Washington DC: Abstract Orange, 2023. Number 14 of 20 copies in a variable edition. Signed by the book artist. This latest work by Lauren Emeritz expresses a powerful message from the Earth to the humans who inhabit it. The foreboding message warns humans that their carelessness and disregard for the impact of their actions that have created extreme urgency around climate change, and its profound destruction may ultimately render them extinct. "Your inability to protect your habitat (me) will make you a blip that destroys itself" [from the text]. The artist used cyanotypes to create images and letterpress printed the text on blue BFK Rives paper with end sheets of handmade paper from the Morgan Conservatory. "Cyanotype is a 170 year old photographic printing process that produces prints in a distinctive blue. The word cyan comes from the Greek, meaning dark blue substance" [description from the Phillips Collection]. She created the beautiful cyanotype images using natural elements, plastic, and UV light. The text is printed in large bold bright orange type. With the title in orange on the front cover and an orange spine label with black title. The beautiful paper with torn edges and exposed black book board covers create an elegant but raw feeling. The book structure is a drum leaf binding that opens flat and allows the images to fill the full page spreads. In fine condition. Measures 6.75 x 11 inches. Unpaginated [20 pages] ARTB/050323.
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Philadelphia: Alice Austin, 2019. Number 15 of 20 copies. This tunnel book of the Grand Canal draws attention to the negative effects of tourism on Venice's rising water levels and ecosystem. Created from a series of lino-cuts, each page has been hand-cut and assembled into the tunnel book structure, giving the viewer a periscope-like view of the famed Grand Canal. The artist describes the scene as follows: "a chaotic mix of local fauna, gondolas, traghettos and bridges vying for space on the waterway, contrasting with the ominous visage of a cruise ship lurking on the horizon. The outsized scale of the ship emphasizes the threat these monsters impose on the delicate environment of this unique place — flooding the streets with mass tourism, and literally flooding the small canals with their enormous wakes. The cover panel is in the shape of an eye, reflecting upon the voyeuristic nature of tourism. The first panel shows an egret patiently hunting for fish amidst the chaotic scene. A quatrefoil-laced building facade typical of Venice provides the background. The second panel has a winged cherub and a traghetto (ferry) making its regular crossing of the Grand Canal, as the figures in the gondola stand in the customary Venetian way for the short trip, ready to bound off the second the boat docks. The third panel features the famed Rialto bridge, with a rower guiding a sandolo, the type of small rowboat used by the locals. The fourth panel shows the characteristic vase-shaped chimneys of Venice. The fifth panel is an enormous cruise ship ominously looming over the buildings and canal, impossible to miss. The sixth panel is the back side of the tunnel book - The Lion's Mouth, or bocce dei Leone - depicting letter boxes found that were placed in prominent locations, where citizens could slip a note betraying the names of enemies of the Republic. The side panels show rowers in racing gondolas training for the Regatta Storica." It is printed on Mohawk heavyweight paper and housed in a marbled paper covered clamshell box with magnet closure and paper title label to spine panel. The paper was marbled by the artist. Alice Austin is a printmaker, book artist and painter living and working in Philadelphia. She has been on the faculty at the University of the Arts, teaching book structures, and has also taught workshops at the Center for Book Arts in New York, Ballinglen Foundation in Ireland, The Scuola Internazionale di Grafica in Venice, and other institutions. She earned a BFA from the Philadelphia College of Art and has been an active member of the Guild of Book Workers since 1998. She worked as a rare book and paper conservator for over 20 years at the Library Company of Philadelphia. Alice has also been awarded several artist residencies in Europe, and her work is widely held in private, public and special collections worldwide. Size: 6 x 11 x 1.5 inches closed, 13 inches open. Box size: 6.5 x 11.5 x 2 inches. Fine.
