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.
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Maureen Cummins, 2016. Hardcover. One of 40 copies. Signed the artist. In this powerful work, noted book artist Maureen Cummins investigates the dark side of the history of psychosurgery, as exemplified by the career of Doctor Walter Freeman (1895-1972), a professor of neurology who became known as the father of lobotomy by single-handedly popularizing the pre-frontal lobotomy in America. Although he had no formal training in either surgery or psychology, Freeman modified the traditional procedure for lobotomies by driving ice picks through his patients’ eye sockets rather than drilling into the skull to sever nerve connections in the prefrontal cortex to treat mental illness. Despite his championing of his procedure he admitted that lobotomies often created childlike behavior or a vegetative state in patients. Hundreds of patients died. The controversial procedure also raised numerous questions about patients’ rights, the abuse of institutional power, and the disproportionate targeting of women. Of the more than 3000 patients that Freeman operated on, two-thirds were women. Cummins uses physical rape as an analogy for neurological penetration, a form of sexualized violence that was perpetuated for decades in the name of medical progress. She visualizes this by a series of laser cut holes that bore through each page, becoming smaller page by page.The holes penetrate reproduced images of lobotomy patients’ heads and on the last page the title “The Rapist” becomes “Therapist?” The images of women are from 'before-and-after” photos used in Freeman’s textbook, which are re-contextualized, with lines of typography serving as blindfolds, reclaiming for these women a measure of dignity, humanity, and anonymity. The pages of the book are laser-cut aluminum with silkscreen-printed text and imagery. The covers are also laser-cut aluminum with a large hole that reveals the subsequent holes and "The" and "rapist" on either side of the cover's hole. The pages are attached to the cover by two ring binders. Housed in an aluminum box with a metal title label affixed to the top. In fine condition. 16 pages. 24” x 9” x 1” open 12” x 9” x 1 closed. ARTISTSB/100419. Fine.
San Francisco: Deeply Game Publications, 2012. Hardcover. Number 45 of 55 copies. Signed by the author and book artists. Book artist Sara Press collaborated with Andrew Rottner to create this exquisite tribute to printing’s golden age. "The story, by Christina Lauritsen, mis-remembers H.C. Andersen’s classic tale of the same name, transforming it into a story of revelation and madness. The visual progression of the book mirrors the plot, pitting the beauty of the decorative arts against the intense and unpredictable messiness of human experience. This book confronts the inevitability of loss and bows to intellectual freedom and its attendant risks." [artists' statement]. The book is printed in Garamond and Bembo types on Moab Entrada paper. It features two 26 inch wide foldouts with illustrations by Rottner. The striking cover is done from a cut-marbled-paper and brocade. The book measures 7 x 9 inches. It is unpaginated. Deeply Game Productions creates and distributes the art works of Sara Press and her collaborators. Sara L. Press is a photographer, printmaker and book artist based in the San Francisco Bay Area. Many of her projects examine peculiar areas of overlap between nature and culture (for example: dog fighting, feral children, and our co-evolution with snakes). Sara has also wrestled with the relationship between creativity and the scientific method. Recently, Sara has turned to constructions of masculinity and femininity in our culture (such as human bloodsports and altered fairy-tales). Her work can be seen in public collections around the country and are also in many library and private collections. A lovely book in fine condition. PRI/021919. Fine.
