Easthampton MA: Cheloniidae Press, 2014. Hardcover. Number 15 of 150 copies. Signed and numbered by the book artist Alan James Robinson. This wildflower alphabet book is the first book issued by Alan’s highly regarded Cheloniidae Press in several years, and the first produced using the Giclee printing process, which he calls a “new direction” in our ever changing world. It is intended to be the first in a series of Natural History Abecedary Editions. There is also a Fine Art edition of Wildflowers with twenty-eight original watercolors. The illustrations for this Giclee edition are printed from the artwork created for the Fine Art watercolor edition. The illustrations in this edition show the lovely renditions of a flower, often accompanied by a butterfly or other insect, for each letter of the alphabet. Each page is headed by a calligraphic letter in red, designed originally by Master Calligrapher Suzanne Moore for the press’s A Fowl Alphabet in 1986. This accordion style book is bound in pale yellow cloth with the title in gilt to the front cover. It is housed in a green cloth slipcase with the title in gilt to the spine. In fine condition. 8.5 x 5 inches. Unpaginated. PRI/071817. Fine.
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Easthampton, MA: Cheloniidae Press, 1982. Hardcover. UNIQUE COPY WITH A SET OF THE 26 ORIGINAL PENCIL DRAWINGS BY ALAN JAMES ROBINSON. There were 300 copies of this book published; 200 were regular copies, 50 were deluxe copies with quarter leather binding and 50 others bound in full leather. The deluxe editions were issued with a set of proofs of the wood engravings and a set of proofs of the line-cut initials, with a large calligraphic manuscript initial beneath each image. The wood engraving proofs are lettered and signed by Robinson, and the line-cut proofs are signed both by Robinson and the calligrapher, Elizabeth Curtis. This copy shows some variation from the copies described in the prospectus. The colophon has been signed and numbered VI of L and internally seems to be a straightforward copy of the deluxe full leather edition. The binding varies somewhat from that pictured in the prospectus but uses many of the same elements. Also, the chemise is thicker that the regular chemise because it contains the 26 pencil drawings. This may have been a special copy prepared by Robinson for a particular subscriber/collector. This wonderful abecedary illustrates each letter of the alphabet with a masterful wood engraving by Robinson. Each animal is described at the bottom of its page in texts chosen primarily from the earliest first-hand accounts of the animal depicted. The descriptions are printed in red. The printed source of each text is identified, and at the end of the book there is a detailed and useful bibliography of these sources. A page with a small, different illustration of the animal precedes each animal’s page, with the calligraphic letter written in red by Curtis. The animals depicted are often wondrous and strange, and some, such as the basilisk, may never have actually existed. This is a two volume folio (including a chemise containing an additional suite of illustrations, and the group of original pencil drawings). The bound volume is in full red morocco, done by David Bourbeau of the Thistle Bindery. The covers have a large central, slightly sunken panel, with the title in red and black and with a Sea Turtle device blocked in blind (Cheloniidae is the name for a species of sea turtles). The proofs contained in the chemise are unbound as issued within the original red morocco-backed, linen cloth covered boards. Both volumes are housed in a red morocco-backed cloth covered box, with the spine lettered and dated in gilt and a small Sea Turtle device in blind. “The blocks were cut by the artist at the Cheloniidae Press & printed by Harold P. McGrath in the summer of 1982.... Mackenzie-Harris set the types in monotype with some hand-setting by Arthur Larson. The text was compiled and annotated by Laurie Block. The hand calligraphy is by Betsy Curtis. The paper is Rives lightweight” (from the colophon). The 8-page prospectus is laid in. A remarkable production from this press. In fine condition. PRI/020112. Fine.
