Search Results: Titles starting with H from Vamp & Tramp, Booksellers, LLC

Atlantic Beach, Florida:: Linda Broadfoot,, 2014.. Edition of 30. Box 6.5 x 7 x 9.5" containing ten 5 x 7.5 x .5" double-sided panels. Poems letterpress printed on Hahnemühle Ingres paper using Perpetua type cast by Michael & Winifred Bixler. Text overprinted with a transparent honeycomb pattern. Archival pigment print images on Hahnemühle Photo Silk Baryta paper. Images and poems mounted on Russian birch plywood, foreedges coated with beeswax, and encased within a fabricated one-half scale maple Langstroth beehive box structure. Title and bee image engraved on the cover. Title page mounted on the interior side of the lid. Signed and numbered. Hive was produced over the course of two years and contains nine poems from The Bees by Carol Ann Duffy with images and design by Linda Broadfoot. Linda Broadfoot: "Hive was created to reveal the wonder of sunlit bees in the air and the mystery of the hive. The images and the physical structure of the book came from my… Read More

Wellesley, Mass / Viet Nam:: C. David Thomas,, 2001.. Edition of 100. 13.25 x 11.25 x 2.25"; 118 pages: 59 text pages, 59 image pages. Images printed from a Hewlett-Packard DeskJet 970Cse using archival ink. Letterpress printed in Monotype Bembo by Wolfe Editions in Portland, Maine. Printed on Vietnamese Do (mulberry) paper handmade in Dong O Village in northern Vietnam. Text pages varnished to make the paper translucent. Laid in a lacquer box handmade by craftsmakers in Thanh Tri Village near Hanoi. Box laid in a handmade silk slipcover also custom made in Vietnam. Copy edited by Gloria Lee. Numbered and signed by C. David Thomas and Charles Fenn. Colophon: "Each lacquer box is made in the centuries-old method of using wood covered with a coarsely woven silk followed by thirteen coats of lacquer. Between coats of lacquer the box is hand sanded with very fine water sandpaper until the final layer, which is done by using charcoal powder and bare hands". Prospectus: "In spite… Read More

Grasswood, Saskatchewan, Canada:: Byopia Press,, 2015.. Edition of 20 (4 Deluxe). 9.25 x 2.5";18 panels. Palm leaf structure with string binding at each end. Archival pigment inkjet printing on Legion Domestic Etching paper. Other materials: Lurex thread, crochet cotton. In sleeve. Signed and numbered by the artist.  Deluxe edition has Lurex [yarn with a metallic appearance] cross-stitching on sleeve and two pages Cathryn Miller: "As a child, I lived in a neighborhood where all the living rooms had venetian blinds on the windows, and all the homes except mine had things like plaster ducks and cross-stitched sayings (like Home Sweet Home and Home Is Where The Heart Is) on the wall. This book is an attempt to evoke both those homes and the one that I grew up in, which was always a little different. "The book opens vertically to simulate a venetian blind, and may be hung on the wall for display.

El Sobrante, California:: Lisa Kokin,, 1992.. One-of-a-Kind. 7 x 9.5 x 3" closed; 20 panels Materials: shoe last, gameboard pieces, ribbon, grommets. Text embossed into board game pieces. Wooden shoe last hinged. Pages created from gameboard pieces with ribbon binding. Title board nailed to shoe last base. Signed and dated on the bottom of the base by the artist. Lisa Kokin: "A Jacob's ladder-type book with a humorous poem that I wrote after being verbally harassed on the street. … The shoe last is kind of a metaphor. I was being sexually harassed for my weight by some guys leaning out of a car -- symbol of oppression, crushed under the weight of sexism...something to that effect. As always I try to do when talking about serious subjects, I use humor as a vehicle for accessibility.

