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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Harpers Woods, MI: The Adagio Press, 1969. Hardcover. INTERESTING ASSOCIATION COPY WITH RELATED MATERIAL LAID IN. This beautiful copy is inscribed by author John Dreyfus to noted Chicago book collector and philanthropist Samuel R. Rosenthal, "for Sam R Rosenthal after a splendid evening John Dreyfus 16 December 1978 Chicago." Rosenthal and his wife, Marie-Louise, had a pre-eminent book collection that concentrated on livres d'artistes, illustrated books, and private press. This is 39 of 75 folio copies issued with one vellum leaf and one handmade paper leaf laid in from books printed at the Doves Press. There were 329 copies originally printed of this Adagio Press edition (although fewer than 180 were offered for sale), each with two Doves Press leaves: 12 with both Doves Press leaves printed on vellum; 75 with one leaf on vellum and the second on handmade paper; and 242 with both leaves printed on handmade paper. This copy has an octavo vellum leaf from Goethe's "Faust," issued in 1906, and a folio double leaf on paper with Leviticus 16-22 from the famed Dove's Bible. The Adagio Press was founded in the late 1950s by Leonard Bahr, who signed the colophon. In Roderick Cave's The Private Press, second edition, he cites the Bible as the most substantial title printed by the press. In 1970, Strouse had sent two letters to Rosenthal, included with this copy, offering C-S The Master Craftsman. Strouse said that he would make Rosenthal's copy "a little special" by putting in a double leaf from the Bible. Two letters dated 1978 are laid in from Dreyfus to Rosenthal and his wife. These letters and the 1978 inscription indicate that he got to know Rosenthal around this time. In one letter, Dreyfus expresses his appreciation for their expressions of sympathy over the tragic death of his son. There are a few handwritten additions to the text of Dreyfus's essay in this copy, which may have added when he inscribed the book, but this is conjecture. The book is hand sewn and bound in quarter vellum with Cockerell marbled paper covered boards and gilt title to spine. It is printed in red and black Palatino Roman and Pascal types on handmade Tovil paper. In addition to the Doves Press leaves, laid in are the prospectus, a mounted photograph of Cobden-Sanderson with Emery Walker developed from the original negative, a smaller copy of the photo, and a pamphlet issued in 1971 titled "A Letter from Stella." This pamphlet reprints the text of the last letter written by Cobden-Sanderson to his daughter, Stella, a few hours before he died, with an introduction by Strouse. [54 pages.] PRI/042309. Fine.
San Diego: Bay Park Press, 2006. Hardcover. Number 10 of 10 copies. This is a charming and beautifully produced book by Carolyn LaFrance, a San Diego architect who is affiliated with the gallery at the Bay Park Press. Maxine is Carolyn’s beloved feline friend and companion, and the book describes a day in Maxine’s life through text and illustrations. Maxine begins her story: “Sun’s up, I get to go out. Yes, yes, I know, ‘Be careful,’ the howling creatures may still be about. What, you think I don’t know that? What I need to know is, who has been in my yard? Mr. Smushy-face? Walter? Or that grey and white bruiser? ...” Each page includes a hand-colored intaglio print of Maxine at various moments in her day (11 prints altogether). The text is Bernhard Modern type on lovely Fabriano Rosapina Bianco paper. Oblong folio bound in grey linen with black spine. Paw prints decorate the front cover and endpapers. Housed in a black portfolio with a grey cloth square label illustrated with paw prints affixed to front and cream ribbon closure. In fine condition. Unpaginated. PRI/072012. Fine.
San Diego: Bay Park Press, 2010. Hardcover. Number 4 of 10 copies. Book artist Sibyl Rubottom grew up on Long Island Sound where Esther Williams was her hero. She grew up watching her movies trying "to relive the fabulous water ballet sequences." As an adult her love of water continued and she began swimming in La Jolla Cove near her home and later in an olympic sized outdoor pool in Mission Valley. She dedicates this book to La Jolla Cove, one of her regular swimming spots when the water is warm enough. Illustrated with six etchings and three unique oil paintings on mylar. Printed on Fabriano Rosapina Bianco paper using letterpress and intaglio prints, some with chine colle. Set in Bernhard Modern. Oblong folio. Housed in a blue clamshell box. Unpaginated. Fine.
