Basel: Romano Hänni, 2017. Hardcover. Master book artist Hanni has long been passionately speaking out through some of his books about the devastating effects of contamination from nuclear facilities. This powerful work is about the Fukushima nuclear disaster in Japan in 2011 that occurred after a severe earthquake and its accompanying tsunami. It was the most significant nuclear incident since the 1986 Chernobyl disaster. He originally printed this book in German, English, and Japanese with the text juxtaposed with symbols, figures, and more. This small version is the text only in Japanese. There are 200 copies. Bound in stiff paper boards. In fine condition. Unpaginated [10 pages]. fine.
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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.
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, 2021. A unique artist's book from this noted book artist. Thomas Parker Williams began creating artists' books in 1998 while also painting. As of 2009 he has limited his art practice exclusively to artists' books. In that year he also began collaborating with his wife, photographer Mary Agnes Williams. In 2013 they started Luminice Press, incorporating letterpress printing into artists' books and broadsides. The artists' books draw on a range of conceptual sources in creating their books, including mathematics, music, literature, theology, philosophy, astronomy, natural sciences, and Eastern thought. Books by Williams or the Luminice Press may be found in over 70 public collections around the country. In this beautiful yet chilling work, Williams depicts the catastrophes that are bound to befall our planet due to the stubborn indifference of so many to the effects of climate change. He is equally concerned with changes in American life, in particular the explosion of hatred in our communities. Most powerfully, he examines both without words. The book comprises fourteen original illustrations. Seven are in dry pigments in alkyd medium on watercolor paper, while seven are in ink and wash on Twinrocker handmade paper mounted on black cover weight stock. The paintings first show landscapes and a pretty seaside community but then show the weather disasters they experience. The ink and wash illustrations reflect the existential rift that is occurring in American society in a less representational but equally meaningful way. The title page is black ink on Classic Linen paper and the endpapers are Sapphire Texture paste paper by Claire Maziarczyk. Bound in black paper on Davey board, with a goatskin spine and endbands. Housed in a light blue paper covered box. A stunning production in fine condition. Book measures 7.5 x 18 x 1 inches closed. ARTISTSB/013122. Fine.
Barcelona: Elies Plana, 2022. Number 38 of 50 standard copies. There were 7 deluxe copies and 15 copies reserved for the collaborators. Signed by Mallarach, Llobera, and Plana. Text in both English and Catalan. This powerful collaborative effort is a response to the decades long efforts to deter or end the extraction activities in the volcanic area in La Garrotxa in the Catalan Pre-Pyrenees. The author, Josep Maria Mallarach, has led these efforts since he was a geology student in the 1970s and here offers a history of these efforts, their setbacks, and their successes. In his preface, Mallarach writes that "In the wake of the global abyss, swept along by a system driven by a tide of greed, ignorance, and lack of conscientiousness, the time has come for all voices to be heard....For this reason, I applaud the initiative Extraction: Art from the Edge of the Abyss and I feel grateful for the opportunity to contribute." This handsome book was letterpress printed with digital Garamond on Super Alfa Guarro Casas paper. With double page spreads of striking color linocuts by Plana. In fiery multicolored pochoir covers created by Elies Plana and bound by Poncho Martinez. Housed in a gray and black cloth covered box by Rius. The box is in turn housed in a gray cloth slipcase. In fine condition. . Book measures 10.75 x 12.75 inches. Box is 11.5 x 14 inches. 47 pages plus epilogue and colophon. PRI/050522. Fine.
Bronx, NY: Plotzing Press, 2003. Hardcover. Number 21 of 35 copies. A graduate from SUNY College, Tammy Wofsey 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. Her beautifully constructed books often address such societal issues as war, climate change, and with this book, the food we eat. She writes: "Mankind is now at the helm of deciding what the future will be with the food we eat. The animals eating junk food represent the global problems created by genetic engineering and monoculture farming. The wild animals in this book are smart enough not to consume our creations. Once set in motion there will be no way to revert the changes corporations are making to our food chain. The animals leave the colorful junk food for the natural world leaving behind the question only the future will tell, what will be the color of regret?" The book is an accordion-fold with the pages unfolding to reveal Tammy's etched and watercolor images of animals and plants. They are printed on Coventry Medium paper with the text in Times New Roman. The cream color boards are covered with a cream dust jacket with delicate dry point illustrations of plants on the front and back flaps. The book is housed in a bright hand painted Japanese Paper Box with hand made paper, by Dieu Donne. The book measures 6 x 6 inches. The box measures 6.25 x 6.5 x 1.5 inches. In fine condition. Unpaginated [56 pages]. 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. Size: about 8 x 7 x 2 inches. [20 pages.] ARTB/111621. 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.
Rockport, ME: Two Ponds Press, 2020. Number 29 of 60 copies. Copies number 1 to 20 are the deluxe edition. This beautifully conceived and executed limited edition private press work explores in parallel two critical contemporary issues: the impact of climate change and the status of the increasing number of refugees in our world. Nansen’s Pastport is an artistic re-invention of Norwegian polar explorer and humanitarian Fridtjof Nansen’s refugee passport for post-Great War Europe. The book, designed and conceived by artist Anneli Skaar, is re-imagined as a climate refugee passport for humanity, using Nansen’s own words in a contemporary context, inviting consideration on how to meet the pressing issues of current and future climate migration with wisdom from the past. Skaar writes: "The Pastport's design is based on the United States passport, arguably one of the most recognizable and coveted identity documents in the world. On its pages the U.S. passport features a number of iconic American landscapes and quotations by well-known citizens.... Nansen's Pastport also features landscapes and quotations. The quotations...are taken directly from Nansen's 1922 Nobel Lecture, 'The Suffering People of Europe.' Although Nansen's words reference the issues facing the displaced citizens of post-war Europe, the excerpts feel equally relevant and inspirational even today." The Pastport is bound from blue North Atlantic salmon leather sourced from Iceland. On its cover is the image of an Arctic tern, the animal the migrates the farthest, making a 50,000 mile trip back and forth from the poles every year. The blue cloth covered box housing the Pastport is constructed to feel like an atlas, its dominant size symbolically enforcing geography's significance to the passport within. On the inside cover of the box is a mounted copperplate etching by Skaar. Named Carta Borealis (Northern Map), it emulates the perspective of an Arctic map; its center is the star of the North Pole. The outer case measures 19 x 13 inches. Nansen’s Pastport is 5 x 3.5 inches, 32 pages, identical to a standard passport. Letterpress printing by Art Larson at Horton Tank Graphics and bound and boxed by Amy Borezo. The Pastports cyanotypes processing by Sal Taylor Kydd and the map was printed from the copper plate by Wingate Studio. Accompanied by a softcover illustrated catalog by Anneli Skaar that describes the book, with an introduction by Steven R. Koltai. In fine condition. PRI/111021.
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.
Lincolnville, ME: Dudley Zopp, 2017. Hardcover. Number 10 of 25 standard 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 of 25 with one of the original signed drawings and marble ,and as a slipcased set of 25 with a limited edition print. of which this is one. 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 illustrations 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. Typeset inFutura on Cougar Opaque Smooth paper. Covers are blue Dover book cloth.The book is presented in an accordion format and can be read in the round or displayed as sculpture. The book is housed in a dark blue cloth slipcase with an archival pigment print of the drawing for Day Sixteen. Book measures 5 x 7 inches. 82 pages. In fine condition. ARTISTSB/110717. Fine.