New York: Béatrice Coron, 2016. Paperback. Number 3 of 6 copies. This witty and amusing work was a collaborative project between paper maker, Aimee Lee and papercut artist, Béatrice Coron, based on texts by Mick Stern. They had great fun creating 18 images and "field notes" of improbable ducks. For example: "Duck blinds - He navigates by Ultrasound, GPS and a cane." Or, "Duck Soup - The Marx Brothers' Favorite Lunch." Coron's handcut Tyvek duck images are laminated within hand-made paper made by Aimee Lee, with handwritten text on each sheet. These 18 sheets can be viewed individually or displayed as an installation. The paper is sewn along the top and bottom edges to allow for a rod to be inserted for display purposes. It was shown in 2016 at "Confluence: Twelve Collaborations," at the Morgan Conservatory, Cleveland, OH. Housed in a stiff paper portfolio with title and description on attached tab. In fine condition. Each sheet measures 9 x 9 inches. Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website] ARTISTSB/081921. Fine.
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New York: Béatrice Coron, 2002. Paperback. Number 3 of 3 copies. The skilled paper cutting in this book by well known artist Béatrice Coron is here inspired by a poem by Joachim du Bellay. du Bellay (1522-1560) was a French poet, critic, and a founder of the Pléiade. He notably wrote the manifesto of the group: Défense et illustration de la langue française, which aimed at promoting French as an artistic language, equal to Greek and Latin. In this poem printed here, he writes of the glory that once was Rome, but which as happens in the world, falls and what remains are its monuments and the Tiber River that continues to flow to the sea. Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website]. Cristina Favretto, Head of Special Collections at the University of Miami describes her work in Coron's "artfragments" portfolio: "There is a palpable joy in the work of Béatrice Coron, the kind of joy we felt as children in unwrapping a particularly enticing holiday gift. But...for Béatrice the gift is a sheet of Tyvek...or paper, and the stories to be unearthed and unleashed within and through the medium." Hand-cut on one sheet of white Arches paper. Housed in a clamshell box painted gray and gold on its cover with a cut out design that reveals the poems title. In fine condition. Size: 5.75 x 6.25 x .75 inches when closed. ARTB/081921. Fine.
New York: Béatrice Coron, 2016. Number 3 of 5 copies. In this fun production, book artist Béatrice Coron collaborated with musicians Van Gage and Cortez to create both a book and a CD of their music! In addition to her paper cutting of musicians playing instruments, singing, and dancing Coron also wrote the song's lyrics, which are handwritten on one side of the black Arches paper silhouettes. This book was based on Coron's design for a public art installation in Kiest Park, Dallas, to honor the Vaughan brothers. Unfortunately, the installation was never built; however, elements from the design are incorporated into this book including silhouettes of Texan blues musicians. The paper silhouettes and the CD are housed in a black folder with a blue title label to spine and front cover. In fine condition. Folder is 6.5 x 6.5 inches. The paper-cut measures 6 x 24 inches when opened. Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website]. Cristina Favretto, Head of Special Collections at the University of Miami describes Coron's "work in her artfragments" portfolio: "There is a palpable joy in the work of Béatrice Coron, the kind of joy we felt as children in unwrapping a particularly enticing holiday gift. But...for Béatrice the gift is a sheet of Tyvek...or paper, and the stories to be unearthed and unleashed within and through the medium." ARTB/081921. Fine.
Mt. Tremper, NY: Maureen Cummins, 2019. One of 20 copies signed and numbered by the book artist. A striking work by well known book artist Maureen Cummins. She produced this work as part of Swarthmore College's Friends, Peace, and Sanctuary Project, with major support by the Pew Center for Arts and Heritage. Additional support was provided by the Lang Center for Social Rsponsibility, the William J. Cooper Foundation, and the Andrew W. Mellon Foundation. The project brought five artists into conversation with Syrian and Iraqi individuals resettled in Philadelphia. Cummins interviewed four participating families in 2018. The text of this book was compiled based on interviews that she conducted with three of the resettled Middle Eastern refugees and their families. The power of this work is that most of the texts of the interviews were heavily redacted to protect the families and their relatives still in the Middle East. Anonymous was typed by the artist using a vintage Smith-Corona typewriter, then later redacted by hand with water based black ink. The loose sheets are held in a commercially produced clip board with metal covers with the title in black on the front cover. Measures 9 x 13.25 inches. In fine condition. Unpaginated [9 pages] ARTISTSB/012120. Fine.
