Kensington/Berkeley CA: Liminal Press, 2017. Hardcover. Number 9 of 10 copies. Signed by Richards and Sibony. “Stained is a collaborative book of word and image, pigment and fiber, documenting the emotional experience—bright lightness, dark depths—and reckoning of motherhood” (colophon). It is an intensely personal yet universal statement on being a mother. In her artist’s statement, Camden writes: “As an artist, I focus on telling the stories of people and places that are in danger of being lost or forgotten, with a focus on women, children and the environment. History repeats itself too often: by telling these stories I help others to remember, to learn from the past, and to take action for the sake of our present and future... I am specifically drawn to the artist’s book format as a sculptural medium to convey these stories because it is tangible, experiential, and provides an interactive experience for the viewer.” Camden’s powerful and beautifully produced books have been in numerous exhibitions and are in many public and private collections throughout the country and in Canada. She both studied and taught at the Corcoran College of Art and Design. Stained is bound in the buttonhole style with stiff white paper boards and brown title to front cover. Accenting Camden’s poignant poem are eight unique non-objective monotypes by Sibony and leaves of white handmade paper that resemble weavings by Patti Harden. The photographic collages are ink jet printed on Canson Vidalon Vellum. Text set in Zuzana Licko’s Mrs Eaves and letterpress printed by Richards on a Vandercook 4 proofing press. Monotypes were pulled in counterpoint to the text on a Takach etching press on BFK paper. The book is housed in a custom clamshell box with hand painted beige book cloth by Sibony. Box construction by John DeMerritt. Size: 10 x 15 inches, Unpaginated [56 pages]. ARTISTSBOOK/061217. Fine.
Petersham, MA: The Lone Oak Press, 2005. Hardcover. Number 9 of 70 signed and numbered copies. There were also 14 deluxe copies with an extra set of prints and an original block. This beautiful production from master printmaker, Abigail Rorer, is a tribute to Henry David Thoreau and his celebration of the wonders of nature. In Ms. Rorer's description of her book, she says that "woodland pools, spring-holes, and ditches are all terms used by Thoreau to describe vernal pools; ephemeral springtime wetlands that often dry up in the summer and are vital breeding habitats for many species ranging from wood frogs, spadefoot toads, spotted salamanders....In New England these pools are an important part of the landscape and the rites of spring. The book comprises selected entries from Thoreau's Journal for the months of March, April, and May  to give a sense of the awakening spring and teeming life...at this time of year. Thoreau puts so beautifully into words what one woud see, hear, and feel when out in nature at this time of the year." The enlightening introduction is written by renowned Thoreau scholar, Bradley P. Dean. Accompanying the text are twenty-eight marvelous wood-engravings, some with hand-coloring, by Ms. Rorer. They are based on the landscape and pools that Thoreau explored. The book was designed and printed by Michael Russem of Kat Ran Press on Zerkall Book in Baskerville type. Barbara Blumenthal bound the book in quarter brown morocco leather with marbled paper by Iris Nevins for the covers. Housed in a grey-green cloth clamshell box with the same marbled paper on the edges and spine. The result of the collaboration of these book artists is this stunning edition. 92 pages. PRI/081417. Fine.
Eugene, OR: Susan Lowdermilk, 2002. Hardcover. One of 35 copies. Susan Lowdermilk is a book artist and printmaker working in traditional processes such as woodcut, wood engraving and intaglio etching as well as digital media. Her artist’s books involve movable parts, pop-ups and LED circuitry. She is a professor at Lane Community College in Eugene, Oregon, teaching courses in printmaking, artist books and graphic design. Her work has been collected by over 60 public institutions including, the Getty Museum, the Library of Congress and the New York Public Library. Her artist’s books are represented in galleries throughout the United States. She earned her Master’s of Fine Art from the University of Oregon. This inventive book uses a six panel Jacob's ladder structure with the panels connected by black ribbon. Images of rock, paper, and scissors appear in each panel and are printed from black and grey woodcuts. The panel backgrounds are carved to imitate wood grain. Housed in a grey and black chemise. In fine condition. 4 x 4 inches closed. ARTISTSB/073118. Fine.
