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

Chicago, Illinois:: Christopher Saclolo,, 2010.. Edition of 3. 3.75 x 5.5"; 12 pages. Red transparency cover. Digitally printed on double sided matte paper. Handsewn pamphlet binding. Christopher Saclolo: "This book is from my childhood memory about eating dinner. When I was younger I had a reluctance of eating dinner at a certain time. To help stimulate my appetite my mother would turn on the television for me to watch The Muppet Show in order to keep me in one place. While eating, the theme song was this sort of stimulus in my mind to know that it was dinnertime. In my artist book, I incorporated the theme song lyrics on one side while on the other a kind of sequential routine I would go through while watching the show.

Mount Vernon, New York:: Ed Hutchins,, 2000.. Edition of 48. 3.75 x 6" custom crafted box with opaque window to view taco book. Seven shaped pages of “colorful foamy material” inserted into taco shaped shell. Silk-screened text panels on each side of page. Text in Spanish with English translation on reverse page. Box numbered. Signed and numbered on taco. Seven filling-shaped pages stuff a taco shaped shell. The ingredient pages are silk-screened with sayings about food, hunger, and desire. "Un taco sin salsa es como un beso sin bigote." "A Taco without salsa is like a kiss without a moustache."Ed Hutchins, colopohon: "In July 2000 Steve Warren and I set out on a year-long visit to Mexico. Our first stop was Cuernavaca. Antonio Ortega, once he learned of my interest in unusual books, presented me with the tortilla paper and asked, "Can you do anything with this?" The taco shells were assembled after Steve and I moved to Guanajuato.… Read More

Glenview, Illinois:: Karen Hanmer,, 2011.. Edition of 20. 7.5 x 4.75 x 1.75” box containing plaquettes and pamphlet. Seven 7.5 x 4.75" plaquettes: binders’ board covered with inkjet-printed cotton backed with Japanese tissue. Pamphlet: 7.5 x 4.5"; 4 pages; text includes colophon, artist's statement, images of five books from The Athenaeum’s collection and image credits; inkjet printed on Arches text paper. Clamshell box: bookcloth over binders’ board, inkjet-printed label. Hanmer created new cover designs by combining elements from each of the five late nineteenth- and early twentieth-century publishers’ bindings The Athenaeum made available online to artists in the fall of 2011. Karen Hanmer: "Part decorative arts and part cabinet of curiosities, the five bindings represent a cross section of styles, including Art Nouveau, Arts and Crafts, and Egyptian Revival.The new cover designs, like those they take as their starting point, reflect late… Read More

St. Paul, Minnesota:: Bluestem Cottage Press,, 2021.. Edition of 13. 24 pages. Designed, bound, and letterpress printed using polymer plates. Artwork on verso pages include ink drawdowns for the first layer. Screen printed textures are superimposed. Typography: Minion Pro, main text is 10/14, letterpress using polymer plates. Paper: Rives BFK, white and grey. Slipcase: Cave paper, Duo bookcloth, endpapers are Neenah Metallic, gun metal grey. Numbered. Carter Clapsadle: "All together this collaborative book is comprised of 10 poems on the recto pages, and 10 screen printed images on the verso pages. These poems are part of an ongoing body of work inspired by travel. They are about experiences, observations, and memories that are triggered from traveling, eating, driving, swimming, and taking part in cultural exchanges.  "Travel takes us from our routines and familiarities while at the same time reveals similarities we have with those places. Some poems are about a particular place… Read More

Portland, Maine:: Rebecca Goodale,, 2015.. Edition of 5 . 17 x 6.5" closed, opens to 60". Accordion extending from back pastedown foreedge. Hand-colored lithographs and gelatin plate prints. Bound in cloth-covered boards. Signed, numbered, and dated by the artist. Rebecca Goodale: "In this narrative a unicorn is running away with two of Maine's extirpated species: Lycaeides melissa samulelis ( Karner Blue) a small blue butterfly, which after a long absence has recently been sighted in southwestern Maine and Aletris farinosa (unicorn root) a plant that has not been seen here for over a hundred years."

