Morelia, Mexico: Ioulia Akhmadeeva and Alternativa Ediciones, 2019. Hardcover. Number 8 of 17 copies, of which three are special copies with sand and shells from each visited place. Signed by the artist. Includes poetic moments and painterly landscapes from Crimea in the Ukraine, Baja in California, Oaxaca and Guerrero in Mexico. Pages of poetry about the sea are printed on translucent paper that has been cut in various shapes to mirror designs within facing paintings. Many pages have elaborate cut-outs of clouds and starfish to create windows. Stab bound in blue yotsume toji silk over white patterned paper covered boards with black title to the front cover. This book was printed using letterpress, silkscreen, and laser printing. Clean and bright. Unpaginated. [48 pages.] Created by Russian born book artist Ioulia Akhmadeeva, who has resided and worked in Mexico since 1994. She is a full professor of the book arts at the university in Morelia, Michoacá. Fine.
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Mission, B.C. Barbarian Press, 2022. Paperback. One of 125 copies, this being one of the 55 standard copies. This is the 51st book issued by the very fine Barbarian Press that Crispin and Jan Elsted founded in 1977. The book beautifully exemplifies their philosophy in the creation of books and the fine craftsmanship they bring to each. They write about this book on their website: "Robert Bringhurst is widely known as a typographer and designer of books. The Elements of Typographic Style, originally published in 1992, has become a bible to most serious typographers, printers and designers. It has appeared in five subsequent revised editions and has been translated into more than a dozen languages. He has also published several collections of essays and talks (or ‘pieces of thinking’, as he calls them) on language, cultural history, poetry, the relations between humanity and the natural world, and many other subjects, all of which are profoundly interesting and endlessly stimulating. He has translated some epic poems from Haida, and the complete writings of Parmenides from classical Greek. But first, and continuing throughout all his other work, he is one of Canada’s leading poets.... In Ten Poems with One Title, Richard Wagener’s passionate, forceful two-colour abstract engravings, reminiscent of the work of such Abstract Expressionists as Robert Motherwell and Franz Kline, meld with Bringhurst’s contemplative, elegant poems, each at once counterpointing and reflecting the character of the other. The relationship is profound and moving." Bound in gray and black paper covers with a black linen spine. The text was hand-set in Walbaum on Zerkall Smooth White Wove paper by Apollonia Elsted after designs by Crispin Elsted in consultation with Jan Elsted. The engravings by Richard Wagener were printed at his studio in California and sent to the press in sheets. The binding was bound by Alanna Simensen at The Mad Hatter Bookbinding Company. Housed in a black paper covered slipcase. In fine condition. Measures 7.75 x 10.75 inches. Unpaginated. [About 40 pages] PRI/112822. Fine.
New York: Béatrice Coron, 2023. Paperback. Artist's Proof of 3 copies. A papercut book on black Arches paper featuring the poem "Obsession" by Baudelaire. Coron's papercut illustrations echo the lines from Baudelaire's poem, depicting a shadowy forest, the sea, the night sky filled with constellations, and a web of eyes (with the pupils hand drawn in white chalk). The poem is printed in metallic silver and gold in French. The two panels featuring a night forest are backed with a translucent handmade paper. This eight panel accordion fold book is housed in a black paper wrapper with metallic title to the front panel and a cord closure. The wrapper is handmade paper with mica inclusions. This AP has a different paper wrapper than the rest of the edition and the text is printed in a different color. Size (open): 7 x 44 inches; (closed): 7 x 6 inches. Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website] Chstina Favretto, Head of Special Collections at the University of Miami describes Coron's work in Coron's "artfragments" portfolio: "There is a palpable joy in the work of Béatrice Coron, the kind of joy we felt as children in unwrapping a particularly enticing holiday gift. But...for Béatrice the gift is a sheet of Tyvek...or paper, and the stories to be unearthed and unleashed within and through the medium." ARTB/030923. Fine.