San Francisco: Gazelle and Goat, 2018. Number 20 of 40 copies. Signed and numbered by Rhiannon Alpers, the book artist. Rhiannon has been a book artist, maker of paper, and bookbinder based in San Francisco for almost twenty years. She is fascinated by structures and boxes, and much of her work is focused on nature. This beautifully designed and executed book is emblematic of Rhiannon's artistic interests and aesthetics. She writes of her book, which was inspired by author Glynis Ridley: "When Jeanne Baret stepped on-board the Etoile ship in 1766, she didn’t set out to be the first woman to circumnavigate the globe. Alongside her colleague, accomplice and lover, Philibert Commerson, she took on many roles during the expedition as a botanist, herb woman, nurse, and cataloger of the more than 630 specimens they brought aboard. This limited edition artist book traces the expedition of the first woman to circumnavigate the globe, through the lens of the botanical discoveries she made along the ship’s journey. Jeanne Baret was not able to document the expedition herself, due to the forbidden nature of her passage on this journey, but her legacy has inspired many, and spurred the creation of this book." The book has a removable magnetic spine binding that opens completely back-to-back, with a digitally produced specimen chart hidden within. Hahnemuhle Bugra Fawn folio maps are letterpress printed from polymer plates, adapted from French expedition maps from the published logs “Voyage Autour du Monde par la Frégate du rio la Boudeuse et la Fluté L’Etoile.". Crane’s Lettra Ecru 90lb specimen folios letterpress printed from linoleum blocks and polymer plates. Plant outlines are laser cut and secured with Japanese tissue. Laser cut specimens were adapted from the original plant specimens collected by Commerson and Baret on the expedition, archived in the Museum of Natural History in Paris. Interleaved vellum sheets with macro photography by the artist laser printed on Neenah UV Ultra II. Spine bound with Gmund Bier Paper [colophon]. In fine condition. Measures 8.25 x 9.5 inches. Unpaginated. ARTISTSB/072419.
2011. Hardcover. Hand-lettered Manuscript. Using the same materials and techniques that have been employed by scribes for centuries, calligrapher Maryanne Grebenstein has created a unique manuscript containing Pangur B'an, a ninth century poem written by an Irish monk. The poem is a playful story, told by the monk, of the similarities between his work and that of his cat, Pangur B'an. The artist successfully captures the playful tone of the poem with her calligraphy, layout, and embellishments.Bound by Bexx Caswell at the White Sparrow Bindery (Somerville, MA) in green and black paper covered boards with hand written title label pasted down on the front cover. The paper used for the cover was handmade by Cave paper. The manuscript was hand lettered in the Uncial style, using Moon Palace Sumi ink and Soennecken pen nibs on Ingres d'Arches MBM text paper. It is decorated with raised 23 karat gold leaf and Winsor & Newton gouache. Each page contains a unique layout. The manuscript is signed and dated by the book artist and binder, and described in the colophon. Measures 10 inches by 7 inches. [16 pages.] Calligrapher and book artist Maryanne Grebenstein (Hingham, MA) is a student of Sheila Waters, Jeanyee Wong, Robert Boyajian and others. She owns The Abbey Studio which offers professional calligraphy services and classes and Turn-in-the-Path Books which produces unique and limited edition books and broadsides. Maryanne also teaches at the North Bennet Street School in Boston and is a Visiting Artist at the Corcoran College of Art+Design in Washington, DC. Fine.
Washington DC: Kristin Gubrandsdottir, 2010. Soft cover. Number 10 of 11 copies signed and numbered by the book artist. Kristin is a book artist, furniture maker, and teacher from Iceland. Her works typically address feelings, memory, and experience. She studied book arts at the Corcoran College of Art + Design in Washington DC where she made this book. She currently resides in Brussels. Awakening is a powerful photobook done in response to the loss of friends that "left me wondering about the meaning of our existence and why some leave too prematurely." The photographs and text address these questions and the strange feelings that arose in her at night that left her waking up "knowing that one day I will die." The twelve evocative color photos are reproduced in an oblong accordion style book and juxtaposed with letter press text. Printed on Soberest paper using Minion Pro Regular and Medium Italic fonts. Bound in white stiff paper with titling on front cover. In fine condition. Unpainted. PI/022119. Fine.
