Washington DC: Abstract Orange Press, 2016. Hardcover. Number 9 of 20 copies signed and numbered by the book artist. Lauren Emeritz is a book artist, letterpress printer and graphic artist who founded 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 beautifully designed book is in the special collections at the Library of Congress. It is one of a series of books that Lauren has done using her handmade type to explore letters, numbers, and shapes. In this accordion style book she has printed her hand carved letters of the alphabet in a bold orange. There is one letter to a page. They have been carved our of linoblock, pine, basswood, and plywood. Printed on Lettra 220 paper and bound in orange Mulberry paper with debossed titles in gilded orange on front cover and spine. In fine condition. Measures 5.25 x 7 inches. ARTISTSB/082018. Fine.
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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.
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.
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.
Montclair, NJ: Caliban Press, 1991. Softcover. Number 65 of 100 copies numbered and signed by the book artist. This early book from Mark McMurray's distinguished Caliban Press celebrates its achievements thus far, offers McMurray's philosophy of book design and content, and serves as a reference catalog for the press. To these ends, he has written and printed this handsome type specimen book from the many types he has purchased or received by donation. There are sections on text faces such as Garamond, Caslon, Palatino, and Weiss; cursives; display initials such as Erasmus and Caxton; sans serif; and wood type. They are followed by a bibliography of the sources used to research the description and history of each of the types and sample pages from previous Caliban Press publications. There are displays of versions of a type in various point sizes, often accompanied by texts from literary sources. These are printed on different colors and types of paper. The book was hand-set and printed on a Vandercook proofpress and bound by McMurray in stiff white paper covers with a stiff paper dust jacket in a colorful splatter design. The papers used are Curtis Rag, Mohawk Letterpress and Tyvek machine mades; Nideggen mouldmade; and Bhutan Resho, Iyo Glazed, Barcham Green, and Fabriano Roma handmades. A beautiful production in fine condition. Measures 9 x 12.5 inches. 52 pages plus six sample pages from the press. PRI/032519. 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.
High Falls, NY: Maureen Cummins, 2010. Hardcover. Artist's Proof. The edition included 30 copies. Signed by the artist and writer. A powerful work on the famed Salem witch trials that is the result of a decade’s long collaboration between the book artist, Maureen Cummins, and poet Nicole Cooley, based on their research at the American Antiquarian Society while resident artists. The book pairs Cooley’s cycle of poems, written specifically for this book, with images from a penmanship book of stern biblical commandments kept by a Salem boy, Josiah Peele, in 1808-09. The book seeks “to trace the psychic reverberations of the witch trials on subsequent generations” (artist’s statement). Each of Cooley’s thirteen poems is written from the voice and perspective of one of the participants in the trials. They represent the accusers and accused, survivors and condemned, focusing primarily, as the trials did, on the women. They are presented chronologically, beginning with the slave Tituba, the first accused, and ending with the girl Susannah Martin, who refused to confess to being a witch. Printed on Johannot paper with the endpapers done on a handmade Belgique sheet. The poems are printed offset with the titles in letterpress. The images are silkscreen printed. She states that the covers are like vintage writing slates such as Josiah Peele might have used. The book’s binding allows for multiple structures - that of a codex or concertina, or as a “theater in the round” that presents the chorus of voices within. Housed in a black linen box decorated with the marks of the accused, who were unable to sign their names. Maureen’s 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. Size: 7 x 8 inches. In fine condition. Unpaginated (45 pages). ARTB/092319. Fine.
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.
Oakland CA: Littoral Press, 2002. Hardcover. Number 6 of 125 copies. This is one of the ten copies from the Deluxe Edition that are signed on the colophon by sixteen of the seventeen contributors to this poetry and prose anthology (alas, not Frida Kahlo). They include Ahimsa Timoteo Bodhran, Claribel Cone, Martha Gies, Robert Hass. Steve Hellman, Marie Howe, Frida Kahlo, Vickie Karp, Stephen Kessler, Rachel Loden, Jane Miller, Janell Moon, Sharon Olds, LIsa Rappoport, Mark Salerno, Joseph Stroud, and Gary Young. Rappoport writes that this book "is dedicated to those we love with a blazing passion, to those we hope will burn in hell, and ideally, to the future separation of the two." She has been a book artist for almost twenty years and her books can be found in many institutional collections. This beautiful accordion book is bound in red and black Thai Unryl reversible paper with a black title label to front cover. Printed with handset Garamond type on Johannot paper with black and blood-red ink. Each volume has unique pastepaper endpapers. With title page drawing of a heart in flames by Bobbe Besold. The book is 11 x 7 folded and 18 feet long unfolded. In fine condition. Unpaginated. [25 pages] PRI/030915. Fine.