Toronto: Cheshire Cat Press, 2019. Hardcover. Number 13 of 42 copies. Signed by Walker, Burstein, and printer Andy Malcolm. Quarto. This is the latest version of The Hunting of the Snark to be published by the Cheshire Press. Carroll's famous nonsense poem has been subject to numerous interpretations over time. In this truly snarky edition, Walker has chosen President Donald Trump and his White House cabinet and advisors for his 21st century lineup of the characters. He writes: "...I think they match up nicely to to the crew of the ship. When you read the poem and think of Trump's cabinet, it's hard not to see the parallels. The political arena in the USA could be described as nonsense, which is exactly the type of poem [this] is. The plot follows a crew of ten unqualified professionals trying to hunt the Snark with a blank map." Thus such familiar names as Scaramucci, Sessions, Priebus, Pence, Mnuchin, Bannon, Sanders and Trump himself appear in parts that reflect their real-life attributes and roles. Bound in grey textured cloth with leather title label to front cover and gilt title to spine. Printed in New Caledonia type on Velin BFK Rives paper. With thirteen engravings by Walker and "The Snark Map" in a sleeve affixed to front pastedown. Housed in slipcase covered in same cloth as book with gilt titling to cover and spine. In fine condition. 71 pages. PRI/011520. 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.
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.
Mount Vernon, NY: The Golden Eagle Press, . Hardcover. Number VI of 108 copies. Signed and numbered by the artist. Includes fifteen plates. There are thirteen original watercolors by the noted artist, Kurt Roesch. The frontispiece and a second hors-text plate are lithographs. This is an overlooked livre d’artiste, published six years before the press printed Orpheus, a book recognized in The Artist and the Book 1860-1960. This work is the whimsical and mysterious story of a boy, Sprig, and his horse Turfy, and their nighttime adventure and transformation. In the colophon, Roesch writes: “This Archetype Edition of Sprig and Turfy is not only the first but unique in the history of the printed book. It is conveniently limited to one hundred and eight copies, each containing original paintings in watercolor over a key plate in black, printed by S.A. Jacobs, The Golden Eagle Press, Mount Vernon, N.Y.”. Bound in tan buckram with a gilt device on the front board, cloth ties, in a tri-fold chemise in a slipcase, both also covered in tan buckram. Book in near fine condition. Slipcase and chemise are very good with light wear. Unpaginated. PRI/081111. Near 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.
Hammersmith: Kelmscott Press, 1896-97. The Earthly Paradise was a collection of epic and romantic poems by William Morris (1834-1896) that first appeared in 1868-1870 when he was still in his thirties, and established Morris's reputation as an important poet. He planned to do an edition elaborately illustrated by his great friend, the artist Edward Burne-Jones but it was never realized. This Kelmscott Press edition had eight volumes that were issued between July 1896 and September 1897. There were 225 paper copies and 6 copies on vellum. These eight leaves are from volume five and contain pages 33-48 of The Land East of the Sun and West of the Moon. They are collected as one signature. The beautiful text pages have one 10-line decorated initial and twenty-four 4-line initials. Printed on Apple paper in Golden type using red and black inks. This was the first book in which Apple paper was used. Pages measure 6.5 x 9.5 inches. Except for some light browning to page edges the leaves are in near fine condition. An excellent example of the typography and printing of the Kelmscott Press and a wonderful addition to a teaching collection. PRI/070320. Near Fine.