Washington DC:: Abstract Orange,, 2017.. Edition of 100. 1.75 x 2"; 24 unnumbered pages including back pastedown. Accordion structure extending from the back pastedown. Drawn, hand-carved, designed, printed and bound by Lauren Emeritz. Letter press printed. Case bound in blue cloth with title in orange on cover and spine. Signed and numbered by the artist. This is the miniature version of her larger format edition of numbers. One number (from 1-9, followed by 0) is printed from a hand-carved letterpress block on the recto of each page. Numbers are printed in orange, blue, black and blind. A line of squares in the corresponding number is stamped in blind on the verso of each page for numbers 1-9.

Washington DC:: Abstract Orange,, 2017.. Edition of 20. 5.25 x 7"; 24 unnumbered pages including back pastedown. Accordion structure extending from the back pastedown. Four upward fold out double pages. Drawn, hand-carved, designed, printed and bound by Lauren Emeritz. Letters carved out of linoblock, pine and basswood. Letterpress printed using a Vandercook on Strathmore printmaking paper. Bound in blue cloth covers with title in red gilt on front cover. Signed and numbered by the artist. Lauren Emeritz: "When I letterpress now, I use a combination of techniques. For small text and logos I usually use polymer. For hand-drawn type I usually carve linoleum or wood blocks. Each process has it advantages and I try to be intentional in my process, using the one that will best suit my goals for the project.." For this project Emeritz usedd hand carved numbers. One number (from 1-9, followed by 0) is printed from a hand-carved letterpress block on the recto of each page. Numbers are… Read More

Washington DC:: Abstract Orange,, 2016.. Edition of 20. 5 x 7"; 29 leaves with the 29th as the back pastedown. Accordion format extending from back pastedown. Drawn, hand-carved, designed, printed and bound by Lauren Emeritz. Letters carved out of linoblock, pine, basswood and plywood. Letterpress printed using a Vandercook on Lettra 200 paper. Bound in orange cloth with title stamped on front top right corner of cover. Colophon printed on rear pastedown. Signed and numbered by the artist. IIn blazing orange Emeritz created an alphabet by hand carving the letters then printing on her Vandercook press. She printed using her favorite color of orange with each letter having its own page.  Lauren Emeritz: "I live in DC, so there is lots of cool artsy stuff. I love the Smithsonian Art Museums, the National Gallery of Art, the Library of Congress - they have so much amazing art and printed pieces! The Library of Congress was on my bucket list for a number of years. I finally made it there… Read More

Washington DC:: Abstract Orange,, 2016.. Edition of 300. 29 pages; 1.75 x 2". Case-Bound. Accordion extending from the back pastedown. Mulberry paper hinges. Letterpress printed. Bound in orange cloth boards with title on front cover. Signed and numbered by the artist. This is the miniature version of Emeritz's large format edition of "Hand-Carved Alpha-Bet". As with the larger version the miniature alphabet book was printed with letters that were hand carved in wood by the artist. Each letter is a capital letter printed in orange.

Waukesha, Wisconsin:: Citron Press,, 2020.. Edition of 30. 5.75 x 3.25 x .25" closed; 11.5 x 3.25" open. Materials and processes: Relief prints, letterpress, digital on MI Teints paper. Signed and numbered by the artist. Stephanie Copoulos-Selle: "We are born with bones. We take them for granted. Sometimes, they are injured or undeveloped. This impacts and changes our lives forever."

Minneapolis, Minnesotra:: Camp Paper Editions & Jingren Paperlogue,, 2022.. Edition of 350. 254 pages. Offset printed by Bolger, handmade paper scans by Imageworks, and bound by Campbell Logan Bindery, all located in Minneapolis MN USA. Of the edition 150 in clamshell box (Deluxe), 200 in wrappers (standard). Cave Paper Editions: "u Jingren, world renown book designer in Beijing China teamed up with Amanda in Minneapolis to create Handmade Path. Their idea was to invite people to answer the same six questions using their handwriting because it connects the hand the mind and the heart in an intimate way . The questions included how did you begin your practice? Why do you still make paper/books? What is the difference between reading on a digital device or in a book? In what way do you understand the five senses of paper/book: vision, touch, hearing, smelling, and tasting? Share with us some moments, either breakthroughs or break downs in your work? What is your next dream project?… Read More

