Basel: Romano Hänni, 2008. Hard Cover. Swiss book artist and typographer Romano Hänni (1956 - ) has been experimenting with unusual compositions of letter forms and symbols since the early 1980s. His designs can seem somewhat whimsical but often are reactions to society, politics, and traumatic events. Creating things manually with the participation of all of the senses is very important to him. A master of visual poetry, he enjoys teaching to pass on his knowledge and skills. Number 197 of 290 copies. This book was hand composed and hand printed in black, red, and blue ink. An accordion structure bound in boards with an illustrated white dust jacket and a paper band closure. Includes a two page laid in supplement featuring the title of the work and the colophon. A small book measuring 3.25 inches wide by 5 inches tall. In fine condition. Unpaginated [10 pages]. ARTB/060111. Fine.
Refine search resultsSkip to search results
Wantage, England: Black Swan Press, . Chicago binder, book, and installation artist Karen Hanmer’s intimate, playful works fragment and layer text and image to intertwine memory, cultural history, and the history of science. Her work weds the ancient art of book binding with the high tech use of the computer to aid her process. The intimate scale and the gestures of exploration required to travel through each piece evoke the experience of looking through an album, a diary, or the belongings of a loved one. However, her works often take the forms of games or puzzles, and many include witty text. A splendidly crafted unique designer binding by well-known book artist and bookbinder Karen Hanmer. The text is a reproduction of an early 20th century manual on bookbinding tools and techniques, which Karen has altered by adding multiple full page pop-ups based on illustrations found within the manual. The editor, Paul N. Hasluck (1854 – 1931) was one of the first authors to write in the do-it-yourself genre. Born in Australia, he wrote mainly technical manuals ranging in subject from beekeeping to taxidermy to motorcycle construction to bookbinding. Karen’s binding design is inspired by the text’s charming vintage illustrations, originally published in 1902, many of which feature disembodied hands performing common binding tasks. Karen has created an exquisite binding in full teal goatskin with laced-in boards, titled in blind and tooled with acrylic pochoir. It features several goatskin onlays with illustrations from the text printed directly onto the leather. Includes hand sewn silk headbands, three speckled edges, and marbled endpapers by Pamela Smith. The pop-up illustrations were scanned from the text and inkjet printed onto Mohawk Superfine cover, then hand cut into pop-ups, and sewn into each signature. Housed in a green cloth clamshell box with gilt and leather title label to spine. In fine condition. Book Size: 8.5 x 5.5 x 2 inches; Box is 9.5 x 6.25 x 2 inches. (#31261).
Montgomery Village, MD: Shireen Holman, 2013. Paperback. Number 15 of 20 copies signed and numbered by the artist. This complex and beautiful artist's book explores time from the viewpoints of religion, literature, science, and philosophy. The book artist, Shireen Modak Holman, has been a printmaker for more than thirty-five years and a book artist for more than twenty. She was born in India, and her work often involves the interaction of her Indian and American cultures. She states that she is fascinated by time and spent several years reading, sketching, and selecting texts to illustrate the imagery she was creating as she tried to visually express time. She has used texts from the writings of Shakespeare, Tagore, Einstein, Thoreau, Hawking, and others. As the design of the book came together, she created a full-sized colored pencil mock-up. The finished book consists of woodcuts printed onto pulp-painted handmade paper. The text was letterpress printed on gampi paper and then pasted onto the handmade sheets. The pages are folded in such a way that one can see a little of each of the subsequent pages from the current page. Thus from the beginning to the end of the book one can see a little of the future from the present. Each page has semicircular areas cut out so that the calendar at the bottom right of the colophon page is visible at all times. Housed in a cream paper clamshell box with the title "Time" in raised letters affixed vertically to the cover. Linen spine. In fine condition. Accompanied by a softcover book titled "The Making of the Artist Book 'Time.'" Unpaginated. [16 pages]. 13.75 x 19.25 inches. ARTISTS/041916. Fine.
