The anatomy lesson : unveiling the Fasciculus medicinae

This project inspired by Joyce Cutler-Shaw's original work for the "Science and the artist's book" exhibition in Washington, D.C., at the Smithsonian Institution and the Washington Project for the Arts, 1995-1996, where she used Fasciculus medicinae by Johannes de Ketham as her selected text

" ... [H]as ten main sections, corresponding to the ten woodcuts found in the 1495 Fasciculus Medicinae. Each section has a title comprised of two parts: at top is the name generally used for the historical illustration, and the title below represents Joyce Cutler-Shaw's response to that image and its accompanying text in the Fasciculus. Following are translation excerpts of the medieval Latin medical text, next to personal notes from Cutler-Shaw that describe her journey of research for this project, specific to that section of the book. On the facing page are essays by invited scholars. Those pages open to reveal the four-page display within. At left are two reproduction pages from the Fasciculus: a page of Latin text and its corresponding woodcut. The artist's response is at right: her drawing, printed photogravure, and her poem."--Editorial note

Each folded page has commentary by William Schupbach [and others]; when unfolded, reproductions of pages from the Fasciculus medicinae and Cutler-Shaw's photogravures in response are revealed

Printed in an ed. of 50

"The photogravure prints ... were produced at Jon Goodman Photogravure, in Florence, Massachusetts; Jon Goodman made the ten plates & Rosemary Kress printed the edition ... The copy of the 1495 Fasciculus Medicinae used for reproduction is from the College of Physicians of Philadelphia ... Typefaces used are Poetica and Minion, both designed by Robert Slimbach, from the Adobe Type Foundry ... Boxcar Press made the eighty-five photopolymer plates from which the book was printed. The cotton text sheets were handmade by John and Kathy Koller at HMP, in Woodstock, Connecticut. Editing and letterpress printing was done by Robin Price, with much assistance from Anne Thompson, at the Starr Mill in Middletown, Connecticut. The hologram on the cover, produced by DuPont Authentication Systems using Dupont's Omnivue photopolymer, features an early-eighteenth-century brass lancet. The company Pina Zangaro fabricated and engraved the custom stainless steel boxes that house the book. The concertina binding was co-designed by Daniel E. Kelm, Price, and Cutler-Shaw, and was produced by Kelm, Kylin Lee, Erin Cook, and the other mechanics at the Wide Awake Garage, in Easthampton, Massachusetts."--Colophon

LC copy is no. 19; signed by the artist

UW Libraries has limited ed. copy no. 29, signed by the artist and publisher