Bronx, NY: Plotzing Press, 2003. Hardcover. Number 21 of 35 copies. A graduate from SUNY College, Tammy Wofsey now lives and works in the Mott Haven section of the South Bronx, New York. She studied with Antonio Frasoni and printed at Robert Blackburn’s Printmaking workshop before establishing her own studio. Her work has been exhibited around the world and is held in several institutional collections including Yale University, the Library of Congress, and Duke University. She has won several awards including the BRIO Award from the Bronx Council on the Arts. Her beautifully constructed books often address such societal issues as war, climate change, and with this book, the food we eat. She writes: "Mankind is now at the helm of deciding what the future will be with the food we eat. The animals eating junk food represent the global problems created by genetic engineering and monoculture farming. The wild animals in this book are smart enough not to consume our creations. Once set in motion there will be no way to revert the changes corporations are making to our food chain. The animals leave the colorful junk food for the natural world leaving behind the question only the future will tell, what will be the color of regret?" The book is an accordion-fold with the pages unfolding to reveal Tammy's etched and watercolor images of animals and plants. They are printed on Coventry Medium paper with the text in Times New Roman. The cream color boards are covered with a cream dust jacket with delicate dry point illustrations of plants on the front and back flaps. The book is housed in a bright hand painted Japanese Paper Box with hand made paper, by Dieu Donne. The book measures 6 x 6 inches. The box measures 6.25 x 6.5 x 1.5 inches. In fine condition. Unpaginated [56 pages]. Fine.
Rutland, VT: Carolyn Shattuck, n.d. Open edition of this beautifully crafted origami-designed book. This collaborative book was made to commemorate Carolyn's experience living in Okinawa for three years. The folds of the book reflect traditional patterns from Edo craftsmen. These fine patterns represent the distinguishing tastes of Edo including stylishness, sophistication and refinement. The haiku created by Victoria describe their reverence for our home and harbour, Earth (from colophon). Digitally printed on Epson Matte and Japanese Washi paper. The boards are covered in lovely Genji cloth with paper title label, with ribbons to close the book or to hold the pages open. 4.5 x 4.5 x 1 inches. In fine condition. ARTISTS/062819. Fine.
Chicago: Starshaped Press, 2019. Hardcover. Number 6 of 50 copies. Signed and numbered by the book artist. This powerful book was created by book artist and printer Jen Farrell to describe the pain and anguish she experienced as Jo, her young daughter, was treated in 2018 to stem the growth of tumor nodules around her right lung. She writes: "While the treatments were challenging, the fallout that followed over the winter was unbearable. The chest pressure, pneumonitis and inability to breathe sent us to the hospital repeatedly, with unsatisfactory results. By ‘unsatisfactory’ I mean punching-a-hole-in-the-wall angry at the lack of understanding about why Jo had these side effects and the weeks, sometimes months, it took to get appointments with specialists. I sought solace in songs that directed my frustration away from people around me. One of these was Black Star’s Respiration, with lyrics that expressed a metaphorical difficulty to breathe in an urban environment. Many of the words applied to our reality; rewriting the lyrics was an outlet for acknowledging the trauma....Respiration is a rewrite of the song, but in this case applied to watching my child struggle to breathe." The book unfolds as a poster measuring 20x14 inches that folds down to approximately 5x 7 inches within red paper covered boards. The covers are printed in two colors on Mohawk Keakolour and the interior text is printed on Fabriano Tiziano paper with ‘fuzz’ in the texture as a nod to the scarring fuzz in Jo’s lungs. The book is accompanied by a white folded paper reference guide to the lyrics with notes on Jen's rewrites. In fine condition. Fine.
(Staten Island, NY): Stone Street Press, 1990. Paperback. Three handmade books housed in a handmade slipcase featuring Gaelic text that has been translated into English by the book artist. Some of the original Gaelic has also been reproduced. Each booklet is bound in paper wrappers with hand written title in gold to front covers. The slipcase is covered in brown paper and is also labeled by hand on both the front and rear panels. It is numbered 555, but no indication of limitation is given. Each booklet is about 18 pages. PRI/090915. Very Good.