Tacoma, Washington:: Anagram Press / Goat Back Press,, 2015.. Edition of 50. 7 x 9" closed, extends to 15 feet; 20 pages including pastedowns. Accordion structure. Digitally printed from watercolor illustrations on archival, 100% cotton paper. Handbound paper over boards. In paper slipcase. Signed by both artists and numbered. Empire Builder is a collaboration between artists Carol Inderieden and Chandler O'Leary; both contributed text and illustrations. The two artists lament the changes they have seen in the American West, changes driven by the thirst for oil and natural gas, changes spawned by fracking in North Dakota and ending in oil refineries of Washington. It is the story of tunnel vision and the attendant environmental consequences. The book "reads like a map - tracing both the route of the Empire Builder train and the path of industry and destruction, in one long, unbroken line." Colophon excerpts: "Seeing the Elephant was a figure of speech that came to… Read More

Tallahassee, Florida:: Small Craft Advisory Press,, 2017-2020.. Edition of 50. 15.75 x 15.5" enclosure. Letterpress printed.,screen printed and stencilled on a Tyvek mobius strip. Paper enclosure in brown and orange/red colors. Numbered. Colophon: "The project began in March 2017 with a performance in Tallahassee, FL, and concluded in 2020 with a publication by Small Craft Advisory Press. Collaborators include Ellen Mueller, Denise Bookwalter, AB Gorham, Kevin Curry, Elysia Mann, Jay Fox, Cheri Marks, and Samantha Faber. "Ellen Mueller, Denise Bookwalter, AB Gorham, and Kevin Curry spent two days dressed in gray overalls and bright orange construction hats adorned with the siren logo, wandering around Tallahassee, FL, gathering individual views on the end of the world, both on a global and a personal scale. "To each participant we asked the following questions: Where are you geographically located? / How do you think the world will end? / What is your age? /… Read More

Everett, Washington:: John R. Hastings,, 2010.. Edition of 4. 5 x 3.25"; 6 pages. Printed on acid free paper and cover stock using an Epson Stylus Photo 2200 printer with pigment inks. Laid in tin box. John Hastings, colophon: "I was moved to create this book when I took a photo of some white wicker chairs heavily overgrown with end-of-summer weeds.

Morgan Hill, California:: Midnight Moon Press,, 2020-2023.. Edition of 23. 4.5 x 6.25"; 15 pages (unnumbered). Accordion structure. Black and white photographs. Archival inkjet printing on Epson Premium Presentation using Birch Std font. Bound in black cloth over boards with round white title label on front board. Colophon presented in round matching label on back board. Numbered. Signed by the artist. Slipped In resealable plastic bag with red and black biohazard symbol. Ginger Burrell: "The Covid-19 pandemic made us re-think so many of our behaviors: grocery shopping, in-person offices, public transit. But most of all, the pandemic changed the way we greet and comfort one another. Handshakes became nods, or salutes, hugs became crossed arms over our chests or hands matched - touching through glass. Kisses were often mask-to-mask or not at all. Even with the Covid-19 pandemic officially 'over,' most of us still ask before greeting in any manner that involves close proximity.… Read More

Lincoln, Nebraska:: Blue Heron Press,, 2016.. Edition of 15. 11 x 3" closed, opens to 11" x 15". Woodcut on Nishinouchi paper. Letterpress on handmade paper of cotton/abaca. Handset type of Romulus with Cheltenham Italic. Sewn binding into flax covered boards with wood type title and silk bookcloth spine. Woodcut printed endsheets. Signed by the poet and artist. Numbered. Karen Kunc: "A print of elemental forms and natural references inspires a poetic voice that questions and establishes metaphors bringing full circle to printed intent and layered meanings.

