Washington DC: Abstract Orange Press, 2017. Hardcover. Number 11 of 20 copies signed and numbered by the book artist. Lauren Emeritz is a book artist, letterpress printer and graphic artist and runs the Abstract Orange Press. She creates prints and books by hand using a Vandercook press and wood type, including type she designs and carves herself. Lauren holds a BFA in Graphic Design from the University of Delaware. She is the President and Creative Director of Abstract Orange, a graphic design firm in Washington, DC, and a letterpress associate at Pyramid Atlantic Art Center in Hyattsville, Maryland. This boldly designed book is one of a series of books that Lauren has done using her handmade wooden type to explore letters, numbers, and shapes. In this accordion style book she has printed her hand carved wood numbers from 1 to 0 in various bright colors either on a single page or on a fold-out page. Bound in dark blue cloth with title in orange on front cover and spine. In fine condition. Measures 5.25 x 7 inches. In a protective stiff plastic case. ARTISTSB/082018. Fine.
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Washington DC: Abstract Orange Press, 2018. Hardcover. Number 11 of 20 copies signed and numbered by the book artist. Lauren Emeritz is a book artist, letterpress printer and graphic artist and runs the Abstract Orange Press. She creates prints and books by hand using a Vandercook press and wood type, including type she designs and carves herself. Lauren holds a BFA in Graphic Design from the University of Delaware. She is the President and Creative Director of Abstract Orange, a graphic design firm in Washington, DC, and a letterpress associate at Pyramid Atlantic Art Center in Hyattsville, Maryland. This striking book is one of a series of books that Lauren has done using her handmade wooden type to explore letters, numbers, and shapes. This accordion style book juxtaposes a shape as a white space on a blue, grey, or orange background on one page with the shape in that color on a white background on the facing page. Shapes include a circle, square, triangle, arrow, heart, star, and hand. Bound in grey cloth with orange title on front cover and spine. In fine condition. Measures 5.25 x 7 inches. In a protective stiff plastic case. ARTISTSB/082018. Fine.
Washington DC: Abstract Orange, 2019. Number 6 of 36 copies signed and numbered by the book artist. The book was published on May 31, 2019 in celebration of Walt Whitman's 200th birthday. The book artist writes: "The book explores ideas central to Walt Whitman’s Leaves of Grass including transcendentalism, or the inherent goodness of nature, and realism, depicting familiar things as they are. It captures both the complexity and simplicity of nature by juxtaposing dimensional paper grass texture and a quote about nature and wonder. The book is not a reprinting of all of Whitman’s words, but an art object that encapsulates the feeling of Whitman." Her evocative work is done as a box that opens like a traditional book. The inside front cover and back cover are covered with cream paper that includes quotes from Whitman along with his image. The inside of the box/book are several spiky rows of grass leaves crafted from green paper. The box is covered with green paper with the title, author and press name in a lighter shad of green. In fine condition. Measures 5.25 x 7.25 inches. ARTISTB/120519. Fine.
Kingston, NY: Maureen Cummins, 2019. Number 8 of 15 copies signed and numbered by the book artist Maureen Cummins. This powerful production was initially realized as a unique object in the spring of 2019, the book was later editioned in the fall of 2019. Throughout the piece, Cummins uses simple typographic means to explore issues of anti-Semitism, denial, and the erasure of cultural memory. Unpublished Manuscript, 1946 came out of the research phase of the Friends, Peace and Sanctuary Project, in which artists were asked to spend two weeks in the Special Collection archives at Swarthmore College. Cummins was immediately drawn to a collection of materials relating to the life of Hans Bergas, a survivor of the Buchenwald concentration camp. Cummins writes: "Following the war he and his family relocated to the United States, to the town of Chester, Pennsylvania. It was there that he met Gertrude Weaver, a German language high school teacher. In response to her request, Bergas began corresponding with Weaver’s students, a process that led to his writing a full-length memoir. Hoping to see the manuscript published, Weaver sent the manuscript to Grace Naismith, a senior editor at Reader’s Digest magazine. In a brief, typewritten response, Naismith thanked Weaver for her submission while unequivocally rejecting it as unsuitable for publication: “…the day has passed,” she wrote, “when people will read any more about Buchenwald or German atrocities…we have been so surfeited with Fascist horror stories, movies, and Nuremberg trial testimonies, that I’m afraid a present sale is most difficult.” In this artist's book, Cummins painstakingly surprints Naismith’s letter, using no more than a few words at a time, over copies of Bergas’s manuscript. In this way, Naismith’s decision to reject the manuscript is given the full weight and consequence it deserves. Reading the texts side by side also highlights the contrast between the editor’s polite, patrician language and the horrific events and experiences described in the memoir: “Death by starvation. Death by illness or execution.”" Both visually and emotionally, the reader/viewer is invited to witness the collision of worlds. Printed on a variety of translucent papers, including vintage onionskin. The memoir was digitally reproduced, while Naismith’s letter was printed letterpress using photoengraved plates. Also included are two documents contained in Bergas’s original manuscript: a map of Buchenwald that he drew for the Chester high school students, and a page of family photographs. Each book is held by a vintage clip board. The book measures 8.5 x 11 inches. In fine condition. 79 pages. ARTISTSB/011620. Fine.
