Washington DC: Abstract Orange Press, 2016. Number 38 of 300 copies signed and number by the book artist. Lauren Emeritz is a book artist, letterpress printer and graphic artist who founded and runs the Abstract Orange Press. She creates prints and books by hand using a Vandercook press and wood type, including type she designs and carves herself. Lauren holds a BFA in Graphic Design from the University of Delaware. She is the President and Creative Director of Abstract Orange, a graphic design firm in Washington, DC, and a letterpress associate at Pyramid Atlantic Art Center in Hyattsville, Maryland. This is a miniature alphabet book printed with letters that were hand carved in wood by the artist. Each letter is a differently designed capital letter printed in orange. Done in an accordion structure and bound in orange cloth boards with gilt title to spine and front cover. Size: 2 x 1.75 inches. [30 pages.]. Fine.
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Washington DC: Abstract Orange Press, 2016. Number 37 of 300 copies signed and number by the book artist. Lauren Emeritz is a book artist, letterpress printer and graphic artist who founded and runs the Abstract Orange Press. She creates prints and books by hand using a Vandercook press and wood type, including type she designs and carves herself. Lauren holds a BFA in Graphic Design from the University of Delaware. She is the President and Creative Director of Abstract Orange, a graphic design firm in Washington, DC, and a letterpress associate at Pyramid Atlantic Art Center in Hyattsville, Maryland. This is a miniature alphabet book printed with letters that were hand carved in wood by the artist. Each letter is a differently designed capital letter printed in orange. Done in an accordion structure and bound in orange cloth boards with gilt title to spine and front cover. Size: 2 x 1.75 inches. [30 pages.]. Fine.
Riverside, CA: Bo Press Miniature Books, 2011. Hardcover. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. She also makes miniature pocket globes, astronomical instruments, orreries, tellurions, and occasional oddities. One of 50 copies. Signed and numbered by book artist Pat Sweet. A charming and inventive miniature pop-up book that Includes 8 circus act pop-ups, a removable souvenir program, several reproductions of advertising posters, a complete program, a list of performers, and the performers themselves (tucked away in tiny envelopes inside the back cover). "Brave Hercule performs the Dangerous High Dive into but a thimbleful of water! The Dauntless Afrit puts three gigantic wild roaches through their paces, controlling the fierce insects with only a hair-thin whip and his own iron will! In the breathless finale, the beautiful Madame Zenobia performs UPSIDE DOWN upon the high wire, a full inch above the tanbark! Come one, come all! The greatest show on earth that will fit in your pocket!" (book artist). Bound in gold on black Japanese paper with printed paper title labels to spine and boards. In matching slipcase. 34 pages. 2 1/8 x 1 5/8 inches, slipcase is 2 3/8 x 1 7/8 inches. We hesitate to call this book darling, but it is and is in fine condition. ARTISTSBOOK/121416. Fine.
Riverside, CA: Bo Press Miniature Books, 2015. Hardcover. Mary Roberts Rinehart and others of the "Golden Age" of mystery writing became known as the "Had I But Known" school for their use of this useful bit of prolepsis: a foreshadowing device that allows a work-around for the strictures of first-person narration. I've collected examples from all eras of literature and placed them each on their own page, like little jewels of purple prose. ~ "Had I but known that Saacho was his father, I woulf have poured a deluge of my blood to save one drop of his." The Spanish Friar, by John Dryden ~ "Ah,had I but known:: the agony! the deceit! You cannot possibly imagine the trials, the letters, the steps, this strange fantasy exacts. I have seen only a few Academicians, but already my nerves are completely upset." The Letters of Charles Baudelaire to his Mother ~"In a state of suffocating agitation the mistress gasped forth the words, "Had I but known: Freiscutz! Presciosa! I'll turn every soul into the streets!" - The Spectator, Volume 38 Carl Maria von WeberA choice collection ('though I say it myself), printed in Garamond Premier Pro on Monarch Superfine paper, and bound in a Japanese chiyogami paper printed with a stormy sea and turbulent waves, a fitting backdrop for a young woman in a lacy nightgown fleeing a dark castle with a single light in the tower window . . . Size: 2" x 2 1/2" inches. 100 pages, 7 illustrations. Fine.
