in Walbaum and printed on Nideggen. Twenty-four wood engravings by M. L. Breton—from Dictionnaire Infernal, published in Paris in 1818—printed from photopolymer plates on Kitakata in a French-fold format. 76 pps. First edition: 200 signed, press numbered copies bound in a red linen spine with a hand-colored image on paper over boards by Sandra Liddell Reese.
51 Michael Hannon, Slender Means. Isla Vista 1996. 15 x 11 cm. Design by Harry and Sandra Liddell Reese, based on a book structure by Hedi Kyle. 10 poems handset in Perpetua. 20 pps. Third Turkey Press edition: 300 copies sewn into printed Turkey Press paper for the cover.
52 James Laughlin, The Country Road. Isla Vista 1998. 15 x 19 cm (folds out to 57 cm). Designed by Sandra Liddell Reese in collaboration with Tom Adler in memory of James Laughlin. Poem originally appeared in The New Yorker in 1992. Bound in three-panel format with Grey Moriki over thin board. Giclée print from a photograph of a painting by Marjorie Phillips that hung in the late poet’s dining room at Meadow House, Norfolk, Connecticut. Handset Perpetua on Kitakata. First illustrated edition: 44 copies.
53 Jonathan Williams, Kinnikinnick Brand Kickapoo Joy-Juice, Isla Vista 2004. 26.67 x 10.16 cm. Poems by Jonathan Williams. Drawings by John Furnival. Meta-Fours (four-word-per-line poems) by Jonathan Williams. Drawings by John Furnival of Kilpeck Church. As the late Guy Davenport wrote, “Jonathan Williams offers us in every poem a lyric line of suave clarity and highly involved verbal harmony. The poem itself finds and articulates a single image or action. This is an art like pole vaulting: the center of gravity is outside the trajectory. Build-up and follow-through are not the poem, though the poem depends upon them; the one is in the poet’s control, the other in yours.” Designed, letterpress printed, copiously adumbrated and bound in a hybrid false accordion, sewn-boards style using handmade paper on the spine and cover from the Oakdale Paper Facility in Iowa. Signed by the poet and the artist. Edition of 145.
54 David Roberts, The Secret of the Heart Isla Vista 2005. 23.5 x 15.25. A single poem by the David Roberts, a graduate of the Iowa Writers’ Workshop. Line drawings by Harry Reese. The text for this 2nd edition, following the design of the first letterpress edition published in 1980, is set in Dante, and was digitally printed. Except for the “C” at the beginning of the poem printed from wooden type, the heart-red images were printed letterpress from polymer plates. The inkjet printed wrapper is sampled from a handmade paper painting from one of the unique covers of the first edition. Edition of 175.
55 Michael Hannon, The Sea Gazer. Isla Vista 2007. 9.5 by 14.5 inches. A long poem by Michael Hannon was designed, printed and bound by Harry and Sandra Reese based on an artist’s book produced by Harry Reese in 2003. The type is Dante printed on dampened Hahnemühle Biblio. The illustrations were printed from wood blocks onto Kitakata and cut on a Roland plotter. Signed and numbered by the poet and the artist. Edition of 75
(1) Joan Tanner, Turnings. Isla Vista 1990-91. 33 x 46 cm. Painting on wooden panel, drawings and text by Joan Tanner. CD-ROM by Wayne McCall & Associates. Handmade paper and black linen binding and box by Sandra Liddell Reese. First edition: 20 signed copies. Video of project was produced by Wayne McCall in 1992, and is available with original CD-ROM.
(2) Harry and Sandra Reese, Near Goleta But Closer. Isla Vista 1991. 38 x 25 cm. A unique book of found papers, photographs and photocopies, printed text and images, paintings, monotypes, and transcribed conversation. Handmade eucalyptus paper by Sandra Liddell Reese. Nine double-spread panels each made from 48 paper-on-board tiles in a grid format.
(3) Harry and Sandra Reese, I am Goya. Isla Vista 1993. 38 x 25 cm. Unique book with thumbnail reproductions of Goya prints and paintings with reference to poem, “GOYA,” by Andrei Voznesensky. Painted prints by Harry Reese. Double page panel, hand-painted on one side by Sandra Liddell Reese with ink, graphite and clear shoe polish.
(4) Harry Reese, Funagainstawake. Isla Vista 1994. 30.5 x 23 cm. Eleven monotype prints by Harry Reese based upon the “ten thunders” of Finnegans Wake, by James Joyce. Printed in Perpetua on Magnani Italia. Unique suite of framed prints. Published in a limited edition with a binding by Daniel E. Kelm, for Granary Books, New York, 1997.
(5) Kiki Smith, RE. Isla Vista 1994. 15 x 12.75 cm. An expanded 8-fold format. Text adapted from an Egyptian cosmology, handset and printed in Bembo. A photoengraved image of the artist is printed on 1954 Whatman with adhered gampi silk tissue. This project produced for the University Art Museum, University of California, Santa Barbara. First edition: 100 signed copies.