Upland CA: Blackbird Press, 2007 [Distributed in 2010]. Hardcover. Number 40 of 100 copies. Signed by the poet, the book artist, and the illustrator. Writes Gillingwators, "When I first read B. H. Fairchild’s poetry collection The Art of the Lathe, I knew I wanted to publish the opening poem “Beauty” as a letterpress limited edition book. The poem has book characteristics–narrative structure and four, chapter-like divisions–and its visceral, lyrical appeal motivated me." Fairchild's poetry has been widely published and he has been the recipient of numerous awards. The Art of the Lathe was described in the LA Times as "a contemporary classic...finely crafted and perfectly pitched." The book artist continues: "I knew from the initial reading that my book edition would have metal covers, reminiscent of the corrugated-metal buildings that often house machine shops [where the poem takes place]. The making of the book took three years as the book artist and illlustrator learned how to make the tiny metal hinges for the book and how to age the thin aluminum used for the book covers. Each step required research, test trials, and practice. Printed with Centaur and Arrighi monotype on Zerkall Book paper, with linocuts by Alquitela. Housed in a grey clamshell box with title and author in red to spine. In fine condition. 7 x 11". Unpaginated. [11 pages] PRI/031715. Fine.
Riverside, CA: Bo Press Miniature Books, 2010. Hardcover. This is a short story by Prue Batten, an Australian award winning writer of fantasy and historical fiction. Pat Sweet, the book artist writes of Prue: "The Gisborne and Eirie novels are a wonderful source of design inspiration, and their author has generously allowed the Bo Press to produce miniatures based on the world they describe. Prue and I also collaborate on other projects." This story is set in Prue's fantasy world of Eirie and involves love at first sight, betrayal, beautiful costumes, tall dark strangers, and magic." Pat Sweet published this book in three editions, the deluxe, the trade, and this, the fine binding edition. It is bound in a specially printed blush-pink striped paper overlaid with a half binding of antique black lace, with a tiny gold mask on the spine. With six illustrations. In fine condition. Measures 2.25 x 1.50 inches. Unpaginated. [46 pages] ARTISTSBOOK/021518. Fine.
Riverside, CA: Bo Press Miniature Books, 20102016. Hardcover. Signed by the book artist. This is a story by Prue Batten, an Australian award winning writer of fantasy and historical fiction. In this lovely story-within-a-story by Batten, a medieval troubadour tells his master's young son a legend of Occitan: A queen suspected of sorcery and shape-changing and how she was vindicated. The story is loosely based on the legend of Pedauque that has been part of the Occitan legend for centuries. The tale has ten illustrations with historiated initials drawn from medieval manuscripts. Pat writes that this is the sixth book that she and Prue have published together, and she has marked the event with an illustration opposite the title page with a Latin motto including both our names. The beautiful binding is an embroidered fabric of gold, turquoise, and dark blue, with a twisted ribbon spine that echoes the illustrations inside. In fine condition. Measures 2.75 x 2.25 inches. 45 pages. ARTISTSBOOK/021518. Fine.