San Jose, CA: Prose and Letters Press, 2004. Hardcover. Number 24 of 50 copies. Signed and numbered by the artist. This printed book is based on a unique hand painted book by the artist. Bound accordion style in Lokta paper covered boards with hand painted gold accents and leather and bead closure. The inspiration for this book was the Lithuanian-American archaeologist, Marija Gimbutas (1921 - 1994), known for her research on the Neolithic and Bronze age cultures of Europe. Gimbutas theorized that the first writing predated Sumerian businessmen by a few thousand years, and instead grew out of symbolic marks on ritual objects made to venerate the Great Goddess in Old Europe. Artist, Cari Ferraro, was heavily influenced by this theory and created an alphabet style based on Marija's catalog of marks which she has used in this book. The background painting on all of the pages uses symbols found in the 5000-year passage grave Newgrange in Ireland, whose meaning has never been fully understood. The design is intended to feel like a cave wall with ancient symbols and writing. The text reads "The first writing/ not merely scribble/ devised by accountants to track livestock or record property/ the first writing/ made to track the moon/ inscribe spirit/ praise for the great mother." An attractive book. [10 pages] ARTB/042108. 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, printed 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.
Penland School of Crafts, 2017. Hardcover. Number 12 of 16 copies. Signed by the artist. An exploration of women's domestic roles in the late 19th century through the language of Henrik Ibsen's play, "A Doll's House" juxtaposed with pastel renderings of domestic objects. The text oscillates between a husband's dialogue to his wife and her inner dialogue, including: "Has my little spendthrift been wasting money again? ... They all think that I am incapable of anything really serious - that I have gone through nothing in this world of cares.... My little songbird must never do that again. A songbird must have a clean beak to chirp with - no false notes! ...." Grey cloth boards with silhouette of a vessel to front board. Text and images are letterpress printed on cotton and Japanese papers. Size: 7 x 5 inches. ARTB/090320. Fine.
Red Cliff, CO: Helen Hiebert Studio, 2021. 2800. Number 16 of 25 copies. Helen Hiebert is a noted paper artist who constructs installations, sculptures, artists’ books and works in paper using handmade paper as her primary medium. She teaches, lectures and exhibits her work internationally and online, and is the author of the several how-to books about papermaking and papercrafts. She writes about this inventive and fascinating work: "My father was a physicist who studied how the universe began, and my mother has degrees in psychotherapy and divinity. My thoughts linger between them as I find myself comparing the tangible puzzles I explore in my work to the invisible physical properties my father researched and the emotional tensions my mother explored. Tension is a pulling force in physics. The strings within these pages cannot be pushed to form a definitive shape: when a page is closed, the thread – without tension – goes slack, lying in chaos between the folds. As you turn the page, extending it to 180 degrees, the single thread pulls taut, and the invisible property of tension creates beauty and order. Each of the eight string drawings is composed with a single piece of linen thread – one continuous line, ranging from six to sixteen feet in length – with one exception: two threads were used to create two parabolas in drawing 7. I constructed each drawing on a flat sheet of paper, punched a pierced pattern, and then stitched in and out of the holes across the scored centerfold – the axis of the page. Two surprisingly different drawings were created in tandem as the needle and thread moved from the front to the back of each page, and there is a sequence to the stitching that is not readily visible." Hiebert designed this book and created all of the handmade paper in this book with a 90% cotton rag/10% abaca fiber blend. She composed the string drawings and stitched them with the assistance of Will Katauskas. The end sheets are machine stitched. Tom Leech printed the text at the Press at the Palace of the Governors in Santa Fe from polymer plates made by Boxcar Press. The typeface is Dante. Claudia Cohen bound and made the green cloth covered box with a white spine label. In fine condition. Box size: 9-1/4 x 6 x 1-1/4 inches. Book size closed is 8 3/8 x 5 3/8 inches. ARTISTB/062122. Fine.