Eugene, OR: Susan Lowdermilk, 2016. Susan Lowdermilk is a book artist and printmaker working in traditional processes such as woodcut, wood engraving and intaglio etching as well as digital media. Her books involve movable parts, pop-ups and LED circuitry. Her artists’ books are in the collections of many university libraries, public libraries and museums. She is a professor at Lane Community College in Eugene, Oregon where she teaches courses in printmaking, artist books and graphic design. Susan earned her Master of Fine Arts from the University of Oregon in Eugene and her Bachelor of Fine Arts from Colorado State University. In her artist’s statement she writes: “Through my art practice as a printmaker and book artist, I reflect my life experiences and relate them to a broader sense of the human condition: struggles, transitions, choices and the inevitable element of chance. I explore and express these themes through familiar forms and shapes, symbolic of humankind’s shared stories as we, as individuals, progress from one day to the next.” Number 14 of 30 copies. Signed and numbered by the book artist. In this inventive work, Lowdermilk uses Emily Dickinson’s poem to examine the inherent interconnection of environmental elements. She uses three dimensional pop-up shapes to complement Dickinson’s words. Bound in blue-green cloth covers with vertical decorated paper inset to front cover. Includes four pop-up spreads tipped at the fore-edges with an exposed concertina spine. Printed in Twentieth Century type on Vanguard Recycled Plus paper. Unpaginated. In fine condition. Size: 7.25 x 9.25 x 1 inches. ARTISTSBOOK/073118.
Eugene, OR: Susan Lowdermilk, 2017. Susan Lowdermilk is a book artist and printmaker working in traditional processes such as woodcut, wood engraving and intaglio etching as well as digital media. Her books involve movable parts, pop-ups and LED circuitry. Her artists’ books are in the collections of many university libraries, public libraries and museums. She is a professor at Lane Community College in Eugene, Oregon where she teaches courses in printmaking, artist books and graphic design. Susan earned her Master of Fine Arts from the University of Oregon in Eugene and her Bachelor of Fine Arts from Colorado State University. In her artist’s statement she writes: “Through my art practice as a printmaker and book artist, I reflect my life experiences and relate them to a broader sense of the human condition: struggles, transitions, choices and the inevitable element of chance. I explore and express these themes through familiar forms and shapes, symbolic of humankind’s shared stories as we, as individuals, progress from one day to the next.” Number 4 of 30 copies. Signed and numbered by the book artist. This book’s striking three-dimensional multicolored imagery “juxtaposes the universal mathematical order and geometric shapes associated with the cosmos with an aviary of birds, thus alluding to an inherent connection - the mysteries of nature on earth with the mysteries of the universe as a whole “ (colophon). The book was originally a collaborative project by Doyle and Lowdermilk for an art and ecology exhibition in Portland (2011) for which they created a deluxe boxed set of three books. This edition of Aviary is digitally printed from one of the three deluxe books. It is handbound with blue cloth covers and an open concertina spine. A paper image of a hummingbird is affixed to the front cover and there are beige cloth ties. The interior features five layered pop-up spreads depicting five birds (owl, peacock, dove, eagle, and bird of paradise) within elaborate geometric backgrounds. It can be displayed open as a star book using the ribbon ties. Housed in a stiff cream paper enclosure with the same hummingbird image on the front panel. In fine condition. Unpaginated. Size: 11.25 x 6.25 inches closed; 11.25 x 12.25 inches open in star shape.
Kensington MD: Lion Stone Books, 2013. Softcover. Number 37 of 650 copies. Signed by the book artist and author of essay. "Clothed in Bark's unconventional words and images connect the reader with the issues of forests, globalization and climate that haunt our world today" (Carter Roberts, President and CEO World Wildlife Fund). Sallie Lowenstein has transformed her photographs of tree bark by drawing on top of each image to accentuate the lines and patterns formed by nature. Her images are paired with an essay on climate change by her brother, former head of the Nature Conservancy's North America Conservation Region's Forest Health Program. Each copy is in a unique binding. Bound by hand in flexible dark brown leather wrappers decorated with an intricate pattern of circular punches. Sewn with a medieval long stitch, which is then woven in a pattern resembling tree bark. Housed in a cardboard box with velcro closures and plastic bag insert, which holds the book in place inside of the box. Images from the book decorate the exterior of the box. Unpaginated. [60 pages.] ARTB/051214. Fine.