New York: Béatrice Coron, n.d. Number 2 of 3 copies. Coron and her collaborator the Canadian poet Charles Gill have created an inventive artist's book with Gill's evocative poem on gold seekers illustrated with Coron's intricate papercuts that show the gold hunters in their often desperate attempts to find gold. Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website]. This work is done from hand-cut brown Cave paper with gold leaf appliqué. The text of the poem is printed on four white labels affixed to the bottom margins of the folded pages. Housed in a folder covered with brown textured paper with a paper title label. In fine condition. Measures 6 xx 22 inches when unfolded. ARTB/090821. Fine.
San Francisco: Deeply Game Publications, 2019. Number 28 of 40 copies signed by the poet and book artist. Sara Press is a photographer, printmaker and book artist based in the San Francisco Bay Area who distributes her works and those of others through Deeply Game Publications. Many of her projects examine peculiar areas of overlap between nature and culture as well as the relationship between creativity and the scientific method. Her work can be found at the Library of Congress,the National Museum of Women in the Arts, the San Francisco Museum of Modern Art, the Boston Museum of Fine Arts, and many university special collections. At the core of this beautiful and thought provoking book "are two photographic series, interwoven. On the white pages, images of modern childhood in all its fragility, awkwardness, & ambiguity conjure loveliness with all its potential for heartbreak. Layered with these are cameraless images of light itself, which has crept through a stack of sensitized paper. Transcending scale, they might be wildfires, supernovae, or solar flares. Dispassionate foils to our human conceits, the timeless principals of physics contrast with the flickers of human joy and sorrow. Nevertheless, the human scale holds its own in this balance: what we stand to lose is still important, even if only to us....The photographs comprise an inner book, wrapped in a soft cover that can be peeled away to reveal the spine’s stitching (the book’s own vulnerability). Encasing this is a folio featuring Nick Flynn’s poem, “Cartoon Physics, Part 1”, a bittersweet meditation on childhood and scale, obliviousness and oblivion. Cartoon Physics was conceived in the wake of the 2016 election, and created after a subsequent wildfire destroyed thousands of homes in my community." [artist's statement]. The text is letterpress printed on Mohawk Superfine paper. Measures 6.25 x 8 inches. Unpaginated. [48 pages] PRI/112921.
London: Golden Cockerel Press, 1934. Hardcover. Number 64 of 300 copies, signed by both Enid Clay and Eric Gill. This book was published to be uniform with Clay's Sonnets and Verses, published by the press in 1925. From Roderick Cave's History of The Golden Cockerel Press: "Were it not for his sister Enid Clay, Eric Gill might not ever have been tempted to work with Robert Gibbings. Gibbings had approached Gill in late 1924 with an offer of work as an artist for his newly procured Golden Cockerel Press, but Gill refused on the ground that the press was not Catholic. Their acquaintance might have ended there, but as it happened Gill’s sister was in want of a publisher for her first book. Gibbings volunteered to take her on, and Gill was induced to be her illustrator. Following Gill’s temporary refusal, Enid Clay’s Sonnets and Verses (1925) became the first Golden Cockerel publication he was to illustrate. It was the beginning of a prolific seven-year partnership." This second book of Enid Clay's poetry is elegantly printed in Caslon O.F. type on Batchelor handmade paper with a hammer and anvil watermark. There are six wood engravings by Gill including the title page. Bound in green paper boards with a cream linen spine and paper spine label. Boards are faded along edges, as is frequently the case. Interior pages are clean and bright, with evidence of a bookseller ticket having been removed from the rear pastedown. The top edge is trimmed with the other edges untrimmed. A nice copy in very good condition. Measures 6 x 8.5 inches. 44 pages. See Gill Bibliography 293. PRI/090123. Very Good.