Bennington, VT: The Bird Press, 2000. Since 1997, The Bird Press has been an artist-run publishing project that has focused on hand printed artists’ books. All projects utilize some inherent aspect of the book and often take the form of open-ended collaborations with writers. Each project is a response to the last, both in form and content, in order for the work to continually evolve. Poetry, broadly defined, is a major inspiration for most of the work. Editions between 15-40 utilize various print media including: flatbed offset lithography, stone lithography, etching, letterpress, wood blocks, and digital pigment printing. Book artist Thorsten Dennerline creates paintings, drawings, and prints in addition to artists’ books. He has exhibited work across the U.S. as well as in Chile and Denmark. His work is represented in numerous collections including Yale University Library, the Library of Congress, UCLA, Stanford University, and the Kunstindustri Musset (Denmark).Number 26 of 40 copies in the regular edition. There are also 10 special bindings and 5 unique artists proof bindings. Signed and numbered by the book artist. A collection of eight poems by Danish poet, typographer, art critic, and translator Peter Laugesen (1942 - ). He was awarded the Danish Critics Prize for Literature in 2003. These poems were written in Denmark in 1999 specifically for this collaborative project with artist Thorsten Dennerline. He describes his eight etchings in this book: “[They] are meant to be an accompaniment to the text that functions as a collaboration similar to the way musicians might play together.” Bound in quarter vellum over blue cloth boards, which are laced into a vellum covered spine with five strips of alum-tawed thongs. The endbands are buttonhole stitched with waxed yellow thread. The front cover is titled in black and the rear cover has a black star printed near the bottom edge. The text is in both Danish and English. The Danish text is printed on translucent Seikishu Japanese paper and the English translation is printed on a thicker stock. This allows the reader to view the poems in both languages mirroring each other through the transparent paper. Unpaginated. [50 pages.] Size: 9.75 x 10 inches. In fine condition. ARTB/032417. Fine.
Liberty, WI: The Heavy Duty Press, 2018. Softcover. Number 8 of 26 copies. This charming and beautifully printed book is a fitting tribute to the art of fine printing. It reprints an article by master printer Stan Nelson that originally appeared in Parenthesis in 1999. The article described the pleasurable steps and details of typesetting and hand printing. Stan wrote that the essence of fine printing "is really the marriage of the right paper, excellent presswork, perfect type, and good typography." The Heavy Duty Press has produced a book that fulfills Stan's criteria for fine printing. The text is printed on both translucent and opaque sheets that allow the words on separate pages to show through and continue the flow of sentences. Interspersed are designs showing snow through a window. Tipped in is a small facsimile of a letter sent by Stan to Mike Koppa in 1998 about printing. Printed in 10 pt. Century Old Style type on Zerkall Laid and Classic Crest papers on a Vandercook press. The book is hand bound and inserted into one-of-a-kind covers, constructed without adhesive, featuring designs taken from the Specimen Book and Catalogue of the American Type Founders Company. In fine condition. Measures 4.5 x 6.5 inches. Unpaginated. PRI/050719. Fine.
Arlington, VA: Turtle Light Press, 2017. Number 5 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.
Newfoundland: walking bird press, 2018. Softcover. Number 54 of 60 copies. Signed by the book artist and illustrator. The Bears Come to Tea is a sequel to Tara's previous book about Pancho and the (non-existent) Bears. This amusing rhyming story tells of the chaos created by Tara's dog, Pancho Villa, when he invited his bear friends in from the forest to join them for a late afternoon cup of tea. The event is illustrated with charming linocut illustrations including one fold-out by Duncan Major. Hand-set in Liberty and Bembo types and letterpress printed on Twinrocker 18th Century handmade paper. Pamphlet-stitched in brown St. Armand handmade paper covers, with a white label affixed to front cover. There is an invitation in its envelope tipped on the free front endpaper. Measures 5.25 x 8.25 inches. In fine condition. Includes prospectus. Unpaginated [13 pages]. PRI/112918. Fine.
Newfoundland: walking bird press, 2018. One of 120 copies. Facades for Mark Rothko is a poem in eleven parts by writer, proprietor of the Barbarian Press, and some times actor Crispin Elsted, accompanied by a ‘Note About the Poem’ by the poet. The beautiful and densely layered poem creates a connection between the Rothko paintings seen by Crispin in the Tate Modern and his experiences in the outside world–a stile between fields, as he states in his notes. Rothko once described his paintings as facades, and the there are enigmatic illustrations representing his facades. Bound in lovely lightly gilt cloth with the title in relief on the cover. The text is hand-set in Van Dijck monotype cast by Michael and Winifred Bixler and printed on Zerkall Book Laid. Maple blocks for the monochrome "facades" were cut type-high by Ken Holden. Jerry Kelly penned the calligraphic title; Brian Roberts executed the covers and casing-in. Book design, letterpress printing, and stitching were completed by Tara Bryan, a proprietor of walking bird press. A recording of Crispin Elsted reading this and other poems comes with the book as a digital download. A CD is also being produced. Purchasers of the book can contact Tara Bryan for the download key for the digital download of Crispin's recording of the poem (www.tarabryan.com). Measures 8.50 x 12.25 inches. Includes prospectus. In fine condition. Unpaginated. PRI/120318. Fine.