Philadelphia: Alice Austin, 2022. Number 5 of 15 copies, of which 10 copies are deluxe and 5 copies are standard. Signed and numbered by the artist. This deluxe edition is bound in tan goat parchment by Pergamena with yellow caterpillar stitched details. The standard edition was bound in handmade paper wrappers. A delightful collection of linoleum prints of birds and nests, ending with a poem remarking on habitat loss and the joys of birdwatching: "Due to habitat loss, there are 25 percent fewer birds since 1970. still, birds are nesting calling to each other. and a glimpse, through binoculars, wondrous, fleeting." Prints and handset type are printed on Rives BFK heavyweight paper. Housed in an archival grey corrugated clamshell box with paper label to spine. Alice Austin is a printmaker, book artist and painter living and working in Philadelphia. She has been on the faculty at the University of the Arts, teaching book structures, and has also taught workshops at the Center for Book Arts in New York, Ballinglen Foundation in Ireland, The Scuola Internazionale di Grafica in Venice, and other institutions. She earned a BFA from the Philadelphia College of Art and has been an active member of the Guild of Book Workers since 1998. She worked as a rare book and paper conservator for over 20 years at the Library Company of Philadelphia. Alice has also been awarded several artist residencies in Europe, and her work is widely held in private, public and special collections worldwide. Book Size: 8.25 x 7.75 x .75 inches. Box size: 8.5 x 8 x 1 inches. Fine.
New York: Béatrice Coron, 2012. Paperback. One of 3 copies. Created in the year of Hurricane Sandy, this book addresses rising sea levels and shows parts of NYC underwater. Rather than dwelling on tragedy, Coron chooses to focus on the theme of New York reinventing itself to accomodate. She depicts a duck show in place of the famous Westminster dog show. In the panels that do not depict the duck show, ducks are shown as taking the place of dogs in people's apartments and on the streets (which are now Venetian style rivers to be navigated by gondola). Coron describes her book work: "For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. These visual chronicles record archetypal stories that transcend time and space. I have been fascinated by the relation of people to their space and the sense of belonging. Using papercutting where everything is cut from a single piece of Tyvek, the profusion of individual stories makes a coherent whole world." [From her website]. Cristina Favretto, Head of Special Collections at the University of Miami describes her work in Coron's "artfragments" portfolio: "There is a palpable joy in the work of Béatrice Coron, the kind of joy we felt as children in unwrapping a particularly enticing holiday gift. But...for Béatrice the gift is a sheet of Tyvek...or paper, and the stories to be unearthed and unleashed within and through the medium." Hand-cut on black Arches paper. Size: 10 x 8 inches closed; 37 x 6.75 extended. Housed in a black folder with title, artist, and birds on front cover and ribbon ties. ARTB/081921. Fine.
San Diego: Anne Covell, 2019. Number 12 of 18 copies signed and numbered by the artist. Anne Covell is a book artist and hand papermaker living in San Diego, CA. She has studied Asian and Western papermaking techniques with Timothy Barrett, and has taught for numerous professional organizations including the Morgan Art of Papermaking Conservatory, Penland School of Crafts, and the University of Georgia study abroad program in Cortona, Italy, among others. Her work has been exhibited internationally and can be seen in a growing list of private collections, special collections libraries, and museums worldwide. Anne writes: "History of a Felling was first conceived during the winter of 2014 while at the Penland School of Crafts on a winter residency in letterpress. The images were made on-site from polymer plates created from film ink hand-painted on Yupo paper. The project was filed away while the concept evolved into a body of work that would become Covell’s graduate thesis, “Towards a Just Landscape,” in 2015. In the intervening years, the US/Mexico border would draw global attention for the deeply contentious debate over the compulsion to secure the southern border though the construction of a border wall. It seemed a particularly poignant time, by comparison, to revisit the history of the US/Canada border felling, and so the project came out of storage. In many ways the southern and northern US border conflicts remain as isolated as their geographical latitudes; however, their ethical and environmental costs deserve equal scrutiny. Over 150 years later, the deforestation continues. Nature inevitably begins to rebound - trees, shrubs, and grasses grow - and every six years the swath is cleared through exhaustive manual labor." Anne has created a lovely tunnel book that opens to reveal a multi-layered forest of delicate trees printed in light brown on a cream background of Sakamoto paper. The images were printed from photopolymer plates made from original drawings by the artist. Housed in a brown cloth portfolio with a discussion and description of this book. In fine condition. 5.75 x 4.75 x .5 inches (closed) 5.75 x 4.75 x 18 inches (open). ARTISTSB/012121.