New York: Russell Maret, 2021. Number 23 of roughly 90 copies, signed by the book artist. Printed on a variety of vintage hand- and mould-made papers and handset in Cádiz Ornaments, Baker, and Hungry Dutch types, making this the second book Maret has printed entirely from metal typefaces that he designed. Maret writes in detail of the making of this book on his web page. From his fascinating description: "In 2013 I designed a couple of typographic ornaments while thinking of the pavement designs around the city hall in Cádiz, Spain. The ornaments were not intended to be reproductions of any specific pavement designs, they were simply prompted by the memory of a lovely day walking around Cádiz. Once the metal ornaments were in my hands, I realized that they could be assembled into many more combinations than I had originally imagined. I began to think about a small specimen book. Many of the Cádiz patterns I was designing reminded me of textile designs and, unlike my book Ornamental Digressions, I initially wanted the Cádiz book to starkly emphasize the ornaments’ patterning structure, rather than to concentrate on potential color applications. As part of my bookmaking process I always need to break through a certain amount of thick-headedness before I can get to where I want to be. In the case of this book the breakthrough happened while showing the prints to Annie. After looking through my endless permutations, Annie suggested that I might not need to show every combination, that in fact it might be a more engaging book if there was a bit of surprise, a little variety. This may sound obvious now but, once in it, it can be very hard to see over the walls of a design rut. Finally, the stagnation broke when I realized that I was concentrating on how the pages looked rather than what I wanted the book to be. And what I wanted was a book that felt like a salesman’s swatch book, something assembled from different shapes and sizes, that showed potential without being restrictive, that was not too neatly put together, that had a bit of randomness to it. I began looking through my flat files and found all kinds of vintage papers, none of which I had enough to print an entire edition. They would be perfect for this book. [He changed his ] five-signature dummy into a single signature of a mere 41 press runs. (After printing the book, I realized that some of the sheets had an unacceptable level of show-through. Rather than discard these sheets, I added an “Appendix,” a second signature in which the sheets could be seen, but at a remove from the rest of the book. To make this happen required a final, 42nd pressrun. Not exactly a small specimen book….)" This beautiful book was designed by Russell Maret and printed by him and Sarah Moody during the Covid-19 pandemic. All of the patterns are made from two pieces that were engraved and cast by Ed Rayher at Swamp Press. In fine condition. Measures 9.25 x 6.375 inches. Housed in an acrylic slipcase. ARTISTSB/112321 I.
Baltimore: The Hill Press, 2001. Hardcover. One of 40 copies. Signed and dated by the printer, Stephen Heaver, owner of The Hill Press. This passionate and beautiful tale was written by William Morris at age twenty-one and published with many other of his writings in the short-lived Oxford and Cambridge Magazine. In his introduction, Morris scholar Theo Rehak quoted Joseph Dunlap as having observed that this particular story was the most perfect example of the works published, "a separate thing, better than the rest of the lot." Rehak also said that Morris did not allow these early pieces to be reprinted during his lifetime, and that he does not recall ever seeing an instance of their being done in a fine press book. The story tells of the journey of a Mediaeval stone cutter, his sister and her husband-warrior, all now departed. The prose is lyrical as it tells their story, and the land on which the church sat is described in all its beauty through the seasons. Morris writes of how beautiful the church is "in the solemn starry nights, so solemn that it almost reached agony - the awe and joy one had in their great beauty." This book was printed in Cloister Old Style type on paper made by Twinrocker for this book. Renowned engraver Simon Brett's engravings are printed from the blocks and include a full-page frontispiece of a cathedral interior, overlayed by by an image printed on transparent Japanese paper, and an historiated initial. The title page calligraphy by Sheila Waters was printed from an electro-plate. Bound in quarter black leather and tan decorated paper boards. Housed in grey cloth slipcase. In fine condition. Unpaginated [nine pages of text and three of introduction]. MOR/072921. Fine.
Middletown, CT: Robin Price, Publisher, 2007. Hardcover. Number 49 of 86 copies. Robin Price has designed, printed, and published books for over twenty-five years. Her works can be found in university and public library collections throughout North America and Europe. This book is particularly personal, as well as complex and mysterious. Ms. Price says that “Text excerpts from 86 books significant to me - mostly other artist’s books - were gathered using formulas based on the number 43, which was my age at the genesis of the project.” In her announcement for this book, she says that simple formulas, using modular arithmetic with the number 43, were applied to categories such as page number, paragraph, sentence, line of poetry, etc. The text is grouped by subject matter into sixteen page spreads. Titles of spreads include “Water,” “Counting,” and “Flora.” Paper maps from locations along the 43rd parallels are bound in an accordion that structurally supports the main text, which is printed on graph paper and also hinged together as an accordion. A Legend Card and supplemental Annotated Bibliography are included. The unusual double-layer accordion is housed in an olive green cloth covered clamshell box with a river section printed in blue, and a map-paper spine label. The book was co-designed and co-produced with Daniel E. Kelm at the Wide Awake Garage. The typefaces are handset ATF Garamond and Kabel. Six colors are printed letterpress. All additional printing within the structure is also letterpress, except for the laser-printed text sheets of the 32-page bibliography. 11.75 x 8 x 1.5 inches, opens to 20 feet wide; 32 pages with supplemental 32 page booklet. ARTISTSBOOKS/012011. Fine.