Waltham St. Lawrence, Berkshire: Golden Cockerel Press, 1925. Hardcover. Number 294 of 450 copies. [From Roderick Cave's History of The Golden Cockerel Press] "Were it not for his sister Enid Clay, Eric Gill might not ever have been tempted to work with Robert Gibbings. Gibbings had approached Gill in late 1924 with an offer of work as an artist for his newly procured Golden Cockerel Press, but Gill refused on the ground that the press was not Catholic. Their acquaintance might have ended there, but as it happened Gill’s sister was in want of a publisher for her first book. Gibbings volunteered to take her on, and Gill was induced to be her illustrator. Following Gill’s temporary refusal, Enid Clay’s Sonnets and Verses (1925) became the first Golden Cockerel publication he was to illustrate. It was the beginning of a prolific seven-year partnership. The illustrations for his sister’s book are largely a continuation of the ones he had produced for St Dominic’s Press. In contrast to those seen in later publications, Gill’s nudes are white-on-black and lack the strong lines that characterize most of his engravings. Their Art Deco undertones render them barely distinguishable from similar illustrations of the period. As for their physical relationship to the text it is nonexistent, with none of the illustrations connecting particularly to the next." A handsome book from the famed Golden Cockerel Press. Bound in blue paper covers with light brown linen spine with paper title label. Book is lightly worn with fading to top edges, darkening to spine, and crease and tiny chip to the spine label. Interior pages are generally clean and bright with light darkening to edge of front pastedown and evidence of a label or bookseller ticket removed from rear pastedown. Top edge trimmed but fore-edge and bottom edge untrimmed. With eight full and partial page illustrations including the title page by Eric Gill. Very good condition. Measures 6 x 9 inches. 35 pages. PRI/083123. Very Good.
New York: Frederick A. Stokes Company, 1890. Hardcover. A quite scarce Victorian children's book illustrated by Maud Humphrey and with verse by Helen Gray Cone. Maud Humphrey (1868 – 1940) was a commercial illustrator, watercolorist, and suffragette from the United States. She was the mother of the actor Humphrey Bogart and frequently used her young son as a model. She won a Louis Prang and Company competition for Christmas card design and then began working for the New York publisher Frederick A. Stokes as an illustrator. From the 1890s through the 1920s, her work included child portraits, "illustrating calendars, greeting cards, postcards, fashion magazines, and more than 20 story books." Her artwork featuring children garnered the moniker the "Humphrey Baby." [Wikipedia] Helen Gray Cone (1859 – 1934) was a poet and professor of English literature. She spent her entire career at Hunter College in New York City. This delightful book features six charming chromolithograph illustrations of the tiny toddlers along with seven pages of line drawings to accompany the poems. Printed on recto only. Some light offsetting of chromolithographs to the blank pages and title page. Bound in color pictorial boards with a red cloth spine. Some light bumping and rubbing to corners and of boards and spine edges. Offsetting to front pastedown and free endpaper from a piece of paper. Very good plus condition and probably never touched by a child. Measures 11 x 14 inches. CHILD/091123. Very Good+.
Sherman Oaks, CA: Ninja Press, 1995. Number 129 of 160 numbered cpies, with 18 produced hors de commerce. Signed by the poet on the limitation page. Carolee Campbell's Ninja Press began in 1984. Since that time, she has produced about 30 books of poetry and many broadsides that are renowned for their fine craftsmanship and distinctive artistry. She is recognized as one of the most important of contemporary book artists practicing today. In book artist Russell Maret's magnificent bibliography of the press, Dispatches From the Lizard Brain, he documents the life and work of Carolee Campbell. The foreword and afterword of the bibliography beautifully describe Campbell's ethos as an artist and bookmaker that has informed her work since she began making books in 1984. Russell Maret writes of her: "It takes a special kind of person to know that what one is working on is not ready to be discussed. It takes someone...who unhurriedly allows her books to germinate in her lizard brain until they are ready to be dispatched into the world. With each new book Carolee teaches the rest of us how it should be done - not how to make books like hers , but like her, to make books the way the books want to be made." Manuel Cordova is perhaps one of the best known productions to be issued by the press. The poem was written by the esteemed American poet W.S. Merwin. From the prospectus: "This special edition [of the book] may be unfolded and read in hand, stanza by stanza, or opened entirely, thus revealing all forty-three, fourteen-line stanzas. Fully extended, the book is fifteen feet long. The five-color image of a river undulates alongside the poem, printed in black, while the [type] setting of the poem itself mirrors the sepentine meanders of the river." A five-color printed river design runs parallel to the text of Merwin's poem, which is printed in black. Campbell wrote in her chapbook, Chasing the Ideal Book:..."this book comes closest to my never-ending chase for The Ideal Book." Designed, printed, and bound by Carolee Campbell . From the colophon: The type is Samson uncial. Printed on handmade papers of persimmon-washed kakishibu for the text and raw flax paper for the enclosure. The enclosure is fastened with alum-tawed goat skin and bone. The map of the world printed on the liner of the enclosure is from the original, the first to show the world's currents, drawn in 1665 by Athanasius Kircher.The map is hand-tinted in five colors echoing the colors of the river. Housed in a plexiglass slipcase. In fine condition. The book can be found in many institutional collections including the Getty Center, the New York Public Library, Houghton Library at Harvard University, Yale, University of Illinois, Brown, the British Library, and at Trinity College in Dublin. PRI/071023. Fine.