Kensington MD: Lion Stone Books, 2013. Softcover. Number 48 of 650 copies. Signed by the book artist and author of essay. "Clothed in Bark's unconventional words and images connect the reader with the issues of forests, globalization and climate that haunt our world today" (Carter Roberts, President and CEO World Wildlife Fund). Sallie Lowenstein has transformed her photographs of tree bark by drawing on top of each image to accentuate the lines and patterns formed by nature. Her images are paired with an essay on climate change by her brother, former head of the Nature Conservancy's North America Conservation Region's Forest Health Program. Each copy is in a unique binding. Bound by hand in flexible brown pigskin wrappers decorated with an intricate pattern of circular punches. Sewn with a medieval long stitch, which is then woven in a pattern resembling tree bark. Housed in a cardboard box with velcro closures and plastic bag insert, which holds the book in place inside of the box. Images from the book decorate the exterior of the box. Unpaginated. [60 pages.] ARTB/051214. Fine.
Oakland, CA: Lunation Press, 1992. Hardcover. Number 2 of 45 copies, signed and initialed by the book artist. The late Marylee Bytheriver was a skilled book artist and print maker. Her focus on book arts came later in life. After a twenty-year break between her sophomore and junior years in college, Marylee return to school to complete her B.A. in Book Arts at Mills College, Oakland, California. She graduated with honors in 1991. She established Lunation Press in Oakland where she created books that were a tribute to her creativity and dedication to the environment. Her books can be seen in public collections nationwide including the National Gallery of Art, the Museum of Modern Art, and the San Francisco Museum of Modern Art. This personal work about the effects of color on one's life is excerpted from "The Tyranny of Color," first printed in July 1986 in the monthly "Mendocino Country" journal. After a childhood and early adulthood with wardrobes limited to blue and brown, Marylee writes that she realized that she enjoyed wearing and decorating in bright colors and began to do so. She further realized that "when we surround ourselves with dull dark, neutral colors, we live dull, dark, and neutral lives." This transformation is visually shown by "swatches" of color on the pages to accompany the text. Printed on white Johannot French paper that is collaged with color Moriki papers from Japan (the swatches). The text was composed in Kabel Medium on a Macintosh computer and then transformed into polymer plates. The plates and various rules and ornaments were printed on a Vandercook Proof Press. Bound in red paper covered boards with a blue linen spine. In fine condition. 9 x 9 inches. Unpaginated (about 17 pages). ARTISTSB/071218. Fine.
Barcelona: Printed at The Private Space for Sandra March, 2011. One of 158 copies signed by the talented Spanish book artist, Sandra March. In this innovative work, Sandra seeks to narrate the life of her parents with both a visual and cultural metaphor. Her parents sold poultry, and the central element of her work is the refrigerator counter where their products were displayed. In Barcelona, Sandra created a full-size installation of their counter with all of the products done in felt. In this book, there are patterns and instructions to allow one to make the various poultry products used in the installation, which can then be arranged in the same way they were at the poultry shop. The book is presented in a red and white styrofoam tray with one of the original felt parts of the installation,in this case four eggs. Printed in Spanish and Catalan with an English translation in a separate booklet. Book is spiral-bound with grey cardboard covers and title label to front cover. In fine condition. Book is 4.5 x 5.5 inches. 118 pages. ARTISTS/112414. Fine.
[Barcelona]: Perdita Metabuk, 2014. Sandra March. Number 8 of 13 copies. Sandra March is a book and installation artist based in Barcelona. She established the Perdita Metabuk independent publishing venture to create artists' books, small editions, book objects, and bookish experiments. This work illustrates through lino etching and digital printing four strange but true inventions found on the Internet. The book was made from a cut and folded 12 x 16.5" sheet of paper, 4 x 6 inches when folded. On the back is a red and black poster saying "What You Need is to Need Less: Repeat it like a mantra." Housed in a brown paper bag with the title on the front. Near fine condtion. ARTISTS/010515. Near Fine.