Towson, MD: Susannah Horrom, 2014. Paperback. Limited to 25 copies. Initialed and numbered by the artist. First trade edition. A detailed drawing of a creature that is filled with "lost things" such as keys, phones, pets, money, flashlights, time, weight, and even Atlantis. This drawing was created as part of a collaborative project sponsored by the Delaware Valley Chapter of the Guild of Bookworkers. The first printing of this map was issued exclusively for other participants in the Atlas Project 2014 in an edition of 40. From the artist's statement: "I lose things all the time. I put down a pen, sewing needle, phone, etc. - turn my head for a second - and BAM - gone. Sometimes these mysterious disappearances are due to my clepto cats, but are largely inexplicable. What is taking my eyeglasses, spare change, flashlights, postage stamps, and half of my socks? My husband? Aliens? or more likely - a giant worm-dragon-monster that lives underground and sends up tentacles to steal my stuff..." This trade edition is inkjet printed on archival paper from the original pen and ink drawing. Includes card with artist's statement and brief biography. 8.5 inches x 21 inches. PRI/123114. Fine.
Cairo, NY: Editions, 1999. Number 20 of 32 copies. Signed by the book artist. Book artist Ed Hutchins is known for his inventive and fanciful books that are made from found materials and that use untraditional methods and structures. This miniature tunnel book exemplifies his work. The book's theme is stars and although they are seemingly the same, in fact each really is unique - like humans. A star cutout on the cover reveals a tiny galaxy of varied color stars floating in the air when the tunnel is expanded. The sides of the tunnel are made with different bright colored papers and have the words of the text printed that are also revealed as the tunnel expands. Black covers with yellow title label on front and green label on back with quote about stars, Hutchins's signature, and edition number in pencil. In an orange slipcase and both housed in a purple slipcase with star cutout and title on front. Fine condition. 2 x 3 x .5 inches. ARTISTSBOOK/090717. Fine.
Philadelphia: Benjamin Iluzada, 2019. Number 4 of 5 copies signed and numbered by the book artist. Benjamin Iluzada is a young and rising book artist of Philippine descent. He incorporates aspects of his heritage in his book works. This powerful book uses linocuts, screenprints, lead type, monoprints, and pulp blowouts on translucent abaca paper handmade by Ben. The imagery is inspired by Barong Tagalog embroidery, which is part of a traditional garment from the Philippines, and the monotype images of a belt were printed using an actual belt that his father used to spank him during his childhood. There are two different selections of text in the book: the first is an autobiographical narrative about the corporal punishment experienced by the artist that was hand written and then screenprinted throughout the book; the second is a short selection of text, printed from lead type and hides on the first and last page, that is taken from a published clinical study on the effects of physical punishment on children. The abaca paper covers have a white image of a belt across the front and back covers. Bound with a string binding. In fine condition. Housed in a plain blue archival enclosure. Book measures 11.25 x 14.25 inches.
Philadelphia: Benjamin Iluzada, 2019. Number 5 of 5 copies signed and numbered by the book artist. Benjamin Iluzada is a young and rising book artist of Philippine descent. He incorporates aspects of his heritage in his book works. This powerful book uses linocuts, screenprints, lead type, monoprints, and pulp blowouts on translucent abaca paper handmade by Ben. The imagery is inspired by Barong Tagalog embroidery, which is part of a traditional garment from the Philippines, and the monotype images of a belt were printed using an actual belt that his father used to spank him during his childhood. There are two different selections of text in the book: the first is an autobiographical narrative about the corporal punishment experienced by the artist that was hand written and then screenprinted throughout the book; the second is a short selection of text, printed from lead type and hides on the first and last page, that is taken from a published clinical study on the effects of physical punishment on children. The abaca paper covers have a white image of a belt across the front and back covers. Bound with a string binding. In fine condition. Housed in a plain blue archival enclosure. Book measures 11.25 x 14.25 inches.
Oakland, CA: In Cahoots Press, 2017. Hardcover. Number 14 of 40 copies, numbered and signed by the artist. "With quotes from 'A Thousand and One Nights', 'Meanwhile' celebrates the importance of stories over time and across cultures. A series of organic imagery flows from page to page, overlapping and echoing the quality of A Thousand and One Nights as one story leads to another and another. The quoted text is set in shaped text blocks and clusters of letters, like flocks of birds floating amidst the shapes. A few larger lines of text per page guide the viewer through the book, describing Sceherazade's experience of telling stories and, as a result, saving herself from execution by the King," Macy Chadwick. Accordion bound in blue cloth boards with dark blue title to front cover. The images are printed from linoleum cuts and the text is letterpress printed from polymer plates. Housed in a green cloth covered clamshell box with dark blue title to front panel. Size: 10 x 10 inches, closed; 10 x 156 inches, fully extended. ARTB/051019. Fine.