Berkeley: The Codex Foundation, 2019. One of 50 copies. The CODEX Foundation recently published WORDS on the Edge, a limited edition portfolio of poetry and lyric prose in broadside format. This portfolio, consisting of twenty-six poems and lyrical texts powerfully addressing themes of nature and its irresponsible destruction, is a part of an international artists' intervention—EXTRACTION: Art on the Edge of the Abyss that is sponsored by the CODEX Foundation as a commitment to art and the environment. It is a multimedia, multi-venue, cross-border art intervention that will investigate extractive industry in all of its forms, from mining and drilling to the reckless exploitation of water, soil, trees, marine life, and other natural resources. For this impressive project, twenty-six notable poets, artists, and writers were paired with an equal number of highly regarded letterpress printers from four countries to produce an editioned broadside/print especially for this portfolio. Poets and writers include Margaret Atwood, Wendell Berry, Peter Coyote, Jo Harjo, and Barry Lopez among many others. Printers include Peter Koch, Ninja Press, Taller Martin Perscador, Barbarian Press, Foolscap Press, and Midnight Paper Sales. The broadsides have all been signed by the writer and the printer. They of course vary greatly with the use of different papers, types, and illustrations and all display a beautiful mastery befitting the importance of the effort. The broadsides are housed in a handsome custom box. Size: Folio, about 19 x 12.5 inches. In fine condition. PRI/052720. Fine.
Ft. Lauderdale: Viewpoint Editions, 2009. Hardcover. This is number 20 of 100 copies in the limited edition. There is also a deluxe edition 6 and a softcover trade edition. Losing Ground is a plea for awareness of our role as stewards of the environment. In its content, Losing Ground is a plea for awareness of our role as stewards of the environment. In its production, it is an example of how exceptional artists books can be made by combining traditional processes and digital technology with a smaller open edition was made available on Blurb. Using images spanning more than a decade and text from the Intergovernmental Panel on Climate Change it combines traditional processes and print-on-demand technology to share its important message. This book was one of 50 selected for the Guild of Book Workers Traveling Exhibitions, "Marking Time" (2010 - 11). Fine in black cloth boards with embossed copper title plate affixed to the cover. Includes tipped-in details and handwork on some pages. Printed on an HP Indigo Press 5500 by Acme Bookbinding on Mohawk Options 65 cover paper. Housed in a fine black cloth clamshell box with small copper decoration to edge. Unpaginated (41 pages). ARTB/051221. Fine in Fine Box.
MA: Viewpoint Editions, 2012. Paperback. Number 22 of 36 copies. According to noted book artist Dorothy Simpson Krause, “This homage to Marjory Stoneman Douglas (1947-1997) and her seminal book, The Everglades: River of Grass combines my images of the Everglades with historic photographs, documents, and maps. Forty miles wide and over 100 miles long this slow moving river ranges from a few inches to a few feet in depth. Only half its original size, the Everglades has been largely destroyed to meet the demands of urban and agricultural growth. The ongoing battle for restoration of the Everglades is a moral test which hopefully we will pass.” The book’s exquisite images evoke the beauty and mystery of the Everglades, which are “one of the unique regions of the earth, remote, never wholly known” (Marjory Douglas). Printed on Yu Kou paper, on a laser printer with letterpress overlay. Interleaved with Yu Kou light tissue guards. All of the unbound pages are housed in an envelope enclosure made from brown Lokta Oil Paper to reference a packet of documents an early settler might have carried. The closure on the envelope is a native mahogany tree seedpod with rawhide and thread tie. This book was produced while Krause was Artist-in-Residence at the Jaffe Center for Book Arts, Wimberly Library, Florida Atlantic University, and was published under the auspices of Minerva: The Press at Wimberly. In fine condition. PRI/101912. Fine.
Philadelphia: Luminice Press, 2022. Hardcover. Number 2 of 12 copies. In this powerful new book from the Luminice Press, Thomas and Mary Agnes Williams present a scathing indictment of the erosion of democracy in the United States. The preface states: "In America, we are losing our freedoms, one by one. Clean Air – the freedom to breathe air not polluted with toxins Safety – the freedom to live without fear of deadly guns Women’s Autonomy – the freedom to control their own bodies Voting – the freedom to participate in our democracy We are losing America." The book's text juxtaposes the intent of four congressional acts that guaranteed American protections - clean air, gun control, reproductive rights, and voting rights - with text from the recent Supreme Court opinions that overturned or restricted these protections. The accordion structure of the book offers the text on one side of the pages with the other side offering six panels with striking abstract color illustrations of disappearing water representing democracy's erosion. Bound in a blue and black paper covered boards with a black Washi linen spine. The text is letterpress printed from polymer plates. The six illustrations are original images hand printed on folded panels with 41 pochoir mylar stencils. The book measures 7.25 x 9.25 inches. The illustrated panels are 7 x 17.75 inches unfolded and open to 106.5 inches. In fine condition. ARTSBOOK/110222. Fine.