Tuscaloosa, Alabama:: Perkolator Press,, 2014.. Edition of 14. 5 x 8.5" closed; 14 pages. Doubled sided accordion with two pop-up elements. Letterpress printed from handset metal types on Johannot mouldmade paper. Linocuts. Pochoir. Cloth-covered boards with kite tipped on front board. Designed, printed, and bound by Amy Pirkle. Signed by poet and printer. Numbered. Of the edition 10 available for sale. Amy Pirkle: "Hands features a poem written by my twin sister, Sara Hughes. It was originally titled 'My Twin Sister in the Print Shop,' and is an excerpt from a longer poem. The first line states 'Our hands are matching origami kites.' The poem considers one struggle that all artists face, and especially one that she and I often contemplate: 'the grief, the prayers that any of this matters.' The pop-up kites that represent us, so boldly colorful and prominent at the beginning of the book, begin to grow smaller and fade away as the poem continues.

Rochester, New York:: Visual Books,, 2008.. Edition of 10. 6.5 x 8.5 x 1.75" box size; 5.5 x 4.5" book size; 28 pages. Accordion structure. Hand bound ink jet prints. The describes the space and process of the project, printed with a vertical panorama of the garden situated between two buildings. Housed in hinged wooden box with Latex glove, flower seeds, and plastic horse. Scott McCarney,: " This book documents a version of a piece that has been installed/performed privately in my garden in Rochester NY for the past eight years. It started as a tribute to my father, who died at his home in Virginia from lung cancer in 2001. When told he had three weeks to six month to live, he chose to move from hospital to hospice care at home. That was Friday. We had a nice weekend together before he passed away the following Tuesday, much to the surprise of his doctor. Being with him those last few days, I understood his will to die was as strong as his will to live had been.

El Cerrito, California:: Red Parrot Press,, 2009.. Edition of 15. 10.75 x 13"; 34 pages. A work of digital photographs with the artist's graphic elaborations. Printed digitally. Paper covered books with illustrated paper title on front board. A gentle and haunting look at the Big Island of Hawaii with minimal text by the artist. Barbara Milman: "In May of 2007 I was an artist-in-residence at the Red Cinder Creativity Center on the Big Island of Hawaii, where I took all the photographs in this book.

Tuscaloosa, Alabama:: Firebrand Press,, 2010.. Edition of 70. 6.75 x 6.875 x 1.25"; 3 books, each a single sheet folded. Two of the books open to 18 x 24" and one opens to 12 x 24". Images created using woodcuts and photopolymer plates. Housed in clamshell box. Text and illustrations by Lauren Faulkenberry. Firebrand Press: "This is a series of three books, titled Smolder, Galvanize, and Devour. With a structure similar to a map fold, each book is printed on a single 18" x 24" sheet that collapses to 6" x 6".  "Based on the mythology of the Greek furies, this trilogy explores themes of heartache, longing, and obsession, and describes how it feels to be set aflame by another." The books and box can be arranged so that the cover drawings on each combine to form the image of a human heart.

Tuscaloosa, Alabama:: Perkolator Press,, 2007.. Edition of 65. 4.5 x 8" closed; extends to 54"; 10 pages. Accordion structure. 5 full-color illustrations. Materials Used: Hahnemuhle Biblio (white) and Bugra (mint) papers, binder's board. Techniques / Processes: letterpress printed from metal types (typefaces are Dante and Spectrum Roman); relief printmaking- color reduction linoleum blocks; photopolymer plate line drawing for covers. Design, printing, and artwork by Amy Pirkle. Poems by Judson Mitcham, reprinted with his permission from This April Day (Anhinga Press, 2003).Amy Pirkle: "Through words and imagery, Heart of All Greatness explores the subject of fathers as complex figures in our lives. Judson Mitcham's poetry examines true tenderness between a father and son, particularly in a family where secrets are kept to prevent embarrassment, and expressing full emotion may be awkward. With beautiful and heartbreaking language, Mitcham captures the loss that a son… Read More