Minneapolis: Indulgence Press, 2007. Hardcover. 1 of 26 deluxe lettered copies. This is Letter W. Signed by author and book artist. This book contains 31 previously unpublished poems by the highly regarded poet Michael Dennis Browne. The poems are short and intended to elicit larger thoughts by the reader. Inspired by his love of music, Schilling designed the book to create a meditative environment through the placement of poems and photographs on the page. The book structure acts as a composition around the lines of text to float the poems along the way. The deluxe edition of 26 copies is printed by letterpress in Reykjavik and Philosophia type on MacGregor & Vinzani handmade paper. The pages are French folded and include cyanotype photographic prints; they are sewn with exposed cords laced into red oak boards. The book is housed in a clamshell box bound with blue goatskin and indigo dyed handmade paper. In fine condition. 60 pages. PRI/111512. Fine.
Minneapolis: Indulgence Press, 2012. Portfolio. Number 7 of 10 copies. Signed and numbered by poet and illustrator. This is one of several books produced by Wilber "Chip" Schilling, owner of the Indulgence Press, in collaboration with author-artist Thomas Rose. In this book they created a beautiful and mysterious work that combines Rose's haunting photographs with the poetry of Lo Ch'ing, a noted modern poet from China. In his foreword, Rose states that "art deals with primary intention and those aspects of objects and space that are unavailable to logic. His images are constructed from various sources including shadows and reflections. They are illusions, reflections in glass. Lo Ch'ing's poems give these images...depth and richness." The pairings of the photographs and poems are open-ended and ambiguous, allowing for conjecture as to how the images and text meet. The eight photographic prints are originals by Rose, and Lo Ch’ing wrote the interpretive poems for this book, with his original brushwork and translations. They were printed letterpress from plates by Schilling. Each image is printed in color on a fine woven paper. Each poem is printed in Chinese and English along with the striking black brushwork on a light and semi-transparent paper that slightly reveals the image beneath. The elephant folio sized sheets are housed in a green and black cloth portfolio with diagonal boards that fasten with a black bone closure. A stunning production from the noted Indulgence Press in fine condition. PRI/121312. Fine.
Minneapolis: Indulgence Press, 2011. One of 20 copies. Arthur & Barbara is a portrait of art critic/philosopher Arthur Danto and artist Barbara Westman as seen reflected in the space of their New York City apartment on Riverside Drive. This book embodies their life and work in symbolic forms of thoughtful play. Arthur & Barbara is a collection of simple objects, images and “games” referring to both Duchamp’s Boîte-en-valise and to Fluxus Collections. The box contains laser-etched glass with a plan view of the apartment. Beneath the glass, separated spaces hold a DVD with images of Arthur, Barbara and their apartment, a hand-bound codex filled with photographic illustrations and brief text, a glass block laser-etched with an illustration by Barbara Westman, two chairs, handmade dice, and a spinner. A drawer holds a folio of letters written by Sean Scully, Shirin Neshat and Barbara Westman, and an introduction by David Carrier. A fascinating way of documenting the lives and personalities of this interesting couple. In fine condition. Size: 13 x 12 x 7 inches. PRI/041111. Fine.
Minneapolis: Indulgence Press, 2012. Hardcover. Number 26 of 50 copies. Signed by the book artists. The book was produced by Schilling and Pittman for an exhibition Cull-arbor-ation. They describe the exhibit and the book as a record of urban deforestation. The exhibit documents tree stumps as artifacts that allow one to reimagine space and time based on what is left behind. The book juxtaposes pictures of tree stumps with pictures of newspaper articles on environmental protection developments. It also provides a glossary of tree diseases. Accordion structure bound in brown cloth with black design on covers. Includes a vinyl record with tree cutting and chipping sounds in rear pocket. In fine condition. Unpaginated. PRI/121312. Fine.