Barcelona: Carla Busquets, 2018. Number 4 of 10 copies. Signed and numbered by the artist on the back of the last leaf. The images in this limited edition book are taken from a unique version of the work that had eight original ink drawings on four folios mounted on five wooden dowels. The piano hinge structure is based on innovations by renowned book artist Hedi Kyle. Formerly a conservator in the UK, Canada, and Spain, Busquets, a skilled young paper artist, opened her own studio, la Frivé, last year where she hosts workshops for paper artists of all ages in addition to practicing her craft. In her artist's statement Busquets says: "I mostly work with paper. I love the versatility of the material, how easy it is to manipulate and also the skill required to turn it into delicate work... I use drawing and paper to explore the boundaries of book structures to to create a story. Imagining a picture that goes beyond the illustration with mobile and tri-dimensional parts as in pop-up books gives me new possibilities to transport the spectator." In this marvelous work Busquets depicts the fearsome Kraken, a legendary creature that resembled a giant squid and was known for destroying ships. Here its massive tentacles rise from the churning waves as it approaches a doomed ship. Digitally printed and handcut and mounted. Housed in original custom box covered with paste paper. Size: 17cm x 15 cm x 4 cm. In fine condition. ARTB/031720. Fine.
Toronto: Cheshire Cat Press, 2015. Number 16 of 66 copies signed and numbered by the publisher, Andy Malcolm, the writer of the introduction, Edward Wakeling, and the printer, George A. Walker. The press calls this fine production their Sesquicentennial Edition of Alice's Adventures in Wonderland. Edward Wakeling, who wrote the introduction, is an internationally known authority on Carroll. Wakeling writes in his introduction: Harry Furniss was born in Wexford, Ireland on March 26, 1854. He was a prolific artist and illustrator, best remembered for his humorous illustrations published in Punch, to which he contributed over 2,600 drawings from 1880 to 1894. Furniss was eleven years old when Alice’s Adventures in Wonderland was published. He regretted not being old enough to illustrate the Alice book for himself. He was delighted when Carroll singled him out to illustrate the Sylvie and Bruno books. Carroll recognized Furniss’s ability to draw both character likenesses and grotesques; an essential ingredient for his new book. Sylvie and Bruno was nothing like Alice’s Adventures. Furniss said that this was a bitter disappointment to him. Inwardly, he nursed the ambition to do his own illustrated version of Alice. When the copyright ran out in 1907, he drew twenty illustrations for the book. But few people have seen Alice as illustrated by Harry Furniss. The illustrations first appeared in three installments of The Children’s Encyclopaedia edited by Arthur Mee in 1908. This edition offers for the first time enlarged, high resolution copies of the original Furniss art. The portfolio of loose illustration leaves is made available for sale as a hand printed folio. The polymer plates of the illustrations were made from high resolution scans; sixteen of these images are from the original drawings from the archives of the Fales Library in New York City. Printed on Arches Velin Cream French 100% rag archival paper with Janson type. The portfolio is housed in a clam shell box made from the finest quality materials, with red cloth covers and a gilt illustration of the white rabbit on the top cover and gilt title on spine. In fine condition. Paper sheets measure 11 x 15 inches. PRI/111519. Fine.
Maureen Cummins, 2018. Number 17 of 35 copies signed and numbered by the book artist, Maureen Cummins. Secretary deconstructs the life and death-by-suicide of the artist's mother, Dolores Cummins, a brilliant woman, aspiring artist, and housewife for twenty-five years. It is this story that inspired Cummins's later book Crazy Quilt, as well as all the subsequent work that she created around marginalized populations. This book is the first of several around this common theme that Maureen has become well-known for. Secretary is made even more powerful by the structure and composition. It was letterpress printed on sheets of Asian lined paper resembling a steno pad, with titling redacted by hand in graphite. The type used appears to have been typed on an old typewriter. Each section of the book is preceded by a ghostly photographic image of Cummins's mother from that period of her life, reprinted from originals in the artist's possession. The text pages are bound in the style of a stenographer's notepad. It is housed in a stiff grey paper folder. Maureen Cummins is a noted creator of artists' books. Her work is held in over one hundred permanent public collections internationally and has been included in exhibitions at the American Craft Museum, the Corcoran Gallery of Art, and the Rotunda Gallery (amongst others). She has received over a dozen grants and awards and has been an artist-in-residence at numerous venues, including the American Antiquarian Society and the Irish Museum of Modern Art. In fine condition. Measures 8.75 x 14.5 inches. ARTB/100119.
