New York: Limited Editions Club, 1934. Hardcover. Number 930 of 1500 copies signed by Pablo Picasso. This famed edition of Aristophanes's play Lysistrata is considered by many critics to be one of the very finest books published by Limited Editions Club. One of the most ribald works of antiquity,it is illustrated here with Picasso’s magnificent etchings and drawings. It is the only American publication with original etchings by Pablo Picasso and signed by him. Many scholars feel his etchings in this volume are among his most important in the classical style. This edition contains the translation of Gilbert Seldes who translated the text for a stage revival. Seldes was an American writer and cultural critic who served as the editor and drama critic of the seminal modernist magazine The Dial. George Macy, the founder of Limited Editions Club, wrote of this edition, which he designed: "To illustrate Lysistrata, Picasso has given us six etched copperplates and forty pencil drawings. Each plate, each drawing, bears witness to his mastery of method and technique. His line is sure, confident; it cries out to the world that the man who drew it knows what he was about. And the line is pure, it is that sort of line of which even the Greeks used to say that this is 'pure Grecian line.' The etchings which Picasso did for the edition were printed by hand by Charles Furth of New York." [George Macy Imagery Blog]. Bound in heavy boards covered with a three color patterned paper of cream, red, and blue with a design made by LeRoy Appleton from the Picasso drawings. The binding is very good + with very slight edge wear. In a glassine cover that is split along spine and torn along edges. The interior text pages and original etchings are clean and bright in near fine condition. Housed in a blue cloth chemise slipcase that unfortunately is soiled, stained, and worn, with top and bottom edges of chemise missing. Title spine to slipcase is partly detached and soiled. Printed in Caslon types in black and sanguine on Rives paper. Prospectus laid in. Despite problems with slipcase and glassine wrapper the book itself is beautiful. Quarto. 117 pages plus colophon. PRI/100521. Near Fine in Poor Slipcase.
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Mission, BC: Barbarian Press, 2019. Hardcover. An edition of 130, of which this is one of 50 copies in the regular edition. According to the printer: "Our fascination with [Wagener's] work is a response to the meticulous attention to detail which imbues all his engravings, combined with a ‘democracy of aesthetic’ which allows both realism and abstraction equal weight. In a Parenthesis review of Wagener’s early book with Peter Koch, Zebra Noise with a Flatted Seventh, Simon Brett said ‘No one else I know of is making such avant-garde grand opera in wood-engraved prints.’" Richard Wagener (1944 - ) is a Californian wood engraver known best for his depictions of nature and animals, often juxtaposed against abstract imagery. A specially commissioned frontispiece, new press device, and patterned papers have been created for this edition. Folio. Bound black and red checkered patterned paper with black cloth spine and red and white title label pasted down to spine. Includes over 100 engravings printed from the original wood plates on Zerkall White Smooth paper. Unpaginated. PRI/122719. Fine.
Riverside, CA: Bo Press Miniature Books, 2020. Hardcover. Number 15 of 24 copies. Signed and numbered by Pat Sweet. She writes: “The English Toy Theatre” is the first book devoted to this charming souvenir of the Victorian stage since George Speaight’s “A History of the English Toy Theatre” in 1946. With texts by artist and toy theatre enthusiast Tom Knechtel and illustrations drawn from Knechtel’s extensive collection of toy theatre sheets, it is a beautifully detailed portrait of the 19th century English stage as seen through the lens of a children’s pastime.The book is, in itself, a theatrical performance, as it moves from surprise to surprise, from tableau to spectacle. It is the most ambitious book in Bo Press’s history of creating books that entertain us while challenging our preconceptions of what the book is. The three-volume set is in a limited edition of 24, with the first volume (the one with the history) produced as an unlimited edition The book consists of three volumes in a black moire silk-covered slipcase, each volume bound in the Union Jack with black moire silk spines. The first volume consists of a history of the toy theatre and its publishers, a short memoir by Knechtel of how he fell in love with the theatre, and a fragment from a toy theatre play. There are numerous black and white illustrations with colored endpapers drawn from the theatre. The second volume is an elaborate set of black and white pop-up scenes from toy theatre plays, which culminates in an anarchic recreation of one of the surreal pantomimes that are such a feature of toy theatre plays. The third volume is a portfolio which, when opened, reveals a complete toy theatre in glorious color. The theatre includes a curtain which can be raised and a trick in the pantomime taking place on stage. (The proscenium was painted by Knechtel and includes an orchestra of cats.) Below the stage is a small pocket containing a tiny book , “The Toy Theatre in Performance,” which describes how the theatre actually worked." The books are 2 7/8 x 2 1/8 inches. The slipcase is 3 3/8 x 2 5/8 x 2 1/8." In fine condition. PRI/060121. Fine.