Boston: Ticknor and Fields, 1860. Chicago binder, book, and installation artist Karen Hanmer’s intimate, playful works fragment and layer text and image to intertwine memory, cultural history, and the history of science. Her work weds the ancient art of book binding with the high tech use of the computer to aid her process. The intimate scale and the gestures of exploration required to travel through each piece evoke the experience of looking through an album, a diary, or the belongings of a loved one. However, her works often take the forms of games or puzzles, and many include witty text. Karen Hanmer has created a beautiful and unique leather binding for this classic book about Sir John Franklin’s 1845 expedition that was one of many to search for the elusive Northwest Passage, a sea route through the Arctic connecting the Atlantic and Pacific oceans. Franklin’s two ships, HMS Erebus and HMS Terror, became trapped in sea ice and were abandoned in 1848. None of the 129 man crew survived, and the ships were believed to be lost. The Voyage of the ‘Fox’ in the Arctic Seas is an account of one of numerous expeditions to search for Franklin’s ships and crew. Karen began working on this binding in August of 2014, the same time another expedition to search for Franklin’s ships began. The well-preserved wreckage of HMS Erebus was found on September 7, 2014. The design for her binding was inspired by historic and contemporary photographs, paintings and illustrations of sea ice and Arctic exploration. The book was rebound in full teal goatskin, with white, blue, and green buffalo and calf vellum inlays to both outer and inner covers. The inlays are in various shapes to represent floating ice. There are public domain images of historic shipwrecks injket printed and then laminated behind the vellum inlays. With hand-sewn, French-style headbands and graphite to top edges. The book’s original cloth covers are bound in at front and rear. The book is housed in a green cloth clamshell box with leather title label to spine. The green suede interior of the box has narrow cutout spaces to accommodate the cover’s inlays. In fine condition. Size: 7.75 x 5.25 x 1.5 inches. PRI/061917.
North Adams, MA: Messenger Press, 2004. Hardcover. Number 26 of 40 copies signed and numbered by book artist Valerie Carrigan. She won the Juror's Award for best book in show in 2014 at Pyramid Atlantic's biannual book arts fair. The book was also selected for the juried exhibition of the 100th Anniversary of the Guild of Book Workers. Valerie created this moving and compelling work in tribute to her sister after she died. Powerful close-up black and white images of birds are juxtaposed with text about encounters with birds Valerie experienced. The birds presented in the book - a barred owl, northern flicker, bald eagle, pileated woodpecker, and evening grosbeak - "are messengers, urging us to pay attention to the world around and within us". In the colophon she writes: "Wonder strikes at the soul unexpectedly against a backdrop of the common and everyday. "Messenger" was born of such moments, created for Julie Rae Carrigan who believed all living things have souls." With five loose bird images, each in a paper folder with letterpress text on the front cover. The images began as monotypes and translated to offset lithography. Printed on Arches Hot Press. Text was set in Tiepolo and printed from polymer plates on Mohawk Satin Cover. Housed in a grey silk covered slipcase with bird image inset on top. In fine condition. 11.5 x 14 inches. PRI/040615. Fine.
Stockholm, WI: Midnight Paper Sales, 2005. Hardcover. Number 8 of 50 copies of the deluxe edition, signed by the author. There were also 300 copies issued in the standard edition and 50 copies issued unbound. Includes thirteen entomological identifications of mayfly specimens. For three years fly fisherman (and artist) Gaylord Schanilec became entranced by the mayflies he found fluttering about his favorite fishing spots lining the Mississippi River. He collected countless specimens, which he examined under his microscope and sent to entomologist Clarke Garry for identification. According to the author “to be included in this book, a mayfly had to be of importance to fly fishers – and I also had to catch one.” Each specimen is illustrated with a color wood engraving and described with a scientific and at times poetic set of key characteristics. This deluxe edition is housed in a slipcase with a glass window at the top revealing eight fly fishing flies hand tied by David Lucca. The book is accompanied by a portfolio that contains seven proof sheets and an extra suite of the 13 engravings, each titled and signed. It is bound in full brown leather with a gilt fly on the spine, and the portfolio is bound with leather spine and green paper boards. The wood engravings in the book are printed on Gampi Torinoko paper. The type was composed by hand in Bembo Monotype. The slipcase is edged in matching leather with panels covered in green paper; the glass window is held into place with wood and the base is also wood. Winner of a Judges Choice Award at the 2005 Oxford Fine Press Bookfair and of the Carl Hertzog Award for ‘excellence in book design.’ The vast majority of the 50 deluxe copies have entered institutional collections, with what appears to be fewer than 20 copies in private collections. 88 pages. We are offering this set with an additional suite of progressive proofs which are housed in a blue cloth slipcase. Number 12 of 13 copies, signed by the artist. The proofs show the separate layers of color that were printed on top of each other to form each finished illustration. Progressive proofs for all 13 illustrations are included. [Approximately 50 loose sheets.]. Fine.