Martinez, CA: Lucy Childs, 2019. A unique embroidered artists’ book. Lucy’s exquisite embroidered books are inspired by her “exploration of the history, craft, and culture of early American and British sewing samplers, made mostly by young girls to learn the practical craft of sewing but also to learn letters and spelling. Many old and antique samplers included text or images in memory of family members who had died.” Lucy’s beautiful and painstakingly created books are a fitting tribute to and continuation of the craft she honors. Her unique books can be found in several artists’ book collections. This beautiful work evokes the feel and mood of its inspiration - the windy day on a quiet island. (Text appearing inside card under “A Blustery Windy Day on Quiet Island” accordion book.) Blustery windy days on Quiet Island are those in-between days where being outside is fine, but if you’re biking, use your hat’s chin strap and remember strong winds will push you over. Before you leave the house, secure your screen door. (Unlatched screendoors entertain by blowing and flappping in cacophonous time.) Quiet Island is within the sweep of the North Atlantic Drift of the Gulf Stream and inside the arm of land which keeps away the hurricanes that hit most everywhere else nearby. A few hundred or so people live on this island. Houses are basic, cars are shared, the libraries are popular, and people bake a lot. And they brew too, because while they're quiet, they're social. Many have relatives who visit, and some bring friends with them, particularly for the varied (and some invented) holidays." The embroidery is stitched in blue, green, brown, and yellow threads on white linen cloth. The borders are stitched with intricate white designs. There are two covers. The inner cover is tan linen with a small cross on each side. The outer cover is blue felt with the title and border stitching in yellow thread. The folded book measures 6 x 11 inches. Unfolded the book is 22 inches. In fine condition. ARTS/031419. Fine.
Vermont: Bridge Press, 2001. LIMITED. Hardcover. 138/500 c. SIGNED BY ARTIST/AUTHOR. Compilation of reproductions of Cohen's beautiful and powerful black and white etchings and engravings from books and broadsides. His uses a variety of intaglio techniques in his printmaking including mezzotint, drypoint, and double printing. The results are rich and often haunting. Black cloth boards. Bembo type on Mohawk Superfine paper. Printed by The Stinehour Press. 75 pp. BOB/042707. Very Good Plus.
New York: Béatrice Coron, 2007. Number 5 of five copies. A beautiful artist's book made by hand-cutting black Arches paper to create five mysterious silhouettes of the heads and shoulders of women. They are labeled "L'Alchimiste" - the alchemist; "La Gastronome - the gourmet; "La Voyageuse" - the traveler; "La Branchée" - the trendsetter; and "L'Artiste" - the artist. The first and last folds of the paper have the title and the date and number of the edition. The book is in fine condition. It measures 6.5 x 39 inches when extended. 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 in North America and Europe. Her books are fascinating creations made through cutting images in Arches 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]. Fine.
New York: Béatrice Coron, 2015. Number 3 of four copies. "Let's keep dancing if that's all there is! This is a lively and engaging book that Andrea Arroyo and Béatrice Coron did in collaboration. It features Arroyo's color illustrations of dancers and Coron's paper-cuts of dancers and the brief. It was created using Arches paper. The book is housed in a red cloth folder with the silhouette of a dancer affix to the cover. The book slides into an interior sleeve within. In fine condition. It measures 6 x 30 inches when extended. Andrea Arroyo is an award-winning artist working in a range of media including public art, painting, drawing, illustration and site-specific installation. Her work is exhibited widely and is in private, corporate and public collections around the world. Her artwork has been published extensively including in or on the cover of The New Yorker, The New York Times, The International Herald Tribune and The Nation and has been the subject of over two hundred features in the international media.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/082520. Fine.
San Diego: Anne Covell, 2017. Paperback. Number 9 of 20 standard copies. There were also five deluxe and two artist copies of this beautifully conceived and executed work. Anne Covell is a book artist and hand papermaker living in San Diego, CA. She has studied Asian and Western papermaking techniques with Timothy Barrett, and has taught for numerous professional organizations including the Morgan Art of Papermaking Conservatory, Penland School of Crafts, and the University of Georgia study abroad program in Cortona, Italy, among others. Her work has been exhibited internationally and can be seen in a growing list of private collections, special collections libraries, and museums worldwide. In her colophon Anne writes: "I first became interested in the Japanese beetle in 2012 during a particularly hot and dry summer in Iowa City. Perhaps it was a result of the season or of my having moved to a new home ripe with some of the beetle's most preferred foods, but I became overwhelmed by its pervasive, relentless assault on my garden. As the summer wore on, I began finding leaf remains gathering at the bases of trees...as if it were fall. Their presence was out of place; out of season. But when I began to look more closely, what struck me was the beauty of form that the beetle had inadvertently left behind. Starved of oxygen and drained of color, these leaf skeletons would soon crumble and return to the earth. But, for a moment they existed between realms and reflected a loss that spoke to the complexity of the natural world." The book contains 12 folios of 100% Japanese Gampi hand-dyed with persimmon tannin and treated with konnyaku to mimic the sound and texture of withering foliage. The illustrations of leaves, berries, and twigs were letterpress printed from drawings by Anne. Housed in a stiff brown paper envelope, with paper handmade, hand dyed, and hand burnished with persimmon tannin by the artist. Measures 4.5 x 10 inches. Fine condition. ARTISTSB/010421. Fine.