Riverside, CA: Bo Press Miniature Books, 2018. Hardcover. Limited to 10 copies. "When Duke Albert V of Bavaria commissioned his court painter, Hans Mielich, to make an inventory of the jewels belonging to him and his wife Anna in 1552, he may not have expected the over-the-top manuscript Meilich finally produced two years later. The jewelry wasn't the half of it. The 110 gouche on paper paintings showed the back and front of each piece of jewelry, life-sized, and each was surrounded by a different elaborate frame. The manuscript is a riot of cartouches, strapwork, acanthus, foliage, flowers, grotesques, and caryatids, and yet each jewel shines forth as an individual masterpiece. The book remained in the private ducal and electoral Chamber of Artifacts for almost three centuries—long after the originals of the jewelry depicted had been lost. Only in 1843 was the work presented to the Bavarian State Library by King Ludwig I. I have tried, in my presentation of the Jewel Book, to reproduce in miniature some sense of the outrageous Renaissance ostentation that makes the original such a brilliant and worldly example of wretched excess. My favorite page is the frontispiece of the Duke and Duchess playing chess, as though their real pursuits were intellectual, surrounded by their bored courtiers and a couple of puppies. This miniature copy of the Jewel Book of Anna of Bavaria is limited to ten copies. It is set on OldStyle1 and Palatino Linotype, and printed on Monarch Superfine paper with a Canon Pro-100 inkjet printer. The book is bound in gilded snakeskin with a beaded and embellished front panel of celadon snakeskin. The tri-fold box is bound in a gold on black Indian silkscreened paper with a raised rectangle on the front bound in a textured Japanese metallic gold paper. The interior of the box is lined in a Japanese chiyogami feather print. A small pocket on the front of the box holds a booklet containing information on the Jewel Book and its patrons. Both are of the same gold paper" (Pat Sweet). The book is 2 5/8" x 2" and the box is 3" x 2 3/8" x 1" 136 pages. ARTB/060719. Fine.
Riverside, CA: Bo Press Miniature Books, 2019. Hardcover. "The greatest value of a picture is when it forces us to notice what we never expected to see." John TukeyThe process of transferring knowledge from one person's brain to another's has traditionally been done by speech or reading, but often showing is better than telling. Pictorial representation of information can tell much more than a simple picture. The data visualization (as we now call it) in this book conveys vast amounts of information with the earliest histograms, bar charts, scatter plots, circle graphs, movables, and organizational charts. The book also contains fold-outs, volvelles, maps, and anatomical flip-books, all of them charming as well as informative.The book is half-bound in a soft black leather and an absolutely stunning marbled paper by Jemma Lewis. The book is digitally printed on Monarch Superfine paper. Size: 2 5/8" x 2 1/8", 64 pages. ARTB/060719. Fine.
Riverside, CA: Bo Press Miniature Books, 2015. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. She also makes miniature pocket globes, astronomical instruments, orreries, tellurions, and occasional oddities. This book is from a small open edition signed by the book artist. According to Pat Sweet: "The list makes heartbreaking reading, and I'm not sure which I resent more: the loss of books through active human malevolence, or through stupid human thoughtlessness. Each has its place here, along with forgetfulness, carelessness, accident, embarrassment, and spite. Lord Byron's memoirs being ceremonially burned in John Murray's office fireplace, Sylvia Plath's Double Exposure, which may or may not be in the Ted Hughes archives, frozen until 2022., Clisson et Eugenie, Napoleon's novella, scattered across Europe, and the massive Yongle Encyclopedia, victim of budget cuts. And all the lost books of the Greece, Rome, Timbuktu, the Bible . . ." The book is printed on Mohawk Superfine paper, and bound in the same Mohawk paper (a different shade) and in mottled brown Indian pinto lokta paper. Includes 28 illustrations. 78 pages. Size: 2 3/4 x 1 7/8 inches. ARTB/060619.
