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.
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San Francisco: The Book Club of California, 1982. Hardcover. One of 650 copies but also a unique copy with a commissioned custom binding by Constance K. Wozny, a well known hand bookbinder whose studio is in Eastwood, Kentucky. She studied with several prominent hand bookbinders and is a member of the Guild of Bookworkers and the Hand Bookbinders of California. Signed and dated (2011) by her on colophon. Laid in is a holograph note in pencil: " Of all the bindings I did - this is one of my favorites thank you Connie." This beautiful binding is in full-grain Indian red goat leather, with titles stamped in black on front cover, and a wraparound flower pot design composed of decorative onlays in orange, yellow, and ochre calf. The leather covers wrap around and serve as the front and rear pastedowns. Red paper free front and rear endpapers. The top edges are speckled red and brown. Housed in an orange custom clamshell box designed by the binder with title and author blindstamped on spine. Book and box in fine condition. Juan Bautista Alvarado (1809 - 1882), a Californian, led a coup to seize Monterey and declared himself governor. He declared independence for California, but ultimately was persuaded to rejoin Mexico and served as Governor of Las Californias from 1837 - 1842. This book includes a biographical introduction to Alvarado's life; and a translation of his autobiography and his account of events in California prior to Don Luis Antonio Arguello's governorship. 38 pages plus three page bibliography. PRI/041619. Fine.
San Diego: Bay Park Press, 2004. Glossy Pictorial Cover. Number 23 of 40 copies. Signed and numbered by the book artists. Founded by Sibyl Rubottom and Jim Machacek in 2000, the press produces artists' books, offers classes, and holds book arts' exhibitions. Their books address a wide range of subjects from the universe to gardening to opera to Yiddish and more. Most are letterpress printed, many have moveable pieces, and all are illustrated. Visiting artists including Carolyn LaFrance and others regularly print books at the press. Books created by Jim and Sibyl at Bay Park Press bear the imprint of False Bay Editions. It is named after False Bay, which was the original name of San Diego's Mission Bay and is located near the press. This engaging accordion book is an alphabetical melange of spice. Various spices are described by definition, quotes, or history, and accompanied by lovely images on tan color pages that were hand-tinted with spice dyes. Some of the pages had an "intoxicating 14 runs through the press." The accordion text pages are encased in stiff paper covers, with the top flap cut out in the shape of leaves. Comes in a burlap drawstring bag with title and press name printed on a label attached by string. In fine condition. 4.5 x5 inches.PRI/073112. Fine.
North Hill PA: Bird and Bull Press, 1982. Hardcover. Number 311 of 350 copies. Edward Gordon Craig (1872-1966) was the son of famed actress Ellen Terry and stage designer Edward William Godwin. Gordon in turn became a well known actor, director, and stage designer. Early in his career as an actor, he also became interested in graphic design and wood cuts, studying under well-known artists of the day. This diary, written when he was sixty, recounts a difficult period in Craig's life, when he was experiencing health and money worries. As Franklin notes in his prologue, this was a low period for Craig and was also for Europe, as Hitler was rising in power. The text was composed in Baskerville types and printed on mouldmade Bugrbotton paper and bound in brown quarter leather by Gray Parrot. Red leather spine label with title, and boards in yellow and white striped paper. In fine condition. 154 pages. PRI/070711. 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.
Toronto: Cheshire Cat Press, 2018. Hardcover. Number 20 of 42 copies signed by the printer, illustrator, and the author of the introduction. The illustrator writes: "This edition in your hand is one of three interations of The Hunting of the Snark published by Cheshire Cat Press, all of them very different in concept while sharing the same aesthetic, inflecting the narrative in different ways without in the least altering Lewis Carroll's original text." The Cheshire Press was formed by book designer and printer George Walker in 1991. The press began when he and two colleagues produced new editions of Alice's Adventures in Wonderland and Through the Looking Glass. For this edition of Snark, Malcolm created new illustrations inspired by contemporary carte-de-visit photographs that were so popular in Victorian England. He has one for each character in the poem, adapting images from actual photographs. He chose images that to him bring to life the imagined crew men on the hunt for the snark. They are ideal depictions for this fantastical nonsense poem by Carroll, written when he was forty-four years old. Bound in dark blue cloth with title in gilt to spine and on cover label. With "The Snark Map" inserted in a sleeve on the front pastedown. Handprinted in New Caledonia type on Velin Rives paper. Housed in a slipcase in the same blue cloth with gilt title on cover. In fine condition. 6.5 x 10 inches. 71 pages. PRI/111519. Fine.