Maplewood, NJ: Olchef Press, 2020. Number 12 of 55 copies. Signed by the poet and signed and numbered by the book artist, Sydney Jean Reisen. Reisen studied at Rutgers and at the Corcoran College of Art and Design. Her books can be found in several collections nationally including the Library of Congress, the Brooklyn Museum, and the Getty Institute. Poet John Yau (1950 - ) has published over 50 books of poetry, fiction, and art criticism. His first book of poetry was published in 1976. Since then, he has won acclaim for his poetry’s attentiveness to visual culture and linguistic surface. In poems that frequently pun, trope, and play with the English language [Poetry Foundation]. Catullus (c. 84 – c. 54 BC), was a Latin poet of the late Roman Republic who wrote chiefly in the neoteric style of poetry, focusing on personal life rather than classical heroes. His surviving works are still read widely and continue to influence poetry and other forms of art [Wikipedia]. This lovely book marries Yau's evocative poem to Reisen's thoughtful and beautifully executed artist's book. She writes in her prospectus: "If Catullus is going to sail to China he better have a boat that floats. John Yau’s words take a poet to his destination, but words are impermanent. Printing, in particular letterpress, give words physicality, it forms and protects them. Printing creates text. It was the mission of this book to not impede the words’ journey by making sure the text was equally seaworthy. First, there needed to be a sea. The element of water was introduced by the flexible fibers of kozo paper. Kozo was the right substrate, but in turn it created problems of buoyancy. Another characteristic of the paper, transparency, sunk the text into a puddle. To open the route and keep the text afloat, a rig and a crew were implemented. The structure of the book, the materials, and printing techniques were developed to fill these roles. Once the text was secure on the surface, the book granted the text more liberties. It was able to rise and fall, fly and dive as it journeyed eastward. Hopefully the reader enjoys the ride more than Catullus. Nine poems are printed on Sekishu and color kozo from Hiromi Paper and stab bound in a shop-made muslin bookcloth to construct a fluid and strong book. The texts are set in cold metal Bembo in tandem with prints crafted with ornamental letterpress, wood and resingrave block, and pochoir. The applied colors are distemper inks derived from historic recipes for preindustrial wallpaper production." Housed in a black archival box with a white spine with black titling. In fine condition. Book measures 6 x 7 inches; Box is 7 x 8 inches. ARTB/092821. Fine.
Bath: Old School Press, 2001. Hardcover. Number 131 of 230 copies signed by the poet and illustrator. From the press: "For the fifth title in our series of the work of contemporary British poets, we were fortunate to have the opportunity of printing an extended four-part poem by Poet Laureate emeritus Andrew Motion. He was England's Poet Laureate from 1999-2009. Writing of his work, Motion says 'A Long Story assembled itself over several years into a loose sequence of four sections, none of them rhymed, and all are written in a very loose, rambling rhythm. I began with the wish to identify certain memories in my childhood which I've always considered to be 'spots of time' - ie, moments which have a self-contained interest and drama - and ended up with scenes which anticipate (even predict) certain moods and attitudes I have as an adult. 'To complement Motion's narrative style, we turned once more to leading wood-engraver Simon Brett, whose ability to tell a story in a single sinewy image we greatly admire, and who cut four wood-engravings for the book.'' For this elegant book, the text was hand-set in 14pt Fournier italic and printed on 170gsm Magnani mould-made paper. Brett's engravings were printed from the wood onto dampened paper. The book was bound by Rachel and Richard James. It is quarter-bound with yellow cloth on the spine, with a rich dark green hand-made paper from the Larroque mill covering the boards, black Canson end-papers, and the title embossed in gold on the front cover. In fine condition. Measures 8 x 11 inches. Unpaginated [44 pages] PRI/082823. Fine.