Pennsylvania and New York: Maureen Cummins, 2019. Number 17 of 50 copies signed by the book artist. AlieNation / SepaRation was part of Swarthmore College’s Friends, Peace, and Sanctuary project. The project brought five artists into conversation with Syrian and Iraqi individuals resettled in Philadelphia. Cummins interviewed four participating families in 2018. The interviews captured the unspeakable losses experienced by the settlers and bore witness to their struggles to adjust to new countries, cultures, languages, and their separation from loved ones. From the interviews, Cummins selected forty-eight excerpts that she pieced together to create a narrative arc. To house the text, the artist created a structure that is visually startling, experimental, and conceptually driven. Text blocks are severed, then reprinted as quarto-sections on corresponding pages of four separate books. As in the case of the resettlers themselves, these stories must be reunited in order to be read, understood, and made whole again. Since the structure is two-sided, with half the pages printed upside down, the reader is forced to puzzle out where and how to begin and what order in which to read the pages. In this way (s)he is forced to experience some measure of the confusion, alienation, dislocation, and separation that resettlers struggle with every day. The books were created by first deeply saturating flats of color onto Arches Cover White. Blocks of text were then surprinted over the color fields, a process that required masterful registration. Bound by Lisa Hershey in the Coptic style structure that draws on Middle Eastern binding tradition. Each set of four books is housed in a handsome plexiglass slipcase and laser-etched titling by Sarah Pike. Maureen Cummins is a noted creator of artists' books. Her work is held in over one hundred permanent public collections internationally and has been included in exhibitions at the American Craft Museum, the Corcoran Gallery of Art, and the Rotunda Gallery (amongst others). She has received over a dozen grants and awards and has been an artist-in-residence at numerous venues, including the American Antiquarian Society and the Irish Museum of Modern Art. In fine condition. The set measures 17 x 17 x 2.5 inches and contains 192 pages. ARTISTSB/092319.
Mt. Tremper, NY: Maureen Cummins, 2019. Number 4 of 20 copies signed and numbered by the book artist. A striking work by well known book artist Maureen Cummins. She produced this work as part of Swarthmore College's Friends, Peace, and Sanctuary Project, with major support by the Pew Center for Arts and Heritage. Additional support was provided by the Lang Center for Social Rsponsibility, the William J. Cooper Foundation, and the Andrew W. Mellon Foundation. The project brought five artists into conversation with Syrian and Iraqi individuals resettled in Philadelphia. Cummins interviewed four participating families in 2018. The text of this book was compiled based on interviews that she conducted with three of the resettled Middle Eastern refugees and their families. The power of this work is that most of the texts of the interviews were heavily redacted to protect the families and their relatives still in the Middle East. Anonymous was typed by the artist using a vintage Smith-Corona typewriter, then later redacted by hand with water based black ink. The loose sheets are held in a commercially produced clip board with metal covers with the title in black on the front cover. Measures 9 x 13.25 inches. In fine condition. Unpaginated [9 pages] ARTISTSB/012120. Fine.
Freeville, NY: Carol Schwartzott, 2007. Hard Cover. Number 24 of 25 copies signed and numbered by the book artist. This is a particularly beautiful version of the famous Rubaiyat. In her artist's statement Schwartzott writes that as a collector of Rubaiyats she began to toy with creating her own version in 2006. "The book is divided into seven segments, each separated by a divider of hand-marbled Japanese paper. The first contains the title page and introduction and the last an artist's statement, bibliography and colophon. The remaining five are dedicated to the seventy-five quatrains of FitzGerald's first edition. Each contains a vellum window, reminiscent of a Persian archway that opens to reveal my version of a miniature painting." Bound in light blue Japanese cloth with an intricate wood cut out to front board. The pristine interior was laser printed with archival ink onto Mohawk Via vellum and Moab Entrada paper. The prints were then finished with color pencil, paint, gold and silver leaf. Housed in clamshell box covered in the same cloth as the book. In fine condition. Unpaginated. ARTB/120219. Fine.
