Riverside, CA: Bo Press Miniature Books, 2016. 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. She writes: "Rear Admiral Sir Francis Beaufort, (1774-1857) had no notion of poetry when he devised his long-needed standardized scale for the effect of wind on sailing ships, but his descriptions have a beauty and clarity that come close to it: 'Surface smooth and mirror-like. Calm, Smoke rises vertically. Scaly ripples, no foam crests. Smoke drift indicates wind direction, Still wind vanes.' I've paired Beaufort's poetic descriptions with land (and sea-) scape paintings that illustrate his wind levels, with technical details on the back of each fold out page. The twelve fold-outs have tiny tabs to pull out the pages." Printed on Monarch Superfine paper in UnZialish and Tempus Sans fonts, and bound in black watered satin cloth with endpapers of blue and silver Japanese paper. There are paper titles on the front and spine. In fine condition. Measures 2 3/4 x 2 3/8 inches. 46 pages. ARTISTSBOOK/021518. Fine.
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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.
Riverside, CA: Bo Press Miniature Books, 2020. This fascinating miniature construction from Pat Sweet's Bo Press is what she describes as one of the occasional oddities she creates.While she has made a few of these kits over the years, each is unique in shape and contents. This one includes a collection of miniature books useful for any (tiny) vampire hunter as well a vampire skull (preserved in a glass case), stakes, a mallet, garlic, jar of blood, crucifix, revolver, and more. Size: about 3 x 2 inches. Fine.
Riverside, CA: Bo Press Miniature Books, circa 2015. Open edition. According to the book artist: "No phrase is quite so evocative of the Middle Ages in Europe than 'a knight in shining armor.' This book follows the arming, or as Shakespeare called it, the 'accomplishing', of a knight: from the medieval underwear called braies, through the many padded layers of wool and linen that absorbed the blows of battle and the scraping of the armor, through the overlapping layers of metal plates that, when properly tied to the arming clothes, would protect the knight from anything that could be thrown at him until the introduction of the longbow and firearms." Bound in marbled paper covered boards with black title to spine. In translucent dust jacket with title printed on spine and front panels. This charming book of knightly fashion includes 48 illustrations of a knight, showing each garment worn with a description on the facing page. Each plate is preceded by a translucent overlay of the featured garment, and each plate builds on the next, so you can see the progression of the knight's dressing piece by piece. Also includes an introduction with several illustrations. 114 pages. Size: 2 1/8 x 1 5/8 inches. ARTB/120219. Fine.
Barcelona: Carla Busquets, 2018. Number 4 of 10 copies. Signed and numbered by the artist on the back of the last leaf. The images in this limited edition book are taken from a unique version of the work that had eight original ink drawings on four folios mounted on five wooden dowels. The piano hinge structure is based on innovations by renowned book artist Hedi Kyle. Formerly a conservator in the UK, Canada, and Spain, Busquets, a skilled young paper artist, opened her own studio, la Frivé, last year where she hosts workshops for paper artists of all ages in addition to practicing her craft. In her artist's statement Busquets says: "I mostly work with paper. I love the versatility of the material, how easy it is to manipulate and also the skill required to turn it into delicate work... I use drawing and paper to explore the boundaries of book structures to to create a story. Imagining a picture that goes beyond the illustration with mobile and tri-dimensional parts as in pop-up books gives me new possibilities to transport the spectator." In this marvelous work Busquets depicts the fearsome Kraken, a legendary creature that resembled a giant squid and was known for destroying ships. Here its massive tentacles rise from the churning waves as it approaches a doomed ship. Digitally printed and handcut and mounted. Housed in original custom box covered with paste paper. Size: 17cm x 15 cm x 4 cm. In fine condition. ARTB/031720. Fine.
New York: Caliban Press, 2013. Paper. Number 39 of 48 copies. Initialed by printer. Mark McMurray founded the Caliban Press in 1985 after studying letterpress printing with the Red Ozier Press and bookbinding with Timothy Ely. Mark is the special collections librarian at St. Lawrence University, where he also teaches courses in book history and printing. This inventive and moving production joins Buddhist and Tibetan sutras – Sanskrit for an aphorism, saying, or collection of same – with contemporary environmental themes. The sayings are from sources that include Indian and Tibetan sutras, American authors, and the Adirondack Mountains region and are printed with metal and wood types on a variety of beautiful handmade papers. Many of the papers were dyed, dipped, and/or floated in an indigo dye bath. Includes a volvelle made from area maps, an ecoprint by Velma Bolyard, and a mountain paperscape. Housed in a stiff paper box with bone clasps. With colophon and table of contents and order. Pages are about 4.25 x 14 inches. Unpaginated. ARTISTS/100813. Fine in Fine Box.
