Delivery-Agent: @(#)$Id: local.c,v 1.54 1998/10/30 06:30:53 akira1 Exp $ on dora Received: by j.xx.or.jp (ATSON-1) ; 21 Jan 2000 22:02:50 +0900 Return-Path: Received: from lancer.xx.or.jp (lancer.xx.or.jp [202.224.39.3]) by trantula.xx.or.jp (8.8.8/3.7W) with ESMTP id WAA12982 for ; Fri, 21 Jan 2000 22:02:49 +0900 (JST) Received: from ml.xx.or.jp (ml.xx.or.jp [202.224.39.111]) by lancer.xx.or.jp (Postfix) with ESMTP id 6BC0D4893 for ; Fri, 21 Jan 2000 22:02:49 +0900 (JST) Received: from localhost (daemon@localhost) by ml.xx.or.jp (8.8.8/3.7W) with SMTP id WAA26954; Fri, 21 Jan 2000 22:00:17 +0900 Received: by ml.xx.or.jp; Fri, 21 Jan 2000 22:00:16 +0900 Received: (from ml@localhost) by ml.xx.or.jp (8.8.8/3.7W) id WAA15758 for baren-digest-outgoing; Fri, 21 Jan 2000 22:00:16 +0900 Date: Fri, 21 Jan 2000 22:00:16 +0900 Message-Id: <200001211300.WAA15758@ml.xx.or.jp> From: owner-baren@ml.xx.or.jp To: baren@ml.xx.or.jp Subject: Baren Digest V10 #869 Reply-To: baren@ml.xx.or.jp Errors-To: owner-baren@ml.xx.or.jp Precedence: bulk [Baren]: The mailing list / discussion forum for woodblock printmaking. Sender: owner-baren-digest@ml.xx.or.jp MIME-Version: 1.0 Content-Type: text/plain; charset=unknown-8bit Content-Transfer-Encoding: quoted-printable X-MIME-Autoconverted: from 8bit to quoted-printable by trantula.xx.or.jp id WAA12982 X-Mozilla-Status: 0000 Baren Digest Friday, 21 January 2000 Volume 10 : Number= 869 ---------------------------------------------------------------------- From: David Bull Date: Thu, 20 Jan 2000 22:09:31 +0900 Subject: [Baren 7845] Re: A few photos ...=20 Barbara wrote: > ... I know how much work this is > and how much money it must have cost. I am also amazed it is up for suc= h a > short time.=20 Well, the short time is of course partly because of the cost. This gallery charges 100,000 yen per day. For that I get the empty room for 8 hours a day, no staff, but all electric included. Six days =3D 600,000 plus 5% tax. (US$ at present are almost exactly 100 yen, so just read the figures as pennies, to get dollar figures ...) To build the shoji screen installation I spent another 250,000 yen, but of course I designed it in a modular way so that I can re-use the components next year if I choose to go the same route again. I spent around (not sure exactly how much yet) 200,000 on photography, printing, and publicity stuff. So I guess it's somewhere around 1,180,000 in total, or just around $11,800 US. ...=20 That's a pretty big chunk of cash, but remember this is my _only_ show for the year. Once this investment is made, I really don't spend much on 'selling' during the rest of the year. > Please take a few more pictures for us. It was too busy today, I'm sorry. Lots of people in all day, and I talked myself a bit hoarse, and had a good time running off copies of my little 'crane' print as a demonstration. Not sure what to report on 'results'. Compared to last year it is way down, but that's not really negative, because it was last year that was out of the ordinary. As far as I can see so far it looks like being a 'normal' year. The weekend will tell the real story. Jack wrote: > Did you do the display design, Dave? Having hung a > few shows, I know how much work it is, must have been a long night.=20 Yes, I designed and built everything (I bought pre-made shoji screens though). Set-up itself wasn't so bad, because everything was pre-made, and just fitted together. It took us six hours. This gallery is closed every Wednesday, with new shows always opening Thursday, so we had the whole day to work in. Tuesday night will be more of a rush, as we close at six, and have to clear the room by nine. One down, five days to go! Dave ------------------------------ From: CHRISTY BLANK Date: Thu, 20 Jan 2000 09:36:03 -0800 (PST) Subject: [Baren 7846] Re: Exhibition and Web Page=20 - --- Jeanne Norman Chase wrote: >=20 > Ps. Do not know how many of you will be at the > Southern Graphic Conference > in Miami