Protean Press ~ California
(Terry Horrigan)

Broadsides by Terry Horrigan
Poetry Books
Alphabet & Counting Books
Travel & Journals

Aeolian Island
By Terry Horrigan
San Francisco, California: Protean Press, 2007. Edition of 30.

6.25 x 7.75 x .5"; 12 pages. Calligraphy by Ann Miller. Type: Univers in Roman and Italic, Medium Condensed. Printed in black, yellow, and blue inks on BFK Rives paper. Colored papers: Canford Buttercup, Ocean Blue, and Bright Red. Housed in Plexiglass slipcase, allowing a preview of the binding, Horrigan's rendition of Janus Press' "Sing Weaving." Design, printing, and binding by Terry Horrigan.

Terry Horrigan: "Aeolian Island was inspired by Beaufort's and Petersen's Scales: written descriptions of the force of wind as understood in land and marine weather warnings (miles per hour or mean speed in knots)....

"I gathered information from Webster's Dictionary (1983) and The Met Office in the United Kingdom. Much more is available on various sites on the 'web.' Aeolus was the god of the wind to the Greeks; also known by the epithet Hippotades of 'reiner of horses.' The winds, known as the 'Thracian Horses,' were Boreas: the north wind; Euros: the east wind; Notus: the south wind; Zephyrus: the west wind. Shu was the god of the wind, the atmosphere, the space between the sky and the earth, the divisions between day and night and between the underworld and the living world to the Egyptians. In the Vedic religion the god the wind was Vaya. To the Hopi, Pueblo descendents of the Anasazi, Yaponcha was the wind god. ...

"The calligraphed number on each page signifies the 'force' of the wind described, e.g. 'Force O' equates with 'calm.' ... The colors chosen reflect those used in the signal flags which 'broadcast' weather warnings across the United States; local authorities use these colors in a variety of patterns."
$178

Luis Barragan: An Inner Life/Recollections
By Adriana Williams
2002. Edition of 60.

64 pages, six black and white images and 15 color images reproduced using the current computerized techniques. Printed letterpress at Protean Press on cream colored Somerset heavy paper using Poppi-Laudatio type, polymer plates. Hand sewn and bound in grey flannel over boards with endpapers of rosso and giallo oro Ingres and encased in a black portfolio.

A memoir of Adriana Williams, who recounts her view of his inner life; of the interests they shared and talked about, of his likes and dislikes, of his artistic, musical, and literary passions, of the artists and works that inspired him.
$450 (A few copies remaining)

Ellis Island
By Terry Horrigan
1995. Edition of 50.

Printed in Univers type on Mohawk Superfine and bound in blue cloth over boards with red Moriki endpapers.

Written and printed by Terry Horrigan following a visit to the famous gateway island. This slim volume gives a brief history of the principal immigrant receiving station for the U.S. including a description of how people were processed for entry, plus a list of some pertinent legislation. A foldout spread of runelike, chalk markings that medical inspectors used to designate a person's apparent health is visually compelling and haunting. Though not the final word on whether someone would be admitted to the country, these letters were placed on the lapel if, after a cursory examination, the person was suspected of having any "contagious disease, mental disability or physical affliction that might cause an individual to become a public charge."
$70 (Last two copies)

Kokopelli
By Terry Horrigan
1992. Edition of 60.

7.8 x 6.1" with 12 pages in paper covers. Letterpress printed on Mohawk Letterpress using Spectrum type. Photoengraving with a watercolor wash on Lana Royal. Sewn into paper-wrapped boards using blue and gray brown Roma.

A monograph by Terry Horrigan about the deific figure known as the Hunchbacked Flute player. Kokopelli discusses the meaning ascribed to the symbol and one attitude regarding the interpretation of rock art. An abbreviated bibliography of rock art of the Southwest is also included.

"Rock art in the American Southwest was produced by two methods. Pictographs were created by painting or coloring upon the surface of the rock. Petroglyphs were engraved into the stone; the lighter-colored stone was revealed by pecking, scratching, or abrading the dark, weathered rock surface. Some rock art combined the two techniques."
$53 (Four copies remaining)

Jeramy's Book
By Stephanie Loux
1985. Edition of 90.

6.25 x 9.2" Printed using Spectrum on Mohawk Letterpress paper. Nine linoleum-cut illustrations including two fold-outs.

A chapbook by Stephanie Loux inspired by a nephew's stories of his early experiences at school.
$85 (Last Copy)

The China I Knew
By Rose Covarrubias
2005. Edition of 60.