La Mesa, CA: Anne Covell, 2017. Hardcover. Number 21 of 60 copies. "On January 20th, 2017, Donald J. Trump was sworn in as the 45th president of the United States. That same day, the official White House website (whitehouse.gov) began the digital transition to archive and replace Obama’s policies with those of the new administration. Immediately, people began to notice that key issues such as health care, education, and immigration were nowhere to be found. Keyword searches for terms such as “climate change,” “LGBT,” and “civil rights” all returned 404 errors. Even more conspicuously, the Spanish-language version and the disabled-accessible version of the site were no longer available.Internet Archive, a non-profit digital library that has been archiving webpages since 1996, captured 167 snapshots of whitehouse.gov that day. This book records the last snapshots taken of Obama’s policies before they came down, the 404 errors that followed, as well as the Internet Archive timestamps for when the information was last available and when it disappeared" (Anne Covell).The first layer of this accordion book reveals text from webpages from whitehouse.gov covering topics like "equal pay", "criminal justice", "climate change", "disabilities", etc. from the Obama era. Each of these pages has a tab at the top edge, which the reader can pull down to reveal the content (or lack thereof) of the same page from the day of Trump's inauguration on January 20, 2017. The contrast is startling. Government webpages once filled with useful, empowering information, were eradicated in a single day. Covell fills these blank spaces with the haunting outlines of book-like shapes to represent a lost library and consequently imparting a feeling of emptiness and loss of hope. The Record presents a powerful visualization of the turmoil that the Trump administration has imposed since its first day in office. Bound in black and white paper wrappers with title to front cover. Letterpress printed accordion on Masa paper with sumi wash and hand brayering. Housed in grey cardstock case with red twine legal closure to rear. Anne Covell's work can be found in collections across the world including Columbia University, San Francisco MOMA, RIT, the National Library of Chile, and Yale. She makes paper as well as books and teaches book arts workshops. Her work often address interactions between humans and nature. According to her artists' statement: "I am interested in the human capacity to physically shape environment, to make claim to earth that must inherently be shared, and the subtle, observable ways nature adapts and responds. Through this lens, I attempt create beauty from perceivably ugly acts as an entry for exploring complex human response to transience and decay." Size: 6.5 x 4.25 x .25 inches (closed); 13 x 42.5 x .25 inches (open). Fine.
San Diego: Anne Covell, 2019. Number 12 of 18 copies signed and numbered by the artist. Anne Covell is a book artist and hand papermaker living in San Diego, CA. She has studied Asian and Western papermaking techniques with Timothy Barrett, and has taught for numerous professional organizations including the Morgan Art of Papermaking Conservatory, Penland School of Crafts, and the University of Georgia study abroad program in Cortona, Italy, among others. Her work has been exhibited internationally and can be seen in a growing list of private collections, special collections libraries, and museums worldwide. Anne writes: "History of a Felling was first conceived during the winter of 2014 while at the Penland School of Crafts on a winter residency in letterpress. The images were made on-site from polymer plates created from film ink hand-painted on Yupo paper. The project was filed away while the concept evolved into a body of work that would become Covell’s graduate thesis, “Towards a Just Landscape,” in 2015. In the intervening years, the US/Mexico border would draw global attention for the deeply contentious debate over the compulsion to secure the southern border though the construction of a border wall. It seemed a particularly poignant time, by comparison, to revisit the history of the US/Canada border felling, and so the project came out of storage. In many ways the southern and northern US border conflicts remain as isolated as their geographical latitudes; however, their ethical and environmental costs deserve equal scrutiny. Over 150 years later, the deforestation continues. Nature inevitably begins to rebound - trees, shrubs, and grasses grow - and every six years the swath is cleared through exhaustive manual labor." Anne has created a lovely tunnel book that opens to reveal a multi-layered forest of delicate trees printed in light brown on a cream background of Sakamoto paper. The images were printed from photopolymer plates made from original drawings by the artist. Housed in a brown cloth portfolio with a discussion and description of this book. In fine condition. 5.75 x 4.75 x .5 inches (closed) 5.75 x 4.75 x 18 inches (open). ARTISTSB/012121.