London and New York: Bliss, Sands and Foster; Brentano's, 1894. Hardcover. First Edition. Presentation Copy, inscribed on free front endpaper "To the 'Star Barker' of our house, whose sunny nature excuses a dozen faults, and whose tiny, rippling laugh makes serious work impossible - but whom we would not do without - With the fondest love of his mother - The Author," and further inscribed "To Karl Martin, Buffalo, June 20 1901." The recipient of this extravagant inscription was the author's son. Jones was an American writer and this is the uncommon English issue of this book. These five stories are of a science fiction / fantasy nature. Bound in brown cloth with delicate cream and green design of cupids and title and author in gilt. Edges are worn and chipped. Interior pages have some browning along margins. There is some splitting of the signatures but the text block remains solid. In very good condition. 95 pages. LIT/010413. Very Good.
Fort Lauderdale: Dorothy Krause, 2018. A unique work signed by the book artist. Dorothy Krause is a bookmaker, painter, collage artist and printmaker who utilizes digital mixed media. Professor Emeritus at Massachusetts College of Art, she and has been a Visiting Artist/ Artist in Residence at the American Academy in Rome, the University of the Arts in Philadelphia, the Jaffe Center for Book Arts at Florida Atlantic University and on Oceania Cruise Lines. Krause is the author of “Book + Art: Handcrafting Artists’ Books”, (North Light, 2009), and co-author of “Digital Art Studio: Techniques for combining inkjet printing with traditional art materials”, (Watson-Guptil, 2004). Her books can be found in many public and private collections throughout the country. Her archives and the books featured in Book + Art reside at the University of Miami. Begun on a trip to Arizona, this compelling small book explores our appalling treatment of Native Americans. In the colophon Krause writes: "Historically, much of Texas, Arizona, New Mexico and Oklahoma belonged to the semi-nomadic Apache tribes. In 1848 the United States moved into the Southwest and sought to subjugate the Apaches, who defended their homelands. The gold rush and the completion of the transcontinental railroad led to increasing numbers of white settlers coveting Apache land. The Apaches were finally defeated in 1886 when 5,000 US troops forced Geronimo and a group of 30 to 50 men, women and children to surrender. Some Apaches became prisoners of war, while others were forced onto reservations. The population of Apaches has been drastically reduced, their lifestyle lost and their languages, culture, religion, and ceremonies have fallen into decline. The demise of the Apache led to the prosperity of the white settlers who gained the land, natural resources and wealth of the Southwest United States. Our treatment of Native Americans is a shameful part of our past and present." This pocket accordion book was created using a structure developed by Hedi Kyle and Ulla Warchol. The title is printed on an actual paper tag that has a muted multi-colored painted design. Vintage photos of Apache Indians from the Heard Museum in Phoenix are collaged onto small eco printed tags which are placed into the pocket accordion, with their knotted strings hanging out of the top of the book. The book is housed in a well-worn brown leather pouch with a long attached strap. In fine condition. Measures 5.5 x 3.75 x 1.75 inches closed and 5.5 x 28 open with 10 inserts printed back and front.. Unpaginated. ARTSB/030123. Fine.