Berkeley: Flying Fish Press, 2019. Hardcover. Number 23 of 50 copies, signed and numbered by the artist/author. This book was inspired by a series of conversations between Julie Chen and her daughter, Eleanor Chen-Ranstrom about pattern, texture, perception, and learning. Artist's statement: "Wayfinding examines the relationship between physical and mental learning through the context of navigation through time and space. The piece focuses the reader’s experience on the physicality of the book as object with the inclusion of three-dimensional cast paper panels and pages that rattle when turned, all housed in a series of shallow boxes that are hinged together in layers. The inclusion of a three-dimensional alphabet abstracted from diagrams of flag semaphore addresses the activities of signaling, translation and gesture, highlighting how information is taken in by all the senses and not just through the eyes" Letterpress printed using pressure printing and photopolymer plates on handmade papers from the Morgan Paper Conservatory and Hahnemuhle Bugra. Measures 9 x16 inches byx4 .5 inches when closed, opening to a full width of 41 inches In fine condition. ARTSB/042820. Fine.
San Francisco: Gazelle and Goat, 2018. Number 20 of 40 copies. Signed and numbered by Rhiannon Alpers, the book artist. Rhiannon has been a book artist, maker of paper, and bookbinder based in San Francisco for almost twenty years. She is fascinated by structures and boxes, and much of her work is focused on nature. This beautifully designed and executed book is emblematic of Rhiannon's artistic interests and aesthetics. She writes of her book, which was inspired by author Glynis Ridley: "When Jeanne Baret stepped on-board the Etoile ship in 1766, she didn’t set out to be the first woman to circumnavigate the globe. Alongside her colleague, accomplice and lover, Philibert Commerson, she took on many roles during the expedition as a botanist, herb woman, nurse, and cataloger of the more than 630 specimens they brought aboard. This limited edition artist book traces the expedition of the first woman to circumnavigate the globe, through the lens of the botanical discoveries she made along the ship’s journey. Jeanne Baret was not able to document the expedition herself, due to the forbidden nature of her passage on this journey, but her legacy has inspired many, and spurred the creation of this book." The book has a removable magnetic spine binding that opens completely back-to-back, with a digitally produced specimen chart hidden within. Hahnemuhle Bugra Fawn folio maps are letterpress printed from polymer plates, adapted from French expedition maps from the published logs “Voyage Autour du Monde par la Frégate du rio la Boudeuse et la Fluté L’Etoile.". Crane’s Lettra Ecru 90lb specimen folios letterpress printed from linoleum blocks and polymer plates. Plant outlines are laser cut and secured with Japanese tissue. Laser cut specimens were adapted from the original plant specimens collected by Commerson and Baret on the expedition, archived in the Museum of Natural History in Paris. Interleaved vellum sheets with macro photography by the artist laser printed on Neenah UV Ultra II. Spine bound with Gmund Bier Paper [colophon]. In fine condition. Measures 8.25 x 9.5 inches. Unpaginated. ARTISTSB/072419.
2011. Hardcover. Unique Artists' Book. Signed and dated by the book artist and binder. This is a hand-lettered manuscript of Poe's classic poem "Annabel Lee" which was designed, hand-written, gilded, and decorated by Maryanne Grebenstein. Each page is decorated with an elaborate floral motif border with flourishes and initials in gold. Bound in three quarter purple cloth with marbled paper covered boards by Elizabeth Rideout of Charlotte, VT. This manuscript was hand lettered in the Italic style using Moon Palace Sumi ink and Leonardt and Soennecken pen nibs on Pergamenata stationery weight paper in antique. The gold leaf is 23.75 karat on gesso and the decorations are with Winsor & Newton gouache. Unpaginated [8 pages]Calligrapher and book artist Maryanne Grebenstein (Hingham, MA) is a student of Sheila Waters, Jeanyee Wong, Robert Boyajian and others. She owns The Abbey Studio which offers professional calligraphy services and classes and Turn-in-the-Path Books which produces unique and limited edition books and broadsides. Maryanne also teaches at the North Bennet Street School in Boston and is a Visiting Artist at the Corcoran College of Art+Design in Washington, DC. ARTB/081711. Fine.