New York: Purgatory Pie Press, 1983. Hardcover. Number 75 of 85 copies bound into hard covers. 95 additional copies were issued in wraps. Signed by the author, printer (Dikko Faust), and designer (Esther K. Smith). An inventive collection of eight tales in which portions of the story have been replaced by lines of color allowing the reader to make up their own stories utilizing the given words. A vibrant book printed in red, yellow, green, blue, and black. Fine in yellow paper covered boards with red title to spine and front cover. Printed at the Center for Book Arts on Lana Laid all rag with red Kozo endsheets. Unpaginated. [24 pages.] PRI/010212. Fine.
London: George Allen, 1898. Hardcover. 4to. 93 of 300 copies. A beautifully illustrated collection of poetry featuring angels, hell, tombs, soldiers, knights, cemetaries, shipwrecks, and more. Black and white illustrations on each page by Anna Richards, wife of the celebrated American landscape painter, William T. Richards. Their daughter Anna Richards Brewster was also a painter. Religious sonnets printed in calligraphic style on fine woven paper. This volume has been rebound in full dark grey leather with five raised bands to spine with no lettering to it or front board. The interior is lovely save for some light offsetting to many pages caused by facing illustrations. Previous ownership inscription dated 1899, gifted to Esther Morton Smith to front free endpaper. Smith (1865 - 1942) was an American poet and artist. 57 pages plus 3 page index of first lines. PRI/031308. Near Fine.
Risbury, England: Whittington Press, 2001. Hardcover. Number 65 of 80 copies of the deluxe edition. There were 825 total copies printed including 745 copies of the regular edition. This is one of the special copies of the annual publication of Matrix, one of the foremost publications on the book arts during its 36 year existence. Sadly, Matrix 36, published in 2020, was the last annual edition of the Matrix series. After 36 years, Whittington Press owners, John and Rose Randle, decided to discontinue producing this fine annual for printers and bibliophiles on the book arts that compiled articles, illustrations, paper and typography samples and book reviews. This issue includes a number of articles by such well-known bibliophiles and book artists as Martyn Ould, Gaylord Schanilec, Ruari McLean, John Dreyfus, and Jerry Kelly. Interspersed throughout are photographs, printing samples, and illustrations. Inserted in a back pocket is the prospectus for this volume. Quarter bound in purple Oasis leather with blue and purple marbled boards. Letterpress printed in Caslon, Fournier, and Garamond types on Somerville Laid and Zerkall Mould-made papers. The deluxe copy includes a separate folder with lavender paper boards containing a Prometheus Press booklet titled 'Royauté ' that was issued in an edition of five copies by Frederic Prokosch. Both volume and folder are housed in a lavender stiff board slipcase. In fine condition. Matrix volume and folder measure 8 x 11 inches. BOB/102621. Near Fine.
Risbury, England: Whittington Press, 2010. Hardcover. Number 58 of 70 copies of the deluxe edition. There were 725 total copies printed including 655 copies of the regular edition. This is one of the special copies of the annual publication of Matrix, one of the foremost publications on the book arts during its 36 year existence. Sadly, Matrix 36, published in 2020, was the last annual edition of the Matrix series. After 36 years, Whittington Press owners, John and Rose Randle, decided to discontinue producing this fine annual for printers and bibliophiles on the book arts that compiled articles, illustrations, paper and typography samples and book reviews. This issue includes a number of articles by such well-known bibliophiles and book artists as David Godine, John Randle, Colin Franklin, Jerry Kelly and Sebastian Carter. Interspersed throughout are photographs, printing samples, and illustrations. Inserted are order forms for Matrix 30 and requests to join the press mailing list. The volume's prospectus inserted in a back pocket. Quarter bound in light blue Oasis leather with blue and yellow marbled boards. Letterpress printed in Caslon, Joanna and Gill Sans types and printed on Somerville Laid and Zerkall Mould-made papers. The deluxe copy includes a separate blue folder with a tribute from Whittington to the compositors at Freshwater. Both volumes are housed in a stiff blue board slipcase. Near fine condition with light sunning to book spine. Matrix volume and folder measure 8 x 11 inches. BOB/102621. Near Fine.
