Artist book by Harry Reese. Numbers 1-6 were co-published with Alpha Presse (Frankfurt) in 1995. Between 2007-2017, Edition Reese produced numbers 7-20 in a revised, expanded version. Contains prints, collages, rubbings, drawings, and paintings off and on and from 33 1/3 vinyl lp records, with unoriginal texts and ruminations by the artist. Variable edition of unique prints and labels.
Edition Reese · an edition of 73
signed and numbered by the artist
An 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 hand-set upper case Gill Sans on Niyodo Natural. Turkey Press handmade paper on the front and back covers.
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.”
The images for this long poem were originally created for a unique artist’s book by Harry Reese in 2003 (Edition Reese 12). The type is handset Dante printed on dampened Hahnemühle Biblio. The images for this edition, based on scans from the 2003 book, were cut on a Roland plotter from 12 x 18 inch sheets of adhesive-backed printed Kitakata. The poem was written in 1964 and first appeared, in a slightly different form, in City Lights Journal, Number Three, in 1966. It was included in Ship Without Paper (Turkey Press 16). Signed and numbered by the poet and the artist. 26 pages. Edition of 75 copies. 9.25 x 14.5 inches.
The ink-jet print of a banana leaf is based on a photograph taken by Sandra Liddell Reese in her garden in Isla Vista, California. A laminated sheet of Kitakata and Kogon grass paper has been French-folded to create four page surfaces. Michael Hannon’s three-line poem has been letterpress printed on the laminated sheet from handset Narrow Bembo. Signed by the poet. Edition of 45 copies. 9 x 6.5 inches.
The Secret of the Heart (Second edition) · Poem by David Roberts
The text for this 2nd edition, following the design of the first letterpress edition published in 1980 (Turkey Press 19), is set in Dante, and was digitally printed on 100 pound Dulcet. Except for the “C” at the beginning of the poem (relief printed from wood type) the heart-red images were printed letterpress from polymer plates. The ink-jet printed wrapper is sampled from a handmade paper painting on a cover from the first edition. Production assistance from Matt Cohen and Sher Zabaszkiewicz. 24 pages. Edition of 175 copies. 6 x 9.5 inches
Kinnikinnick Brand Kickapoo Joy-Juice · Meta-Fours by Jonathan Williams
Seventy-six power packed gulps of quintessential Jonathan Williams (1929-2008) in the form of meta-fours (four-word-per-line poems of undetermined length) in combination with pen and ink drawings by John Furnival (printed from polymer plates). Designed, letterpress printed, copiously adumbrated and bound by Sandra Liddell Reese in a false-accordion, sewn-boards style with handmade paper on the spine and cover. The type is Narrow Bembo and Gill Sans cast by The Letterfoundry of Michael & Winifred Bixler and printed on Dulcet. Signed by both poet and artist. Edition of 145 copies. 10.5 x 4 inches.
Designed by Sandra Liddell Reese in collaboration with Tom Adler in memory of James Laughlin (1914-1997). This poem, by the founder of New Directions, first appeared in The New Yorker in 1992. Printed on a single sheet of French-folded Kitakata from handset Perpetua and bound in a three-panel paper case of grey Moriki paper. The Iris print of the painting by Marjorie Phillips that hung in the Laughlin dining room in Norfolk, Connecticut was scanned from a photograph taken by Sandra Liddell Reese. Edition of 70 copies. 6 x 7.5 inches (folds out to 22.5 inches).
By popular demand the press has issued the third edition of these ten short poems following the format of the two previous editions. The binding is based on a book structure by Hedi Kyle. Handset in Perpetua and printed on Arches text laid with Turkey Press handmade paper serving as both the cover wrapper and slender title page. This so-called “banner edition” includes a hand-colored ink drawing by Sandra Reese that flaunts the printer’s typographical error. Edition of 300 copies. 4.75 x 6.25 inches.