but I am thrilled that a few of the Barens > will be there and at > last I will meet, Dan, Barbara, Sharri and ?? Also > Ray will be there. I will > take pics if you are interested. >=20 >=20 That would be cool!! I'd love to see the "Baren report" from the conference!! Also to see some of the Members, nice to put a face with a personality. christina __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ------------------------------ From: Ruth Leaf Date: Thu, 20 Jan 2000 10:07:51 -0700 Subject: [Baren 7847] Re: Baren Digest V10 #868=20 Two new dragons arrived thank you Christina and Wanda they're great...Ruth - -- http://www.ruthleaf.com ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Thu, 20 Jan 2000 12:45:58 -0600 Subject: [Baren 7848] Re: A few photos ...=20 Dave writes: "It was too busy today, I'm sorry. Lots of people in all day, and I talked myself a bit hoarse, and had a good time running off copies of my little 'crane' print as a demonstration" Dave; Please don't worry about answering these questions for right now...= but I wanted to put them up in the forum while fresh in my mind.......... - - In a public demonstration like what you and Matt do at your exhibits.= ...how the heck do you guys maintain the right softness/wetness in the paper ? With doors opening & c= losing and all kinds of people whiskering by...I suppose making small prints helps in this mat= ter. I am now starting to understand & see the difference between "softening" the paper and wetting the paper= ....but achieving optimun results still eludes me....most of the time my paper is way toooo wet! - - Do you find that having an exhibit/show on a third floor gallery mea= ns you need more planning and more advertising of the event to attract people? I have always heard tha= t in business....location is one of the most important factors....but at those prices ($1,000 a day) I wonder wh= at a first floor gallery would charge! Does anybody have comparable gallery expenses for less say a show in Cali= fornia or Manhattan ? Thanks.....Julio ------------------------------ From: "Bea Gold" Date: Thu, 20 Jan 2000 12:38:42 -0800 Subject: [Baren 7849] FW: Trees Are Us charset=3D"iso-8859-1"=20 I'm a Master Gardener and received this from the MG office. Thought you'd enjoy this in light is the past discussions. Bea Gold - -----Original Message----- From: Yvonne Savio [mailto:ydsavio@ucdavis.edu] Sent: Wednesday, January 19, 2000 9:50 AM To: Yvonne Savio Subject: Trees Are Us Hi, All-- Bonnie Jue forwarded this to me, and I thought you'd get a kick out of it= -- >>What kind of tree are you? Which tree does your birthday fall under? >>After you find your birthday scroll down to the type of tree and it wil= l >>give you the description of the tree. See how accurately it describes >>you. >> >>December 23 to January 1 ........ Apple Tree >>January 2 to January 11 .............. Fir Tree >>January 12 to January 24 ........... Elm Tree >>January 25 to February 3 ........... Cypress Tree >>February 4 to February 8 ........... Poplar Tree >>February 9 to February 18 .......... Cedar Tree >>February 19 to February 28 ....... Pine Tree >>March 1 to March 10 ................. Weeping Willow Tree >>March 11 to March 20 ............... Lime Tree >>March 21 ................................. Oak Tree >>March 22 to March 31 ............... Hazelnut Tree >>April 1 to April 10 ........................ Rowan Tree >>April 11 to April 20 ...................... Maple Tree >>April 21 to April 30 ..................... Walnut Tree >>May 1 to May 14 ........................ Poplar Tree >>May 15 to May 24 ..................... Chestnut Tree >>May 25 to June 3 ....................... Ash Tree >>June 4 to June 13 ...................... Hornbeam Tree >>June 14 to June 23 .................... Fig Tree >>June 24 .................................... Birch Tree >>June 25 to July 4 ......................... Apple Tree >>July 5 to July 14 .......................... Fir Tree >>July 15 to July 25 ....................... Elm Tree >>July 26 to August 4 ..................... Cypress Tree >>August 5 to August 13 ................. Poplar Tree >>August 14 to August 23 ............... Cedar Tree >>August 24 to September 2 .......... Pine Tree >>September 3 to September 12 ... Weeping Willow Tree >>September 13 to September 22 . Lime Tree >>September 23 .............................. Olive Tree >>September 24 to October 3 ....... Hazelnut Tree >>October 4 to October 13 ............ Rowan Tree >>October 14 to October 23 ......... Maple Tree >>October 24 to November 11 ....... Walnut Tree >>November 12 to November 21 .... Chestnut Tree >>November 22 to December 1 ....... Ash Tree >>December 2 to December 11 ....... Hornbeam Tree >>December 12 to December 21 ..... Fig Tree >>December 22 ............................... Beech Tree >> >> >>Apple Tree >>The Love, Of slight build, lots of charm, appeal and attraction, >>pleasant aura, flirtatious, adventurous, sensitive, always in love, >>wants to love and be loved, faithful and tender partner, very generous, >>scientific talents, lives for today, a carefree philosopher with >>imagination. >> >>Fir Tree >>The Mysterious, Extraordinary taste, dignity, cultivated airs, loves >>anything beautiful, moody, stubborn, tends to egoism but cares for thos= e >>close to it, rather modest, very ambitious, talented, industrious >>uncounted lover, many friends, many foes, very reliable. >> >>Elm Tree >>The Noble-Minuteness, Pleasant shape, tasteful clothes, modest demands, >>tends to not forgive mistakes, cheerful, likes to lead but not to obey, >>honest and faithful partner, tends to a know-all-attitude and making >>decisions for others, noble-minded, generous, good sense of humor, >>practical. >> >>Cypress >>The Faithfulness, Strong, muscular, adaptable, takes what life has to >>give, happy content, optimistic, needs enough money and acknowledgment, >>hates loneliness, passionate lover which cannot be satisfied, faithful, >>quick-tempered, unruly, pedantic and careless. >> >>Poplar >>The Uncertainty, Looks very decorative, no self-confident behavior, onl= y >>courageous if necessary, needs goodwill and pleasant surroundings, very >>choosy, often lonely, great animosity, artistic nature, good organizer, >>tends to philosophy, reliable in any situation, takes partnership >>serious. >> >>Cedar >>The Confidence, Of rare beauty, knows how to adapt, likes luxury, of >>good health, not in the least shy, tends to look down on others, >>self-confident, determined, impatient, wants to impress others, many >>talents, industrious, healthy optimism, waiting for the one true love, >>able to make quick decisions. >> >>Pine Tree >>The Particularity, Loves agreeable company, very robust, knows how to >>make life comfortable, very active, natural, good companion, but seldom >>friendly, falls easily in love but its passion burns out quickly, gives >>up easily, many disappointments till it finds its ideal, trustworthy, >>practical. >> >>Weeping Willow >>The Melancholy, Beautiful but full of melancholy, attractive, very >>empathic, loves anything beautiful and tasteful, loves to travel, >>dreamer, restless, capricious, honest, can be influenced but is not eas= y >>to live with, demanding, good intuition, suffers in love but finds >>sometimes an anchoring partner. >> >>Lime Tree >>The Doubt, Accepts what life dishes out in a composed way, hates >>fighting, stress and labor, tends to laziness and idleness, soft and >>relenting, makes sacrifices for friends, many talents but not tenacious >>enough to make them blossom, often wailing and complaining, very >>jealous, loyal. >> >>Hazelnut Tree >>The Extraordinary, Charming, undermining, very understanding, knows how >>to make an impression, active fighter for social cause, popular, moody >>and capricious lover, honest and tolerant partner, precise sense of >>judgment. >> >>Rowan >>The Sensitivity, Full of charm, cheerful, gifted, without