Riverside, CA: Bo Press Miniature Books, 2014. This is a welcome reissue of one of Pat Sweet's most inventive miniature works. "Welcome to Hell" comprises twelve pieces of Hellish ephemera that play with some of the images and ideas of the infernal regions from popular culture. The result is a surprisingly humorous and engaging production. Pat described it as one of her most fun projects ever. She writes: "Most religions have discarded the idea of a retributive afterlife, but the idea remains in the popular consciousness as folk belief. Images of old-time Hell are much more common than those of Heaven: Dante invented a whole complex gradation of torments for an exactly sorted list of sins. But grinning devils with pitchforks continue to poke burning sinners, and Satan continues to offer shady your-soul-for-your heart's desire deals in folk tales and legends." The items are stored inside a shopping bag labeled "Welcome to Hell." Your goody bag from Hell includes: Welcome To Hell! (with FAQs! - for example, "Am I really here for all of eternity?" "Yes") A Gallery of Hell (Hell in famous paintings) Visitor's Book (Yes, some people get to leave) Hellhounds of the Underworld (Hell has a surprising number of dogs) Go To Hell (a board game for sinners of all ages) Devil Cards (collect 'em all!) Seven Deadly Sins Post Cards ( by Bruegel) Hotel Grand Pandemonium dinner menu (Annual Famous Last Meals Banquet),an extra gameboard, Hellmouth Pop-up Cards (three thrilling maws) Maps of Hell (maps of Dante's Hell). Also included is a complimentary fan - Hot Enough For Ya? - with picture of devil's head - not that it would do much good. The bag is 3 x 2 3/8 x 1 3/8 inches. The items in the bag vary in size but are all miniature. In fine condition. PRI/060121. Fine.
Toronto: Cheshire Cat Press, 2019. Hardcover. Number 37 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.
Toronto: Cheshire Cat Press, 2017. Number 31 of 42 copies. Signed by the printers and the author of the introduction, who are ardent and well-known Carroll admirers. The Cheshire Cat 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. Edward Wakeling, who wrote the introduction, is an internationally known authority on Carroll. From the prospectus: "Here finally is a book collecting all the Alice associated images into one volume. In this book is the work of the other PUNCH illustrators who were influenced by John Tenniel’s pictures for Lewis Carroll’s Alice. Oh yes we include Tenniel too! Through the many decades that Punch existed (1841-2002), references to the Alice books have been a common feature. Now you can have them all in one volume. The images are printed by hand directly from polymer plates made by Boxcar Press, except Alice Reigns Supreme (page 27) which is printed photo-mechanically. The plates were created from high resolution scans made directly from the original PUNCH publications. Printed on 115 gsm Rives Lightweight Buff 100% rag paper using a Vandercook Sp15 letterpress." Bound in green cloth with gilt title to spine and gilt ruling and Punch figure to front cover. Punch figure repetitive design to endpapers. Housed in a green cloth slipcase. In fine condition. 10 x 13 inches. 57 pages. PRI/031221.
Glenview, IL: Karen Hanmer, 2014. Hardcover. Number 9 of 100 copies. Signed by the author. This book was inspired by a call for entries by the Guild of Book Workers with the theme of "vessel." Karen describes the text of her response as 60% memory and 40% casually researched, mostly on Wikipedia. Karen's book focuses on the iconic containers and conveyances of her childhood and adolescence between roughly 1962-1979. She juxtapositions her text with photographs of such "vessels" as the Chevy Nova, Crock-Pot, Electric Frying Pan, Mood Ring, Frye Boots, the 747, and more. Her words are often amusing, but they also offer astute observations on her family and our society during the period covered. This is the deluxe edition with marbled paper covers by Pamela Smith. Digitally printed and housed in a purple paper covered slip case. Digitally printed. In fine condition. 5 x 7 inches. Unpaginated [26 pages] PRI/121415. Fine.