Athens, GA: 2001. On June 9, 2001 a gathering of printers, binders, collectors, and friends gathered to celebrate the 50th anniversary of The Private Press and Typefoundry of Paul Hayden Duensing. Mr. Duensing (1929-2006) was a master printer and typographer who greatly influenced typography in the 20th century. Together the group presented to Mr. Duensing a boxed suite of beautiful limited edition broadsides printed by friends and colleagues from around the globe. The collection given to Mr. Duensing was housed in a handmade box by Greg Campbell of the Campbell-Logan Bindery. All of the participants were given copies of the broadsides, held in a large envelope. There were 33 broadsides plus a drawing and photograph of Mr. Duensing. They all celebrated his achievements and even more, offered tributes to his collegiality and generosity. The broadsides are printed on various fine papers in equally various type faces. The contributors included Hermann Zapf, Timothy Hawley, Roland Hoover, Christopher Manson, Stan Nelson, Arvind Patel, Robin Price and Will Rueter. The collection includes a description of the celebration with two photos of Mr. Duensing,a list of participants, and a thank you letter he sent to Roland Hoover. In fine condition in a creased and worn white envelope. Broadsides measure 9.5 x 12.5 inches. PRI/042020. 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.
Tuscaloosa, AL: Hand Papermaking / Word Way Press, 1998. Paperback. Number 91 of 150 copies. "Between 1984 and 1996, Dorothy traveled to Nepal four times. She sought out those who have preserved Nepalese papermaking and she visited new mills, some of which practice traditional Nepalese methods, others using adaptations and imported techniques. While in Nepal, she met with papermakers, discerned their methods, and collected their papers. The samples she assembled, many made using traditional lokta fiber, make up the specimens in the portfolio" (introduction). A portfolio of 18 sheets of handmade paper created in Nepal with an accompanying booklet that supplies descriptions for each sample as well as an introduction and an extensive essay about Nepal and its paper. The yellow paper wrapper covering the booklet is letterpress printed. The images within are from traditional Nepalese woodblock prints and were designed by Berinji Narayan Shrestha. Each paper sample is mounted within a folder labeled from A to P. The accompanying booklet and mounted samples are all housed in a red clamshell box with paper title label to spine. Each paper sample is approximately 7 x 10 inches or smaller. The box is 11.5 x 9 x 1.5 inches. The booklet is 40 pages. PRI/050218. Fine.
Upper Denby, Huddersfield: Fleece Press, 2004. Hardcover. Deluxe Edition. Number 45 of 54 deluxe copies that include two tipped-in color prints and a signed loose print of “Cafe Dansant No. 2.” Laid in is a signed typed letter from printer Simon Laurence on his letterhead dated October 12th, 2003. This the fourth book in the John Buckland Wright series printed by the Fleece Press. It contains the “free” or autonomous prints not published in the previous volumes including book illustrations, commercial work and designs for cards, announcements and publishers’ marks. It addition it features a descriptive account of all the rejected and unfinished blocks in the studio. A description and printed examples of Wright’s experiments with color which culminated in two engravings “The Blue Dress” (1952) and “The Red Room” (1952) are also included; Wright died before completely finishing the latter. Before the printing of this book, neither of these engravings had been editioned. Fine in quarter vellum with patterned paper boards and gilt title to spine. Pristine interior with many tipped-in illustrations, some of which are in color. Printed in Modern No. 7 type set at Whittington Press by Peter Sanderson on Magnani Avorio Biblos paper and bound by Smith Settle. The tipped-in reproductions were printed in Sheffield by J.W. Northend Fine Print. The print and book are housed in a fine orange cloth clamshell box with paper title label to spine. 71 pages. PRI/122409. Fine.