Glenview, IL: 2009. Hardcover. Number 28 of 100, each unique. A photographic, conceptual documentation of a journey across a rural Midwestern landscape. Winner of the award for best 3D entry in the 2010 Midwestern Biennial exhibition at the Rockford Art Museum (Rockford, IL). "Mirage beautifully represents the concepts of time and motion through a sequence of dreamlike images that whirl across the pages. The photographs, blurred as if taken from a speeding car, describe place and memory in a manner that is melancholic yet detached. The book is a diary of sorts, documenting the quickly passing and often unperceived moments that later prompt recollection. " Jeff Rathermel, Minnesota Center for Book Arts. A drum leaf binding with dark brown cloth spine and illustrated paper covered boards. Titled in brown on the spine. Pigment inkjet printed. Full edges brown. Housed in an archival paper case with the artist's contact information and edition number on the front panel. Unpaginated. [16 pages.] ARTB/060111. Fine.
Glenview, IL: Karen Hanmer, 2010. Hardcover. Number 21 of 25 copies in the Deluxe Edition. The edition consists of 125 copies of which 25 are deluxe, 50 are standard, and 50 are printed as chapbooks. Noted book artist Karen Hanmer examines the writings of Edgar Allan Poe and compares modern events to his stories. “The physical structure, typography, and design for the paper wrapper ... are based on the first edition of Poe’s first published work, Tamerlane and Other Poems. Only twelve copies of this modest pamphlet are known to exist of the fifty printed in Boston in 1827” (Hanmer). This copy is presented in an early 19th century boarded binding based upon a technique taught by Jeff Peachey. Bound in marbled paper covered boards with beige paper spine and title label to the front board. The paper was marbled by Pamela Smith. Inkjet printed on Ruscombe Mill pale wove handmade paper. Housed in an archival folding case with a replica of the Tamerlane title page pasted to the front cover. The case has a Velcro closure. In fine condition. 36 pages. ARTB/011516. Fine.
Glenview, IL: Karen Hanmer, 2004. Hardcover. Number 19 of 30 copies. Signed and numbered by the book artist. Features photographs, archival documents, and text pertaining to the Wright Brothers' experimentation to develop the first manned, powered flight. Bound using the flag book structure with illustrated paper covered boards. This book was created for Turning Pages: A Collection of Artists' Books shown in The Living Room, the family installation space at the Wichita Art Museum. Housed in an archival paper case with the edition number and artist's contact information stamped on the front panel. Measures 7 x 26 x 5 inches open and 7 x 5 x 3 ¾ inches closed. Unpaginated. [16 pages.] ARTB/032417. Fine.
Basel: Romano Hänni, 2017. Hardcover. Number 64 of 87 copies of the standard edition. The text is in German, English, and Japanese. Master book artist Hanni has long been passionately speaking out through some of his books about the devastating effects of contamination from nuclear facilities. This powerful work is about the Fukushima nuclear disaster in Japan in 2011 that occurred after a severe earthquake and its accompanying tsunami. It was the most significant nuclear incident since the 1986 Chernobyl disaster. He writes in the text appearing on the inside of the book's stiff paper covers that claims made by nuclear scientists "that no health consequences are to be expected from contamination are unscientific, immoral, and criminal." He further states that "there is no peaceful use for nuclear energy. It is repressive, criminal and deadly. Only nuclear plants that have not been built can offer absolutely safety." Hänni writes much more to detail what happened and the dire effects. He believes that the catastrophe in Fukushima is a "disaster beyond human imagination in both time and scope." The title comes from parts of the text where Hänni writes about the many people permanently displaced in order to escape the contamination resulting from the disaster. The book itself is printed in five colors on paper towels, an innovative technique that Hänni has successfully used in a previous work. On the pages small selections of text are juxtaposed with letters, images, and symbols to communicate the event and its aftermath. The results are stunning and thought-provoking. Hand composed and hand printed letterpress. Most of the pages required several printing forms and runs. Books are handbound. The production took about 1400 hours to complete. Housed in a grey paper covered slipcase with title in the three languages on a white spine. The book is accompanied by a glossy 12-page color pamphlet with 108 photographs documenting the production process. Book has 64 unnumbered pages. 9.25 x 10.25 inches. In fine condition. PRI/101017. fine.