Riverside, CA: Bo Press Miniature Books, 2009. Hardcover. A collection of lost or forgotten places to make an explorer's heart beat faster: They range from the real (Petra) to the mythical (Shamballa) to the debatable (Troy) to the unexpected (Napoleon, Arkansas). Cities disappear for a variety of reasons: changing trade routes, sinking water tables, earthquake, fire, flood and war. Some accidents of history can cause a once mighty metropolis to disappear from human memory as thoroughly as drifting sand or creeping vines can erase it from view. This little book is bound in cream, tan, and silver French marbled paper, with a spine of gray kid leather with raised bands. Bound into the book is a fold-out graph comparing the cities lifespans.The book has decorative endpapers and a paper title pasted to the front. 68 pages, 26 maps, plus a fold-out graph measuring 1.5 x 8.25 inches. Book size: 1 5/8 inches x 1 1/8 inch. Fine.
Riverside, CA: Bo Press Miniature Books, 2018. Hardcover. According to the book artist: "Ahmed Muhiddin Piri was one of the greatest admirals the Ottoman navy ever produced. He followed his uncle Kemal Reis into the Ottoman navy and quickly rose in what can only be called a swash-buckling career. He took part in every significant battle in the first half of the 16th century. During this, he found time to write one of the most complete and beautiful collections of maps and information ever published: the Kitab-i Bahriye, or The Book of the Sea. The Book of the Sea contained not only extremely accurate maps, but a wealth of detailed information about major ports, bays, gulfs, islands, and coastal cities of the Mediterranean Sea. His maps are filled with detail and color, palm trees and jewel-like cities, ships and rivers, and multi-colored mountain ranges. Even the compass roses show an endless imagination. I have chosen my favorites out of the hundreds that fill the Kitab-i Bahriye, and bound them in an Islamic binding of a brown and metallic copped lizard print with windows of a gold and turquoise paper that resembles the waves of the sea. There is a paper title on the front overlap and on the spine. The maps are printed on Monarch superfine paper." 106 pages. Size: 2 7/8 inches x 2 inches. Fine.
Riverside, CA: Bo Press, . Hardcover. A mahogany specimen cabinet with a snakeskin-inlaid lower drawer. The cabinet holds fourteen glass specimen bottles and domes, each containing a different animal, vegetable, or mineral (or debatable) object. The dome items each has a paper label in an antiqued brass frame. The bottles have paper labels affixed to their fronts. A miniature cabinet of miniature curiosities. Size: 6 1/4" x 3" x 1 1/2". ARTB/060719. Fine.
Riverside CA: Bo Press, 2009. This is a limited edition photographic pocket Wunderkammer, a cabinet of objects - Animal, Vegetable, Mineral, and Debatable Historical, Mythological, Fictional, and Legendary Artistic, Psychological, Political, and Scientific - each mounted on a Victorian microscope slide. There are 42 illustrations showing the objects in this collection. Some highlights include a test tube containing the poison of a New Guinea toad unknown to science, Philomena, the celebrated singing flea of L. Bertaloto's Flea Circus in Regent Street, 1834, a dropped stitch found beneath a Revolutionary guillotine, Paris 1786 (from the Crafts of Terror collection), an unlucky four-leaf clover ("Has killed three and injured countless others!") among many others. Most of the items in the collection are at least partly real, and not always the ones you'd think. They all create the atmosphere of original wunderkammers - not always science but always interesting. There are two charts included, one showing the distribution of the items in the collection by location, and the other showing their distribution in time.There is also a black and white illustration of the complete cabinet (thanks to the small size of the exhibits, housed in an actual cabinet), and a larger color print folded into a slipband inside the back cover. The book is bound in gold, light blue, and green Florentine paper and a spine of dark blue lizard paper piped in gold. With decorative endpapers, and a paper title pasted on the spine In fine condition. 2.75 x 1.75 inches. PRI/060619. Fine.