Easthampton MA: Cheloniidae Press, 2014. Hardcover. Number 15 of 150 copies. Signed and numbered by the book artist Alan James Robinson. This wildflower alphabet book is the first book issued by Alan’s highly regarded Cheloniidae Press in several years, and the first produced using the Giclee printing process, which he calls a “new direction” in our ever changing world. It is intended to be the first in a series of Natural History Abecedary Editions. There is also a Fine Art edition of Wildflowers with twenty-eight original watercolors. The illustrations for this Giclee edition are printed from the artwork created for the Fine Art watercolor edition. The illustrations in this edition show the lovely renditions of a flower, often accompanied by a butterfly or other insect, for each letter of the alphabet. Each page is headed by a calligraphic letter in red, designed originally by Master Calligrapher Suzanne Moore for the press’s A Fowl Alphabet in 1986. This accordion style book is bound in pale yellow cloth with the title in gilt to the front cover. It is housed in a green cloth slipcase with the title in gilt to the spine. In fine condition. 8.5 x 5 inches. Unpaginated. PRI/071817. Fine.
Easthampton, MA: Cheloniidae Press, 1982. Hardcover. UNIQUE COPY WITH A SET OF THE 26 ORIGINAL PENCIL DRAWINGS BY ALAN JAMES ROBINSON. There were 300 copies of this book published; 200 were regular copies, 50 were deluxe copies with quarter leather binding and 50 others bound in full leather. The deluxe editions were issued with a set of proofs of the wood engravings and a set of proofs of the line-cut initials, with a large calligraphic manuscript initial beneath each image. The wood engraving proofs are lettered and signed by Robinson, and the line-cut proofs are signed both by Robinson and the calligrapher, Elizabeth Curtis. This copy shows some variation from the copies described in the prospectus. The colophon has been signed and numbered VI of L and internally seems to be a straightforward copy of the deluxe full leather edition. The binding varies somewhat from that pictured in the prospectus but uses many of the same elements. Also, the chemise is thicker that the regular chemise because it contains the 26 pencil drawings. This may have been a special copy prepared by Robinson for a particular subscriber/collector. This wonderful abecedary illustrates each letter of the alphabet with a masterful wood engraving by Robinson. Each animal is described at the bottom of its page in texts chosen primarily from the earliest first-hand accounts of the animal depicted. The descriptions are printed in red. The printed source of each text is identified, and at the end of the book there is a detailed and useful bibliography of these sources. A page with a small, different illustration of the animal precedes each animal’s page, with the calligraphic letter written in red by Curtis. The animals depicted are often wondrous and strange, and some, such as the basilisk, may never have actually existed. This is a two volume folio (including a chemise containing an additional suite of illustrations, and the group of original pencil drawings). The bound volume is in full red morocco, done by David Bourbeau of the Thistle Bindery. The covers have a large central, slightly sunken panel, with the title in red and black and with a Sea Turtle device blocked in blind (Cheloniidae is the name for a species of sea turtles). The proofs contained in the chemise are unbound as issued within the original red morocco-backed, linen cloth covered boards. Both volumes are housed in a red morocco-backed cloth covered box, with the spine lettered and dated in gilt and a small Sea Turtle device in blind. “The blocks were cut by the artist at the Cheloniidae Press & printed by Harold P. McGrath in the summer of 1982.... Mackenzie-Harris set the types in monotype with some hand-setting by Arthur Larson. The text was compiled and annotated by Laurie Block. The hand calligraphy is by Betsy Curtis. The paper is Rives lightweight” (from the colophon). The 8-page prospectus is laid in. A remarkable production from this press. In fine condition. PRI/020112. Fine.