Washington: Wiesedruck, 2020. Hardcover. Number 21 of 40 copies, including five sold out deluxe copies. Signed and numbered by the artist. Poe's introduction to "The Conchologist's First Book: Or a System of Testaceous Malachology" is presented within along with forty-one etchings of fifty-six shells by artist Sarah Horowitz. She writes about this exquisite book on her website: " I received two large cardboard boxes of individually wrapped shells eight years ago after the death of my paternal grandmother. Each shell was in a cellophane bag, stapled shut with a fortune-cookie-sized strip of paper on which was typed the Latin name and origin of the shell. My grandparents had purchased the shells in the Philippines where they lived in the late 1960s. Their house was a veritable cabinet of curiosities which was magical to me. I am engrossed by collections, particularly those of complex organic objects, and by the books that document these collections. This book is as much about the history of collecting and the act of recreating my grandparents’ collection, as it is about shells. This text by Edgar Allan Poe was written as an introduction to The Conchologist’s First Book, first published in 1839 and adapted from Thomas Wyatt’s Manual of Conchology. It was intended to be a cheaper, more concise version of Wyatt’s book for use in schools. Poe was paid to have his name on the title page in order to help sales, but he also wrote an original preface and introduction, and edited and re-organized the text. Poe had an interest in shells from time spent on the South Carolina coast while in the US Navy, and considered the study of shells to be one of the most important branches of natural history. Wyatt’s original text borrowed much material from The Conchologist’s Textbook by naturalist Thomas Brown who derived his work from the writings of Jean-Baptiste Lamarck and Carl Linnaeus." Orange leather spine with decorative printed paper covered boards and gray leather title label to spine. Housed in a cloth covered box with matching paper covered edges. Letterpress printed by Arthur Larson of Horton Tank Graphics on Phoenix paper made specifically for this project by Gangolf Ulbricht in Berlin, Germany. Identification pages are printed on Kaji Natural paper. Housed in a gray cloth slipcase. Binding and slipcase by Claudia Cohen. Measures 6.5 x 9 inches. Unpaginated. PRI/122121. Fine.
DC: Windhorse Press, 2011. Paperback. Number 7 of 12 copies. Signed by the artist. Text is in Russian and English. This book is based on recollections from the artist's childhood about her relationship with her grandmother. After years of knowing her, she is perplexed to learn that she speaks another language, has not always lived in Russia, and has a very different personal history than once assumed. She works through this revelation and ultimately forms a deeper bond and understanding with her grandmother. The text is printed in English with Russian entwined as the narrator gradually embraces her grandmother's revelation. The book is bound in red paper wrappers with black title and illustration printed on front cover. The binding is handsewn using red and grey threads. It is printed using stone lithography for the images and lithographic pronto-plates for the text. Printed at the Corcoran Print Shop on Canson Velin Arches paper. Housed in a red cloth covered clamshell box with inset illustration to front panel. Folio. Unpaginated. [16 pages.] Born in Moscow, Tatiana has been interested in books and bookmaking since her childhood. She holds degrees from the Moscow University of Printing, the University of Maryland, and the Corcoran College of Art and Design. Her work is in collections nationwide and she has recently won an award for traditional illustration. She currently resides in Takoma Park, Maryland with her family. Fine.
Washington DC: Na'ama Zussman, 2015. Hardcover. Number 7 of 12 copies. A beautifully conceived and produced book from Na'ama Zussman, a powerful new book artist originally from Israel. She describes her book: "A Survey of a World scrutinizes interactions between map and territory, along with memory and reality, whether of the surveyor herself - the creator of this artist's book - or of other people. It surveys and seeks to capture the doubt in the role of the surveyor, and the inevitable immersion in this role. A Survey of a World portrays the endeavour of grasping the moment ahead of the impression of the territory, when doubt turns into representation." Na'ama's exquisite images are interwoven with her evocative text as she ponders interactions, memory, and reality. Bound in brown Cialux book cloth, with a goatskin leather spine. The images throughout the book were created through the screen printing process and are done on lovely Thai Kozo paper. The text is composed in Meta Capitals and Constantia. The book is housed in a surveyor's bag made out of grey cashmere, with a leather string. The colophon is in a pocket on the back of the bag. 7 1/4 x 9 3/4 inches. Unpaginated. ARTISTS/081915. Fine.