Berkeley: Codex Foundation, 2013. Hardcover. Book Art Object is primarily a record of the third biennial Codex Book Fair and Symposium: "The Fate of the Art," held at Berkeley, California, 2011. The event showcased contemporary artist books, fine press and fine art editions produced by the world's most esteemed printers, designers, book artists, and artisans. Showcases 300 books by 140 artists / printers and presents a selection of the papers delivered at the 2009 an 2011 symposium lectures including Paul van Capelleveen, Antoine Coron, Ron King, Juan Pascoe, and Richard Ovenden. Includes 1133 color images. New in white cloth boards with red title to front cover and spine. In new white dust jacket with red title to spine and front cover. 521 pages. BOB/022515. Fine / 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.
Philadelphia: Joseph Allen, 1855, 2016. Hardcover. Karen Hanmer’s artist-made books are physical manifestations of personal essays that intertwine history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. Karen was the winner of the Jury Prize for Binding in the 2009 Helen Warren DeGolyer American Bookbinding Competition. One of only ten graduates of the American Academy of Bookbinding’s Fine Binding program, she has studied with many notable fine binders. She exhibits widely, and her work is included in collections ranging from Tate Britain and the Library of Congress to UCLA and Graceland. Her masterful bindings wed the ancient art of book binding with the high tech use of the computer to aid her process. She writes about this work: "This binding was created for an exhibit in Charleston, SC. As a Midwesterner unfamiliar with the area, I inquired about local icons and incorporated several: an antiquarian text block on the local Revolutionary War hero “The Swamp Fox” decorated with South Carolina’s palmetto motif, on a background of the once ubiquitous “Charleston green.” The resulting production is this masterfully constructed and executed unique designer book binding that perfectly befits the text. Bound in full green goatskin with back pared onlays in several shades of green, tooling and hand-titling in blind along bottom edges of the boards. With three-color hand-sewn endbands and three edges sprinkled in three colors of acrylic. Marbled endpapers by Pamela Smith. Measures 7.5 x 4.5 x 1 inches. Housed in green cloth clamshell box with green leather spine label. In fine condition. 252 pages. FINEBINDING/080618. Fine.
Berkeley: University of California Press, 1981, 2018. Karen Hanmer’s artist-made books are physical manifestations of personal essays that intertwine history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. Karen was the winner of the Jury Prize for Binding in the 2009 Helen Warren DeGolyer American Bookbinding Competition. One of only ten graduates of the American Academy of Bookbinding’s Fine Binding program, she has studied with many notable fine binders. She exhibits widely, and her work is included in collections ranging from Tate Britain and the Library of Congress to UCLA and Graceland. Her masterful bindings wed the ancient art of book binding with the high tech use of the computer to aid her process. Karen designed and constructed this exquisite unique signed binding for this first trade edition of the famous Arion Press's 1979 edition with its striking illustrations by renowned illustrator Barry Moser. Her binding is based on the non-adhesive “clip-on cover” structure developed by UK binder Kathy Abbott. To create this binding the text block is disbound, the outer folios guarded and then sewn with long stitch using blue linen thread into the calf vellum wrapper, covered in limp calf vellum case, with tabbed corners. Hand titling to spine is done in 22k moon gold, with a blue acrylic line applied through stencil along the bottom edges of the front and rear covers. The endpapers are of handmade Ruscombe Mill pale wove paper in a single folio with hooked flexi endleaf. The top edge of the text block is covered with graphite. Karen writes: "The pale vellum references the white whale, and the blue line a turbulent sea. The stark contrast between these elements mirrors the horror steadily building in anticipation of the Pequod’s encounter with Moby Dick. Use of blue inside and out also references the color of the initial caps in the Arion Press and Deluxe California editions of this text." This is an impressive binding that beautifully pays honor to one of the great American novels. Book measures 10.5 x 7 x 1.5 inches. Housed in a dark blue clamshell box with a white gilt and blue title label to spine. In fine condition. FINEBINDING/080618.