Maureen Cummins, 2016. Hardcover. Number 34 of 40 copies. Signed the artist. In this powerful work, noted book artist Maureen Cummins investigates the dark side of the history of psychosurgery, as exemplified by the career of Doctor Walter Freeman (1895-1972), a professor of neurology who became known as the father of lobotomy by single-handedly popularizing the pre-frontal lobotomy in America. Although he had no formal training in either surgery or psychology, Freeman modified the traditional procedure for lobotomies by driving ice picks through his patients’ eye sockets rather than drilling into the skull to sever nerve connections in the prefrontal cortex to treat mental illness. Despite his championing of his procedure he admitted that lobotomies often created childlike behavior or a vegetative state in patients. Hundreds of patients died. The controversial procedure also raised numerous questions about patients’ rights, the abuse of institutional power, and the disproportionate targeting of women. Of the more than 3000 patients that Freeman operated on, two-thirds were women. Cummins uses physical rape as an analogy for neurological penetration, a form of sexualized violence that was perpetuated for decades in the name of medical progress. She visualizes this by a series of laser cut holes that bore through each page, becoming smaller page by page.The holes penetrate reproduced images of lobotomy patients’ heads and on the last page the title “The Rapist” becomes “Therapist?” The images of women are from 'before-and-after” photos used in Freeman’s textbook, which are re-contextualized, with lines of typography serving as blindfolds, reclaiming for these women a measure of dignity, humanity, and anonymity. The pages of the book are laser-cut aluminum with silkscreen-printed text and imagery. The covers are also laser-cut aluminum with a large hole that reveals the subsequent holes and "The" and "rapist" on either side of the cover's hole. The pages are attached to the cover by two ring binders. Housed in an aluminum box with a metal title label affixed to the top. In fine condition. 16 pages. 24” x 9” x 1” open 12” x 9” x 1 closed. ARTISTSB/100419. 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.
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.
Pasadena, CA: Deeply Game Productions, 2012. Hardcover. Number 1 of 7 copies. Signed and numbered by the book artist. Sara Press is a photographer, printer, and book artist whose work addresses science, nature, and the intricacies of our culture. This is a suite of four etchings by Ms. Press that depict contemporary mixed-martial-arts fighters. The accompanying text has been appropriated from a panther / bear fight advertising poster from the 1850s. The text describing animal fights is juxtaposed with the prints of human fighters to make an important statement on violence. The typeface is designed by Dan Mayer. Letterpress printed on a Vandercook No. 3 Proof Press. The loose prints and text pages are housed in a solid maple box with title burnt into the lid. This book was made in California and East Coast humidity has caused the box lid to warp a little along the edges. Unpaginated. ARTISTSBOOKS/030613. Near Fine.
San Francisco: Deeply Game Publications, 2012. Hardcover. Number 45 of 55 copies. Signed by the author and book artists. Book artist Sara Press collaborated with Andrew Rottner to create this exquisite tribute to printing’s golden age. "The story, by Christina Lauritsen, mis-remembers H.C. Andersen’s classic tale of the same name, transforming it into a story of revelation and madness. The visual progression of the book mirrors the plot, pitting the beauty of the decorative arts against the intense and unpredictable messiness of human experience. This book confronts the inevitability of loss and bows to intellectual freedom and its attendant risks." [artists' statement]. The book is printed in Garamond and Bembo types on Moab Entrada paper. It features two 26 inch wide foldouts with illustrations by Rottner. The striking cover is done from a cut-marbled-paper and brocade. The book measures 7 x 9 inches. It is unpaginated. Deeply Game Productions creates and distributes the art works of Sara Press and her collaborators. Sara L. Press is a photographer, printmaker and book artist based in the San Francisco Bay Area. Many of her projects examine peculiar areas of overlap between nature and culture (for example: dog fighting, feral children, and our co-evolution with snakes). Sara has also wrestled with the relationship between creativity and the scientific method. Recently, Sara has turned to constructions of masculinity and femininity in our culture (such as human bloodsports and altered fairy-tales). Her work can be seen in public collections around the country and are also in many library and private collections. A lovely book in fine condition. PRI/021919. Fine.