Petersham, MA: Lone Oak Press, 2022. Hardcover. Number 10 of 56 standard signed and numbered copies. Master wood engraver Abigail Rorer is considered one of the finest engravers working today. She founded her Lone Oak Press in 1989 and has published many beautiful works that often focus on nature - animals, flowers, trees, and water. Abigail has also provided lovely illustrations for other private and commercial presses. Her fine press books have been in numerous exhibitions in the U.S., U.K., and Ireland. They can be found in many public and private collections. Abigail writes in her prospectus about this important new work, saying that it is the first book in the "Extinct Pentalogy" series. Originally she had planned one larger volume covering five diverse animals, four that are extinct and one that came perilously close. But she decided that each animal deserves its own tribute. The western black rhinoceros was declared extinct in 2011 and all remaining rhinoceroses are endangered. She writes on her website: "Extinction as a theme has been a focus of The Lone Oak Press for a few years now, beginning with the publication of our book Extinction in 2015. We are living in the age of the Sixth Extinction, the Anthropocene: the Human Epoch. Human activity has made such an impact on our planet that climate patterns are changing, glaciers are melting, the ozone layer is thinning, and species are becoming extinct at an alarming rate. For such a magnificent and noble animal as the rhinoceros to be on the verge of total extinction is tragic and unacceptable. The rhinoceros has lived and flourished on this earth for tens of thousands of years. Within only a relatively short period of time, the last two hundred years or so, with the advent of guns, the Industrial Revolution, exploding populations, and other factors, we have decimated the rhino population and brought it to the brink of total extinction. This book is a way to honor a subspecies of the black rhinoceros that disappeared in 2011 and to highlight the plight of all species of rhinoceros.” Bound in a gray and black paper created from a hand-draw closeup image of rhinoceros skin over boards with a gray leather spine and red title label. The rear board includes a bullet sized hole in the board with red leather showing underneath – a visceral reminder of the contents of the book. The text was set in Dante and Othello type. The text and engravings were printed on Zerkell paper. Many of the engravings are multi-block color with some hand-coloring. Amy Borezo of shelter Bookwords bound the books. With prospectus. Housed in a slipcase covered in matching gray paper with rhino skin print In fine condition. Measures 7 x 9 inches. 52 pages. ARTISTSB/071923. Fine.
Hopewell, NJ: Sans Serif Studio, 2015. Paperback. Limited to 150 unnumbered copies. An artist and a professor of art, Nell Battle Booker Sonnemann became deeply interested in fiber, fabric, and appliqué during the last three decades of her life. She was particularly intrigued by appliqué techniques used in Third and Fourth World countries, but found that little scholarship and very few photos documenting this area of study existed. She took it upon herself to investigate further, to travel around the world, and to commission others to travel for her when her health began to fail. This collection of twelve journals include photographs, research, and anecdotes from her (and her friends') travels into the Canadian arctic, Syria, Egypt, the Peruvian Amazon, India, Indonesia, Finland, Bhutan, Tibet, Bangladesh, Mongolia, Panama, Japan, Senegal, Nigeria, and Palestine. The introductory booklet includes three essays: a background on the project and how Nell came to it, a biography and remembrance of Nell, and an essay by Nell herself. She writes: "My search was an adventure, and from the beginning the joy in telling the story has been at odds with my sense of duty to my graduate training in bibliography and research. Now I know that, for better or worse, 'Wings of a Ragtag Quest' has been just this - playing - and that is what it wants to be." All twelve volumes are bound in side-stapled illustrated paper wrappers and are housed in a grey box. Digitally printed. Each copy has a different piece of cloth appliqué extending out of the box. The box measures 10 x 7 x 4 inches and is titled in printed cloth on one side. ARTB/010218. Fine.
London: C. Arthur Pearson Limited, 1899. Hardcover. First edition. This is the second book (and first novel) by the author of The Scarlet Pimpernel, which first appeared as a play in 1903 and was later released as a novel. This book is a tale of jewels, intrigue, and high Russian society. It is scarce in this condition. The author, Baroness Orczy (1865 - 1947), was born in Hungary and grew up in London. Very good plus in original tan cloth boards with brown title to spine and front board. Minor wear to edges and spine ends. Light rubbing to boards. A few spots of foxing to the interior, else very clean. Bookplate of book collector, Mark Samuels Lasner, is tipped in on the front pastedown. 288 pages. LIT/050109. Very Good.
New York: Sarah Plimpton, 2019. Number 2 of 12 copies signed and numbered by the artist, who is also the author. Sarah Plimpton was born in New York City and divides her time between New York and France. She works in several media; oil painting, printmaking and artists’ books and is also a poet. Her books are in such collections as The Museum of Fine Arts, Boston, The New York Public Library, The Morgan Library, and the Metropolitan Museum of Art. This lovely little poem is printed on five bifolds, accompanied by evocative aquatints. "same steps/same steps/same steps/down/should one remember/buried days?/the door is open/step inside/where should one sit/there is no place now/walking out/the day is cold/the steps are up" In a review, John Ashbery describes Plimpton's poetry: "As quiet as a moment just before sleep, Sarah Plimpton's poems are like preludes to dreams. The “everyday” happens daily, but it is also rare and precious in Ms. Plimpton's transparent telling." Set in Minion type and printed on Somerset paper. The aquatints were editioned by Peter Pettengill, Hinsdale, NH. The text was printed by Brad Ewing at The Grenfell Press in NY. In beige softcover wrappers and housed in purple and cream clamshell box made by Claudia Cohen. In fine condition. Measures 6.25 x 9.5 inches. Unpaginated. ARTISTSB/070522. Fine.