New Haven: Meredith Miller, 2017. Number 23 of 25 copies signed by the artist. This interesting book of seemingly abstract black and white photographs reflects on the history and meaning of books in a totally new and inventive way. Meredith Miller describes her book as follows: "In my role at Yale's Beinecke Rare Book and Manuscript Library, I capture hundreds of images of the pages of each individual book every single day. As they are photographed, the books often shed bits and pieces of their bindings and flecks from their brittle pages. I started documenting these bits and pieces within the course of my regular work day. At the end of a session, after I have photographed a book, I capture what remains on the bed of the copy stand before I sweep it up and dispose of the residue. These bits and pieces from rare and seminal works are at once precious and incidental. The resulting photographs leave the imagination open to both the presence and the absence of the object and in the process create abstract illusions." Each of the photos includes the name of the book from which the bits and pieces creating the image are from. Photographer and artist Meredith Miller received her undergraduate degree in Visual Art from the University of Chicago before earning an MFA in photography from Yale School of Art. Meredith’s work has been exhibited in group exhibitions throughout New England as well as in New York and in California. Her photographs are included in the collections of the Danforth Museum of Art and the Yale Art Gallery. Meredith currently works as a photographer at Yale’s Beinecke Rare Book and Manuscript Library and teaches at Fairfield University, Southern Connecticut State University, and Yale School of Art where she was appointed lecturer in photography in 2013. Bound in black paper covers with title and author in silver to front cover. Each copy includes a small envelope affixed to the rear inside cover that holds a bit or piece. In fine condition. 8.5 x 8.5 inches. 58 pages. PRI/100118.
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.
Paris: 1937. Paperback. Number 158 of 500 copies, the first 200 of which were reserved for the writers of the book. This remarkable deluxe collection of writings and art about Paris was commissioned by the city of Paris to celebrate their hosting the World’s Fair of 1937. The volume includes original prose, poetry, and illustrations by the leading writers and artists of France. There are thirty-one sections on various quarters, neighborhoods, gardens, avenues and boulevards, each with a short piece written by an eminent writer and engravings by two notable artists. For each section there is a full-page illustration by an artist associated with the area and a smaller one on the first page of the section by the other artist. Among the writers are Paul Valery, Raymond Escholier, Colette, Paul Claudel, Abel Bonnard, and Jules Romains. The participating artists are equally impressive, and include Matisse, Andre Derain, Raoul Dufy, Marie Laurencin, Pierre Bonnard, Edouard Vuillard, Jean Laboureur, and Andre Lhote. Each section is a separate folder with the full-page illustration of the following section as its last page. The folders are encased in a paper wrapper with the title and a color illustration on its cover. The entire production is housed in a chemise of dark blue paper covered boards with a red leather spine label which fits into a blue paper and linen slipcase. The slipcase is in very good condition with a few chips and bumps. The contents are also in very good condition; however, pages 286-288 are missing. They included the full-page illustration by Gabriel Belot and Renefer for “Les Musees.” Page 277, the first page of “Les Eglises de Paris” has a repaired tear. Still, a splendid collection of French art and prose commemorating Paris on the eve of the Second World War. 294 pages plus table of illustrations. ART/012412. Very Good.
