Protean Press ~ California
(Terry Horrigan)

Stonemasons' Marks
By Terry Horrigan
San Francisco, California: Protean Press, 2004. Edition of 50.

13.1875 x 24.25" Single sheet. Univers type on Rives BFK. Stonemarks combine photoengravings and pochoir; title from a linoleum block. In paper letterfold case with corner fold to slip into. Legend of the stonemason marks included in separate printing on the folder.

A broadside of twenty-three stonemasons' identifying marks inspired by marks copied from the walls of castles and churches in the British Isles and western Europe.

From the text: "Marks cut upon the dressed stones of a building (though rarely seen on tracery or carved work), were apparently the personal trade marks of the masons working the stone at the banker (Italian: banco) or stonecutter's bench. They are found in the British Isles and west Europe on stonework that dates from Roman times to the present, but are seen most frequently on medieval work, when they were cut on the exposed face of the stone; after the 15th century he marks were cut on the bed to avoid disfigurement..."
$40

bebop
By Terry Horrigan
San Francisco, California: Protean Press, 1997. Edition of 50.

13.1875 x 24.25" Single sheet, text in three colors. On Rives BFK using Deepdene and Sans Serif Light types. Calligraphy by Carl Rohrs. Illustrated with a listing of musicians, the pertinent terms which define bebop, and a photoengraving of a musical score; a partial bibliography frames the text block. Color was printed using pochoir.

Terry Horrigan: "A broadside reflecting on Charlie Parker and his influences on music of the time. It was inspired by listening to Parker's work and the reading that followed. The text evolved into 'blocks' because that is what I heard' as I listened to bebop."

Excerpt from the broadside: "Bebop was a uniquely American creation - the result of an extraordinary outburst of creative energy produced in reaction to, and yet supported by, the jazz styles that preceded it. The evolution of bebop can most easily be described as a simplification of the big band: the trumpet was substituted for the entire brass section of the swing band and the saxophone for the reed section. The most common bebop quintet instrumentation consisted of trumpet, saxophone, piano, bass and drums. The smallness of the group permitted the constant feedback necessary to successful experimentation and improvisation."
$68 (Last three copies)