San Jose, California:: Midnight Moon Press,, 2010.. Edition of 25. 14.4 x 9"; 32 pages. Composite images created from original and found photographs. Archival inkjet printing on Rives BFK. Post bound in paper covered boards. Illustrated paper title tipped on front board. Ginger Burrell: "The Heaven Project began during a trip to Yellowstone National Park during the summer of 2009. I came across a rabbit that had been run over and had the thought that bunnies must go to Heaven because obviously they were 'good.' What could a rabbit possibly do that wasn't good? I was not brought up in any specific religion, and my mental picture of Heaven is still the one I've had since I was a little girl kneeling next to my bed with my grandma teaching me the words, 'Now I lay me down to sleep.' I started to wonder where God put all of the people and animals when they go to Heaven. I asked my husband his opinion, and assumed, since he was raised Catholic, that there would be a… Read More

New Zealand:: Poets Group / Judy Haswell,, 2002.. Edition of 200. Typeset in Perpetua on a computer by Haswell. Printed on Munken paper. With two illustrations by Haswell. Wrap-around cover printed using letterpress and with photo-illustration by Haswell. Bound with linen thread. Paper is offwhite with inside cover blue and tan wrap-around cover.

Boston, Massachusetts:: Janet Zweig, Photographic Resource Center,, 1985.. 20 unnumbered pages. Four color offset printing on Mohawk Superfine paper. Quarter-bound with illustrated paper over boards and cloth spine. Leaves are folded and glued at the spine to allow for a continuous image. Texts are excerpted from: Dr. Lawrence Kohlberg (dilemmas), The Moral Development of the Child by Jean Piaget (stories), In a Different Voice by Carol Gilligan (responses at intermission)". Janet Zweig: "This book combines the classic Punch and Judy text and overlays it illusionalistically with three layers of imagery: First, there are slips of paper with excerpts from studies of morality and gender by Lawrence Kohlberg, Jean Piaget, and Carol Gilligan. Next there are drawings in crayon, ink and other substances as if someone was marking directly on the book, and finally there is an overlay of a shadow play that falls on each entire spread.."

Berkeley / Oakland:: Set in Motion Press / Permanent Press,, 2012.. Edition of 40. 9 x 13” closed, opens to 9 x 27"; one opening plus a volvelle. Letterpress printed. Interior page has magnetized, removable volvelle structure. Materials: Rives BFK, Canford, book cloth, grommets, rare-earth magnets. Processes: letterpress, xerography, photography, inkjet printing, and color photocopy. Bound in paper-covered boards with cloth spine. Title label on front board. Colophon information printed on back board. Singed and numbered by Gardner and O'Banion. In paper envelope slipcase with tie and grommet closure. A collaborative book between book artists Nance O'Banion of Permanent Press and Casey Gardner of Set in Motion Press.  Casey Gardner: "This book features diverse, interrelated readings of volvelles, cartography, and randomography. This flexible notion of a book with its movable devices, graphical calculations, and swirling windows of chance offers self-propelled… Read More

Charlottesville:: Virginia Center for the Book,, 2010.. Edition of 40. 12 x 11"; 22 leaves. Letterpress printed. Bound in paper wraps with stab binding. Signed and numbered by the artists on the colophon. Virginia Center for the Book: "Hesitant Ruin, a collaborative bound book created by the artists of the Virginia Center for the Book, Charlottesville, 2007. All images were collected on the theme of time, decay, or ruin. The title and direction were supplied by randomized pairings of adjectives and nouns. . . . Hesitant Ruin was selected and parameters for the collection were set.