Riverside CA: Bo Press Miniature Books, 2015. Hardcover. Number 29 of 50 copies. Signed and numbered by the book artist. This is a delightful miniature book from the Bo Press. Book artist Pat Sweet is a master of inventive and intricate miniature books, bookish objects, and globes and tellurions. She describes her book as follows: "Three Rats At Sea' is a product of my love of illuminated manuscripts and their creators. As a maker of miniature books, I can't help feeling a kinship with those anonymous artists of the past (and the present). The detail and imagination of these works is something I have always tried to achieve in my own books, to add dense layers of idea and image to the main story; a counterpoint to the melody. I've told the story of my three brave rats in three parts. The first is the introductory text: the story, told in a miniature book. The next is the “real” illuminated manuscript, ' Mures ad Mare (Rats at Sea),' from which I took my story and its world, where rats embark upon voyages of adventure. The third is the pop-up version of the tale told by Sir Bruno’s manuscript and its miniatures, with 8 pop-ups. . Given time, I’m sure I could bake more layers for this little mock-medieval cake, but for now, here’s the story of brave Sir Bruno, his squire Whitby, their servant Pebble on a voyage and adventure upon the sea. The book is bound in turquoise and gold Japanese chiyogami paper, with a metallic gold paper spine and a brass magnetic closure. " The illuminated manuscript is a laid-in booklet. In fine condition. 2 5/8 x 2 1/4". Unpaginated. [14 pages] ARTISTSBOOK/060619. Fine.
Martinez: CA: Lucy Childs, 2019. Softcover. According to the artist: “The books in the In Memoriam series are meant to be carried with you, to look at and remember someone (or a pet) who has died ... The poem’s poignant but celebratory flavor is reflected in the colors and letterforms used to sew the words. Creating these books comes from exploring the history, craft, and culture of early American and British sewing samplers, made mostly by young girls to learn the practical craft of sewing but also to learn letters and spelling. Many old and antique samplers included text or images in memory of family members who had died.” This book features the poem “Do Not Stand at My Grave and Weep” by Mary Elizabeth Frye (1905 - 2004). It was written in 1932 when she lived in Baltimore to console a friend who was a Holocaust survivor and was unable to return to Germany to attend her mother’s funeral. Handsewn with various threads on linen with wool folding cover. Accordion structure, which opens to 18 inches. Housed in a cloth covered clamshell box. Fine.
Kingston, NY: Maureen Cummins, 2004. One of 20 copies. Titanic is an altered edition of a single day’s copy of the Wall Street Journal. The artist explores the history of the 1912 Titanic disaster using excerpted accounts of passengers who survived the disaster. The resulting collaged text, which is printed inside the shape of the sinking boat, is visually reminiscent of children’s books, an allusion to the simplistic and oft-quoted belief, “She’s too big to sink.” The quotes chosen highlight the pervasive attitude of denial on the part of both passengers and staff, which not only contributed to the disaster but arguably allowed it to happen. On April 10, 1912 the greatest ship ever built, the Titanic, was launched on her maiden voyage. No cost had been spared in her construction or in the outfitting of her opulent compartments. For the millionaires, captains-of-industry and honeymoon couples who sailed with her, the Titanic promised the ultimate in luxury, status and social privilege. She was the very embodiment of the most cherished beliefs of her age, a limitless faith in science, technological progress, and man's ability to prevail over brute nature. Her owners, The White Star Line, declared her to be "unsinkable." Five days later, on April 15, 1912 at 11:45 p.m., the Titanic grazed an iceberg in the North Atlantic and was fatally pierced through her starboard side. When she sank, two and a half hours later, 1,513 lives were lost with her. Her fate, and the succession of human errors that sealed it, shocked the world. The Titanic, a ship that had been built as a monument to man's power and supremacy, came to be synonymous with human folly and mortality. This book by renowned book artist, Maureen Cummins, retells the story of the Titanic's last hours from memories of the ship's survivors. Drawing upon original memoirs published shortly after the disaster, the artist weaves together a chorus of voices to create a narrative reminiscent of Greek tragedy. Like the mythic ship herself, each statement of disbelief and denial looms larger than life. This beautiful and haunting book seeks to capture the greater significance of the Titanic disaster - an event that haunts our consciousness even though it is a nightmare catastrophe from another time. The piece pairs eyewitness accounts with graphic images of the sinking ship in black silhouette against deeply saturated fields of midnight blue sky and seascape. Layers of time and meaning from the book's text and the underlying newspaper intersect to create a palimpsest of poetry and the recording of events. Twenty copies of the Wall Street Journal were overprinted with six silkscreen runs. Produced by Cummins at the Women's Studio Workshop. In fine condition. 48 pages. ARTISTSB/100419. Fine.
