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

New Paltz, New York:: Papyrus Productions ,, 2009.. Edition of 35. 9.5 x 8"; 28 pages. Digitally printed on French paper. Handbound stab binding. A conventional presentation of convention, set in the heart of convention, where even the betrayals and hypocrisy seem sweetly shabby.  Francois Deschamps: "At the same time as it narrates the story of an unfortunate love affair in Peoria in 1976, this book describes through Polaroid images and text the physical appearance of the city of Peoria. This comments on aspects of that city's Midwestern culture and a melancholy sense of loss.

El Sobrante, California:: Lisa Kokin,, 1993.. One-of-a-Kind. 7.5 x 9.5 x 4"; 16 pads making 32 pages. Materials: rubber; latex-coated mini-pads; leather; photo transfers; found objects. Mixed media collage. Bound with leather run through two holes in each leaf sewn to rubber glove. Covers made of rubber glove, rubber balloons and top of rubber hot water bottle. Includes cloth pathology bag. Lisa Kokin, Mixed Media Books: "My definition of 'book' is open-ended, a freedom which is in many ways attributable to my lack of formal book art training. I am blissfully unaware of all the rules I am breaking as I go about my routine of sewing, stapling, riveting and otherwise reassembling objects to transform them into something readable. My books address themes which have preoccupied me for many years -- loss, the rescuing of memory, cultural and sexual identity, and a critique of the prevailing social values." In this mixed media book Kokin uses text from a Scientology… Read More

Charlottesville:: Virginia Center for the Book,, 2011.. Edition of 40. 4 x 6.5"; 26 postcards. Laid in paper wrapper with twine closure. Numbered. Virginia Center for the Book website: "Postmark, 2011, collection of 26 postcard-influenced works in paper wrapper with twine. Featuring works by Katie Barr, Josef Beery, Bonnie Bernstein, Jennifer Billingsly, Addeane Caelleigh, Janet Eden, Stacey Evans, Leigh Freilich, Matthew Gibson, Angie Hogan, Sarah Knorr, Nancy Kober, Lana Lambert, Melanie Lower, Kevin McFadden, Kirsten Miles, Amanda Nelsen, Barbara Payne, Charles Peale, Laura Pharis, Jeff Pike, Garrett Queen, Frank Riccio, Joan Schatzman, Rachel Singel, and Michael Swanberg." The introduction asks a number of question about the role of postcards in our culture. "What do you want to remember? Can postcards tell history? History or art? … In our brave, new oversaturated digital age, in which communication is excessive and so highly ephemeral as to exist only… Read More

North Bay, Canada:: Transformer Press,, 2007.. Edition of 10. 7 x 10"; 12 pages. Bound in stiff covers of marbled paper (by Luci Lapierre). Accordion structure with pop-ups. Printed on an Epson Stylus Photo RX 600 printer on Eco-Source Eco-21 cardstock (hemp, flax and cotton). Pop-ups mounted on St. Armand cotton rag paper. Font: Garage Shock. Laid in suede wrap with pins and needles sticking out. Ribbon closure attached to suede with pins. (Last 3 Copies) The subject is pain. Excerpts from Diane Dawber's Lifting the Bull: Back Pain, Fibromyalgia, and Environmental Illness offer first-person accounts of extreme pain. The pop-ups – jagged white on black – offer a visual metaphor. The pins/needles in the wraparound offer reader participation.  Painful.

San Juan Capistrano, California:: Inkswine Press,, 2021.. Edition of 5 variants. 14.5 x 11 x 0.5 inches, (37 x 28 x 1.25 cm); 13 pages. Graphite frottages on vellum over foil titles on 140lbs rag paper. Covers with quarter Kraft-tex leather binding. Title label on front board. Signed and numbered. Dirk Hagner: "A series of 11 exquisite graphite rubbings of breads from around the world. All pieces are one-of-kind images, gathered in a hand-made book binding. This project combines the oldest cultural staple of human kind, bread, with the oldest way of printmaking, rubbings, or as printmakers call it, frottage*."  Using printmaking and rubbings, Hagner presents a lovely visual discourse of bread of the world. It is a reminder of how much bread and the partaking of it together is so much apart of the many cultures of our world. This simple act of sharing bread has a sense of friendliness and comfortable interaction whether it is a bagel, a baguette, or a bun.