Portland, OR: Anne Greenwood, 1993-2009. Softcover. Number 39 of 50 copies signed and numbered by the book artist. Greenwood writes in her colophon to this work that she calls a story of transfiguration: "Transfiguration is a complete change of form or appearance into a more beautiful or spiritual state. This story was conceived in 1993, soon after I had moved to Portland, Oregon leaving behind my home state, North Dakota." The text and black and white illustrations describe the process and effects of change. The type was handset and printed by Alisa Dix and printed on Thai Kozo and Unryu paper. The pale green paper cover has a background pattern of vintage wallpaper. In fine condition. Measures 6.5 x 8.5 inches. Unpaginated (13 pages). PRI/053020. Fine.
Portland, OR: Anne Greenewood, 1993-2009. Softcover. Number 40 of 50 copies signed and numbered by the book artist. Greenwood writes in her colophon to this work that she calls a story of transfiguration: "Transfiguration is a complete change of form or appearance into a more beautiful or spiritual state. This story was conceived in 1993, soon after I had moved to Portland, Oregon leaving behind my home state, North Dakota." The text and black and white illustrations describe the process and effects of change. The type was handset and printed by Alisa Dix and printed on Thai Kozo and Unryu paper. The pale blue paper cover has a background pattern of vintage wallpaper. In fine condition. Measures 6.5 x 8.5 inches. Unpaginated (13 pages). PRI/053020. Fine.
Portland, OR: Anne Greenwood, 2016. Number 2 of 12 copies in the special edition portfolio signed and numbered by the book artist. There were also 138 copies of the chapbook. This beautiful and complex work was inspired by the poetry of the Portland poet and seamstress Hazel Hall (1886-1924) and pays homage to her to writings and resilience. She survived either scarlet fever or a fall at the age of 12 and used a wheelchair for the rest of her short life. The poems are republished by permission from The Collected Poems of Hazel Hall. From the colophon: "The special edition portfolio is made of crinoline; it is machine sewn, hand-dyed in fustic, and pressure-printed with machine-stitched text from poems originally written by Hall and then pieced together by Anne Greenwood. The chapbook cover is machine-stitching on crinoline; the under print is pressure-printed, hand-stitched embroidery with pochoir and the book is hand-bound using the pamphlet stitch. The decorations are hand-stitched embroidery sigils by Greenwood and Shannon Ayuyu pressure printed on washi paper. The tapestry is made of crinoline hand-dyed in madder, fustic, cochineal and indigo, with hand stitching and pochoir. The applique: the moon is pressure-printed, found, hand-made doily, and the poem Loneliness is written by Hall and printed with a polymer plate. The machine-stitched texts are cut-ups of Hazel Hall’s poetry made by Shannon Ayuyu and Anne Greenwood. The printing is all by Clare Carpenter (2016) in Portland, Oregon." Anne Greenwood is a well-known artist who has exhibited widely and whose works can be found in museum and library collections around the country. She was born on the high Dakota Plains and was led to an art degree by her artist grandmother. In 1990 she moved to Portland, Oregon and began her career as an artist and horticulturalist. Anne’s artwork explores an interest in folk art and speaks of her kinship with the natural world and how this influences her connection to daily life. In 2002, Anne set up a textiles studio integrating handwork, book arts, and textiles into an interdisciplinary practice. From Anne's artist's statement: "My artistic practice navigates an infinite network of connections: narrating the simple and complex, physical and ephemeral, past and present, within the context of place, history, and transformation. I form relationships that expand and fortify admiration and reverence, leading to the discovery of new truths about the world around us." When the tapestry is folded the work measures 8 x 12.25 inches. In fine condition. ARTISTB/031819. Fine.