New York: Poet's Press, (1968). Limited Edition. Paperback. LIMITED EDITION SIGNED BY THE AUTHOR. NUMBER 53 OF 150. First edition. 12mo. Side stapled purple paper wrappers with black title to front wrapper. Lightly faded at edges. otherwise near fine. Facsimile holograph. 10 pages. PRI/102516. Near Fine.
Buenos Aires: Marina Soria, 2014. This is one of two versions made of this book, each unique. The text is a poem written by Ms. Soria about two women - one living in the East and the other in the West - both sharing the same dream and experience. It reads in part: "Her mind was empty, her senses awaken, her breath rhythmic. She lay on her back on the green carpet. Light slightly filtered through the cherry tree leaves." The work is a beautiful accordion book created with watercolor and pastels on Magniani Bianca and Canson papers using a Japanese brush to represent the dream of the lady in the East and pen nibs for the lady in the West. This lovely calligraphic text is bound in purple and green batik cloth (done by the artist) with a light green ribbon and a title tag that wraps around the book. Housed in a purple paper portfolio that is held closed by a purple and green batik ribbon with a tiny metal elephant button. In fine condition. Size: 31 x 9.5 cm closed, 31 x 93 cm open. Born in Buenos Aires, Argentina, Marina Soria is a seasoned artist and educator with degrees in Fine Arts and Graphic Design. Not content to just immerse herself in learning calligraphy at international conferences, and through courses with renown calligraphers, she studied Eastern principles of Beauty in sumi-e (Japanese painting). She distilled and blended these principles with her rich experience and background in the fine arts, typography and graphic arts, employing unique approaches and techniques. She has also dabbled in the textile arts, creating a metaphor for weaving; letters as stitches and text as if it were a textile. Her works, vibrating with a love for nature and exploding with life and color, can be found in calligraphy collections in museums, universities, and libraries in the U.S., Europe, and South America. Marina has received numerous national and international awards, and has been featured widely in calligraphic arts publications. A prolific artist, experimental calligrapher, book artist, and educator, her goal is to mingle diverse disciplines to challenge the limits of conceptual art and technique. ARTISTSB/072622. Fine.
New York: Béatrice Coron, 2023. Number 1 of 2 copies, signed and numbered by the artist. Poet Mick Stern and book artist Béatrice Coron have collaborated on a number of books over the past several years. This recent work has a short poem on the five senses written by Stern. Coron had created six panels in hand-cut black Arches paper that skillfully represent each of the five senses through the depiction of a woman focusing on one of the senses, and then a final panel that celebrates the complexity of humans. Housed in a silver folder with title to front panel and poem to interior. In fine condition. Measures 7 inches x 36 inches when extended. Mick Stern is an artist and writer living in New York City. Stern received a PhD in English Renaissance Literature from New York University. He has taught English at Rutgers and other colleges. For more than twenty years, he taught screenwriting at NYU’s film school. A book review said about him: "Mick Stern's poems are clever, deep and humorous, real treat to read." French born Béatrice Coron is a renowned artist whose work includes book arts, fine art, and public art. Her work can be found in major museum collections, libraries, as well as private collections. Her books are fascinating creations made through cutting images in paper or Tyvek. Christina Favretto, Head of Special Collections at the University of Miami describes her work in Coron's "artfragments" portfolio: "There is a palpable joy in the work of Béatrice Coron, the kind of joy we felt as children in unwrapping a particularly enticing holiday gift. But...for Béatrice the gift is a sheet of Tyvek...or paper, and the stories to be unearthed and unleashed within and through the medium." Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website]. ARTISTSB/092523. Fine.