Rockville, MD: Erik Delfino, 2015. Number 5 of 10 copies signed by the book artist. A stunning production by book artist and photographer Erik Delfino. In his accompanying pamphlet about the 1964 fair, Delfino writes that his parents took him to the fair when he was four years old. His memories are still vivid and treasured, and he hopes that the photographs of the still remaining structures that he took for this book at the fiftieth anniversary celebration have captured the spirit of the fair. The photographs and text are digitally printed on loose sheets of 19 x 13 inch Epson Exhibition Fiber paper. The twenty-five striking and evocative color photographs are of the structures still remaining at the fair site. They are bold and often abstract and geometric. The photos are interspersed with text offering his brief impressions from viewing the site. The photos are followed by a leaf with pictures of Delfino and his parents on the day they visited the fair. There is a table of contents on the colophon page. The leaves are housed in a taupe cardboard folder that is housed in a blue cloth case, which is encased in a 19.5 x 14 inch stainless steel box with an impression of the iconic stainless steel unisphere. Includes a copy of Cotter and Young’s The 1964-1965 New York World’s Fair. Unpaginated. ARTISTSBOOK/112916.
Moscow: Emil Goozairow, 2016. Emile Goozairow is a Russian artist who paints and draws, produces movies, and creates exceptional miniature handmade books that are printed on rare types of paper and published in limited editions. His techniques create unique designs that often are made with natural materials alone or in combination with relief decorations made from metal or polymeric clay. He creates books that he describes as "pop up," “kinetic carousel," “liporello” or “3D origami.” He also writes fairy tales, stories and mystical scenes. "A carousel is spinning, and golden sand like snow slowly falls. I saw a strange mysterious alphabet and all the characters fly into the sky ...." When each page is turned the revealed pages pop open with Emil's beautiful illustrations and text describing a fantastical dream. The covers are brown velvet with a relief polymer clay artistic design on the front cover. A wonderful and imaginative book. In fine condition. Measures about 2.25 x 3 inches. ARTB/021921. Fine.
Israel: Even Hoshen, 2010. Hardcover. Number 32 of 66 copies. Signed and numbered by the book artist. The Even Hoshen press was founded in 1994 by Uzi Agassi, who was later joined by his son Ido. Their work is letterpress printed on high quality paper with hand made bindings and illustrations. The Raven is bound in full black leather with tan and black leather inlay forming the image of a raven on both boards. The binding is a dos-a-dos structure printed in English and in Hebrew. The English text was hand set in Alt-Mediaval type and the Hebrew text was set in Margalit type. It is printed on Bavaria-Butten paper and illustrated with a paper cut of a raven. Housed in a white cloth slipcase with paper title label with light, ghostly visibility under the white cloth. In fine condition. Unpaginated. Fine.
Israel: Even Hoshen, 2009. Someck, Ronny. Hardcover. Numbered and signed by the author and printer. A collection of five poems by Ronny Someck about ballet with two hand-colored illustrations. Someck is an Israeli poet, musician, and artist who has won multiple awards for his poetry including the Prime Minister's Award, the Hans Berghhuis prize for poetry, and the Yehuda Amichai Award for Hebrew poetry. He is internationally renowned with poems published in over thirty-five languages and ten books of poetry published in English. The Even Hoshen press was founded in 1994 by Uzi Agassi, who was later joined by his son Ido. Their work is letterpress printed on high quality paper with hand made bindings and illustrations. Pointe Shoes is a dos-a-dos structure printed in both English and Hebrew. It is bound in black cloth boards with inset cloth ballet slippers to both boards and decorative pink and black ribbons to spine. The center of both signatures features four black and pink flourishes. Printed on Grandee paper and handset in Alt-Mediaval and Margalit type. Housed in a black cloth slipcase. A fine production. Unpaginated. [18 pages.] PRI/032713. Fine.