Martinez, CA: Lucy Childs, 2019. A unique embroidered artists’ book. Lucy’s exquisite embroidered books are inspired by her “exploration of 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.” Lucy’s beautiful and painstakingly created books are a fitting tribute to and continuation of the craft she honors. Her unique books can be found in several artists’ book collections. This beautiful work evokes the feel and mood of its inspiration - the windy day on a quiet island. (Text appearing inside card under “A Blustery Windy Day on Quiet Island” accordion book.) Blustery windy days on Quiet Island are those in-between days where being outside is fine, but if you’re biking, use your hat’s chin strap and remember strong winds will push you over. Before you leave the house, secure your screen door. (Unlatched screendoors entertain by blowing and flappping in cacophonous time.) Quiet Island is within the sweep of the North Atlantic Drift of the Gulf Stream and inside the arm of land which keeps away the hurricanes that hit most everywhere else nearby. A few hundred or so people live on this island. Houses are basic, cars are shared, the libraries are popular, and people bake a lot. And they brew too, because while they're quiet, they're social. Many have relatives who visit, and some bring friends with them, particularly for the varied (and some invented) holidays." The embroidery is stitched in blue, green, brown, and yellow threads on white linen cloth. The borders are stitched with intricate white designs. There are two covers. The inner cover is tan linen with a small cross on each side. The outer cover is blue felt with the title and border stitching in yellow thread. The folded book measures 6 x 11 inches. Unfolded the book is 22 inches. In fine condition. ARTS/031419. Fine.
Martinez, CA: Lucy Childs, 2020. Cloth. A unique embroidered artists’ book with a murder mystery theme. Lucy’s exquisite embroidered books are inspired by her “exploration of 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.” Lucy’s beautiful and painstakingly created books are a fitting tribute to and continuation of the craft she honors. Her previous unique books can be found in several artists’ book collections. Although this book is not precisely a memorial to Louisa, it does document her mysterious death. The book is held in a grey wool folded covering with a poignant scene of a cross in the ground under a willow tree on its top. The interior folds of the grey covering are of a knife dripping blood on one side and a peaceful lake on the other. The grey wool covering opens to the folds of the interior panels. They are covered in pale blue cloths with an elaborate letter "L" on one side and a cross on the other. The interior panels are meticulous and intricate embroidered tableaux of what may have happened to Louisa. The first panel asks "Whatever Happened to Louisa." The words are framed with flowers and decorative stitching. The second panel has a garden scene with what appears to be two knives flying through the air. The third panel has two cross shapes: the first is a tatted insert and the second includes an embroidered floor plan of a home interior with ominous foot prints leading upstairs to a bedroom. The fourth inner panel is embroidered with a lake scene that has a mysterious object near one shore. Is it a boat or is it a coffin? The words “And flights of angels sing thee to thy rest” are stitched along the lake’s other bank. The hand embroidery throughout uses cotton, silk, rayon, and polyester threads of various colors. Lucy's gorgeous artist's book is housed in a grey cloth box with a stitched blue label of a boat and a cross. The folded book measures 3.5 x 4.5 inches. it unfolds to 3.5 x 18.25 inches. The grey wool covering is 4 x 5 inches folded and 4.5 x 19 inches unfolded.The box is 4.75 x 6 x 2 inches. In fine condition. ARTISTSBOOK/042320. Fine.
Vermont: Bridge Press, 2001. LIMITED. Hardcover. 138/500 c. SIGNED BY ARTIST/AUTHOR. Compilation of reproductions of Cohen's beautiful and powerful black and white etchings and engravings from books and broadsides. His uses a variety of intaglio techniques in his printmaking including mezzotint, drypoint, and double printing. The results are rich and often haunting. Black cloth boards. Bembo type on Mohawk Superfine paper. Printed by The Stinehour Press. 75 pp. BOB/042707. Very Good Plus.
New York: Béatrice Coron, 2007. Number 5 of five copies. A beautiful artist's book made by hand-cutting black Arches paper to create five mysterious silhouettes of the heads and shoulders of women. They are labeled "L'Alchimiste" - the alchemist; "La Gastronome - the gourmet; "La Voyageuse" - the traveler; "La Branchée" - the trendsetter; and "L'Artiste" - the artist. The first and last folds of the paper have the title and the date and number of the edition. The book is in fine condition. It measures 6.5 x 39 inches when extended. French born Béatrice Coron is a renowned artist whose work includes book arts, fine art, and public art. Her work can be found in major museum collections, libraries, as well as private collections in North America and Europe. Her books are fascinating creations made through cutting images in Arches paper or Tyvek. Christina 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." 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]. Fine.