Rochester, New York:: Clifton Meador,, 2012.. 6 x 9"; 52 pages. Stitch bound. Offset printed with a letterpress printed dust jacket. Cliff Meador: "This is one of three books that is based on work I did in Ganze Autonomous Prefecture. I was there as part of an interdisciplinary research team, documenting traditional Tibetan book culture, and much of the information we collected has never been published. I spent part of this summer printing these books that explore ideas of iteration and repetition that are connected to the practice of traditional Tibetan book production."  Palpung Parkhang is the second in this series of three (Kandze Village Bodhisattva: Nine Iterations is the first). This book uses similar structure, a letterpress printed dust jacket with flaps that hold a book of photographs on one side and a book of text (in this case, 5 sets of notes, like footnotes) on the other. Meador took the photographs during his visit to Palpung Monastery in Palpung Parkhang,… Read More

Redmond, Washington:: Mari Eckstein Gower,, 2021.. Edition of 15. 10.75 x 7 x 1.25" closed, extends to 97. Accordion fold with 7 spreads. Inkjet printed on superfine cover paper, with additional papers of Canson Mi-Teintes, Madeleine Durham paste paper, Japanese Kozuke paper with Kozo fiber. Housed in a 11 3/8 x 7 5/8 x 2" clamshell box. Signed and numbered by the artist. Paintings, text and design by Mari Eckstein Gower. Engineering and fabrication by Kat Gower. Mari Gower: "Early in 2020, when it seemed that the entire world was in lockdown because of a new virus, I chanced upon a news article about how pandemic first responders reported dreams with common patterns. Doctors, nurses & paramedics were connected not just by shared trauma, but by communal dreams as well. "Wondering if these patterns repeated in the general populace, I began collecting quotes from global news articles which chronicled reactions to the unique times we were sharing. While doing so, I began… Read More

Florence, Italy:: Lyall F. Harris and Patricia Silva,, 2017.. Edition of 150. 8.5 x 8.75"; 144 pages. Printed digitally. Perfect bound. Paper-covered boards. In illustrated paper slipcase. Signed and numbered by both artists. Paper Boats is a collaborative book project by Italian artist Patricia Silva and American artist Lyall Harris. Originally it was produced in an edition of 2 as part of their book art project "Meeting Places." This is the digital version in an edition of 150. Artist statement: "A photo-documentary illustrates the distressing loss of identity taking place in contemporary mass immigration to Europe. The visual rhythm of the book works something like a meditation (vs. a political statement) - there are 100 images of hands with boats, interspersed with about 25 quotes (some in Italian) and 10 "portraits," total page count is 144 - and we think it brings this content home in a striking way." Lyall Harris: "In creative… Read More

London, England:: Heather Weston,, 2007.. Edition of 150. 3 x 5.25"; 8 pages. Accordion structure bound into boards at end pages. Offset lithography on paper. Die cutting. Blind emboss title on front board. Bound in red book cloth on board enclosed by a white banderole with title. Once again, Weston transforms a complex psychological issue into the palpable reality of an artists' book. The subject is dark — self-harm — the experience is untidy and frustrating — as it should be. But if you have the patience, curiosity, and daring to see the experience through to the end — that is, to read the narrative — there is an uneasy sense of accomplishment, even hope. Heather Weston: "This book explores the complex subject of self-harm. Taking an issue that is both visually alarming and psychologically puzzling, the book engages with the experience of the powerless onlooker, as well as [with] the narrative of the self-harmer. Self-harm is often the result of… Read More

McCall, Idaho:: MKimberly Press,, 2003.. One-of-a-Kind. 5 x 8"; 6 pages. Accordion structure. 8 hand-colored illustrations, acrylic ink on paper. 4 illustrations on accordion fold, two as pastedowns and two on pasteboard covers. Laid in a lipped clamshell box. Signed and dated by the artist.. Paradise Lost" was drawn during war talk of winter 2003. Mare Blocker [2003]: "A book about what our President is trying to feed us. Birds are the characters in the book and instead of feeding them worms, Bush (a vulture like bird) is trying to feed the other birds thread."  Mare Blocker [2020]: "George W and yet, so appropriate even now … or maybe especially now.