San Jose, CA: Prose and Letters Press, 2004. Hardcover. Number 24 of 50 copies. Signed and numbered by the artist. This printed book is based on a unique hand painted book by the artist. Bound accordion style in Lokta paper covered boards with hand painted gold accents and leather and bead closure. The inspiration for this book was the Lithuanian-American archaeologist, Marija Gimbutas (1921 - 1994), known for her research on the Neolithic and Bronze age cultures of Europe. Gimbutas theorized that the first writing predated Sumerian businessmen by a few thousand years, and instead grew out of symbolic marks on ritual objects made to venerate the Great Goddess in Old Europe. Artist, Cari Ferraro, was heavily influenced by this theory and created an alphabet style based on Marija's catalog of marks which she has used in this book. The background painting on all of the pages uses symbols found in the 5000-year passage grave Newgrange in Ireland, whose meaning has never been fully understood. The design is intended to feel like a cave wall with ancient symbols and writing. The text reads "The first writing/ not merely scribble/ devised by accountants to track livestock or record property/ the first writing/ made to track the moon/ inscribe spirit/ praise for the great mother." An attractive book. [10 pages] ARTB/042108. Fine.
San Jose, CA: 2007. Paperback. A UNIQUE ARTISTS’ BOOK which has been signed and dated by the artist. The words “Star Spell” are written largely in resist and have been watercolored over to reveal the words across the twilight sky background. The familiar rhyme reads: “Star light / star bright / first star / I see tonight / I wish I may / I wish I might / have the wish / I wish tonight.” Fine in grey paper wrappers with white hand lettered title to spine and silver star to front panel. The interior is bound accordion style and is hand painted and lettered in white on Zerkall Book paper. This is a charming book by well known calligrapher, Cari Ferraro. In addition to her unique artists’ books and small limited editions, she has written several books detailing her calligraphy techniques. [16 pages.] ARTB/012408. 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, 2003. Number 61 of 100 copies signed and numbered by the book artist. At the time this book work was first created, Julie Chen described it as "by far the most ambitious and extravagant piece ever to be produced at Flying Fish Press. Personal Paradigms presents a truly interactive experience for the reader in the form of a game that is played and the results then recorded in a collaborative ledger book. The object of the game focuses on the player's own life experiences and perceptions at the moment that the game is being played." Presented in a sumptuous cloth covered box, the set includes a letterpress printed game board and a multitude of beautiful lasercut game pieces. The game board opens to a full size of 21 x 30 inches. Box measures 15. x 11.25 x 4.75 when closed. In fine condition. ARTISTSB/042820. 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.
Baltimore: Flying Fox Press, 2017. Paperback. 1 of 25 copies, initialed and numbered by the artist. Linocut of an imaginary serpent-bird printed archivally in dark green ink on tan paper. Printed at PaperBase with Sarah Robbins. Thirty-seven additional copies were printed for the Guild of Book Workers "Bird in Hand" annual collaborative project. Ten percent of each sale will be donated to Bat Conservation International. Size: 8 x 8 inches. PRI/090117. Fine.
Moscow: Emil Goozairow, (2020). Small unnumbered limited edition. Goozairow is a Russian artist who paints and draws, produces movies, and creates exceptional handmade books that are printed on rare types of paper and published in limited editions. His techniques create unique designs that often are made with natural materials alone or in combination with relief decorations made from metal or polymeric clay. He creates books that he describes as "pop up," “kinetic carousel," “liporello” or “3D origami.” He also writes fairy tales, stories and mystical scenes. A playful alphabet book with something embedded in both covers, causing it to rattle when read. Delightful illustrations with alliterative phrases (many comical) for each letter such as: Angel's Acorns for A, Creeping Cats, Delightful Desire for D, and Ugly Unicorn for U. The book has a special folding design that seems to unravel as you open each page. The book must be turned and flipped as you read in order to see all of the letters in order. Both boards are pyramid shaped relief designs in colored polymer clay. The book is held closed with braided brown cord straps that fasten with a metal clasp. In fine condition. Each side of this triangular shaped book measure about 2.25 inches. The depth of the book is about 3 inches. The book is painted white and blue. ARTB/021921. Fine.