New York: Béatrice Coron, 2015. Number 3 of four copies. "Let's keep dancing if that's all there is! This is a lively and engaging book that Andrea Arroyo and Béatrice Coron did in collaboration. It features Arroyo's color illustrations of dancers and Coron's paper-cuts of dancers and the brief. It was created using Arches paper. The book is housed in a red cloth folder with the silhouette of a dancer affix to the cover. The book slides into an interior sleeve within. In fine condition. It measures 6 x 30 inches when extended. Andrea Arroyo is an award-winning artist working in a range of media including public art, painting, drawing, illustration and site-specific installation. Her work is exhibited widely and is in private, corporate and public collections around the world. Her artwork has been published extensively including in or on the cover of The New Yorker, The New York Times, The International Herald Tribune and The Nation and has been the subject of over two hundred features in the international media.French born Béatrice Coron is a renowned artist whose work includes book arts, fine art, and public art. Her work can be found in major museum collections, libraries, as well as private collections. Her books are fascinating creations made through cutting images in paper or Tyvek. Christina 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." 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/082520. Fine.
La Mesa, CA: Anne Covell, 2017. Hardcover. Number 21 of 60 copies. "On January 20th, 2017, Donald J. Trump was sworn in as the 45th president of the United States. That same day, the official White House website (whitehouse.gov) began the digital transition to archive and replace Obama’s policies with those of the new administration. Immediately, people began to notice that key issues such as health care, education, and immigration were nowhere to be found. Keyword searches for terms such as “climate change,” “LGBT,” and “civil rights” all returned 404 errors. Even more conspicuously, the Spanish-language version and the disabled-accessible version of the site were no longer available.Internet Archive, a non-profit digital library that has been archiving webpages since 1996, captured 167 snapshots of whitehouse.gov that day. This book records the last snapshots taken of Obama’s policies before they came down, the 404 errors that followed, as well as the Internet Archive timestamps for when the information was last available and when it disappeared" (Anne Covell).The first layer of this accordion book reveals text from webpages from whitehouse.gov covering topics like "equal pay", "criminal justice", "climate change", "disabilities", etc. from the Obama era. Each of these pages has a tab at the top edge, which the reader can pull down to reveal the content (or lack thereof) of the same page from the day of Trump's inauguration on January 20, 2017. The contrast is startling. Government webpages once filled with useful, empowering information, were eradicated in a single day. Covell fills these blank spaces with the haunting outlines of book-like shapes to represent a lost library and consequently imparting a feeling of emptiness and loss of hope. The Record presents a powerful visualization of the turmoil that the Trump administration has imposed since its first day in office. Bound in black and white paper wrappers with title to front cover. Letterpress printed accordion on Masa paper with sumi wash and hand brayering. Housed in grey cardstock case with red twine legal closure to rear. Anne Covell's work can be found in collections across the world including Columbia University, San Francisco MOMA, RIT, the National Library of Chile, and Yale. She makes paper as well as books and teaches book arts workshops. Her work often address interactions between humans and nature. According to her artists' statement: "I am interested in the human capacity to physically shape environment, to make claim to earth that must inherently be shared, and the subtle, observable ways nature adapts and responds. Through this lens, I attempt create beauty from perceivably ugly acts as an entry for exploring complex human response to transience and decay." Size: 6.5 x 4.25 x .25 inches (closed); 13 x 42.5 x .25 inches (open). Fine.