9.5 x 6" Casebound in Japanese book-cloth over boards; endpapers of Lokta fiber paper from Nepal. Illustrated with nine photoengraved line-drawings by Miguel Covarrubias. Botan White paper by Awagami using Joanna, Roman and Italic types.

A journal by Rose Covarrubias of the trip taken by her and her husband to China in 1933-34. Inspired by Adriana Williams, a friend of the Covarrubiases.
$110 (Last three copies: 2 in black cloth; 1 in brown cloth)

Michigan in May
By Terry Horrigan
2005. Limited.

4 x 4.25" Designed, compiled, printed and bound by Terry Horrigan. types used Bradley Hand, Comic Sans, and Antique Olive. Uses multiple structures to show illustrations and text. Photographs scanned and printed using an Epson CX5200. Laid in letter folded paper case with tuck in closure.

A small edition by Terry Horrigan done in celebration of a trip through Michigan in May and June of 2005. Horrigan says it was still winter when they arrived. She and her husband were snowed upon as they walked the dunes by the edge of Lake Michigan. During the days that followed they watched Spring begin. They watched new life appear as barren trees budded, grasses sprouted, flowers bloomed, birds sang. This is her celebration of that time.
$53

Quipu
By Catherine Mutz
2004. Edition of 40.

10 x 6.5" with 14 pages plus fold out. The "Turkish map"-folded etching of a quipu is printed in black and brown on Lokta fiber paper from Nepal. The text uses Poliphilus and Blado types on Fabriano Ingres paper; enclosed in a paper cover of Lami Li Heavy Natural paper.

The quipu (khipu) were knotted-string recordkeeping devices used by the Inca empire (ca. 1450-1550 C.E.) for recording both statistical and narrative information. The booklet contains an enticing, exciting essay about the quipu and an extensive bibliography.

Terry Horrigan: ""Quipu" was inspired by the specimen which I saw in the Museo Nacional de Antropologia y Arqueologia in Lima, Peru, in 1991. I slowly gathered articles and titles of books to be read, but the project made a sudden advance in 2003 when Catherine Mutz expressed interest in doing the research and writing of the text. The exciting, enticing essay and extensive bibliography that comprise "Quipu" resulted.

Ann Miller, my favorite calligrapher, developed the calligraphic letters and elements using Poma de Ayala's chronicles as models."
$140 (Last Copy)

Something Sheepish
Essay By E B White
2001. Edition of 60.

BFK Rives paper using Stone and Stone Sans, computer generated and made into photopolymer plates. Hand sewn and handbound in cloth over boards. The fifteen sheep images are hand colored using the pochoir process. Design, printing, coloring and binding by Horrigan.

Book designer Terry Horrigan was enchanted by the rhythm of the Celtic sheep counting numerals and so contacted EB White's estate to get permission to print this essay in the limited fashion of this letterpress book.
$85 (A few copies remaining)

Ogham
By Terry Horrigan
1997. Edition of 50.

4.7 x 9.4" casebound book. Letterpress printed on BFK Rives using Univers type. Accordion-folded book enclosed in a board covered with handmade paper. Paper made by Terry Horrigan. Calligraphy by Ann Miller. Illustrated with a photoengraving of a memorial stone with watercolor wash.

A short essay about the stone-inscribed form of the Ogham alphabet, which alphabet is only found on memorial stones from the fourth to seventh centuries AD in those areas of Britain where the Irish language was in use. Essay by Terry Horrigan.
$95 (Last Copy)

This is Mine
By Carolyn Miller
2004. Edition of 60.

9.5 x 7" with 26 pages. Design, printing, and binding by Terry Horrigan. The title page illustration, "Studio Window, Green Street," is an Epson print of an original monoprint by Carolyn Miller. The text typeface is 13-point Poliphilus and Blado. Printed letterpress on Mohawk Superfine. Cover wrappers of Dove Blue Lokta fiber paper from Nepal.

The title of this selection of Miller's poetry comes from the poem "A March Day in Jeanne's Backyard."
$87 (A few copies remaining)

Entomologist's Dreambook
By Sherron Norlen.
1998. Edition of 200.

6 x 9.75” Letterpress on Mohawk Superfine in Deepdene type. Twenty-six poems bound in a sewn board covers wrapped in blue, leaf-strewn, Thai Mango paper. Linoleum block prints by Kim Norlen on Thai Mulberry paper. Designed, printed, bound by Terry Horrigan.

As a child, Norlen wanted to become an entomologist, until she learned that the work involved pest control. Years later, in a retreat, she was directed to sit eight hours a day under a Montana pine tree: no talking, reading, writing, music, or meditating—just sit. The insects that had fascinated her as a child came to visit and inspired these poems.
$95 (Four copies remaining)