Portland, OR: Anne Greenwood, 2016. Softcover. One of 138 copies. Book artist Anne Greenwood celebrated the life and poetry of Hazel Hall (1886-1924) in a special edition portfolio n with the same title, limited to twelve copies. The portfolio and this chapbook republish Hall's Needlework Poems. This chapbook is laser printed and handbound. The chapbook cover art Tapestry of Hours is the republished Needlework Poems by Hazel Hall, made in an edition of one hundred and thirty-eight laser printed and hand-bound. The cover art is machine sticking in crinoline: the under print is pressure printed, hand=stitched embroidery with pochoir. In fine condition. Measures 6 x 10 inches. 22 pages. PRI/053020. Fine.
Wantage, England: Black Swan Press, . Chicago binder, book, and installation artist Karen Hanmer’s intimate, playful works fragment and layer text and image to intertwine memory, cultural history, and the history of science. Her work weds the ancient art of book binding with the high tech use of the computer to aid her process. The intimate scale and the gestures of exploration required to travel through each piece evoke the experience of looking through an album, a diary, or the belongings of a loved one. However, her works often take the forms of games or puzzles, and many include witty text. A splendidly crafted unique designer binding by well-known book artist and bookbinder Karen Hanmer. The text is a reproduction of an early 20th century manual on bookbinding tools and techniques, which Karen has altered by adding multiple full page pop-ups based on illustrations found within the manual. The editor, Paul N. Hasluck (1854 – 1931) was one of the first authors to write in the do-it-yourself genre. Born in Australia, he wrote mainly technical manuals ranging in subject from beekeeping to taxidermy to motorcycle construction to bookbinding. Karen’s binding design is inspired by the text’s charming vintage illustrations, originally published in 1902, many of which feature disembodied hands performing common binding tasks. Karen has created an exquisite binding in full teal goatskin with laced-in boards, titled in blind and tooled with acrylic pochoir. It features several goatskin onlays with illustrations from the text printed directly onto the leather. Includes hand sewn silk headbands, three speckled edges, and marbled endpapers by Pamela Smith. The pop-up illustrations were scanned from the text and inkjet printed onto Mohawk Superfine cover, then hand cut into pop-ups, and sewn into each signature. Housed in a green cloth clamshell box with gilt and leather title label to spine. In fine condition. Book Size: 8.5 x 5.5 x 2 inches; Box is 9.5 x 6.25 x 2 inches. (#31261).
Philadelphia: Benjamin Iluzada, 2019. Number 4 of 5 copies signed and numbered by the book artist. Benjamin Iluzada is a young and rising book artist of Philippine descent. He incorporates aspects of his heritage in his book works. This powerful book uses linocuts, screenprints, lead type, monoprints, and pulp blowouts on translucent abaca paper handmade by Ben. The imagery is inspired by Barong Tagalog embroidery, which is part of a traditional garment from the Philippines, and the monotype images of a belt were printed using an actual belt that his father used to spank him during his childhood. There are two different selections of text in the book: the first is an autobiographical narrative about the corporal punishment experienced by the artist that was hand written and then screenprinted throughout the book; the second is a short selection of text, printed from lead type and hides on the first and last page, that is taken from a published clinical study on the effects of physical punishment on children. The abaca paper covers have a white image of a belt across the front and back covers. Bound with a string binding. In fine condition. Housed in a plain blue archival enclosure. Book measures 11.25 x 14.25 inches.