Basel, Switzerland: Romano Hänni, 1988 / 89. Hardcover. Number iii of vi artist proofs. There were 81 copies in the regular edition. Signs from the Stone Age features Swiss book artist Romano Hänni’s modern interpretation of the prehistoric imagery found in the caves of Lascaux in Dordogne, France. Juxtaposed with Hänni’s designs are photographic reproductions of the original cave paintings, excerpts from literature about the people of the Stone Age, and text by the book artist giving his interpretations of the imagery. Fine in off-white paper covered boards with black title to spine and front cover. Hand composed and hand printed in red and black ink with five photographs printed in offset. Text in German. Includes a one page English explanation of the book and its design. 20 pages. ARTB/011713. Fine.
Philadelphia: Benjamin Iluzada, 2019. Number 5 of 5 copies signed and numbered by the book artist. Benjamin Iluzada is a young and rising book artist of Philippine descent. He incorporates aspects of his heritage in his book works. This powerful book uses linocuts, screenprints, lead type, monoprints, and pulp blowouts on translucent abaca paper handmade by Ben. The imagery is inspired by Barong Tagalog embroidery, which is part of a traditional garment from the Philippines, and the monotype images of a belt were printed using an actual belt that his father used to spank him during his childhood. There are two different selections of text in the book: the first is an autobiographical narrative about the corporal punishment experienced by the artist that was hand written and then screenprinted throughout the book; the second is a short selection of text, printed from lead type and hides on the first and last page, that is taken from a published clinical study on the effects of physical punishment on children. The abaca paper covers have a white image of a belt across the front and back covers. Bound with a string binding. In fine condition. Housed in a plain blue archival enclosure. Book measures 11.25 x 14.25 inches.
Minneapolis: Indulgence Press, 2011. One of 20 copies. Arthur & Barbara is a portrait of art critic/philosopher Arthur Danto and artist Barbara Westman as seen reflected in the space of their New York City apartment on Riverside Drive. This book embodies their life and work in symbolic forms of thoughtful play. Arthur & Barbara is a collection of simple objects, images and “games” referring to both Duchamp’s Boîte-en-valise and to Fluxus Collections. The box contains laser-etched glass with a plan view of the apartment. Beneath the glass, separated spaces hold a DVD with images of Arthur, Barbara and their apartment, a hand-bound codex filled with photographic illustrations and brief text, a glass block laser-etched with an illustration by Barbara Westman, two chairs, handmade dice, and a spinner. A drawer holds a folio of letters written by Sean Scully, Shirin Neshat and Barbara Westman, and an introduction by David Carrier. A fascinating way of documenting the lives and personalities of this interesting couple. In fine condition. Size: 13 x 12 x 7 inches. PRI/041111. Fine.
Ft. Lauderdale, FL: Dorothy Krause, 2007. Hardcover. Number 18 of 26 copies. Numbered and signed by the book artist. This book was inspired by a Little Red Riding Hood doll that the artist had as a child. "When Little Red is turned upside down, the wolf, in grandmother's clothing, is revealed under her skirts. A long lost music box, embedded in her back, played 'Who's Afraid of the Big Bad Wolf.'" Includes text from the poem "Silver and Gold" by Ellen Steiber (1994). The featured wood engraving is by Gustav Dore (1869). Fine in red cloth boards with black title and illustration printed on front cover. The book is accordion bound and printed in black and red. Housed in a plain black paper envelope. Unpaginated (6 pages). ARTB/103018. Fine.