New York: Farrar, Straus and Giroux, 1979, 2011. Hardcover. Karen Hanmer’s artist-made books are physical manifestations of personal essays that intertwine history, culture, politics, science and technology. She utilizes both traditional and contemporary book structures, and the work is often playful in content or format. Karen was the winner of the Jury Prize for Binding in the 2009 Helen Warren DeGolyer American Bookbinding Competition. One of only ten graduates of the American Academy of Bookbinding’s Fine Binding program, she has studied with many notable fine binders. She exhibits widely, and her work is included in collections ranging from Tate Britain and the Library of Congress to UCLA and Graceland. Her masterful bindings wed the ancient art of book binding with the high tech use of the computer to aid her process. This spectacular signed unique designer binding for a first edition of Tom Wolfe's The Right Stuff was inspired by Wolfe’s notion of single combat warriors battling the Cold War in the heavens on behalf of the US and USSR. Further inspiration was taken from space-themed advertising of the era. The binding thus incorporates various patriotic and space race icons from the US and USSR, portrayed as constellations, planets and spacecraft. In full black goatskin binding with laced-in boards, with edge-to-edge black goatskin doublures and black suede flyleaves. The boards are decorated with the space related images; some are back pared and cushioned onlays, some laser-printed, and some areas sprinkled with gold leaf. The page edges are graphite and gold-sprinkled, and there are hand sewn silk headbands. The book's original dust jacket is bound in. A beautiful exemplar of Karen's meticulous and creative work. Housed in a black cloth clamshell box with red leather title label to spine. Book measures 8.5 x 5.5. x 1.75 inches. In fine condition. FINEBINDING/080618. Fine.
Eugene, OR: Knight Library Press / University of Oregon, 2000. Robin Eschner. Paperback. 62 of 125 numbered copies. Signed by the author and artist. An additional 10 lettered artist’s copies were also printed. This wonderful short story by Lopez was originally published in the Fall 1997 issue of The Georgia Review. In the story, a Peruvian man writes of the effects on his life and faith from having read at different points in his life, secret love letters written in the 17th century between Rosa and Martin. The two were later canonized as saints, and the writer comes to understand their divinity and love of God as expressed in the letters. The book is a beautiful production from the Knight Library’s fine press publishing program. It was designed, printed, and bound by Sandy Tilcok. It is printed on Heine paper using Bembo types. There are five lovely tipped-in hand-colored etchings done by Robin Eschner. Marilyn Reaves did the calligraphic title, headings, and ornaments. The colophon describes the cover as being made by laminating two handmade papers of brown and rose. The covers are fastened by thin leather straps for which instructions are provided on a laid-in card on how to re-tie them in the original intricate fashion. Unpaginated. ARTB/120209. Fine.
[Raleigh NC]: Jon Kolkin, 2014. Hardcover. Number 37 of 50 copies. Inscribed: "May you experience Inner Harmony as you continue along your life's journey - Jon Kolkin #37/50." Kolkin is a fine arts photographer, Buddhist, and an international speaker on achieving a more enriching and balanced life. This beautiful book has thirty black and white images selected from his photographic series, Inner Harmony. The evocative and mysterious photographs were taken at Buddhist monasteries in China and Bhutan. The text is both in English and traditional Chinese with calligraphy created by Oi Yee Tai. Bound in black Japanese cloth and bound using a traditional Chinese binding technique. In fine condition. 12 x 13 inches. 72 pages. PRI/031215. Fine.
Fort Lauderdale FL and Ketchikan AK: Dorothy Simpson Krause, 2019. A unique miniature artists' book by well-known book artist Dorothy Krause. She made the book in June 2019 in Ketchikan, Alaska while on a trip there. The book used a metal box for mints to create a case with a sliding top for the book. The top of the case has the title "Alaska: The Last Frontier" embossed on a multi-color background. The six pages of the book unfold to show totem images from the Totem Heritage Center. An inventive and engaging work in fine condition. The box measures 1.5 x 2.75 inches. MINIATURE/072519. Fine.
Dorothy Simpson Krause. “Leonardo" is a book-necklace made from pages from a book about Leonardo da Vinci. It was made by the book artist years ago when she was in Rome. The book's aged pages have a red leather diamond shaped front cover with a shiny red "jewel" and hangs from a black rubber cord. Measures 3.5 x 2.25” inches. In very good condition. ARTISTSB/072519. Very Good.