Simi Valley, CA: Pie in the Sky Press, 2014, 2016. Hardcover. The book's writer and illustrator, Rebecca Chamlee, states: "Like the self-taught naturalists of the Victorian era, my recent work examines the intersection of my artistic and scientific interests by collecting and cataloging the natural world. I am inspired to record, interpret and celebrate nature. My new letterpress printed artist book project records and observes the natural world around me." Her creative aesthetic is beautifully complemented by Karen's own. Karen Hanmer’s artist-made books are physical manifestations of personal essays that intertwine history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. Karen was the winner of the Jury Prize for Binding in the 2009 Helen Warren DeGolyer American Bookbinding Competition. One of only ten graduates of the American Academy of Bookbinding’s Fine Binding program, she has studied with many notable fine binders. She exhibits widely, and her work is included in collections ranging from Tate Britain and the Library of Congress to UCLA and Graceland. Her masterful bindings wed the ancient art of book binding with the high tech use of the computer to aid her process. This beautifully executed unique binding was done from a few printer's proofs that the writer left in sheets for hand bookbinders. Karen's binding uses a design of Quercus lobata (valley oak) leaves and vintage botanical instruments that reference the author's documenting of the native flora surrounding her home in an arid inland valley in Southern California. In a German Bradel binding with a green goatskin spine, boards covered in orange Khadi handmade paper with Cave paper onlays and pigment inkjet printed illustrations. With three-color hand-sewn silk endbands, and the top edge decorated with sponged gilt acrylic, acrylic pochoir on spine, and hand-titling in gold foil. Roma endpapers. The book measures 9 x 6 x 1 inches. Housed in a brown cloth bound clamshell box with leather title label to spine. In fine condition. Fine.
Philadelphia: Joseph Allen, 1855, 2016. Hardcover. Karen Hanmer’s artist-made books are physical manifestations of personal essays that intertwine history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. Karen was the winner of the Jury Prize for Binding in the 2009 Helen Warren DeGolyer American Bookbinding Competition. One of only ten graduates of the American Academy of Bookbinding’s Fine Binding program, she has studied with many notable fine binders. She exhibits widely, and her work is included in collections ranging from Tate Britain and the Library of Congress to UCLA and Graceland. Her masterful bindings wed the ancient art of book binding with the high tech use of the computer to aid her process. She writes about this work: "This binding was created for an exhibit in Charleston, SC. As a Midwesterner unfamiliar with the area, I inquired about local icons and incorporated several: an antiquarian text block on the local Revolutionary War hero “The Swamp Fox” decorated with South Carolina’s palmetto motif, on a background of the once ubiquitous “Charleston green.” The resulting production is this masterfully constructed and executed unique designer book binding that perfectly befits the text. Bound in full green goatskin with back pared onlays in several shades of green, tooling and hand-titling in blind along bottom edges of the boards. With three-color hand-sewn endbands and three edges sprinkled in three colors of acrylic. Marbled endpapers by Pamela Smith. Measures 7.5 x 4.5 x 1 inches. Housed in green cloth clamshell box with green leather spine label. In fine condition. 252 pages. FINEBINDING/080618. Fine.
Berkeley: University of California Press, 1981, 2018. Karen Hanmer’s artist-made books are physical manifestations of personal essays that intertwine history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. Karen was the winner of the Jury Prize for Binding in the 2009 Helen Warren DeGolyer American Bookbinding Competition. One of only ten graduates of the American Academy of Bookbinding’s Fine Binding program, she has studied with many notable fine binders. She exhibits widely, and her work is included in collections ranging from Tate Britain and the Library of Congress to UCLA and Graceland. Her masterful bindings wed the ancient art of book binding with the high tech use of the computer to aid her process. Karen designed and constructed this exquisite unique signed binding for this first trade edition of the famous Arion Press's 1979 edition with its striking illustrations by renowned illustrator Barry Moser. Her binding is based on the non-adhesive “clip-on cover” structure developed by UK binder Kathy Abbott. To create this binding the text block is disbound, the outer folios guarded and then sewn with long stitch using blue linen thread into the calf vellum wrapper, covered in limp calf vellum case, with tabbed corners. Hand titling to spine is done in 22k moon gold, with a blue acrylic line applied through stencil along the bottom edges of the front and rear covers. The endpapers are of handmade Ruscombe Mill pale wove paper in a single folio with hooked flexi endleaf. The top edge of the text block is covered with graphite. Karen writes: "The pale vellum references the white whale, and the blue line a turbulent sea. The stark contrast between these elements mirrors the horror steadily building in anticipation of the Pequod’s encounter with Moby Dick. Use of blue inside and out also references the color of the initial caps in the Arion Press and Deluxe California editions of this text." This is an impressive binding that beautifully pays honor to one of the great American novels. Book measures 10.5 x 7 x 1.5 inches. Housed in a dark blue clamshell box with a white gilt and blue title label to spine. In fine condition. FINEBINDING/080618.