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.
Maureen Cummins, 2013. Artist's Proof. One of 25 copies. Signed by the book artists Maureen Cummins and Tona Wilson. The book artists describe their work as "an impassioned paean to the flowering of book culture, as well as a mournful enumeration of deliberate acts of censorship, repression and destruction. The constrast and continuum of these two realities is represented within a dos-à-dos structure that allows the reader to flip from one narrative to the next, from a bright jewel-colored world to dark, fragmented one, neither of which is clearly the beginning or the end of the story." The book is the result of a long collaboration between Cummins and Wilson, created as part of the Al-Mutanabbi Street Coalition, an international response by over two hundred artists to the bombing of Al-Mutanabbi Street (the Street of Booksellers) that occurred in Baghdad on March 7, 2007. In the MInute Before depicts the world of knowledge and beauty. Grand epophs are contained within sweeping, horizontal spreads. In the Minute After depicts a world of chaos and annihilation, the only light that of books being burned. As they worked on the book the artists incorporated world events such as the threats to precious manuscripts in Timbuktu and the controversy surrounding renovation plaus at the New York Public Library. The book was printed on Arches cover paper with over two hundred runs of letterpress printing, silkscreen, stenciling, and hand-coloring. The blue and black covers were hand-painted, screen printed and stamped with the numbers "11:39" and "11:41," the times before and after the bombing of Al-Mutanabbi Street (artists' description). Measures 7 x 10.75 inches and contains eight spreads. In fine condition. ARTISTSB/092619. Fine.
Maureen Cummins, 2018. Number 17 of 35 copies signed and numbered by the book artist, Maureen Cummins. Secretary deconstructs the life and death-by-suicide of the artist's mother, Dolores Cummins, a brilliant woman, aspiring artist, and housewife for twenty-five years. It is this story that inspired Cummins's later book Crazy Quilt, as well as all the subsequent work that she created around marginalized populations. This book is the first of several around this common theme that Maureen has become well-known for. Secretary is made even more powerful by the structure and composition. It was letterpress printed on sheets of Asian lined paper resembling a steno pad, with titling redacted by hand in graphite. The type used appears to have been typed on an old typewriter. Each section of the book is preceded by a ghostly photographic image of Cummins's mother from that period of her life, reprinted from originals in the artist's possession. The text pages are bound in the style of a stenographer's notepad. It is housed in a stiff grey paper folder. Maureen Cummins is a noted creator of artists' books. Her work is held in over one hundred permanent public collections internationally and has been included in exhibitions at the American Craft Museum, the Corcoran Gallery of Art, and the Rotunda Gallery (amongst others). She has received over a dozen grants and awards and has been an artist-in-residence at numerous venues, including the American Antiquarian Society and the Irish Museum of Modern Art. In fine condition. Measures 8.75 x 14.5 inches. ARTB/100119.
Pennsylvania and New York: Maureen Cummins, 2019. Number 17 of 50 copies signed by the book artist. AlieNation / SepaRation was part of Swarthmore College’s Friends, Peace, and Sanctuary project. The project brought five artists into conversation with Syrian and Iraqi individuals resettled in Philadelphia. Cummins interviewed four participating families in 2018. The interviews captured the unspeakable losses experienced by the settlers and bore witness to their struggles to adjust to new countries, cultures, languages, and their separation from loved ones. From the interviews, Cummins selected forty-eight excerpts that she pieced together to create a narrative arc. To house the text, the artist created a structure that is visually startling, experimental, and conceptually driven. Text blocks are severed, then reprinted as quarto-sections on corresponding pages of four separate books. As in the case of the resettlers themselves, these stories must be reunited in order to be read, understood, and made whole again. Since the structure is two-sided, with half the pages printed upside down, the reader is forced to puzzle out where and how to begin and what order in which to read the pages. In this way (s)he is forced to experience some measure of the confusion, alienation, dislocation, and separation that resettlers struggle with every day. The books were created by first deeply saturating flats of color onto Arches Cover White. Blocks of text were then surprinted over the color fields, a process that required masterful registration. Bound by Lisa Hershey in the Coptic style structure that draws on Middle Eastern binding tradition. Each set of four books is housed in a handsome plexiglass slipcase and laser-etched titling by Sarah Pike. Maureen Cummins is a noted creator of artists' books. Her work is held in over one hundred permanent public collections internationally and has been included in exhibitions at the American Craft Museum, the Corcoran Gallery of Art, and the Rotunda Gallery (amongst others). She has received over a dozen grants and awards and has been an artist-in-residence at numerous venues, including the American Antiquarian Society and the Irish Museum of Modern Art. In fine condition. The set measures 17 x 17 x 2.5 inches and contains 192 pages. ARTISTSB/092319.