Washington DC: 2017. Hardcover. Number 5 of 10 copies. Initialed and numbered by the book artist. Jennaway Pearson is a printmaker and book artist residing in Washington, DC. She teaches at American University and George Washington University. Her work is held in institutional and private collections across the US including the Museum for Women in the Arts, the Library of Congress, and UCLA. In this provocative work, Jennaway explores the meaning of “champion” by connecting figure skater Tonya Harding with the goddess Juno, protector of women. Despite being a record-breaking skater, Harding was a victim of her family, a demanding sporting organization, a tragic marriage, and an insatiable tabloid culture. Pearson suggests that Harding, like many women, would have benefited from the protection of Juno, whom the Romans saw as presiding over all aspects of a woman’s life. The book begins with three pages of text printed as handwritten script on yellow tablet sheets. It offers a sympathetic telling of Harding's life, drawing from an early documentary and a later media reports. This is followed by striking images representing both her life and the themes of the book. The text and images are each in a gathering with a cover sheet with two white squares and black numbers representing skating competition scores. The book was supported by a grant from the College Book Arts Association. Bound in black cloth with title in blue script on front cover. In a coptic-style stitched binding. The book is entirely screen printed on Arches 88 and Rives BFK papers. Housed in a black cloth slipcase with title on front. In fine condition. Measures 11.5 x 13.25 inches. Fine.
Bronx, NY: Plotzing Press, 2008. Number 4 of 35 copies, signed by the artist. According to the artist: This book “is based on the game Rock, Paper, Scissors. I use this game as a metaphor for the simple but complicated logic of the games children and adults play. I asked friends and neighbors about this game in their home countries. Many times they remembered striking details of the game from their childhood. Often, they had some variation on the game, but with the same rules, like elephant, human, ant from India or general, gun, surrender from Burma. During the cold war era The RAND corporation [was] financed by the U.S. government [to] set up a think tank for devising mathematical calculations for trying to decide the outcome of a nuclear war with the Soviet Union. The beginning for this theory was called “Game Theory,” devised by John, Von Neumann. Today the threat of nuclear proliferation persists among neighboring countries. Something they all share from history is their own version of Rock, Paper, Scissors. This book is a meditation on the logic of the games we play at every level. This can be the kid who uses Rock, Paper, and Scissors to decide who will go first. Game Theory ends with thoughtful provoking questions for the logic nations decide for peace or war with their neighbors.” Bound in the accordion structure with cream paper covered boards titled in black on the front cover. A cream colored dust jacket printed with a strategy board game’s checkered pattern covers the book. The book is housed in a paper covered slipcase with printed checkerboard pattern that matches the jacket. Letterpress printed in Times and Palatino type with drypoint, mezzotint, white ground, soft ground, and etched images on Vellum Coventry paper. A graduate from SUNY College, Tammy now lives and works in the Mott Haven section of the South Bronx, New York. She studied with Antonio Frasoni and printed at Robert Blackburn’s Printmaking workshop before establishing her own studio. Her work has been exhibited around the world and is held in several institutional collections including Yale University, the Library of Congress, and Duke University. She has won several awards including the BRIO Award from the Bronx Council on the Arts. In fine condition. Unpaginated. Size: approximately 6 x 6.5 x 3.75 inches.
Bronx, NY: Plotzing Press, 2015. Number 5 of 7 copies signed and numbered by the book artist. This is a powerful and complex book from Tammy Wofsey's Plotzing Press. A graduate from SUNY College Purchase, Tammy lives and works in the Mott Haven section of the South Bronx, New York. She studied with Antonio Frasconi and printed at Robert Blackburn’s Printmaking workshop before establishing her own studio. Her work has been exhibited around the world and is held in several institutional collections including Yale University, the Library of Congress, and Duke University. She has won several awards including the BRIO Award from the Bronx Council on the Arts. She says about her book: '"Soil and Water" is an artist's book I have created that celebrates our planet’s most precious resource, soils. This was a five year long project completed during the same year as the United Nations International year of Soil 2015. This book brings to light what is often over looked and not always appreciated. Soils host a quarter of the earths biodiversity and it is a non-renewable resource. To bring facts back to my home in The Bronx I see our water front that has cement and industry instead of soil. We need soils and plants to help mitigate storm floods from happening again such as Hurricane Sandy.''' Tammy's work forcefully addresses the importance of soils for food security, agriculture, as well as in mitigation of climate change, poverty alleviation, and sustainable development. She created striking images using linocuts and linoleum with interspersed text printed letterpress with wood type on Gampi, Cave and Reives de lin papers. The pages are loose and some pages are folded or fold out to create sound, texture, and movement. The book is housed in a portfolio box. The box created for each artist's book is unique. The linoleum that was used to create the book's images was collaged together and glued down on the top of the box. This allows the portfolio box to portray a story before the reader even begins to turn the first page. A beautiful production in fine condition. The portfolio box is 23 x 18 inches when closed. The book is 23 x 17 inches. 71 pages. ARTISTSB/082818. Fine.