San Francisco, California:: San Francisco Center for the Book,, 2013.. Edition of 100. 4 x 4"; 23 pages. Printed on a Chandler & Price Platen Press. Blind embossed. White boards with title embossed on front cover. Numbered and initialed by the artist. San Francisco Center for the Book: "'With this publication Stucke interrogates the biological and cultural definitions of symbiosis. By combining experiential and rational knowledge systems with the medium of drawing, she appropriates visual taxonomies that create conversations between local knowledge systems of the human body and scientific classification structures. "In essence, Parasites: Survival Relationships (Symbiosis State), explores the invisible, sensorial, and imaginative experience of parasites using the letterpress printing techniques of SFCB Master Printer Chad Johnson.

Orlando, Florida:: Rachel Simmons ,, 2022.. Edition of 20. Closed dimensions: 12" wide by 6" tall x .25" deep. Open dimensions: 24" wide by 6" tall x 4" deep. Double accordion structure with handmade paper magnetic enclosure. Typewritten text, monotype and relief prints on Thai Kozo paper with gesso, thread and collage. Signed and numbered by the artist. Rachel Simmons: "'Particulate History', a double accordion featuring polar imagery and visual poetry, was inspired by the scientific method of harvesting historical climate data from the earth's glaciers by drilling and extracting long frozen cylinders called ice cores. Air pollution, volcanic glass shards, greenhouse gases and industrial chemicals circulate across the planet and become trapped within air bubbles in the ice, preserving samples of the earth's atmosphere over hundreds and thousands of years. Scientists can travel back in time by studying these layers of frozen time, allowing them to… Read More

Vashon Island, Washington:: May Day Press,, 2004.. Edition of 25. 7x 3.25", opens to 10.5" Eight-panel accordion fold so that four dress images are displayed on each side. Each page constructed with dress on top two-thirds of panel in decorative papers while the bottom third of the four interior 'pages' are printed letterpress with the author's memories of her Mother's party dress. Housed in folding paper covers, letterpress title label stitched to front cover. Handmade papers by Kathy Kuehn. Catherine Michaelis: "Party Dress was inspired from an old box of photos of my parents from when they were younger, flashier, and enthralling to their young daughter. The photographs brought back to me the sounds and textures of my mother’s party dresses. I use to play in my mother’s closet where hemlines tickled my face and her scents wove a spell around me. I imagined an exotic life in my mother’s high-heeled shoes. The text of Party Dress evokes my mother’s… Read More

Chicago, Illinois:: Theodora Press,, 1991.. Edition of 10. 7.5 x 13.25"; 28 pages. Accordion fold. 15 hand-colored etchings. Letterpress titling, ornaments, and colophon. Printed on Rives lightweight. Bound in a top-fold accordion with gatefold opening. Signed and numbered by the artist. Teresa Pankratz: "'Pas de Deux' is a visual narrative depicting a couple's frustrated attempt at intimacy. Bound by self-imposed constrictions, they reach out - but never quite touch. "This tale was inspired by a performance piece entitled 'Nothing Up Your Sleeve' performed by Nan Shineflug and Jeff Abell of the Chicago Moving Company (one of the first modern dance troupes in the Midwest)." The French pun - pas de deux as dance duet for two, and pas meaning not - underscores the point. The beauty of the etchings and the delicacy of the construction turn what might have been a vaudeville skit into a poignant story.