(6) Yoko Ono, Pennyviews. Isla Vista 1995. 11 x 18 cm. Drawings by the artist have been letterpress printed from photopolymer plates on kakishibu from the Fuji Mill in Japan. Black die-cut Moriki sheets are interspersed throughout the book. Binding by Sandra Liddell Reese with textured kakishibu over thin boards and copper spine relief printed with the artist’s name. Produced for the Santa Barbara Museum of Art and The Contemporary Arts Forum. 50 pps. First edition: 125 signed copies.
(7) Harry Reese, 33 1/3: Off the Record. Isla Vista, CA and Frankfurt, Germany: 1995-2015. Artist book by Harry Reese. Numbers 1-6 co-published with Alpha Presse (Frankfurt, Germany) in 1995; between 2007-2014, Edition Reese produced and issued numbers 7-15 in a revised, expanded version with many unique images in each respective set; numbers 16-20 are planned for production by the end of 2015. Selected samples and quotes from Cyrano de Bergerac, Thomas Edison, and Marshall McLuhan accompany prints, collages, rubbings, drawings, and paintings off and on 33 1/3 vinyl lp records, with found texts and anecdotal ruminations by the artist. A painted record is included in the boxed set. Edition size: Variable, 16 unique sets (so far, as of May 2015).
(8) Harry Reese, Not Over Yet. Isla Vista 1997. 38 x 28 cm. Unique book of drawings, prints and painting based upon the I Ching, and selections from the translation of Thomas Meyer of Hexagram 64. First appearance of a series suggested by Sandra Liddell Reese that we have called “The Book of Change,” in which the artists find coins on the street that they use to initiate chance operations of the I Ching.
(9) Harry Reese, The Standard. Isla Vista 1997. 25 x 13 x 9 cm. Collaboration between Harry and Sandra Liddell Reese that features a poem and original paintings by the poet along with a conceptual sculptural binding by Sandra Liddell Reese using gold leaf and a Victor brand rat trap. First illustrated edition: 26 signed copies.
(10) Paloma Cain, Jonathan Cecil, and Harry Reese, Grasshopper Isla Vista 2000. 38.1 x 30.5 cm. A collaborative artist’s book project by Paloma Cain, Jonathan Cecil and Harry Reese. The text combines fragments from versions of the I Ching—the Princeton University Wilhelm/Baynes translation and Thomas Meyer’s previously unpublished translation—with excerpts from Phillip K. Dick’s novel, The Man in the High Castle. The large format includes three oil-based monotype prints, letterpress printing, scanned images and computer-generated type with digital output on Monadnock Dulcet text paper in a variation of the sewn-boards binding. Edition of 30.
(11) Harry Reese, Penland Suite 2000. Penland, NC 2000. 25.4 x 20.32 cm. A suite of monotype prints by Harry Reese produced during a two-month residency in North Carolina at the Penland School of Crafts. Ten original monotypes—Schmincke oil paint on Magnani’s Italia paper—were printed from thin pieces of vinyl, with an original acrylic painting on the cover of each boxed set. Edition of 10.
(12) Michael Hannon, The Sea Gazer. Isla Vista 2003. 36.8 x 24.15 cm. Unique artist book by Harry Reese. Hand-inked monotypes by Harry Reese, printed from hand-cut vinyl, with poem of Michael Hannon laser-printed onto Monadnock Dulcet text paper. Unique monotype print by Harry Reese on the cover. Bound by Sandra Liddell Reese. This artist book was the basis for the 2007 edition from Turkey Press.
(13) Jean-Pierre Hébert, In Visible Cities. Isla Vista 2012. Artist Book by Jean-Pierre Hébert. The poems and illustrations for this project are inspired and structured by Italo Calvino’s text and by John Cage’s “mesostics.” Influenced by the typography of Iliazd, we feature upper case Gill Sans on Niyodo Natural. Turkey Press handmade paper for the cover. In the words of the artist: “First, the book title as mesostic line filters and selects proper city names as wing words. Then, city-name mesostics assemble each poem from snippets chosen in their order of appearance within each city chapter. Last, fractal timelines animate worlds of lines, colors, and symbols implied by each city character and text properties. Generative poetry composed by ideas translated into code, deliberate rule breaking through chance or bugs, and digital humor.” Edition of 73.
Prints and Folded Broadsides
Variable in size, shape, edition, and production values. Selected brief poems and texts from the work of Alan Watts, Simone Weil, Pablo Neruda, Rumi, Daode Jing (translated by Thomas Meyer), and I Ching (as translated by Wilhelm/Baynes, and by Thomas Meyer), Michael Hannon, David Cayley, James Laughlin, Terence McKenna, Quinton Duval, Kurt Lipschutz, Walter Benjamin, Ivan Illich, George Seferis, Alberto Blanco, Nazim Hikmet, and others. Visual art and production by Harry Reese and Sandra Liddell Reese.