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.
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.
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.
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 17 - 32. Pages 17-29 are the final pages of The Death of Paris. Pages 30-32 are the first three pages of The Land East of the Sun and West of the Moon. Pages 30-31 are the gorgeous double spread title page and first lines with beautiful borders by Morris and a 12-line first intitial. They are collected as one signature. The beautiful text pages have two 10-line decorated initials, two 6-line initials and three 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.
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 60 of 90 copies of which 87 were numbered and 3 were proofs. Signed and numbered by the book artist. This work comprises three volumes housed in a custom clamshell box. It is a powerful response by one of our most acclaimed contemporary book artists to the alarming state of the country and the fractured state of political discourse in America. Maret writes in his colophon: "This book was designed and printed between November 2020 and February 2021. During that time Joe Biden defeated Donald Trump in the presidential election by a margin of 74 electoral votes and more than 7 million popular votes. Rather than concede defeat, Trump has continued to promote the baseless claim that the election was rigged by the Democratic party and its "deep-state" operatives. At a rally on January 6, 2021, Trump incited a violent insurrection of the United States Capitol building, an action that is clearly described in the Constitution as treasonous (Article III, Section 3). Despite this, the mob that carried out Trump's failed coup attempt overwhelmingly identified as people willing to die or, more likely, kill to defend the Constitution.....Three Constitutions is my response to these events and the culture that bred them. It is well known that Trump does not read, but the glaring disconnect between basic constitutional principles and the actions of Trump's followers raises the question of whether these self-described patriots have read any part of the constitution besides the second amendment. Three Constitutions is my response to these events and the culture that bred them. The large volume contains the full text of the Constitution and its amendments. It is set in a typeface that, though difficult to read, is legible once one becomes accustomed to its forms. The texts of the two smaller volumes were arrived at via the two most prevalent modes of constitutional interpretation: algorithmic skewing and selective redaction. The text of the volume titled Constitution. United States. was arrived by feeding the text of the Constitution through Google Translate,going from English to Esperanto to Russian to Chinese and back to English. The other small volume was set in metal type and subsequently redacted by physically turning key words and phrases over and printing the underside of the type. The resulting text is not the hopeful re-write I would conceive; it is intended to reflect the cynical, ineffectual state of political discourse in the United States." All of the typefaces were designed by Russell Maret. Printed on Zerkall and Twinrocker Handmade papers. The large volume is 10 x 14.25 inches and held in a clear acrylic box. The two smaller volumes measure 7 x 10 inches and have black cloth covers with white titling to front cover. All three are housed in large clamshell box covered in gray cloth. It measures 16 x 11.25 x 2.75 inches. Accompanied by the prospectus. In fine condition. Fine.