England: The Fleece Press, 2010. Hardcover. 1 of 500 copies. The artist Leslie Cole, who trained under Bawden and Ravilious at the Royal College of Art in the 1930s, produced some of the finest wartiime paintings after appointed an Official War Artist, his watercolors being particularly fine, many in a Ravilious influenced style. Cole travelled through Germany (recording the scenes of horrific trauma at Belsen a week after its liberation), France, Malta and the Far East, where he recorded the action in Borneo and Singapore, a theatre of the war largely forgotten by Europeans today. Cole’s work was the equal of any other war artist, and yet he was unable, for personal or other reasons, to maintain the momentum after the war, when he seems to have slid very slowly downhill, and his early promise was unfulfilled. The book also writes of Cole’s wife Brenda . She had a very colorful teenage history, being the chief prosecution witness for the Church of England when they prosecuted the Rector of Stiffkey for importuning young girls. She disguised this past very ably through her life, even changing her name, and may not even have told her husband. Her true identity was revealed to friends before she died. This handsome work was designed and type set by Simon Lawrence, the publisher. Bound in quarter dark blue cloth with beautiful blue marbled paper made by Louise Brockman for the front and rear covers. . Printed in Miller display type. Over 130 illustrations of Cole's works and photographs of him and his wife.198 pages including index. PRI/011311. 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.
Portland, OR: Anne Greenwood, 2018. Number 28 of 30 of the regular edition, signed and numbered by the book artist. Vestiges was conceived in Iceland where Anne was an artist-in-residence in April and May 2018. This striking work includes folded, sewn, dyed, and printed crinoline cloth pieces accompanied by text. They beautifully capture the almost intangible nature of vestiges - things disappearing or no longer in existence by Diane Jacobs of the Scranton Press in Portland. The book's wrap-around cover is white crinoline. The book is printed with Weiss Italic type on Mohawk Superfine paper. The text is hand-written and authored by the artist as are the hand-dyed fabric manipulations (from the colophon). Anne Greenwood is a well-known artist who has exhibited widely and whose works can be found in museum and library collections around the country. She was born on the high Dakota Plains and was led to an art degree by her artist grandmother. In 1990 she moved to Portland, Oregon and began her career as an artist and horticulturalist. Anne’s artwork explores an interest in folk art and speaks of her kinship with the natural world and how this influences her connection to daily life. She makes objects, installations, and works with her community. In 2002, Anne set up a textiles studio integrating handwork, book arts, and textiles into an interdisciplinary practice. From Anne's artist's statement: "My artistic practice navigates an infinite network of connections: narrating the simple and complex, physical and ephemeral, past and present, within the context of place, history, and transformation. I form relationships that expand and fortify admiration and reverence, leading to the discovery of new truths about the world around us. I enter into inquiry-based community engagement through arts education, residency, public work, studio practice, and collaboration. " A lovely work in fine condition. ARTS/031419. Fine.
Basel: Switzerland: Romano Hänni, 2015. Number 20 of 50 copies in the deluxe edition. There were 187 copies in the standard edition. This deluxe edition includes both a copy of the standard edition and a "unikat edition," which features additional layers of printing and some variant prints from the standard edition. Each 'unikat' book is unique. Both volumes are accodion structures with board covers. A printed white paper dust jacket holds the book in codex form, but the jacket can be easily removed to view the extended accordion. In addition to two six page supplements with the colophon printed in both English and German (one for each volume), this deluxe edition includes a 12 page side-stapled booklet with a series of photographs documenting the creation of this project. Beautifully letterpress printed using typography to create images. There is no text printed in either the standard or unikat editions. Both volumes and all three supplements are housed in a slipcase, which is titled in black.Each volume and also the slipcase have paper book bands around them. [12 pages in each volume].