Aurora, CO: Alicia Bailey at Ravenpress, 2020. Hardcover. Produced in a variable edition of no more than 9 copies of which this is number 4. A collection of 17 endangered frog species, each hand painted (reproduced digitally), and briefly described with terms such as "population decreasing." Labeled ink drawings of frog anatomy are incorporated into each illustration. A circle graph showing frog populations as extinct, critically endangered, endangered, vulnerable, near threatened, least concern, and data deficient accompanied with hand-written percentiles in red adorns the bottom of the case for the book. Along the interior edges of the box the following text is printed: "Blake believed that the object of being human is to learn how to be human. Will we learn to be human in time? To live up to our full capacities in time to save ourselves? To save the world that is vulnerable to us? To fail will bring on a greater tragedy than we can possibly imagine." According to the artist: "This project began with a batch of biology notebooks from my great-aunt Ruth's archive that were created in 1920 as part of her undergraduate education. I inked over several of her pencil drawings detailing frog biology, treated the pages so they would be receptive to oil paint, then painted a variety of frogs, one to a page. Scanned at high-resolution, these images were printed on hand-dyed Mohawk Superfine Text paper with archival digital inks. The images were each mounted on a core of museum board wrapped with elephant hide paper with further details about the depicted frog hand-written in red ink. The pages are bound using a wire edge structure, onto metal rods. The book and box covers have been treated with shellac, then overpainted with gesso, oil, and wax. The covers each have a hand-painted frog behind laser etched mica labels. The diamond shaped book is housed in a custom box with text laser etched into the tray's corner pieces. The base of the box has a print out of a circle graph with a hand-written legend under a layer of cast acrylic." Alicia Bailey has been creating artists' books, limited edition books, and sculptural books since the mid-nineties. Her work has been featured in dozens of exhibitions and is held in many collections around the world. This book is held in the collection of the British Library. Size: about 8 x 7 x 2 inches. [20 pages.] ARTB/111621. Fine.
Portland OR: Scantron Press, 2021. Hardcover. Number 15 of 32 copies signed by the artist. There was also an 8 copy sculptural three-dimension mountain edition with the fine printed book beneath the mountain, and 250 digital copies. Diane Jacobs writes: "Owed to The Mountain cultivates a powerful story that inspires knowing a place deeply, sharing Indigenous wisdom, and building a community that turns its love for a mountain into action. Mt. Hood has the 6th largest carbon stores of all National Forests in the country! By galvanizing a movement that advocates for the US Forest Service management plan to be updated, Mt Hood can be celebrated and treated as a living ecosystem and increase its climate resilience. Through this project’s research, interviews, and by spending time on the mountain, I understand how important it is that we protect clean drinking water, promote wildlife habitat restoration, support forest maturation, and prioritize the vision and cultural traditions of Native communities, including the practice of controlled burns. We owe it to the Mountain." She continues: "Etchings of animal ink drawings in various colorful ecosystems and habitats appear among the text, documenting the changing seasons. The stories weave multiple Native voices that underscore the value of friendship, reciprocity, interdependence, and cooperation." Born in Southern California, Diane grew up surf fishing, creating potions, and drawing incessantly. At age 12, she and her family traveled to Japan, planting the seed for a lifelong interest in cross-cultural understanding. As an undergraduate at the University of California, Santa Cruz, she discovered her deep connection to forests, feminist thinking, and social justice—her work continues to be informed by the cross-pollination of these elements. She received her MFA in printmaking from San Francisco State University in 1996. After finishing her degree, she was awarded a James D. Phelan Award in printmaking (1997) and a Kala Art Institute Fellowship (1997). In 1999, she was granted a Women’s Studio Workshop Artist Book Residency. In 2000, Jacobs received a prestigious Artadia award. Since moving to Portland, OR in 2002 Jacobs has received numerous awards, grants, and residencies . Her prints, sculptural work, and artist books are in The Portland Art Museum, The Getty Research Institute Library, SFMOMA, the De Young Fine Arts Museum, The New York Public Library, the Library of Congress, Savannah College of Art and Design, University of Alberta, University of Chicago Library, University of Miami, Yale, Stanford, and Reed College among others. The materials and printmaking techniques for this fine press edition include: solar etching plates developed from the artist's Sumi ink animal drawings. End sheets were made ecoprinting plants found on Mr. Hood. The animal etchings, the centerfold monoprint, and the green/blue silkscreen printed book cloth were printed at Atelier Meridian. Backgrounds were created by pressure printing and reduction woodcuts; the stories were handset in Weiss type and letterpress printed at the artist's studio. Book pages are Zerkall paper, end pages are Rives lightweight, and the beaver and river otter etchings were printed on mulberry paper and adhered to the inside covers [from the colophon]. The book is enclosed in a green paper portfolio with a light green title label to the cover. A stunning achievement in fine condition. Measures 13.5 x 13 x .25 inches closed. Unpaginated [ 36 pages] ARTB/030923. Fine.