Maplewood, NJ: Olchef Press, 2020. Number 12 of 55 copies. Signed by the poet and signed and numbered by the book artist, Sydney Jean Reisen. Reisen studied at Rutgers and at the Corcoran College of Art and Design. Her books can be found in several collections nationally including the Library of Congress, the Brooklyn Museum, and the Getty Institute. Poet John Yau (1950 - ) has published over 50 books of poetry, fiction, and art criticism. His first book of poetry was published in 1976. Since then, he has won acclaim for his poetry’s attentiveness to visual culture and linguistic surface. In poems that frequently pun, trope, and play with the English language [Poetry Foundation]. Catullus (c. 84 – c. 54 BC), was a Latin poet of the late Roman Republic who wrote chiefly in the neoteric style of poetry, focusing on personal life rather than classical heroes. His surviving works are still read widely and continue to influence poetry and other forms of art [Wikipedia]. This lovely book marries Yau's evocative poem to Reisen's thoughtful and beautifully executed artist's book. She writes in her prospectus: "If Catullus is going to sail to China he better have a boat that floats. John Yau’s words take a poet to his destination, but words are impermanent. Printing, in particular letterpress, give words physicality, it forms and protects them. Printing creates text. It was the mission of this book to not impede the words’ journey by making sure the text was equally seaworthy. First, there needed to be a sea. The element of water was introduced by the flexible fibers of kozo paper. Kozo was the right substrate, but in turn it created problems of buoyancy. Another characteristic of the paper, transparency, sunk the text into a puddle. To open the route and keep the text afloat, a rig and a crew were implemented. The structure of the book, the materials, and printing techniques were developed to fill these roles. Once the text was secure on the surface, the book granted the text more liberties. It was able to rise and fall, fly and dive as it journeyed eastward. Hopefully the reader enjoys the ride more than Catullus. Nine poems are printed on Sekishu and color kozo from Hiromi Paper and stab bound in a shop-made muslin bookcloth to construct a fluid and strong book. The texts are set in cold metal Bembo in tandem with prints crafted with ornamental letterpress, wood and resingrave block, and pochoir. The applied colors are distemper inks derived from historic recipes for preindustrial wallpaper production." Housed in a black archival box with a white spine with black titling. In fine condition. Book measures 6 x 7 inches; Box is 7 x 8 inches. ARTB/092821. 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.
Chicago: Starshaped Press, 2020. One of 40 copies signed and numbered by the book artist. This splendid production from Jennifer Farrell's Starshaped Press celebrates her love for Chicago and showcases the impressive type and ornament collection that she has gathered and uses for her work. For this production she created ten multi-colored prints, or ELEVATIONS, that cover the themes of printing, women, labor, music, neighborhoods, architecture, motherhood and perseverance. Each tells a story in image and anecdote while featuring a grouping of typefaces based on her approach to the subject. Ten CONSTRUCTION DRAWINGS designed to resemble traditional architectural bluelines explain and document the text and typography of the prints. Each set is held in an archival folder and housed in a clamshell box. She writes: "Since 1999, Starshaped Press has stayed true to the original craft of letterpress, disregarding the naysayers that claim antique metal & wood type is too limiting for quality design. With solid presswork and hard working midwestern gumption, I like to buck popular trends by showcasing the beauty and relevance of well-designed, historic type. Unlike most letterpress shops, Starshaped focuses on reusing existing materials (some over 150 years old) for all projects, meaning no plastic is ever used in production. The substantial metal type collection at Starshaped Press is constantly growing and evolving alongside my life experiences that are deeply rooted in Chicago. The urban environment is the backdrop for this typographic memoir that showcases the studio’s type collection and serves as a pictorial representation of the first 25 years of my life in the city." Printed on Mohawk Superfine Cover paper. The clamshell box is covered with red cloth with a pictorial title label affixed to the cover. Fine condition. Prints measure 11 x 17 inches. Box is 11.75 x 18 inches. ARTISTSB/061920. Fine.
Bennington, VT: The Bird Press, 2000. Since 1997, The Bird Press has been an artist-run publishing project that has focused on hand printed artists’ books. All projects utilize some inherent aspect of the book and often take the form of open-ended collaborations with writers. Each project is a response to the last, both in form and content, in order for the work to continually evolve. Poetry, broadly defined, is a major inspiration for most of the work. Editions between 15-40 utilize various print media including: flatbed offset lithography, stone lithography, etching, letterpress, wood blocks, and digital pigment printing. Book artist Thorsten Dennerline creates paintings, drawings, and prints in addition to artists’ books. He has exhibited work across the U.S. as well as in Chile and Denmark. His work is represented in numerous collections including Yale University Library, the Library of Congress, UCLA, Stanford University, and the Kunstindustri Musset (Denmark).Number 26 of 40 copies in the regular edition. There are also 10 special bindings and 5 unique artists proof bindings. Signed and numbered by the book artist. A collection of eight poems by Danish poet, typographer, art critic, and translator Peter Laugesen (1942 - ). He was awarded the Danish Critics Prize for Literature in 2003. These poems were written in Denmark in 1999 specifically for this collaborative project with artist Thorsten Dennerline. He describes his eight etchings in this book: “[They] are meant to be an accompaniment to the text that functions as a collaboration similar to the way musicians might play together.” Bound in quarter vellum over blue cloth boards, which are laced into a vellum covered spine with five strips of alum-tawed thongs. The endbands are buttonhole stitched with waxed yellow thread. The front cover is titled in black and the rear cover has a black star printed near the bottom edge. The text is in both Danish and English. The Danish text is printed on translucent Seikishu Japanese paper and the English translation is printed on a thicker stock. This allows the reader to view the poems in both languages mirroring each other through the transparent paper. Unpaginated. [50 pages.] Size: 9.75 x 10 inches. In fine condition. ARTB/032417. Fine.