Tobaccoville, North Carolina:: Catbird (on the Yadkin) Press,, 2015.. One-of-a-Kind. 4.25 x 6.25"; 3 panel accordion. Woodcut and intaglio printed on handmade paper. Hand-stitched with waxed linen thread. Terry Schupbach-Gordon: "This small book is part of a series of one-of-a-kind books made to say thank you to the countless people who have strengthened my ability to love, create, and hope, and to describe why that is crucial to being human. This first little book is written to say thank you to Charles Darwin, who describes as beautiful all the multitudes of life forms as they exist and as they evolve. Thank you Charles." Charles Darwin, "The Origin of Species": "From so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.

Clonemel, Tipperary, Ireland:: Coracle,, 2004.. Edition of 300. 6 x 8.5"; 144 pages. Offset in two colours with letterpress tab-index. Casebound in green leather with title stamped on front board. Green ribbon book mark attached. This books looks like a guidebook. Instead, it's a poetic record of travel to France by Simon Cutts and Erica Van Horn from 1989 to 2004. The book is outfitted with green alphabetical tabs that index the names of French cities and towns alphabetically. Next to each city's name is a number identifying its department (that is, its region, what would be a state in the US). A map of these departments is included along with a few photographs and the instruction to "pronounce all French place names as in English."  Simon Cutts: "The poem's manifestation becomes the book itself, the particular book form the physical metaphor of the poem."

Cedar Falls, Iowa:: Islam Aly,, 2016.. Edition of 30. 3 x 5.5"; 10 sections. Laser cut. Materials: handmade flax paper; Plexiglas; linen thread. Bound in Plexiglas boards with titles laser engraved in white on front board. Signed, dated, and numbered by the artist Islam Aly: "Enigmatic Talismans is inspired from the symbols found in Ethiopian healing scrolls. Originally they were produced to provide live spiritual power in the physical world.  "I find the various symbols captivating, fantastic creatures, faces, eyes, angels, and patterns that blur the line between traditional function and contemporary abstraction.  "The paper is made from flax paper with deckle edges to have the appearance and texture of the parchment that was historically used in the Ethiopian scrolls. The covers are made from transparent Plexiglas that reveals the overlapping symbols, generating new meanings.

Avoca, Nebraska:: Blue Heron Press,, 2009.. Edition of 50. 6.25 x 10.25" closed, 10 x 42" extended; 12 pages. Accordion structure with gatefold center spread. Text letterpress printed in Cochin 11 point. Line drawing from photopolymer plates printed letterpress on a Vandercook 320.Woodcuts printed from birch blocks on a Takach etching press onto Japanese Nishinouchi paper. Bound into covered boards with decorative woodcut-printed paper and end sheets, and with a goatskin spine. Blue Heron Press: "In words and images, micro-to-macroscopic layers of poignant meaning and memory are an intimately held and transient wonder, just as light melds recto and verso printing into one light-born envelope.Intimations are caught and lost in the act of reading, viewing, meditating, immersing. A fortuitous invitation from Longwood University, Virginia, pairs Robert Pinsky (Poet Laureate 1997-2000) and book artist Karen Kunc.

Clonmel, Tipperary, Ireland:: Coracle,, 2016.. Edition of 200. 4.25 x 6"; 6 books in slipcase. Digitally printed. Each laminated and stapled. Lightweight cardstock slipcase with paper title on side. The first 6 books in Coracle's digitally printed color series: Mr S Mills visits the Kroller-Muler by Simon Cutts (2014); I always have an audience for my work by Erica Van Horn (2014); The Translated Latrine Inscriptions of The Palazzo Davanzati / Simon Cutts (2015) ;aglio 6 olio by Duncan Chappell and Coracle (2015); The Traveler Restaurant Union CT by Erica Van Horn & Simon Cutts (2016); The Pencils of Matsutani by Takesada Matsutani (2016).