La Mesa, CA: Anne Covell, 2015. Hardcover. Number 14 of 15 copies. A collection of three books and a bundle of thread all housed in a clamshell box. Each of these items addresses one small portion of the 20 foot by 5,525 mile long boundary line between the US and Canada - specifically, the political and ecological impact of this boundary. (The boundary line is maintained in perpetuity with all trees and large shrubs growing within it clear-cut and removed.) The first book "A Field Guide to New Growth", identifies 10 wildflowers growing within this area complete with scientific illustrations and descriptions. The second book, "Boundary Vistas", which is elegantly bound in cork, depicts a map of this small section of the border with the artist's route documented as well as 6 postcards detailing 5 (out of 8,000) boundary monuments along the border. The map also shows forest areas and reservation land. The final book "Vanishing Point" is composed of poetic text by Nicholas Brown that reflects on the fate of the Native Americans who once inhabited this land as well as the natural landscape that is continually cleared and altered to create this boundary. It concludes with the powerful lines: "Glaring absence speaks, ironically, to an enduring and evolving presence. Yet specters will always penetrate a permeable membrane. If we wish to seek justice beneath the facade of peace, it is our responsibility to allow ourselves to be haunted by them." It is printed on thin gampi paper with a faint background of mountainous imagery. The paper and overlapping gatefold binding convey the sentiment of fragility, ethereal spirits, and loss. Finally, a 20-foot bundled piece of twine is included with directions to the reader to unfurl it and envision the 20 foot x 5,525 mile long clear-cut boundary line between the two countries. A powerful piece. "The International Boundary between the United States and Canada, at 5,525 miles, is the longest undefended border in the world. Since 1925, the International Boundary Commission, a joint organization led by the United States and Canada, has been responsible for surveying and mapping the boundary, as well as maintaining boundary monuments and keeping the border clear of vegetation and brush on either side of the dividing line. This “vista,” as it is often called, extends 20 feet in width, or 10 feet on either side of the border, for the entirety of the International Boundary regardless of the landscape it crosses. From the Alaska/Yukon to the New Brunswick border with Maine, this clear-cut swath can be seen stretching across prairies, through forest, over ridges and mountains, to the visible horizon. Towards a Just Landscape is a multi-part project about one particular section of this border, the 49th Parallel, as it physically marks the landscape between the Lake of the Woods and the Northern Rockies. More specifically, it is a project about the portion of the border swath that runs through the center of Waterton-Glacier International Peace Park, dividing in two an area of land reserved to commemorate international peace and good will between two nations. I first encountered the border swath on a boat excursion along Upper Waterton Lake in late summer, 2012. Over the next two years my curiosity with the border lingered, culminating in a research trip in 2014 that took me from my home in Iowa City, Iowa to the Alberta/Montana borderlands, skirting the 49th Parallel along the way. The resulting works that comprise Towards a Just Landscape each uniquely explore the political and ecological impact of the US/Canada border clearing on its surrounding environment. While Boundary Vistas studies the varying landscapes along the 49th Parallel at the macroscopic level to comment on the scale and enormity of the clear-cut, A Field Guide to New Growth, by contrast, focuses more microscopically on the swath itself and what can be found growing in the wake of destruction. Vanishing Point envisions the clear-cut as a physical representation of a deeper disconnect over how to achieve peace and justice in the Alberta/Montana borderlands. Together, these three works attempt to create a more complete picture of the physical border shared between the US and Canada as a means to re-imagine how borders are perceived so that we might work to create a more just landscape" (Artist's Statement). Letterpress printed on handmade gampi created by the artist, Sakamoto, and cork paper, with natural linen bookcloth and hand spun flax thread. The box is covered in off-white (natural linen) cloth with the interior covered in a fine layer of cork. Anne Covell's work can be found in collections across the world including Columbia University, San Francisco MOMA, RIT, the National Library of Chile, and Yale. She makes paper as well as books and teaches book arts workshops. Her work often addresses interactions between humans and nature. According to Anne: "I am interested in the human capacity to physically shape environment, to make claim to earth that must inherently be shared, and the subtle, observable ways nature adapts and responds. Through this lens, I attempt create beauty from perceivably ugly acts as an entry for exploring complex human response to transience and decay." Sizes: Box: 8.75 x 6.75 x 1" (closed); 18.25 x 6.75 x 1" (open); Vanishing Point: 8 x 6" (closed); 23.5 x 6" (open); Boundary Vistas: 4 x 6 x .25" (closed); 18.25 x 6 x .25" (open); A Field Guide to New Growth: 3.75 x 4 x .25" (closed), 7.5 x 4 x .25" (open); Thread: 20 feet. Fine.
Maureen Cummins, 2016. Hardcover. Number 34 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, 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.
Mt. Tremper, NY: Maureen Cummins, 2019. Number 4 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.