[Toronto]: George A. Walker, . Hardcover. Copy A of ten lettered copies done for private distribution. Signed by George Walker, Justin Trudeau, George Elliott Clarke, and Tom Smart. This book was originally a limited edition of 15 signed and numbered copies. A stunning book and fitting tribute to its subject, Pierre Elliott Trudeau, who was one of Canada’s most charismatic - and polarizing - politicians. His tenures as Prime Minister during the 1970s and 80s were marked by conflict and crisis but also by a sense of nationalism, the development of multiculturalism and Canadian pride. He is known for invoking the War Measures Act in response to FLQ terrorism during the October Crisis; for introducing the Official Languages Act to improve the position of francophones in Canada; and, perhaps most memorably, for the patriation of the Canadian constitution and the establishment of the Canadian Charter of Rights and Freedoms. Trudeau: La Vie en Rose pays tribute to the life and career of this influential Canadian. In a series of eighty wood engravings, George Walker documents Trudeau’s political achievements, events of cultural significance and famous friends while also capturing Trudeau’s confidence, passion and irreverence. Presented without captions and open to interpretation in any language, it is a testament to the multilingual culture of Canada and a celebration of the man whose political legacy has had a profound influence on the definition of Canadian culture. Trudeau’s influence has now been mirrored by his son Justin Trudeau, the also charismatic current Prime Minister of Canada. He wrote a moving tribute to his father, included here, taken from his eulogy at his father’s 2000 funeral. Also included is an eighty item chronology that corresponds to the engravings. The engravings are hand printed on 250 Rising Stonehenge 100% rag archival paper with text and headings in Bembo and Bernhard types. It is bound in full red leather with title in gilt to spine and a rose in gilt to front cover. It is housed in a clamshell in quarter red leather and beige cloth covers. An engraving of Trudeau is inset on the front cover. In fine condition. Book size: 6.25 X 8” X 2.5 inches. Unpaginated. [232 pages printed recto] PRI/110716. Fine.
DC: Windhorse Press, 2013. Hardcover. Number 7 of 7 copies. "In my book 'Florentine Pages', I want to take the reader through the streets of Florence in the same manner as taking journey through the book. The entire experience of walking through the streets of Florence is akin to flipping pages of a book. The text is a narrow black passage leading to a colorful illustration, represented by fountains, cathedrals and towers, just beyond the corner. The city is a live version of the book that the reader doesn’t read but live in. The city of Florence itself parallels the structure of a basic codex book form. While the exteriors of buildings represent dark gray color with some yellow from street illumination during evening hours, there is a different life inside of the buildings. The same happens with the cover and interior of the book, which are usually quite different. The codex book form includes photographic images of Florence, which I took during my trip, combining with woodcuts and manuscript, as well as letterpress" (artist statement). The text, which winds around the negative space between her illustrations, features Tatiana’s observations about Florence. It is handwritten in both English and Russian, and is printed lithographically. She supplements her personal experiences with letterpress printed quotes about the city by famous Italians such as Dante Alighieri, Bruscaccio da Rovezzano, Michaelangelo. (These quotes are in English only.) Each copy is bound a little differently. This book is bound in red cloth with dark red leather spine and woodcut illustration inset to the front cover. The silk headbands are handsewn. The images and text are printed from a combination of lithographic pronto-plates, woodcuts, letterpress, and polymer plates. Unpaginated. [48 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.