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Gianpaolo Pagni, STORIA DELL'ARTE ITALIANA VOL.1 (n.016), (rubber stamp, pencil, ballpoint pen, fountain pen on school book), 2024 [© Gianpaolo Pagni]

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Takenobu Igarashi: Hawaian Graphics Poster, 1982.

I imagined a pineapple as architecture for the occasion of the exhibition of Hawaiian Graphic Design.

via takenobuigarashi.jp

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Takenobu Igarashi. 14th Summer Jazz Festival, 1982.

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Etel Adnan, Zikr, (Leporello (detail), mixed media on Japanese paper, 30 pages), 1998 [Private Collection. © Etel Adnan. Courtesy Galerie Claude Lemand, Paris]

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Gianpaolo Pagni, LETTURE STENOGRAFICHE, (rubber stamps on printed material (Stenografia oggi, Casa editrice Poseidonia, Prima edizione 1980)), 2024 [© Gianpaolo Pagni]

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Joan Brown The Fan (Homage to Sai Babha), 1980 oil enamel on canvas 72 ¾ x 61 inches

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Eliot Hodgkin, Peeled Lemons, 1958

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Francesco Clemente, "Morning." 1981.

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Carrie Merrill, "Surfs Up." 2021.

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Michael James Kidner, Phased Brown and Green Wave. 1964.

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Gabbage woman leaning in a dress made up of a cabbage fashion / Artist: Unknown C-1870

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Waiting For…, Samsonov Vladimir, 1984

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Bather, by Sekino Jun'ichirō, 1943

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by Roger Haus

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“When Insects Rule the World” series by Bill Mayer

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It’s Fine Press Friday!

For the last Friday of 2024, we’re featuring John’s Apples, produced by Walter Hamady’s Perishable Press in Mount Horeb, WI, in 1995, in a limited edition of 125 copies. The book contains thirteen paintings by American artist John Wilde (1919-2006).and twelve poems by American poet and author Reeve Lindbergh (b. 1945). The book is made with a variety of papers including papers from Japan, Europe, and domestic paper handmade by Hamady’s elder daughter in Perry Township, Ohio. According to the colophon,the book was made “pretty much by Hand using passé technology.”

Walter Hamady (1940-2019) founded Perishable Press in 1964. The press was one of the first to produce work with a Vandercook proofing press, and is known for its innovative use of type and paper. In a profile of Hamady from 1991, Mary Lydon, his colleague at UW-Madison, suggests his books work to deliberately frustrate the “too adept reader.” This reader is frustrated and forced “to regress and, to recapture something of the pleasurable mystery (and frustration) of preliteracy” (155).

Appropriate then, that the text of the book is built on the poetry of Reeve Lindbergh, a children’s writer, and daughter of Charles Lindbergh. The playful verses sometimes sit opposite a relevant produce-related painting from Wilde. Other poems are printed on translucent paper through which you can make out Wilde’s vegetal shapes. The poems appear to be ekphrastic – composed directly from the paintings.  John Wilde (1919-2006) was a frequent collaborator with Hamady, and both taught for many years at the University of Wisconsin in Madison.

This book comes to us from the collection of the late Dennis Bayuzick.

View other Fine Press Friday posts.

View other books from the Dennis Bayuzick estate.

View more work by Walter Hamady in our collection.

-- Amanda Haag, Special Collections Graduate Intern

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André Brasilier - Les marais de Loupeigne, 1991, oil on canvas, 80 x 116 cm