Glen Echo, MD: Popular Kinetics Press, 2014. Hardcover. Number 9 of 25 copies, signed by the artist. "Land Forms and Air Currents is my most ambitious work to date. This accordion book travels across time and space, through beautiful layered landscapes accompanied by spare, image-filled poems. Stretching over 250 inches in length when fully opened, it incorporates scanned images of my original watercolors with floating pop-up additions. This limited edition of twenty-five copies is the culmination of 3 years of work." (Carol Barton). This is a fanciful, sometimes poignant collection of poetry about volcanoes, hills, storms, caves, the earth, and more. "The coastline dances along the main highway, sometimes following the road's straight-line lead, then moving in and away in a jitterbug step, twice dipping under a stretch of bridge - a tango flourish. On a map the shore's edge is a fixed line. But in reality she's a ballerina, gliding, then rising on her toes with the tide" is illustrated with a somber watercolor of a road and a pop-up spiral representing the undulating coastline. Bound in tan cloth boards with colored paper pastedowns to front cover and spine. Bound in an accordion structure, the book can either be read as a traditional codex or expanded to its full length with all pages viewed at the same time. Archivally printed in full color after the original watercolor and gouache illustrations on acid-free Strathmore paper. Includes eleven pop ups. Carol Barton is a book artist, curator, and teacher who has published several editions and has organized both local and national shows. Her work is exhibited internationally and is in numerous collections, including the Library of Congress, the Museum of Modern Art, and the Victoria and Albert Museum in London. She has been on the faculty of the University of the Arts in Philadelphia and Corcoran School of Art and Design in Washington, DC. She has also had several international residencies. Her workbooks on paper engineering, "The Pocket Paper Engineer" series, have garnered numerous awards for their effective instruction on how to design and construct pop-up sculptural pages. Size: 8 x 12 x 1.5 inches closed. In fine condition. ARTISTSB/071018. Fine.
Middletown, CT: Robin Price, Publisher, 2007. Hardcover. Number 49 of 86 copies. Robin Price has designed, printed, and published books for over twenty-five years. Her works can be found in university and public library collections throughout North America and Europe. This book is particularly personal, as well as complex and mysterious. Ms. Price says that “Text excerpts from 86 books significant to me - mostly other artist’s books - were gathered using formulas based on the number 43, which was my age at the genesis of the project.” In her announcement for this book, she says that simple formulas, using modular arithmetic with the number 43, were applied to categories such as page number, paragraph, sentence, line of poetry, etc. The text is grouped by subject matter into sixteen page spreads. Titles of spreads include “Water,” “Counting,” and “Flora.” Paper maps from locations along the 43rd parallels are bound in an accordion that structurally supports the main text, which is printed on graph paper and also hinged together as an accordion. A Legend Card and supplemental Annotated Bibliography are included. The unusual double-layer accordion is housed in an olive green cloth covered clamshell box with a river section printed in blue, and a map-paper spine label. The book was co-designed and co-produced with Daniel E. Kelm at the Wide Awake Garage. The typefaces are handset ATF Garamond and Kabel. Six colors are printed letterpress. All additional printing within the structure is also letterpress, except for the laser-printed text sheets of the 32-page bibliography. 11.75 x 8 x 1.5 inches, opens to 20 feet wide; 32 pages with supplemental 32 page booklet. ARTISTSBOOKS/012011. Fine.