Dania Beach, FL: Claire Jeanine Satin, 2022. A unique artists' book from Claire Jeanine Satin, a well known book artist, sculptor and designer of public art installations. Satin's work has been extensively exhibited and collected in the United States and in Europe, including at The Library of Congress, the National Museum of Women in the Arts, The Getty (CA), MOMA, and The Victoria and Albert Museum. She is known especially for her conceptual works in uenced by the ideas of her friend and mentor the composer/visual artist John Cage, and the conversion of ordinary industrial materials into environmental constructions and book works of layered transparent mass. This is one of a series of unique works by Satin, each signed by her. Created from acid free white card stock paper and bound with clear filaments and beads, this book includes segmented letters, metal elements, various papers, and beads. The segmented letters all form words when they are joined by the reader. It takes a bit of agile brain power to work them out. Claire "plays and experiments with letters as abstract forms and sets them into unique aesthetic configurations." In fine condition. Measures 5 x 7 inches. Unpaginated [12 pages]. ARTISTSB/110322. Fine.
Buenos Aires: Marina Soria, 2015. A unique sculptural book from Argentine calligrapher and book artist Marina Soria. This is one of a small series of Fude books that celebrates the Japanese brush. The book features a calligraphic text in Spanish from a poem written by the artist about dreaming about herself as a brush. This is an excerpt from the English translation: "In my dream my name was Fude. I rested in a delicate mahogany case. My hair was bright, soft and combed with much care and dedication. It has been brushed till exhaustion by expert hands trying to line up every single strand of hair ..." It is bound and opens as a codex, but the pages can be unfolded to pop-out and stand-up as a paper "sculpture." The binding was learned at a workshop in Italy, and is based on a structure by Hedi Kyle. Done with Sumi ink on various papers. Held in a blue colored paper envelope with title label on front. Accompanied by a card with a description of the book and the full text of the poem in English translation, signed by the artist. Fine condition. Measures 38 x 32 x 24 cm. Born in Buenos Aires, Argentina, Marina Soria is a seasoned artist and educator with degrees in Fine Arts and Graphic Design. Not content to just immerse herself in learning calligraphy at international conferences, and through courses with renown calligraphers, she studied Eastern principles of Beauty in sumi-e (Japanese painting). She distilled and blended these principles with her rich experience and background in the fine arts, typography and graphic arts, employing unique approaches and techniques. She has also dabbled in the textile arts, creating a metaphor for weaving; letters as stitches and text as if it were a textile. Her works, vibrating with a love for nature and exploding with life and color, can be found in calligraphy collections in museums, universities, and libraries in the U.S., Europe, and South America. Marina has received numerous national and international awards, and has been featured widely in calligraphic arts publications. A prolific artist, experimental calligrapher, book artist, and educator, her goal is to mingle diverse disciplines to challenge the limits of conceptual art and technique. ARTISTSB/072622. Fine.