egoism, likes >>to draw Attention, loves life, motion, unrest and even complications, i= s >>both dependent and independent, good taste, artistic, passionate, >>emotional, good company, does not forgive. >> >>Maple >>Independence of Mind, No ordinary person, full imagination and >>originality, shy and reserved, ambitious, proud, self-respect, hungers >>for new experiences, sometimes nervous, many complexes, good memory, >>learns easily, complicated love life, wants to impress. >> >>Walnut Tree >>The Passion, Unrelenting, strange and full of contrasts, often egoistic= , >>aggressive, noble, broad horizon, unexpected reactions, spontaneous, >>unlimited ambition, no flexibility, difficult and uncommon partner, not >>always liked but often admired, ingenious strategist, very jealous and >>passionate, no compromises. >> >>Chestnut Tree >>The Honesty, Of unusual beauty, does not want to impress, well-develope= d >>sense of justice, vivacious, interested, a born diplomat, but irritate >>and sensitive in company, often due to a lack of self-confidence, acts >>sometimes superior, feels not understood, loves only once, has >>difficulties in finding a partner. >> >>Ash Tree >>The Ambition, Uncommonly attractive, vivacious, impulsive, demanding, >>does not care for criticism, ambitious, intelligent, talented, likes to >>play with its fate, can be egoistic, very reliable and trustworthy, >>faithful and prudent lover, sometimes brains rule over heart, but takes >>partnership very serious. >> >>Hornbeam >>The Good Taste, Of cool beauty, cares for its looks and condition, good >>taste, tends to egoism, makes life as comfortable as possible, leads >>reasonable, disciplined life, looks for kindness, an emotional partner >>and acknowledgment, dreams of unusual lovers, is seldom happy with >>his/her feelings, mistrusts most people, is never sure of its decisions= , >>very consciences. >> >>Fig Tree >>The Sensibility, Very strong, a bit self-willed, independent, does not >>allow contradiction or arguments, loves life, its family, children and >>animals, a bit of a butterfly, good sense of humor, likes idleness and >>laziness, of practical talent and intelligence. >> >>Oak >>The robust, courageous, strong, unrelenting, independent, sensible, doe= s >>not love changes, keeps its feet on the ground, person of action. >> >>Birch >>The Inspiration, Vivacious, attractive, elegant, friendly, >>unpretentious, modest, does not like anything in excess, abhors the >>vulgar, loves life in nature and in calm, not very passionate, full of >>imagination, little ambition, creates a calm and content atmosphere. >> >>Olive Tree >>The Wisdom, Loves sun, warmth and kind feelings, reasonable, balanced, >>avoids aggression and violence, tolerant, cheerful, calm, well-develope= d >>sense of justice, sensitive, empathic, free of jealousy, loves to read >>and the company of sophisticated people. >> >>Beech >>The Creative, Has good taste, concerned about its looks, materialist, >>good organization of life and career, economical, good leader, takes no >>unnecessary risks, reasonable, splendid lifetime companion, keen on >>keeping fit (diets, sports, etc.) >> >> Yvonne Savio Common Ground Garden Program Manager University of California Cooperative Extension Los Angeles County 2 Coral Circle Monterey Park, CA 91755 phone (323) 838-4532 fax (323) 838-7408 email ydsavio@ucdavis.edu ------------------------------ From: Studio Dalwood Date: Fri, 21 Jan 2000 07:44:00 +1100 Subject: [Baren 7850] Acid Free paper=20 Hi all Quick question here Once you have determined that your pulp is too acid, what do you add to make it less acid? Can someone with experience in all this ph testing please send in some detailed instructions on how to test, what the correct ph is and what to add to to bring the pulp to the correct ph. I guess this should be on the website too. To the Aussies, where do I get my ph testing equipment? melting in the heat here Josephine ------------------------------ From: Studio Dalwood Date: Fri, 21 Jan 2000 08:23:20 +1100 Subject: [Baren 7851] Last post=20 I guess you can see those gremlins are still in my computer. Sorry the last post was a papermaking post. Have no idea how it went to you. Anyway. It is an interesting question. What alkaline would you add to paper pulp to make it less acid? Profuse apologies. I'm blaming it on the heatwave conditions we are enduring here. Josephine ------------------------------ From: "John Ryrie" Date: Fri, 21 Jan 2000 08:28:50 +1100 Subject: [Baren 7852] Re: Acid Free paper charset=3D"iso-8859-1"=20 > > Josephine siad > To the Aussies, where do I get my ph testing equipment? > You can get a pH testing felt tip pen, it changes colour to show the acid content. You can get this from: Zetta Florence, 187 Gertrude Street Fitzroy, Victoria. Phone 03 94162236 or Fax 03 94162360. If you are testing liquid pulp t= hen you can get litmus paper from the chemist. I don't know what you need to add to change the pH, Zetta Forence is a conservation supplier they may be able to tell you. You could also email the papermakers of Victoria from their web site. > melting in the heat here > there's a nice cool breeze hear in Melbourne. John ------------------------------ From: "Kevin Foley" Date: Thu, 20 Jan 2000 16:42:16 -0500 Subject: [Baren 7853] Re: Hello boundary=3D"----=3D_NextPart_000_0012_01B= F6365.4FB06430"=20 This is a multi-part message in MIME format. - ------=3D_NextPart_000_0012_01BF6365.4FB06430 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable ----- Original Message -----=3D20 From: Gregory Robison=3D20 To: baren@ml.xx.or.jp=3D20 Sent: Monday, January 17, 2000 11:41 AM Subject: [Baren 7778] Re: Hello Thanks everyone for the welcome to the group and to those who were =3D hurrying me along -- I'm carving, I'm carving, honest! Gregory Robison wrote: The wonderful displays of several prints from the same set blocks but =3D colored differently, such as that view of the village of Darjeeling and =3D the distant Himalayas in morning, at midday and in the evening. =3D20 I agree, pretty amazing. I became interested in this type of printing = =3D to find out how he could get the range of colors by printing from =3D blocks. In those prints the carving, though impressive, isn't half the =3D game. The painterly use of pigments is really amazing. Gregory Robison wrote: Although I was practically alone in the rooms of the gallery, I am =3D happy to hear someone (else) found it so inspiring!=3D20 The Sackler and Freer Galleries are really ideal for really drinking =3D in a work undisturbed. It's probably not good for the financial =3D wellbeing of the museums but being 90 percent underground they are often = =3D not recognized by passebys as museums. For prints it's nice because you = =3D can almost put your nose on a piece before anyone gets concerned. =3D Pass-through traffic is low so security isn't as much of a problem as =3D for other buildings in the same area. Gregory Robison=3D20 - ------=3D_NextPart_000_0012_01BF6365.4FB06430 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable
 
----- Original Message -----
From:=3D20 Gregory Robison
To: baren@ml.xx.or.jp
Sent: Monday, January 17, 2000= =3D 11:41=3D20 AM
Subject: [Baren 7778] Re: =3D Hello

Thanks everyone for the welcome to the group and to= =3D those who=3D20 were hurrying me along -- I'm carving, I'm carving, honest!

Gregory Robison wrote:

The wonderful displays of several prints from the same set blocks =3D but=3D20 colored differently, such as that view of the village of Darjeeling =3D and the=3D20 distant Himalayas in morning, at midday and in the =3D evening.  =3D20

I agree, pretty amazing.  I became interested in this =3D type of=3D20 printing to find out how he could get the range of colors by printing =3D from=3D20 blocks. In those prints the carving, though impressive, isn't half the = =3D game.  The painterly use of pigments is really amazing.