Minneapolis, Minnesota:: fernwerks press,, 2009.. Edition of 25. 6.5 x 8.5"; 20 pages. Letterpress printed on Rives Johannot paper. Text and digital images printed using polymer plates. Layered circular patterns on sewn inserts were created as monoprints. Oil-based media and solvent, provide the cell-like imagery. Drum leaf binding. Glued onto book boards covered in Japanese paper. Front cover illustration letterpress-printed with a letter disc sewn onto it. Wendy Fernstrum: "This book – a sequel to Promises Kept [fernworks press, 2005] – further explores the question, 'What happens to a promise when it's broken?' As you can see from images of the book, I'm still obsessed with circles. The circular theme in Pathology of Promises Broken explores the tension between our desire for integrity and our failure to uphold it.  "The book also incorporates monoprints of layered circles resembling cell structures and implying a microscopic view of a broken… Read More

Clonmel, Tipperary, Ireland:: Coracle,, 2017.. Edition of 399. 9.25 x 6.5"; 144 pages. Printed three-colour offset. Typography by Colin Sackett. Casebound with headbands. Coracle: "Syntax is to word order as melody is to note order. Peal explores the analogy of melody and syntax by applying the methods of bell change ringing to rows of words: poetic lines. Each individual poem begins with a line of four to nine nonrepeating words. That line is then permuted according to one of the methods, resulting in anywhere from 12 to 240 unique variations. By convention, the word corresponding to the heaviest working bell is coloured blue (the "blue line") and the word corresponding to the treble or highest-pitched bell is coloured red. The starting lines-all quotations-form the cento that opens the book, where their inflections evoke thematic relationships. Their permutations create distinctive visual patterns as well as frequent semantic surprises. The methods have been chosen with an eye… Read More

Phillipsburg, New Jersey:: Maryann Riker,, 2010.. Edition of 15. 2 .25 x 2.25 x .5"; 8 page. Double-sided accordion structure. Color copy of vintage papers with glued on pearls. Housed in a gold metallic gauze pouch tied with gold satin ribbons. Maryann Riker: "Certain iconic symbols remind one of certain times. Poodle skirts, stiletto heels, pearl necklaces all bring one back to a time when women were not 'turned out' until they accessorized their outfit with their pearls. This little miniature accordion-book adorned with a gold frame accented with pearls highlights the history of how pearls became the hallmark of the American woman. Vintage advertising photos of women wearing all lengths of pearls highlights the text. This little 'pearl' is another tribute to the golden age when women would not go out grocery shopping without that little pearl necklace and studs.

North Bay, Canada:: Transformer Press,, 1994.. Edition of 60. 7 x 5" with four spreads. Made of sickly yellow handmade flax-linen paper with red rubber-stamped text and flowers augmenting the four simple pop-up aprons. Laid- in same paper wrapper with red ribbon tie. A poignant story of thwarted creativity and conforming to parental expectations of how a good little girl should behave. It begins with the making of an apron from a yellow tea towel and red ribbon but as families and relationships go the apron becomes an item of irritation. The mother's anger becomes part of the "fabric" of the apron. So that finally Penelope puts it away - "I don't think I ever picked it up again." Lise Melhorn-Boe: "Penelope Stewart is an artist who lives in Toronto. ... she graciously shared this story, having answered my questionnaire. I have always been touched and honored by the stories women share with me.

Tacoma, Washington:: Deborah Greenwood,, 2008.. Series Variant. 6.75 x 1.5 x 2" hanging panel with 10 slats. Palm leaf structure with string binding. Materials: old postcards, ephemera, computer-generated images. Housed in hinged paper covered box. Laid in folded envelope of card stock with velcro closure. Deborah Greenwood: "This work receives its name from a small decorative awning in one of the postcard fragments making up the border of the book. The woman in the image is completely covered with clothing from head to foot. Only her handsome face is turned toward the camera. In spite of the modesty of the time, she wears the skin of a fox, complete with head and tail around her neck, merely a decorative element or a more telling sign. I played with instinctual and natural elements, rock spires against human invention. "The inspiration for this series of books came from Rolan Barthe's book Camera Lucida. He believes that some photographs by their nature are close to… Read More

Tacoma, Washington:: Springtide Press,, 2009.. Open Edition. 4.75 x 11.25" single-sheet broadside. Letterpress printed with handset type on Somerset Velvet. Jessica Spring: "Letterpress printed broadside is a celebration of coffee and ink with Honoré de Balzac's quote printed in handset type. Thirteen different vintage metal and wood fonts are printed in silver ink." changed from quantity zero to three. Quote: "Coffee falls into the stomach...ideas begin to move things remembered arrive at full gallop...shafts of wit start up like sharp-shooters, similes arise, the paper is covered with ink.