Rutland, VT: Shattuck Gallery, 2010. Number 2 of 4 copies. This powerful work addresses the issues of women's rights and empowerment. The production comprises a number of stiff paper female figures of various ethnicities and garb, eleven small white paper books by and about women, and a blue scarf printed with women's names. They are housed in a cork covered closet/box with a title label to top. States the book artist Shattuck: "Through the process of making and dressing cutout women figures, stories unfold. These figures, represented globally, bring light to the silent crimes they endure. “Rape is the culture of silence”, quotes President Ellen Johnson Sirleaf. In India, bride burning takes place approximately once every 2 hours. In Asia alone, one million children are working in the sex trade. Violence and abuse towards women takes place everywhere. This installation of women who stand on a named scarf celebrate their dignity while telling stories of hope." printed on Epson Radiant White Watercolor paper, cotton, vellum, Canson Mi Teintes, and cork paper. Box measures 12 x 7 x 7 inches. In fine condition. ARTISTSB/070119. Fine.
Rutland, VT: Carolyn Shattuck, n.d. Open edition of this beautifully crafted origami-designed book. This collaborative book was made to commemorate Carolyn's experience living in Okinawa for three years. The folds of the book reflect traditional patterns from Edo craftsmen. These fine patterns represent the distinguishing tastes of Edo including stylishness, sophistication and refinement. The haiku created by Victoria describe their reverence for our home and harbour, Earth (from colophon). Digitally printed on Epson Matte and Japanese Washi paper. The boards are covered in lovely Genji cloth with paper title label, with ribbons to close the book or to hold the pages open. 4.5 x 4.5 x 1 inches. In fine condition. ARTISTS/062819. 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.
Chiapas, MX: Taller Leñateros, 2002. A Mayan romance with text entirely in Spanish. Bound in handmade black paper covered boards with a heart shaped cut out to the front cover. There is a velvet heart attached with a black ribbon to the binding. Printed in black and red with many illustrations, a double sided heart shaped volvelle, fold out pages, an inset book, and a charming story. Taller Leñateros, or The Woodlanders' Workshop, is a community of Mayan artists who produce handmade paper, artists' books, silkscreen and wood block prints, pansey graphs, natural dyes, and magic spells. The society was founded in 1975 by poet Ambar Past, and continues to flourish while offering training and employment to men and women who have no education and no career. Inspiration for many of the projects comes from dreams, nature, and Mayan history and tradition. Size: 9 x 11 inches. Oblong. Unpaginated. ARTB/081419. Fine.
Mexico: Taller Leñateros, 2010. In Spanish and Mayan. Third edition. Taller Lenateros, or The Woodlanders' Workshop, is a community of Mayan artists who produce handmade paper, artists' books, silkscreen and wood block prints, pansey graphs, natural dyes, and magic spells. The society was founded in 1975 by poet Ambar Past, and continues to flourish while offering training and employment to men and women who have no education and no career. Inspiration for many of the projects comes from dreams, nature, and Mayan history and tradition. Thirty years in the making, this book was created by 150 Mayan women. The collection of spells, hymns, and incantations was originally captured on tape in the Tzotzil language (a Mayan dialect), and was then transcribed and translated by Ambar Past. The prologue is written by Juan Banuelos. Included are 45 poetic incantations, 40 silk-screened illustrations, and more. The English / Mayan version of the book, titled "Incantations of Mayan Women" which includes a few more poems than the Spanish version, was featured in the 2007 ‘Book as Art: Twenty Years of Artists’ Books exhibit at the National Museum of Women in the Arts. Unpaginated. Bound in brown handmade paper covered boards with a large relief face depicting the Mayan goddess of the wilderness filling the front cover. The endpages are also handmade. Housed in a printed cardboard box with white title to spine panel. Minor wear to edges of box. 191 pages. ARTB/070110. Fine.