Gregory Robison wrote:

Although I was practically alone in the rooms of the gallery, I am =3D happy to=3D20 hear someone (else) found it so inspiring!=3D20

The Sackler and Freer Galleries are really ideal fo= r =3D really=3D20 drinking in a work undisturbed.  It's probably not good for the =3D financial=3D20 wellbeing of the museums but being 90 percent underground they =3D are often=3D20 not recognized by passebys as museums.  For prints it's nice =3D because you=3D20 can almost put your nose on a piece before anyone gets =3D concerned. =3D20 Pass-through traffic is low so security isn't as much of a problem as =3D for=3D20 other buildings in the same area.

Gregory Robison

- ------=3D_NextPart_000_0012_01BF6365.4FB06430-- ------------------------------ From: David Bull Date: Fri, 21 Jan 2000 07:53:14 +0900 Subject: [Baren 7854] Re: A few photos ...=20 Julio wrote: > - In a public demonstration like what you and Matt do at your exhibits.= ...how > the heck do you guys > maintain the right softness/wetness in the paper ? In my earlier days of doing this, it was insanely difficult, and I screwed up endlessly. I also tried to do something quite silly - reproduce one of the large Hyakunin Isshu prints, with a dozen or more colours. Of course, it was next to impossible to control the moisture in the paper and on the blocks. It also took too long to make, so people got bored and wandered away part way through ... But now I've got a pretty good system for this. - - I use small prints. It's far easier to control the moisture on a little sheet. - - 7~8 colours maximum. The whole thing is done in just a few minutes.=20 Nobody gets bored, and they just enjoy the print coming to life step by step. - - I have a clear sheet of plastic pinned over the top of my paper stand. Underneath is the moistened newsprint with the printing paper tucked inside it. The people can't see anything at first. Once the first colour is done though, I slip the sheet under the plastic face up. They cluster 'round to see what it looks like, but it's protected from drying out, while I get the block ready for the next impression. - - Because I do the demo about once every half hour or so, the blocks an= d brushes are bone dry each time. Impossible to print. So after each colour is done, I quickly moisten the block for the next, grab the brush and work it in my hands to soften it up, and then just chat and explain things during the minute or so it takes the block to become ready. They always have lots of questions anyway. I'll try and get somebody to snap some shots during a demonstration today ... > - Do you find that having an exhibit/show on a third floor gallery mea= ns you > need more planning and > more advertising of the event to attract people? =20 I choose a 'hidden' gallery specifically for one reason. I like talking to the visitors a lot, explaining things and spending time with them.=20 But I learned a long time ago that if you have a gallery down on the street, then you get a lot of 'walk-in' people. These people love to talk too, but it always ends the same way ... they say 'Thanks' and them stroll out. =20 Now that's OK, but in the meantime, you've been ignoring the person next to them, someone who saw a story in the newspaper, and came down specifically to see the show. You see my point? By keeping the show in a hidden location, the _only_ people who come are those who are already interested in the work. The chatting and discussions aren't so 'wasted' ... Of course this is a big gamble - if the media doesn't 'hit' me, then I crash completely. But 'so far, so good' - my work does seem to be something that the media feels is worth covering, and it's generally worked out so far. The first exhibition I tried in downtown Tokyo was a total 'miss', and the gallery fee was just money chucked away, but since then things have been OK ... *** Kevin (or was it Greg?) wrote: > I=CAbecame interested in this type of printing to find out how he coul= d=20 > get the range of colors by printing from blocks. In those prints the=20 > carving, though impressive, isn't half the game.=CA The painterly use > of pigments is really amazing.