Redwood City, CA: Judith of Serebrin Books & Prints, 2012. Hardcover. Unique. A lovely set of miniature books with a powerful statement about cherishing and protecting biodiversity above and below ground. Both volumes are housed in a wooden box and are in Coptic bindings with repurposed wooden-board covers. In Above, the text reads: “Look around, Look up, Look down, What do you see? Protect Diversity. Above. Below. Everywhere we grow. Wake up! Wake up! What do you see? I see double jeopardy.” In Below, the text reads: “Things we barely know grow below. Look! Look! Not one above. Not one below. No Life, Sentient or other is unattached. We destroy. We extract, to our own Human peril.” This text winds through an underground landscape. Judith’s work explores the “interrelations between people, animals, and the planet in ways, she hopes, are accessible. Using book art as a format is part of that for her, as you can have an intimate experience holding a book and looking through it.” She received a master’s degree in fine arts from the University of Utah in 1990 and has been making limited editions and unique books since then. Her work can be found in public and private collections in the United States and abroad. Each volume is about 2.25 x 2 inches. The box is 3 x 2.25 x 2.5 inches. In fine condition. ARTB/032917. Fine.
Rutland, VT: Carolyn Shattuck, 2021. Hardcover. One of 10 copies. This inventive work by Carolyn Shattuck joins previous artist's books she has produced to call attention to endangered animal species such as elephants and rhinos. The little known mammal in this work is the pangolin. She states that it is one of the world's most trafficked mammals, prized for its scales, which are used primarily for medicinal purposes in China and Vietnam. The book is a complex production that displays Shattuck's skill in using various book structures to convey meaning and context in the books she creates.An accordion style structure reveals a hand-painted pangolin in its painted forested environment. A foldout text lists the many ailments and other purposes that the animal's scales supposedly address. Printed on BFK Rives and painted with water colors. Housed in a black slipcase with title label on front. In addition to creating artists' books, Shattuck is a painter and creator of paper art. She exhibits her work nationally in numerous juried exhibitions and has received many awards. Her books have been collected by a number of special collections libraries at universities throughout the country. She teaches Book Art workshops in New England and Florida. She describes her work as "an expression of living life to the fullest while being aware of its risks." In fine condition. Measures 12 x 8 x 2.5 inches. ARTISTS/010422. Fine.
Rutland, VT: Carolyn Shattuck, . Hardcover. Number 2 of 5 copies, signed and numbered by the book artist. Carolyn Shattuck is a noted printmaker, using monotype, dry point, painting, stencils and mixed media. In addition to her printmaking skills, Shattuck is architectural in the way she executes the intricate constructions for her artist's books, which highlight her interest in social and environmental causes. She exhibits her work nationally in numerous juried exhibitions and has received many awards. Her books have been collected by a number of special collections libraries at universities throughout the country. Shattuck is interested in endangered species and bringing their plight to the forefront. This vibrant production addresses the endangerment of the Monarch butterfly. She writes in this work: "The migrating monarch was added to the 'red list' of threatened species and categorized as endangered...Scientists blame the population decline on habitat loss, climate change, and pesticide and herbicide use." The colorful butterfly images she has created of the Monarch is accompanied by a poem by Emily Dickinson titled "The Butterfly's Day." The book is bound in black paper covers with colorful scribbles as a design. It is structured as a carousel by which the covers can be placed back to back and the book is then self-standing. The butterflies pop up as the book is opened and the pages turned. The four Monarchs are constructed with black Lama Li paper and transparent film. They appear to rest on pink flowers. With blue ribbon ties. The book is housed in a black slipcase with a white title label on the front. In fine condition. Measures 7.5 x 6 x 1.5 inches. ARTB/041123. Fine.