Ft. Lauderdale, FL: Viewpoint Editions, 2015. Number 2 of 10 copies signed and numbered by the book artist. This handsome and intriguing work is from well-known artist Dorothy "Dot" Krause. In her artist's statement she describes her work: "My work includes large scale mixed media pieces, artist books and book-like objects that bridge between these two forms. It embeds archetypal symbols and fragments of image and text in multiple layers of texture and meaning. It combines the humblest of materials, plaster, tar, wax and pigment, with the latest in technology to evoke the past and herald the future. My art-making is an integrated mode of inquiry that links concept and media in an ongoing dialogue - a visible means of exploring meaning. " "PreScribe" exemplifies her artistic philosophy. This work perhaps offers a statement on the medical and pharmaceutical professions and also the impact of opioid drugs in our current society. As Dot states on the title page, Prescribe "is from the Latin prae +scribere to write previously, to recommend, advise, authorize or order the use of a drug or other remedy." In this portfolio, images are printed on pages from a prescription ledger kept by a pharmacy in the late 1800’s and housed in a black paper over boards box covered with prescription images and lined with red handmade paper. The imagery is taken from work that was produced during an Artist-in-Residency at Harvard’s Countway Library, one of the world’s leading collections of medical history. Photographs of their anatomical specimens, medical artifacts, rare books and manuscripts are incorporated. The processes include prints onto the ledger pages using Pronto, Toray and Solar intaglio and planographic plates and Gocco screens. The title page, introduction and colophon are letterpress printed on Rives BFK tan. The font used for the title is “Ambulance Shotgun” by Guillaume Seguin. Completed at the Jaffe Center for Book Arts, Boca Raton, Florida. The book measures 11.5 x 17.25 inches and is housed in a box 12 x 18” inches. 9 pages + title/introduction and colophon. In fine condition. Fine.
Rochester NY: Leopard, Sue Huggins, 2005. Leopard, Sue Huggins. Hardcover. 8vo. 3 of 10 copies. SIGNED BY ARTIST. Lovely work by this noted printmaker and book artist. Fine in beige cloth boards with title label on front and long beige ribbon ties. Six accordion style fold out pages reproduce stunning color prints by Huggins, each with a water theme. Unpaginated. PRI/051107. Fine.
Rochester, NY: Sue Huggins Leopard, 2005. Leopard, Sue Huggins. Hardcover. 16mo -. 19 of 50 copies. SIGNED BY ARTIST. An interesting book without words by this noted book artist and printmaker. Black and white lineleom block prints on accordian folded pages indeed depict a predatory bird stealing a baby. The primitive looking prints evoke the eeriness of the event. Inkjet printed on Kaji paper at the Weekend Print Shop. Bound in black cloth with long red ribbon ties, and signed on colophon by artist. Unpaginated. PRI/051107. Fine.
Kensington/Berkeley CA: Liminal Press, 2017. Hardcover. Number 9 of 10 copies. Signed by Richards and Sibony. “Stained is a collaborative book of word and image, pigment and fiber, documenting the emotional experience—bright lightness, dark depths—and reckoning of motherhood” (colophon). It is an intensely personal yet universal statement on being a mother. In her artist’s statement, Camden writes: “As an artist, I focus on telling the stories of people and places that are in danger of being lost or forgotten, with a focus on women, children and the environment. History repeats itself too often: by telling these stories I help others to remember, to learn from the past, and to take action for the sake of our present and future... I am specifically drawn to the artist’s book format as a sculptural medium to convey these stories because it is tangible, experiential, and provides an interactive experience for the viewer.” Camden’s powerful and beautifully produced books have been in numerous exhibitions and are in many public and private collections throughout the country and in Canada. She both studied and taught at the Corcoran College of Art and Design. Stained is bound in the buttonhole style with stiff white paper boards and brown title to front cover. Accenting Camden’s poignant poem are eight unique non-objective monotypes by Sibony and leaves of white handmade paper that resemble weavings by Patti Harden. The photographic collages are ink jet printed on Canson Vidalon Vellum. Text set in Zuzana Licko’s Mrs Eaves and letterpress printed by Richards on a Vandercook 4 proofing press. Monotypes were pulled in counterpoint to the text on a Takach etching press on BFK paper. The book is housed in a custom clamshell box with hand painted beige book cloth by Sibony. Box construction by John DeMerritt. Size: 10 x 15 inches, Unpaginated [56 pages]. ARTISTSBOOK/061217. Fine.