=20 I'll second this. In fact in woodblock printmaking in general that=20 phrase 'The carving isn't half the game.' is true. The beauty is in the printing. It's an experiment I'd like to try some time: give me a barn board (a relatively smooth one, anyway), and a hammer. That'll do for 'carving' tools. But if I have my regular printing tools and materials available ... we'll see a pretty interesting print come out I think ... Dave ------------------------------ From: Julio.Rodriguez@walgreens.com Date: Thu, 20 Jan 2000 17:46:37 -0600 Subject: [Baren 7855] #3 exchange print=20 Greg Valentine writes regarding my #3 print: "Praise: I like the simplicity and smoothness of this; its obviously not = a frantic piece of music Suggestions: My copy appears to have bounced slightly, as though it is do= uble struck (but not distractingly so). Comments: Reminds me of Legar, with the swathes of color behind the figur= e. Their curve sort of follows the motion of the bow, and their fork mimics = the (presumed) tails of the coat." Thanks Greg for your response. I often listen to music while "art-making"= and range can be anything from blues to latin to classical. I have a large collection of cello & violin LP's (I play violin... a little) and the ide= a for this print came to me while listening to a very passionate violin quartet= ....I wanted to capture the moody changes often found within classical violin music....thus the dividing colors.......and the deep concentration in the violinist's face.... Unfortunately it looks like a few prints did get "bounced" as my techniqu= e is not quite there yet. The black keyblock was printed first (two impression= s ) using a baren. Then the color blocks were printed over using the Vanderco= ok 02 press. I wanted to give the feeling of color "moods" engulfing the musici= an, thus the sequence. The curves created by the color blocks were indeed des= igned that way.....just as you pointed out, to follow the path of the bow & the= arm movements....with a small triangle of black color left untouched at the l= ower center of the print to simulate the shape of tails. Nice catch. Thanks very much for your comments.........Julio ------------------------------ From: Chloe T LeMay Date: Thu, 20 Jan 2000 23:33:23 -0500 Subject: [Baren 7856] Re: Pennyroyal Caxton Bible=20 This is Chloe, artist in a different medium but sometimes in league with Curtis. We got a copy of the Caxton Bible. It is magnificent. Reminds m= e of Dore'. Thanks for the tip. - ----- Original Message ----- From: Daniel Dew To: Sent: Friday, January 14, 2000 10:02 AM Subject: [Baren 7706] Pennyroyal Caxton Bible > Hey, for anyone out there who might be interested, this book is availab= le > on-line through Barnes & Noble for $32.50!!!!!!!!!!! > > I bought one yesterday, now I can't wait to see it "in the flesh". > > Dan Dew ------------------------------ From: B Mason Date: Thu, 20 Jan 2000 21:25:04 -0800 Subject: [Baren 7857] Re: Pennyroyal Caxton Bible=20 Daniel, I tried to find this on Barnes and Nobel and could not. what is the exact title? thanks Barbara Daniel Dew wrote: > Hey, for anyone out there who might be interested, this book is availab= le > on-line through Barnes & Noble for $32.50!!!!!!!!!!! > > I bought one yesterday, now I can't wait to see it "in the flesh". > > Dan Dew ------------------------------ From: Brad Schwartz Date: Fri, 21 Jan 2000 00:03:56 -0800 Subject: [Baren 7858] Re: Pennyroyal Caxton Bible=20 on 01/20/2000 9:25 PM, B Mason at bemason@concentric.net said: Barbara, > I tried to find this on Barnes and Nobel and could not. what is the exa= ct > title? > thanks Try this: Barry Moser: The Holy Bible (SIGNED First Edition) Item Description Price: $250.00 (plus s&h fee: $10.00) http://s1.amazon.com/exec/varzea/ts/exchange-glance/Y03Y3915024Y2318958/q= id=3D 948441929/sr=3D1-1/ref=3Dz_ob_qs/102-9542497-5756859 Brad > Daniel Dew wrote: >=20 >> Hey, for anyone out there who might be interested, this book is availa= ble >> on-line through Barnes & Noble for $32.50!!!!!!!!!!! >>=20 >> I bought one yesterday, now I can't wait to see it "in the flesh". >>=20 >> Dan Dew >=20 - -- Brad Schwartz http://www.baschwar.com/ ------------------------------ End of Baren Digest V10 #869 ****************************