Bennington, VT: The Bird Press, 2014. Number 18 of 30 copies, numbered and signed by the artist. A collaborative project between poet, Mark Wunderlich and artist, Thorsten Dennerline. Wunderlich describes the process: "I receive[d] a maquette of the book with the photographic images - devoid of drawings and voids which were added later - and in response to the images and the limitations of these pages, I would write a poem." A few months after he received the images, the poet's twenty-one year old nephew died, which altered his initial response from "hopeful and rather lonely" to melancholy - as if the images were "inhabited by a ghost." His poem "became a meditation on [his] nephew ... an elegy." While Wunderlich composed his poem, Dennerline drew the illustrations - neither knowing how the other was interpreting the photographs or how the three components would come together. According to Dennerline, they chose to work in this manner "in order to create an element of unpredictability, as well as a sense of improvisation and openness to the artistic process." The book is accordion bound in orange cloth boards with illustrated paper pastedown to front cover. The illustrations were printed by the artist from lithographs and etchings. The text was letterpress printed at Wild Carrot Letterpress on paper produced by the Saint Armand Papeterie of Montreal, Canada. Bound by Mark Tomlinson. Housed in a grey cloth slipcase. 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; and his work is represented in numerous collections including Yale University Library, the Library of Congress, UCLA, Stanford University, and the Kunstindustri Musset (Denmark). Size: 7 x 5.5 inches, closed; 210 x 5.5 inches, open. ARTB/032717. Fine.
Niles, MI: Eugenie Torgerson, 2009. Hardcover. UNIQUE ARTISTS' BOOK. Eugenie Torgerson is a book artist, photographer, printer, and illustrator from Michigan. She has been represented by art galleries across the U.S, and her work can be found in many corporate collections. In her artist's statement she says: "I build book and box forms with traditional bookbinding materials and methods. These sculptural objects contain my own pastel drawings and imagery generated from my own photographs. The stories they tell are contained in my words and the poetry of Kevin McCue. My subjects are the allure of the horizon, the power of the land, the experience of loss, and the sweetness of redemption." This exceptional book object comprises three individual parts. There is a small illustrated book with short poems that rests open on a box stand. The book and stand are covered by a box with a glass window on the top. Each object has been meticulously and creatively designed and produced using Ms. Torgerson's art, photography, and writing. The book is 3 inches wide x 4 inches tall x 3.5 inches thick. The poems are printed on vellum paper and coated with shellac, and the images are printed on various interesting papers. The book is bound in silver cloth with silver metal medallions on the front and back, and black and white beads around the edges. The spine is of brown suede and also has small beads sewn on. The book rests in a cradle at the top of its box stand. The stand is 5 inches tall and 9 x 10 inches at the base. The cradle is covered in green/gold cloth and decorated paper. There are the same small beads which are seen on the book cover, and there is also a medallion in the middle. The sides of the box have beautiful landscape images which are printed on Yupo synthetic material and waxed. The box base has two levels, one covered in orange cloth and the other with cloth in a gold and black design. The cover is 8 inches x 9 inches x 9 inches. The top and base are covered in decorated cloth. Each side is covered in brown cloth and has a landscape image printed on Yupo synthetic material and waxed. It has a window on top which allows one to look in at the book. This singular, stunning book object perfectly reflects Ms. Torgerson's creativity and artistry. In fine condition. ARTISTSBOOKS/011411. Fine.
Verdigris, 2006. Rothchild, Judith. Hardcover. 20 of 30 copies. Copies 26 to 29 were hors commerce, and number 30 was given to the Bibliotheque Nationale de France. SIGNED BY ARTIST AND WRITER. This beautiful work has eleven stunning numbered and initialed mezzotints by artist Judith Rothchild. Rothchild is an American born artist who lives in the Languedoc region of France. Also a pastel artist, she has become famous for her mezzotints, perhaps the most difficult printmaking technique. Rouanet is a well known French writer. The colophon says that the work is a collaboration between the two, who share a deep love for the Languedoc. Rouanet’s text, in French, was inspired by Rothchild’s prints of food and wine and by the spirit of a local restaurant, Le Mimosa. The folio sized pages are loose in a yellow and green box made by Lisa Knoblauch with the front board decorated with mimosa leaves done by serigraph. Printed by Mark Lintott in Vendome Romain type on an Albion press. The prints are protected by tissue guards. 20 pages including the prints. PRI/061207. 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.