Philadelphia: Heirloom Press, 2017. Hardcover. Number 4 of 5 copies. Signed by the artist. Folio. "Curio is a collection of quotidian objects that speaks to the idea of woman as domestic curator and as weaker vessel. Images of household vases, cups and bowls are paired with inkblots that evoke the trappings of middle-class existence" (artist's statement). Includes text adapted from the 1868 collection of articles, "Modern Women and What Is Said of Them" and the Kate Chopin novel "The Awakening." Many of the excerpts that the artist has chosen to include objectify women, likening them to jewelry, tables, and other precious possessions. For example: After scolding his wife for sun bathing, Mr. Pontellier looks "at his wife as one looks at a valuable piece of personal property which has suffered some damage." Also "The mind ought to be developed a little, and in such a way as to make the body more piquant and attractive. Like the candle inside a Chinese lantern, it may serve to lighten up and show to advantage the pretty devices outside. But the outside is the important thing, and the inside only incidental" (from "Modern Women ...). Others comment on how wives should be controlled or "managed" and the power dynamics within the home. A powerful book about the subjugation of women. Bound in full white alum-tawed leather with seven raised bands to the spine. Printed using letterpress, screenprint, and lithography on paper handmade by the artist. Size: 22 (wide) x 14.5 (tall) inches when open. ARTB/060920. Fine.
Oldham, England: Incline Press, 2001. Hardcover. Number 16 of 250 regular copies. English illustrator Thomas Lowinsky (1892-1947) was a good friend of Charles Ricketts and frequently worked with other friends including Sacheverell, Edith Sitwell, Oliver Simon, and Francis Meynell. He was a founding member of the Double Crown Club, a dining club for printers, publishers, book designers, and illustrators. This fine book features more than ninety illustrations, including all of his surviving unpublished illustrations, an autograph poem and ink sketch made while he was in the army, two woodcuts, and all of his patterned paper designs and publishers' devices. Also included are reproductions of his Double Crown Club menus, facsimile illustrations from the eighteen books that he illustrated, a previously unpublished studio portrait of Lowinsky, a memoir written by his daughter, a biography, and bibliography. Fine in grey cloth with pattern paper covered boards and gilt title to spine. Printed on Magnani paper in Monotype Fournier. Housed in grey and dark blue cloth covered slipcase with paper title label to spine panel. Pristine. A beautifully printed collection. 124 pages. PRI/051216. Fine.
Hammersmith: Kelmscott Press, 1893. One of 500 paper copies (10 were printed on vellum). This beautiful early production from the Kelmscott Press was described by Sydney Cockerell in 1898 as "one of the rarest books issued from the Press" because of its popularity [William Peterson bibliography]. The Foreword states that the poems are printed witht he original spelling and that the fact of being able to study these poems in the language in which they were written ought we think, to add materially to the pleasure of the reader. Bound in the original limp vellum with Shakespeares Poems in gilt on spine. Vellum still very clean with some creasing and curling to the front cover. The fragile ribbon ties are missing. The interior pages are in near fine condition. Each poem has a lovely title page with ornamental borders and ten line initial letters designed by William Morris. Printed in Golden type on Flower paper. Measures 5.75 x 8.75 inches. 216 pages. PRI/022420.
Hammersmith: Kelmscott Press, 1892. William Morris greatly admired The Golden Legend, a medieval collection of saints' lives. It was one of the first books printed in England by William Caxton, (1422- 1491), the first English printer, who, as a translator and publisher, exerted an important influence on English literature. In his bibliography of the Kelmscott Press, William Peterson writes that The Golden Legend was intended to be the first book produced by the press, but because of its length and some problems with paper delivery, Morris was forced to issue several shorter volumes before it was completed. The book was completed in three volumes and a celebratory dinner was held in October 1892 (Bibliography pages 19-24). It was printed in Golden type on Flower paper. These 6 leaves display the fine printing and handsome Morris-designed ornamental initials. The leaves comprise pages 575-576, 583-584, 585-586, 597-601. There are seven 6-line initials and two 10-line initials. The pages are in very good condition with slight aging to margins. A nice addition to a teaching collection for the printing arts and history of the book. PRI/070920. Very Good.