High Falls, NY: Maureen Cummins, 2010. Hardcover. Artist's Proof. The edition included 30 copies. Signed by the artist and writer. A powerful work on the famed Salem witch trials that is the result of a decade’s long collaboration between the book artist, Maureen Cummins, and poet Nicole Cooley, based on their research at the American Antiquarian Society while resident artists. The book pairs Cooley’s cycle of poems, written specifically for this book, with images from a penmanship book of stern biblical commandments kept by a Salem boy, Josiah Peele, in 1808-09. The book seeks “to trace the psychic reverberations of the witch trials on subsequent generations” (artist’s statement). Each of Cooley’s thirteen poems is written from the voice and perspective of one of the participants in the trials. They represent the accusers and accused, survivors and condemned, focusing primarily, as the trials did, on the women. They are presented chronologically, beginning with the slave Tituba, the first accused, and ending with the girl Susannah Martin, who refused to confess to being a witch. Printed on Johannot paper with the endpapers done on a handmade Belgique sheet. The poems are printed offset with the titles in letterpress. The images are silkscreen printed. She states that the covers are like vintage writing slates such as Josiah Peele might have used. The book’s binding allows for multiple structures - that of a codex or concertina, or as a “theater in the round” that presents the chorus of voices within. Housed in a black linen box decorated with the marks of the accused, who were unable to sign their names. Maureen’s work is held in over one hundred permanent public collections internationally and has been included in exhibitions at the American Craft Museum, the Corcoran Gallery of Art, and the Rotunda Gallery (amongst others). She has received over a dozen grants and awards and has been an artist-in-residence at numerous venues, including the American Antiquarian Society and the Irish Museum of Modern Art. Size: 7 x 8 inches. In fine condition. Unpaginated (45 pages). ARTB/092319. Fine.
San Francisco: Gazelle and Goat Press, 2016. Number 17 of 30 copies. Signed and numbered by book artist and author Rhiannon Alpers. She is a papermaker, letterpress printer and book artist, with an MFA in Book and Paper Arts from Columbia College Chicago and a BA in Book Arts from UC Santa Barbara. In addition to creating books and providing custom commissions from her California studio, Rhiannon has taught book arts at numerous institutions and has been exhibited nationally. The artist says that "this book was inspired by sleep-deprived dreams as a new mother in the Summer of 2016. It explores an imagined journey, being carried through the comfort of one's dreams. A journey guided by a murmuration of a thousand starlings, undulating and wisping through the evening sky, their soft voices calming and cooing as they head into the unknown." She further states that the book abounds in metaphors and symbolism. This lovely work is letterpress printed with photopolymer plates and monotype, with an under layer of hand painted stars beneath, on Somerset Velvet Black. The endsheets are Fabriano Tiziano Anthracite and bound in Asahi Grey Crepe bookcloth. Foil stamped birds and title, this false accordion book is masquerading in a Secret Belgian binding with Italian film yarn. In fine condition. Unpaginated. ARTISTSBOOK/080417. Fine.