Washington: Wiesedruck, 2018. Hardcover. Number 31 of 40 copies that included five deluxe copies. Vogel Totentanz is a bird dance of death alphabet book inspired by Hans Holbein’s Dance of Death woodcut alphabet. After the Black Plague ravaged Europe in the late 14th century, death as inevitable regardless of status or age became a pervasive motif in art and literature. My present-day Totentanz is a reflection of that idea in context of our environmental crisis. Birds are indicator species for overall environmental health and human well-being [from the artist's website]. The 29 etchings were drawn from specimens at the Cashmere Museum, the Wenatchee Valley College collection, and the Burke Museum in Washington State along with other found remains. Diotima types were used throughout. The text was letterpress printed on Zerkall Book paper by Arthur Larson of Horton Tank Graphics. This regular edition is bound in a bird-footprint-etching printed blue paper and housed in a slipcase. Binding and slipcase by Claudia Cohen. In fine condition. Measures 6.875 x 5.5 inches. Etchings are 2.5 x 2.5 inches. [60 pages.] Sarah Horowitz has been awarded multiple grants and has held residencies at several arts centers including ArtBellwald in Switzerland. She taught printmaking at Portland State University for over ten years and was a member of Atelier Mars printmaking workshop during her time in Portland. Her press is named for the Wiese stream that runs through her grandparents backyard near Basel, Switzerland. Much of her work is printed on a Charles Brand Press once owned by Leonard Baskin. Her work is held in private and institutional collections across the U.S. PRI/122121. Fine.
Lincolnville, ME: Dudley Zopp, 2017. Hardcover. Number 8 of 25 copies of a new limited edition book by artist and scholar Dudley Zopp. Signed and numbered by the book artist. Ms. Zopp graduated from the University of Kentucky with a B.A. and M.A. and completed postgraduate studies in Drawing and Painting at the Hite Art Institute, University of Louisville. She now lives in Lincolnville, Maine. Zopp finds inspiration in geological processes and cultural histories of place. Her engagement with restoring habitat where she lives feeds directly into her work, which ranges from site specific installations to paintings, woodcuts and limited edition books. She has completed residencies at geologically significant sites in Newfoundland, Spain and Italy. She has exhibited widely at galleries, universities and museums in New England and the Midwest. Her work is included in university and museum collections nationally. This book is offered as both a limited edition deluxe set with one of the original signed drawings and as a slipcased set with a limited edition print. This is one of the 25 deluxe boxed copies with the original drawing for Day three and a blue marble. The book considers our relationship to the Earth in a sequence of annotated watercolors. It was originally presented digitally for a 2014 exhibition "Turning in Your Hand: The Blue Marble Project,” at Waterfall Arts in Maine. Twenty artists were given a blue marble and asked to respond to the pale blue dot we call home. Dudley's images and notations provide a unique look into the oldest of concerns: our place in this world (artist's statement). The drawings began with a month-long daily ritual of erasing an earlier charcoal drawing and, using watercolor and ink, creating a new drawing in its place. As part of this Dudley noted the weather and the color of the ocean as seen from her studio. She also added a few lines adapted from ancient Buddhist texts. The resulting 31 watercolors were collected in a mystical and magical book that beautifully captures Dudley's artistic consideration of our place in the world. Design, typography, and assembly of books and cases are by Richard Reitz Smith. Text and images are printed as offset lithography by Penmore Lithographers. The book is presented in an accordion format and can be read in the round or displayed as sculpture.The book, watercolor drawing, and marble are housed in a dark blue cloth clamshell box. Book measures 5 x 7 inches. 82 pages. In fine condition. ARTISTSB/110317. Fine.