Pasadena, CA: Deeply Game Productions, 2012. Hardcover. Number 1 of 7 copies. Signed and numbered by the book artist. Sara Press is a photographer, printer, and book artist whose work addresses science, nature, and the intricacies of our culture. This is a suite of four etchings by Ms. Press that depict contemporary mixed-martial-arts fighters. The accompanying text has been appropriated from a panther / bear fight advertising poster from the 1850s. The text describing animal fights is juxtaposed with the prints of human fighters to make an important statement on violence. The typeface is designed by Dan Mayer. Letterpress printed on a Vandercook No. 3 Proof Press. The loose prints and text pages are housed in a solid maple box with title burnt into the lid. This book was made in California and East Coast humidity has caused the box lid to warp a little along the edges. Unpaginated. ARTISTSBOOKS/030613. Near Fine.
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.
Rockville, MD: Erik Delfino, 2015. Number 5 of 10 copies signed by the book artist. A stunning production by book artist and photographer Erik Delfino. In his accompanying pamphlet about the 1964 fair, Delfino writes that his parents took him to the fair when he was four years old. His memories are still vivid and treasured, and he hopes that the photographs of the still remaining structures that he took for this book at the fiftieth anniversary celebration have captured the spirit of the fair. The photographs and text are digitally printed on loose sheets of 19 x 13 inch Epson Exhibition Fiber paper. The twenty-five striking and evocative color photographs are of the structures still remaining at the fair site. They are bold and often abstract and geometric. The photos are interspersed with text offering his brief impressions from viewing the site. The photos are followed by a leaf with pictures of Delfino and his parents on the day they visited the fair. There is a table of contents on the colophon page. The leaves are housed in a taupe cardboard folder that is housed in a blue cloth case, which is encased in a 19.5 x 14 inch stainless steel box with an impression of the iconic stainless steel unisphere. Includes a copy of Cotter and Young’s The 1964-1965 New York World’s Fair. Unpaginated. ARTISTSBOOK/112916.
Washington DC: Abstract Orange Press, 2020. Number 6 of 20 copies signed and numbered by the book artist. Lauren based this powerful and timely work on the United Nations Universal Declaration of Human Rights from 1949. She has created a set of 30 broadsides, each printed with text from one of the declarations, starting with "all humans are free & equal" through "no one may deny the rights of others." The text pages have hand cut wood type printed on brown chipboard using neon ink and printed on a Vandercook 99 proof press. They are housed in a portfolio with the title printed in wood and metal type on blue Keaykolour cover stock. In fine condition. Measures 7 x 11 inches. ARTISTS/100620. Fine.
Israel: Even Hoshen, 2010. Hardcover. Number 32 of 66 copies. Signed and numbered by the book artist. The Even Hoshen press was founded in 1994 by Uzi Agassi, who was later joined by his son Ido. Their work is letterpress printed on high quality paper with hand made bindings and illustrations. The Raven is bound in full black leather with tan and black leather inlay forming the image of a raven on both boards. The binding is a dos-a-dos structure printed in English and in Hebrew. The English text was hand set in Alt-Mediaval type and the Hebrew text was set in Margalit type. It is printed on Bavaria-Butten paper and illustrated with a paper cut of a raven. Housed in a white cloth slipcase with paper title label with light, ghostly visibility under the white cloth. In fine condition. Unpaginated. Fine.
Israel: Even Hoshen, 2009. Someck, Ronny. Hardcover. Numbered and signed by the author and printer. A collection of five poems by Ronny Someck about ballet with two hand-colored illustrations. Someck is an Israeli poet, musician, and artist who has won multiple awards for his poetry including the Prime Minister's Award, the Hans Berghhuis prize for poetry, and the Yehuda Amichai Award for Hebrew poetry. He is internationally renowned with poems published in over thirty-five languages and ten books of poetry published in English. The Even Hoshen press was founded in 1994 by Uzi Agassi, who was later joined by his son Ido. Their work is letterpress printed on high quality paper with hand made bindings and illustrations. Pointe Shoes is a dos-a-dos structure printed in both English and Hebrew. It is bound in black cloth boards with inset cloth ballet slippers to both boards and decorative pink and black ribbons to spine. The center of both signatures features four black and pink flourishes. Printed on Grandee paper and handset in Alt-Mediaval and Margalit type. Housed in a black cloth slipcase. A fine production. Unpaginated. [18 pages.] PRI/032713. Fine.