San Francisco:: Furturefarmers,, 2010.. Edition of 40. Two cedar brick molds (each 18 x 10 x 2.5"); one brick (3.8 x 7.8"); 28 letterpress printed cards (7.75 x 4" in total). Thread closure. Stanford.edu: "Two cedar wood brick molds that fit snugly against one another to form a single structure made of 2 components mirroring each other. One mold contains a stack of 28 letterpressed cards that, in part, document the artists' performance of smashing a recycled ceramic toilet. The other contains a brick made from its repurposed remains. Both items are odoriferous [the cedar]. The title speaks to the error inherent in the wasteful nature of our waste processing systems and especially reveals as absurd that most essential element of any civilized home, indoor plumbing. The great white porcelain toilet is here read as a mistake but also as a catalyst of artistic fervor. Drawings alternate with texts, including a series of 'Brick idioms,' a chess play with pieces that… Read More

Stevens Point, Wisconsin:: Seven Hills Press,, 2012.. Edition of 48. 6.25 x 9.25"; 30 pages. Printed letterpress in Goudy Bold and Goudy Handtooled on handmade paper. Handmade paper of cotton and abaca from Caren Heft's Root River Mill. Handsewn binding with paper wrap closure. A sobering look at the secreted effects of war, the rift that keeps on giving. Essay, excerpt: "This weekend I spent chain-smoking cigarettes and drinking, talking with a friend I served with in Iraq – he just returned from Afghanistan. The point kept resurfacing of feeling great worth in a worthless endeavor, and then feeling worthless upon returning home after a deployment. When I returned from Iraq I felt like an alien here, Iraq was my home, I had a purpose there, and all the continually fucked-up situations felt normal. Here the violence, aggression, and fear which made me successful in Iraq continue to cause struggle and pain." About the author: "Jesse Albrecht entered the… Read More

Milwaukee, Wisconsin:: redthreadletterpress,, 2013.. Edition of 5. 10 x 11"; 18 pages. Drumleaf binding. Printed in letterpress, relief, and monotype. Bound in paper over bookboard with matching pastedowns and cloth spine. Signed and numbered by the artist. Melissa Wagner-Lawler: "Using language as a primary visual element, the text in my work becomes abstracted through various digital processes. Cutting, masking, and layering techniques in Illustrator are used to destroy and manipulate it digitally. Printing, overprinting, and subtleties in ink are used to create a visceral, delicate surface on the page enticing the viewer to decipher the message. Is the language or message within the text important – and if it is important, why obscure it or make it difficult to read?  "In our current technologies, nothing created can ever be permanently erased – fragments of the information will always remain.

[Salt Lake City]:: Marnie Powers-Torrey,, 2019.. Edition of 100. 3" x 6.5". Materials: paper, ink,; wax,;gray Fabriano Tiziano and White & cream Ingres papers. Printed on a Risograph duplicator. Interlocking loops accordion structure. Split edition of waxed and unwaxed sheets. Marnie Powers-Torrey: "Printed from around 75 found objects, this book sculpture is a conglomerate of the past and a document of the here and now. Each of these objects carries its own narrative, inherent to its current shape and surface, told through stamped ink. The form is Hedi Kyle's interlocking loops structure." Levi Sherman, artistbookreview.com:" The great achievement of this book is that such lofty speculations arise from what is, in fact, documentation of various found objects. Powers-Torrey’s process of mono-printing and stamping directly from inked objects gives an interesting and complex ontological status to both the objects and the resulting images. The images are… Read More

[Salt Lake City]:: Marnie Powers-Torrey,, 2019.. Edition of 100. 3" x 6.5". Materials: paper, ink,; wax,;gray Fabriano Tiziano and White & cream Ingres papers. Printed on a Risograph duplicator. Split edition of waxed and unwaxed sheets. Marnie Powers-Torrey: "Printed from around 75 found objects, this book sculpture is a conglomerate of the past and a document of the here and now. Each of these objects carries its own narrative, inherent to its current shape and surface, told through stamped ink. The form is Hedi Kyle's interlocking loops structure.