Buenes Aires: Marina Soria, 2016. Unique. An engaging and personal work by world renowned calligrapher and book artist Marina Soria. It is a light blue wooden box with a glass window that opens to reveal calligraphic text and monograms done in watercolor and gouache on Strathmore paper. It is decorated with compartments containing old sewing threads and nibs. There is also a found object - a delicately embroidered white handkerchief. The artists writes: "The monograms are made from the initials of my daughters and my husband´s names. My daughters: MFJ: Mora Fernández Jurado / CFJ: Catalina Fernández Jurado / MFJ: Marina Fernández Jurado. GFJ: Gustavo Fernández Jurado. My monogram is at the back of the box: MS The text is a quote my granny used to say to me when I was a child. The original text is in Spanish "Cosiendo y descosiendo la niña va aprendiendo" Translation: "stitching and unstitching the little girl keeps on learning." In fine condition. Measures 32.5 x 12 x 3 cm. Born in Buenos Aires, Argentina, Marina Soria is a seasoned artist and educator with degrees in Fine Arts and Graphic Design. Not content to just immerse herself in learning calligraphy at international conferences, and through courses with renown calligraphers, she studied Eastern principles of Beauty in sumi-e (Japanese painting). She distilled and blended these principles with her rich experience and background in the fine arts, typography and graphic arts, employing unique approaches and techniques. She has also dabbled in the textile arts, creating a metaphor for weaving; letters as stitches and text as if it were a textile. Her works, vibrating with a love for nature and exploding with life and color, can be found in calligraphy collections in museums, universities, and libraries in the U.S., Europe, and South America. Marina has received numerous national and international awards, and has been featured widely in calligraphic arts publications. A prolific artist, experimental calligrapher, book artist, and educator, her goal is to mingle diverse disciplines to challenge the limits of conceptual art and technique. ARTISTSB/070522. Fine.
Buenos Aires: Marina Soria, 2022. A calligraphic work on paper. The text that inspired this piece was written by the famous Argentine historian, Ruth Corcuera, in her book, "Teleras, Memoria del monte Quichua." Ediciones Arte Etnico Argentino. Following is an English translation of the text that inspired this piece. Soria's calligraphy includes pieces of this text in the original Spanish: “Thousands of years ago, when only the voice recorded small and big events of everyday life, women would cover their newborn child in a wrap. In this we see a space created between the mother´s womb and the world outside. We believe textiles were born from such gestures, within the realm of feelings and from a women´s view: to protect, to give warmth and to sustain life. In time, textile art will be the means to tell us through colors and designs that the world can be read through symbols, (signs) as in a written text. In the great American cultures these symbols were a kind of lingua franca and textiles a major art with many roles, among them to express that where words did not suffice.” Gouache on tan colored handmade paper from Papeterie Saint-Armand. In 2022 this piece was featured in an exhibition at the Embassy of Argentina in DC and was sewn to a hanging textile, leaving several tiny and obscure needle holes to each corner of this piece. In fine condition. Size: 37.5 x 28.5 cm Born in Buenos Aires, Argentina, Marina Soria is a seasoned artist and educator with degrees in Fine Arts and Graphic Design. Not content to just immerse herself in learning calligraphy at international conferences, and through courses with renown calligraphers, she studied Eastern principles of Beauty in sumi-e (Japanese painting). She distilled and blended these principles with her rich experience and background in the fine arts, typography and graphic arts, employing unique approaches and techniques. She has also dabbled in the textile arts, creating a metaphor for weaving; letters as stitches and text as if it were a textile. Her works, vibrating with a love for nature and exploding with life and color, can be found in calligraphy collections in museums, universities, and libraries in the U.S., Europe, and South America. Marina has received numerous national and international awards, and has been featured widely in calligraphic arts publications. A prolific artist, experimental calligrapher, book artist, and educator, her goal is to mingle diverse disciplines to challenge the limits of conceptual art and technique. ARTISTSB/101422. 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.
New York: Harcourt, Brace and Company, 1934. Hardcover. First abridged edition with "first edition" on the copyright page. One of Stein's 'hermetic' works: "The story of an American family, of their descendants and their friends" (jacket). American novelist, poet, art collector, and playwright Gertrude Stein (1874 - 1946) hosted the Paris salon, a meeting place for modernist artists and authors. She attended Johns Hopkins School of Medicine in 1897 at a time when men dominated the field. While at Hopkins, she had an 'erotic awakening' and became infatuated with political activist, Mary Bookstaver and her female lover. The failed love triangle led to Stein and her brother moving to Paris, beginning an incredible modern art collection, publishing novels, and cultivating the Paris salon. Bound in pink cloth boards with black title to spine and front cover. Slightly rolled spine, cloth faded where the dust jacket is missing pieces, otherwise very good condition. In rubbed, soiled, unevenly faded dust jacket missing good-sized pieces. The jacket is red with white title to spine and front panels. 416 pages. LIT/102716. Very Good / Good.