Eugene, OR: Susan Lowdermilk, 2007. Hardcover. Number 7 of 15 copies. Signed and numbered by the book artist. Susan Lowdermilk is a book artist and printmaker working in traditional processes such as woodcut, wood engraving and intaglio etching as well as digital media. Her artist’s books involve movable parts, pop-ups and LED circuitry. She is a professor at Lane Community College in Eugene, Oregon, teaching courses in printmaking, artist books and graphic design. Her work has been collected by over 60 public institutions including, the Getty Museum, the Library of Congress and the New York Public Library. Her artist’s books are represented in galleries throughout the United States. She earned her Master’s of Fine Art from the University of Oregon. Her artist's statement: "Our experience of reading books is increasingly changing from being physical and tactile to digital and virtual. My artist books are hand printed and hand constructed and feature low-tech movable elements that are meant to be technologically transparent. I view my artist books as a counterpart to the flood of mass-produced, digital imagery that we contend with constantly. I am interested in the dualities that complicate our human condition—chance versus strategy, faith versus reason, serendipity versus design, peace versus war, winning versus losing and our relationship to and separation from nature." She met the poet Jeanine Hathaway several years ago at a show of her prints in Eugene and they became friends. ""Jeanine was inspired by my woodcut diptych titled, “Remembering, Forgetting,” and wrote the poem, “XO, On what might have been our anniversary.” I created my artist’s book, inspired by her poem, printed with the woodblocks from “Remembering, Forgetting,” thus continuing our circle of creativity and inspiration." Bound accordion-style with red paper covered boards. The text is laser printed with Futura Book and Bernhard Modern Italic type on organdy fabric that overlays the woodblock designs printed on Zerkall Frankfurt paper. In a paper chemise with woodblock design. In fine condition. 6.5 x 4.5 x .75 inches. ARTISTSB/073118. Fine.
San Francisco: Terry Turrentine, 2020. One of ten copies, signed by the photographer and book artist Terry Turrentine Two copies are artist's proofs and one is a handling copy. Although she grew up in a family whose traditions included guns and hunting, as an adult Terry became an esteemed artist and wildlife photographer, specializing in capturing spectacular photographic images of birds. Her previous artist's books were of snowy owls, egrets, and gannets. This latest work offers magnificent images of falcons and a message of hope at this challenging time in our history. She writes in her colophon: " Widening Circles celebrates the ferocious beauty of the falcon, and the interdependent relationship of all beings to each other. Some may see the portraits of falcons in their protective hoods as disturbing. But those familiar with the ancient art of falconry know the hoods are a means to protect the bird from the assault of outside stimuli, as they are extremely sensitive to light, sounds, color, and motion. This is why falcons are such fearsome predators. All predators and their prey maintain the balance of nature and are essential for the world as we know it to exist. It is the natural order of things that there is destruction and rebirth in every second of every day. The ultimate predator, mankind, however, often abuses the privilege of living off the resources of this planet, and upsets the natural balance, causing extreme destruction. As a result, we are witnessing a death spiral of the climate, of the social order, and of the basic balance we need to survive as a species." Terry says of the Rilke poem, "Widening Circles," printed in the book in both English and German: "Over 100 years ago, this was also the observation of Rilke, as he saw the degradation of some of the cities he visited. He could only find solace in God and the wonder of nature - and he dedicated his timeless love poems to both." She concludes: "Life, death, and renewal - each stage is fluid. I believe the sublime gift of living is its constant change, its eternal cycles, and our capacity for transcending destruction through creativity." The credits for this beautiful production: Photographs and creative direction by Terry Turrentine; Book and text design by Dana F. Smith; Editorial consulting by Susan Gangel; Typography and letterpress printing by Dina Pollack; Bound by John DeMerritt Bookbinding; Images printed at Electric Works by Noah and Kris Lang. The stunning images are printed in brilliant colors against a black background, with a line from the poem appearing on each page out of the dark background. The work is housed in a custom black cloth box with a red leather cover. Measures 10.5 x 14.5 x 1.5 inches. In fine condition. ARTISTB/052621.