San Francisco: Gazelle and Goat Press, 2016. Number 19 of 30 copies. Signed and numbered by book artist and author Rhiannon Alpers. She is a papermaker, letterpress printer and book artist, with an MFA in Book and Paper Arts from Columbia College Chicago and a BA in Book Arts from UC Santa Barbara. In addition to creating books and providing custom commissions from her California studio, Rhiannon has taught book arts at numerous institutions and has been exhibited nationally. The artist says that "this book was inspired by sleep-deprived dreams as a new mother in the Summer of 2016. It explores an imagined journey, being carried through the comfort of one's dreams. A journey guided by a murmuration of a thousand starlings, undulating and wisping through the evening sky, their soft voices calming and cooing as they head into the unknown." She further states that the book abounds in metaphors and symbolism. This lovely work is letterpress printed with photopolymer plates and monotype, with an under layer of hand painted stars beneath, on Somerset Velvet Black. The endsheets are Fabriano Tiziano Anthracite and bound in Asahi Grey Crepe bookcloth. Foil stamped birds and title, this false accordion book is masquerading in a Secret Belgian binding with Italian film yarn. In fine condition. Unpaginated. ARTISTSBOOK/080417. 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.
Moscow: Emil Goozairow, n.d. Hardcover. Limited edition. Emil Goozairow is a Russian artist who paints and draws, produces movies, and creates exceptional handmade books that are printed on rare types of paper and published in limited editions. His techniques create unique designs that often are made with natural materials alone or in combination with relief decorations made from metal or poymeric clay. He creates books that he describes as "pop up," “kinetic carousel," “liporello” or “3D origami.” He also writes fairy tales, stories and mystical scenes. This mystical yet playful concertina book folds out to reveal Emil's design for each initial facing a brightly colored illustration. Bound in gilt paper covered boards with ornate relief decorations on each cover and yellow string and metal clasps. Interior pages printed on thick paper. In fine condition. Measures about 2.5 x 2.5 inches. MINIATURE/082219. Fine.
Oregon: Anne Greenwood, 2019. Number 2 of an edition of twelve unalike books made in collaboration; prompted by Kit’s poem, ‘In the Time it Takes’ and our shared obsession with textiles. Signed by the book artist and the poet. The materials are hand-dyed silk thread, muslin with machine stitched text, walnut ink, scorched crinoline and Abaca paper made by Helen Hiebert. Thanks to our friends in Corvallis, Oregon who joined us for an evening of stitching, scorching, and mending the pages of these books. Anne Greenwood Kit Stafford "(from the colophon). The book indeed incorporates scorching, with several hot iron images on the bi-fold cover and on a separate insert. The poem is stitched in brown threads on a cloth that may be unfolded when the covers are opened. Kit Stafford is a poet and artist from Sisters, Oregon. She is the daughter of William Stafford the poet and pacifist, who served as the Poet Laureate of Oregon from 1985 to 1990. 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. 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. In 2002, Anne set up a textiles studio integrating handwork, book arts, and textiles into an interdisciplinary practice. An inventive production that pays homage to the artists' devotion to textile arts. In fine condition. ARTISTSB/092719. Fine.
Glenview, IL: Karen Hanmer, 2013. Hardcover. This is a set of twelve binding models using leather and various papers and sewing supports, wooden boards, museum board. This reference set of twelve binding models is based on book artist Karen Hanmer's popular workshop "Biblio Tech: Reverse engineering historical and modern binding structures." The models remain uncovered and only partially completed so methods of board attachment, sewing, spine lining, and end sheet construction are visible. The set is accompanied by a forty-five page illustrated guidebook outlining key structural features of each binding, and providing numerous references for further study. The hand-bound booklet is sewn in three signatures and presented in a German stiffened paper binding. These models are a valuable reference for libraries, book arts programs, or for anyone who is interested in learning more about the engineering aspects of the book. Structures include: Tacketing of a thick single signature into a leather wrapper, Ethiopian Binding, Medieval Binding, Laced-on boards Binding, Colonial American Scaleboard Binding, Early Nineteenth Century Publishers Boarded Binding, German Case Binding with double fan adhesive text block, Split Board Binding, Simplified Binding, Crossed Structure Binding, Sewn Boards Binding, and Non-Adhesive Paper Case. Each binding is approximately 5 x 3.25 x .5” inches. Housed in a white cloth covered clamshell box. ARTB/10/25/17. Fine.