New York: Purgatory Pie Press, 2012. Hardcover. Number 18 of 60 copies. A beautifully crafted datebook for 2013. Each binding is unique with different colors of leather and threads. Bound in full orange leather with a black leather tie. The interior is printed in week-at-a-glance format on repurposed nautical charts with wood type that is over 100 years old. The datebooks are a tradition for the Purgatory Pie Press - they have been producing limited edition datebooks since 1980! The leather is slightly discolored on the bottom edge of the rear cover. Designed by Esther K Smith, hand-set by Dikko Faust, and printed on a Vandercook 4 letterpress. Fine.
Baltimore: Sarah Robbins, 2012. Hardcover. Unnumbered edition of 8 copies. According to English folklore, red dragonflies (sometimes referred to as "devil's darning needles") sew shut the mouths and sometimes the ears and eyes of people who misbehave. This carousel book celebrates the myth with comically disturbing illustrations of people who have thread twined around their eyes and lips. Clear plastic printed with red dragonflies overlays the illustrations. The book is bound in light grey paper covered boards with red title to front cover and artist's name to rear cover. It is silkscreen printed in turquoise and red inks. A red twine closure wraps around the book when not in use and can also be tied to hold it open in carousel format. "Sarah Robbins is an illustrator, printmaker, and book artist living in Baltimore, Maryland. Her work focuses on feminist themes, visual journalism, and a love for folklore and the natural world. She co-runs PaperBase, a community letterpress shop and studio space, often combining her talents with other artists to create collaborative work which bridges the commercial illustration and fine art printmaking worlds" (book artist). Her illustrations have been featured in several periodicals including the New York Times and Baltimore Magazine. [6 pages.] ARTB/051016. Fine.
Dania Beach, FL: Claire Jeanine Satin, 2017. This wearable miniature is adorned with tiny bits of dried alphabetic pasta shapes arranged in order from A to Z. The book is bound in red stiff paper wrappers with a lacquer finish covering the pasta and boards. The alphabet is printed on the interior pages as well. All edges are gilded and a pin is adhered to the rear cover, so that this whimsical book can be proudly displayed on the owner's lapel. [40 pages.] Size: about 1.25 x 1 inches.A unique artists' book from Claire Jeanine Satin, a well known book artist, sculptor and designer of public art installations. Signed by the artist. 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, The Victoria and Albert Museum, and the National Institute of Design (India). She has created 250 bookworks to date. She is known especially for her conceptual works in uenced by the ideas of composer/visual artist John Cage, and the conversion of ordinary industrial materials into environmental constructions and book works of layered transparent mass. ARTISTSBOOK/081418. Fine.
Dania Beach, FL: Claire Jeanine Satin, 2012. Number 6 of 11 copies. Alphabook was created and designed by the artist 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, The Victoria and Albert Museum, and the National Institute of Design (India). She has created 250 bookworks to date. She is known especially for her conceptual works in uenced by the ideas of composer/visual artist John Cage, and the conversion of ordinary industrial materials into environmental constructions and book works of layered transparent mass. This work was inspired by the artist's 1997 public art installation project, ALPHAWALK, for the New Tampa Regional Library, Hillsborough County, Florida. She writes: "I have had a long term commitment and fascination, as a book artist, with letters and script from ancient characters and the The Chancery Scripts. The Alphabook: Arabic is photoetched and printed on 360 gm/m2 Fabriano Murillo with inks and metallic colors. The sets of pages are grouped in four segments; three consist of alphabetic notations, images, phrases and poetry from history. The fourth set consists of accompanying texts describing the alphabets from prehistoric North Africa, Italy, Spain, Portugal, Southern France, Egyptian Hieroglyphics, Greek, Hebrew, Chinese, Mayan, Arabic, Tibetan, Cyrillic, Cherokee and Roman. The pages form circles when fully opened. The box containers were constructed and bound in Italian Ciralux cloth and topped with a water-jet cut tile designed by the artist. A Latin phrase is gold-stamped on the rim: Verba Volent, Scribna Manent [spoken words fly away, written words remain]. Two of the Alphabooks are in the Library of Congress Collection of Rare Books." Size: 14 inch diameter with 1.5 inch depth. In fine condition. ARTISTSBOOK/030118. Fine.