Arlington, VA: Turtle Light Press, 2017. Hardcover. Number 7 of 18 copies. This is a magnificent artist’s book that pays homage to one of the greatest Hebrew-language poets, Yehuda Amichai. The Amichai Windows is an exquisite bilingual artist’s book in Hebrew and English of Amichai’s poems that opens a window on love, war, and being Jewish today. Through his poetry Amichai sang of the everyday experiences of private individuals caught in the middle of war and historical events. He was often considered for the Nobel Prize in Literature and his poems have been translated into more than 30 languages. Book artist and poet, Rick Black, fell in love with the poetry of Yehuda Amichai even before working for the Associated Press and The New York Times in Jerusalem, where he resided for six years. He particularly loved Amichai’s poems that dealt with family, love and war. He spent ten years creating this limited-edition artist’s book of the poet’s work. The book offers a visual odyssey through Jewish history as filtered through 18 poems. Each poem is wrapped and folded in an individual, handmade paper triptych. When one opens each triptych, one discovers a different world within. The book incorporates replicas of some of Amichai’s original, handwritten poems as well as over 100 collaged images of Jewish history and life that have been culled from archives around the world. There are also replicas of Amichai’s handwritten poems. Printed on handmade paper with deckled edges, with gold leaf highlights and blind embossments in some of the designs. The collection of triptychs and a 28 page guide are housed in a box enclosure shaped like a Jerusalem window. With a special introduction written by the eminent Hebrew literary critic and translator, Professor Robert Alter of the University of California at Berkeley. The newsletter of the American Jewish Libraries Association called The Amichai Windows “a major contribution to American arts and letters.” (Artist’s statement and descriptions). The book recently won the Isaac Anolic Jewish Book Arts Award. In fine condition. Fine.
Rockport, ME: Two Ponds Press, 2017. Hardcover. Number 264 of 300 copies signed by the poet and photographer. This compelling book was created as a collaborative project between Presidential Inaugural Poet Richard Blanco and contemporary landscape photographer Jacob Bond Hessler. In it, Blanco's powerful poetry is juxtaposed with Hessler's evocative photographs. From the Prospectus: "Blanco's poems and Hessler's phonographs together investigate the visible and invisible boundaries of race, gender, class, and ethnicity, among many others; they challenge the physical, imagined, and psychological dividing lines - both historic and current - that shadow America and perpetuate an us vs. them mindset by inciting irrational fears, hate, and prejudice. In contrast to the current narrowing definition of an America with very clear-cut boundaries, Blanco and Hessler cross and erase borders. As artists, they tear down barriers to understanding by pushing boundaries and exposing them for what they truly are - fabrications for the sake of manifesting power and oppression pitted against our hopes of indeed becoming a boundary-less nation in a boundary-less world." Bound in black cloth with silver design across the covers and silver title to spine. Printed with Gotham and Baskerville types on Mohawk Superfine Cover, Ultra White, Eggshell paper. Presswork was executed by Puritan Press. Housed in a red cloth slipcase. Accompanied by the prospectus. In fine condition. Oblong measuring 9.75 x 14 inches. Unpaginated. PRI/071922. Fine.
Toronto: Studio Robert Wu, 2021. A unique pop-up book by Robert Wu, a noted bookbinder, paper marbler and stationer residing in Toronto. Robert trained at the American Academy of Bookbinding (AAB) in Colorado with Monique Lallier and at the Canadian Bookbinders and Bookartists Guild (CBBAG) in Toronto. He was the recipient of the first ever Tini Miura scholarship for the study of fine binding at the AAB. His work has been included in numerous exhibitions and can be found in several notable collections including Harvard University. He has also become well-known for his mastery of marbling paper. Marbling is an ancient art of floating colors onto a bath of liquid gelatin and using combs and rakes to manipulate the colors into patterns. His unique designs are each done by hand. As a stationer and paper artist, Robert creates intricate pop-up structures inspired by his love of Victorian art, decoration, and sentiment. This charming work was created as a ornately decorated box that is affixed to a stand of a floral stiff paper, with a gilt die-cut ornamental center. The box has a lid with lovely diecut flowers,a butterfly and a paper ribbon handle with which to open the box. An attached tag handwritten by Robert has the title and author. When the lid is lifted, the sides of the box open up to reveal a confection of small color paper flowers with gilt and glass bead centers. Sitting atop the middle flower is a small brown origami snail. The box's four sides comprise two connected panels - the inner panels are decorated with Robert's marbled papers and various die-cut leaves, a bee, and a butterfly. The outer panels have the handwritten text of Longfellow's sweet poem. In fine condition. Box measures 3.5 inches square. The floral stand is 5 inches square. ARTB/010223. Fine.