Hammersmith: Kelmscott Press, 1892. William Morris greatly admired The Golden Legend, a medieval collection of saints' lives. It was one of the first books printed in England by William Caxton, (1422- 1491), the first English printer, who, as a translator and publisher, exerted an important influence on English literature. In his bibliography of the Kelmscott Press, William Peterson writes that The Golden Legend was intended to be the first book produced by the press, but because of its length and some problems with paper delivery, Morris was forced to issue several shorter volumes before it was completed. The book was completed in three volumes and a celebratory dinner was held in October 1892 (Bibliography pages 19-24). It was printed in Golden type on Flower paper. These 6 leaves display the fine printing and handsome Morris-designed ornamental initials. The leaves comprise pages 3-4, 13-14, 296-297, 368-367, 499-500, 523-524. There are eleven 6-line initials and three 10-line initials. The pages are in very good condition although the leaf with pages 368-369 show some aging and has the name C.B. Foote and New York written upside down in ink at the bottom of page 368. A nice addition to a teaching collection for the printing arts and history of the book. Very Good.
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.
New York: Purgatory Pie Press, 1997. Paperback. Number 127 of 250 copies. Signed by the designer (Esther K Smith), printer (Dikko Faust), and paper marbler (Lauren Rowland). According to the designer, this project was inspired by 'those folded religious pamphlets.' Each of the five artists has created and signed his or her card or the box. Each card has a different theme ranging from sexual experience to a subway mosaic. All are housed in a marbled paper covered card stock box with silver title to front panel. PRI/010213. Fine.
[Seattle]: Sea Pen Press, 1988. Hardcover. Number 97 of 100 copies. Signed by the author. Thomas Brush is an award winning Seattle poet who has written several books and for several distinguished journals. He tended bar for four years at a Seattle racetrack several years ago and found it an enchanted place that values possibilities and dreams. This influence is evident in the poems included in Even Money. This interesting production from the Sea Pen Press has a blue handmade light-and-shade watermarked paper covers that are sewn in a non-adhesive concertina fashion to the text. The orange and brown decorated endpapers were created by Neal Bonham of the press using colored paper pulps in a decorative technique that he developed. There are five linoleum cut illustrations by Suzanne Ferris that "capture the linear poetry of the thoroughbred world" (prospectus). The book also has images of racetrack betting tickets decorating the title page and colophon that were created by transferring Xerox images to linoleum. The text is printed in Monotype Janson and the title page is printed with Weiss Initial Series 2. The book is housed in a coarse tan linen covered clamshell box with blue borders and ticket images on the front cover. Both the book's binding and the case were designed and constructed by Judith L. Johnson. In fine condition. Book is 9 x 11.5 inches. Case measures 10.25 x 13 inches. Unpaginated [21 pages]. PRI/090717. Fine.
Chicago: Sherwin Beach Press, 2008. Hardcover. Number 18 of 50 copies. Signed by the author and the bookmakers. With numerous family photographs provided by Nina Sandlin. Lee Sandlin (1956-2014) was an award winning journalist and essayist. This is his story of the extraordinary life and bewildering illness of Sandlin's father-in-law, Russian immigrant Nick Cherniavsky (1924-2007), who grew up in China. "The defining event of Nick’s life happened before he was born. The Russian Revolution was one of those vast historical calamities that most Americans have been spared: it was a time when people who never thought of themselves as political, who never thought they’d have to choose sides about anything, were forced to make political choices that could easily cost them their homes, their families, and their lives. This was how it was for Nick’s parents." This beautiful book iwas designed by Martha Chiplis, set in Monotype Ehrhardt by Winifred and Michael Bixler, and printed by Martha Chiplis on handmade Twinrocker Taupe paper. Photoetchings from family photographs are printed on Hosho, inset into the book in debossed panels. A map of Nick's lifetime of travel, drawn by Deborah Reade, serves as the front endpaper. Trisha Hammer has designed and executed a hidden crossed-structure binding in Nigerian goatskin with endpapers of Japanese silk, housed in a silk drawstring bag. An impressive production In fine condition. 9 1/2 x 11 x 2 inches. 100 pages. PRI/072115. 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.