Robert Louis Stevenson / Gary Alphonso

Nawakum Press, Santa Rosa, 2016

No. 27 of 50 / Signed

275 x 170 x 13 mm

Full calfskin laced on boards binding with edge-to-edge doublures of same. Leather is hand dyed blue with blue,
Silver, and brown resist dyes and graphite. Two shades of silver foil applied in multiple layers, sanded and
burnished. Sunago technique to apply palladium leaf on top edge.

The ocean of fog Stevenson writes about is something I know well, being a resident of the California coast and the inspiration for my design. I wanted to create a feeling of the velvety ethereal everchanging ocean of fog flowing over the coastal hills. Hues of blue, shimmering silver and textures and layers to create a quiet fluidity. I was inspired by his writing:

“The colour of that ocean fog was a thing never to be forgotten. For an instant among the Hebrides and just above sundown, I have seen something like it on the sea itself. But the white was not so opaline; nor was there, what surprisingly increased the effect, that breathless, crystal stillness overall. Even in its gentlest moods the salt sea travails, moaning among the weeds or lisping in the sand; but the vast fog ocean lay in a trance of silence, nor did the sweet air of the morning tremble with a sound.”

Bound 2020 / Private Collection

Robert Louis Stevenson / Gary Alphonso

Nawakum Press, Santa Rosa, 2016No. 27 of 50 / Signed

275 x 170 x 13 mm

Full calfskin laced on boards binding with edge-to-edge doublures of same. Leather is hand dyed blue with blue,Silver, and brown resist dyes and graphite. Two shades of silver foil applied in multiple layers, sanded andburnished. Sunago technique to apply palladium leaf on top edge.

The ocean of fog Stevenson writes about is something I know well, being a resident of the California coast and the inspiration for my design. I wanted to create a feeling of the velvety ethereal everchanging ocean of fog flowing over the coastal hills. Hues of blue, shimmering silver and textures and layers to create a quiet fluidity. I was inspired by his writing:

“The colour of that ocean fog was a thing never to be forgotten. For an instant among the Hebrides and just above sundown, I have seen something like it on the sea itself. But the white was not so opaline; nor was there, what surprisingly increased the effect, that breathless, crystal stillness overall. Even in its gentlest moods the salt sea travails, moaning among the weeds or lisping in the sand; but the vast fog ocean lay in a trance of silence, nor did the sweet air of the morning tremble with a sound.”

Bound 2020 / Private Collection

Robert Louis Stevenson / Gary Alphonso

Nawakum Press, Santa Rosa, 2016No. 27 of 50 / Signed

275 x 170 x 13 mm

Full calfskin laced on boards binding with edge-to-edge doublures of same. Leather is hand dyed blue with blue,Silver, and brown resist dyes and graphite. Two shades of silver foil applied in multiple layers, sanded andburnished. Sunago technique to apply palladium leaf on top edge.

The ocean of fog Stevenson writes about is something I know well, being a resident of the California coast and the inspiration for my design. I wanted to create a feeling of the velvety ethereal everchanging ocean of fog flowing over the coastal hills. Hues of blue, shimmering silver and textures and layers to create a quiet fluidity. I was inspired by his writing:

“The colour of that ocean fog was a thing never to be forgotten. For an instant among the Hebrides and just above sundown, I have seen something like it on the sea itself. But the white was not so opaline; nor was there, what surprisingly increased the effect, that breathless, crystal stillness overall. Even in its gentlest moods the salt sea travails, moaning among the weeds or lisping in the sand; but the vast fog ocean lay in a trance of silence, nor did the sweet air of the morning tremble with a sound.”

Bound 2020 / Private Collection

Robert Louis Stevenson / Gary Alphonso

Nawakum Press, Santa Rosa, 2016No. 27 of 50 / Signed

275 x 170 x 13 mm

Full calfskin laced on boards binding with edge-to-edge doublures of same. Leather is hand dyed blue with blue,Silver, and brown resist dyes and graphite. Two shades of silver foil applied in multiple layers, sanded andburnished. Sunago technique to apply palladium leaf on top edge.

The ocean of fog Stevenson writes about is something I know well, being a resident of the California coast and the inspiration for my design. I wanted to create a feeling of the velvety ethereal everchanging ocean of fog flowing over the coastal hills. Hues of blue, shimmering silver and textures and layers to create a quiet fluidity. I was inspired by his writing:

“The colour of that ocean fog was a thing never to be forgotten. For an instant among the Hebrides and just above sundown, I have seen something like it on the sea itself. But the white was not so opaline; nor was there, what surprisingly increased the effect, that breathless, crystal stillness overall. Even in its gentlest moods the salt sea travails, moaning among the weeds or lisping in the sand; but the vast fog ocean lay in a trance of silence, nor did the sweet air of the morning tremble with a sound.”

Bound 2020 / Private Collection

Jonathan Stone / Palgrave MacMillan 2019

218 x 160 x 25 m

Full calf leather sewn on 5 cords laced on boards with edge-to-edge calf leather doublures. Leather treatments include layers of image transfers, multiple dye applications, and debossing. Several layers of gold foils and gold leaf applied throughout the treatment processes, sanded and burnished. Japanese silk embroidered end bands. Untitled. Custom designed fly leaves scanned, and ink jet printed, with archival pigment inks on an Epson Stylus Pro 3888, onto Moenkopi Washi Unryu paper from Awagami.

My design inspiration was motivated by Gustav Moreau’s painting Salome Dancing Before Herod (Salome Tattooed) (1874) on page 110. The painting’s rich browns and glorious reds offer a color palette consistent with leather books during the fin de siècle.

My aim was to create the perception and dimensionality of a brilliant, old, eroding, not yet decayed binding. Various debossed materials produce a canvas-like sense and invite the reader to experience the contrast between texture and depth.

Bound 2020 / Private Collection

Jonathan Stone / Palgrave MacMillan 2019

218 x 160 x 25 m

Full calf leather sewn on 5 cords laced on boards with edge-to-edge calf leather doublures. Leather treatments include layers of image transfers, multiple dye applications, and debossing. Several layers of gold foils and gold leaf applied throughout the treatment processes, sanded and burnished. Japanese silk embroidered end bands. Untitled. Custom designed fly leaves scanned, and ink jet printed, with archival pigment inks on an Epson Stylus Pro 3888, onto Moenkopi Washi Unryu paper from Awagami.

My design inspiration was motivated by Gustav Moreau’s painting Salome Dancing Before Herod (Salome Tattooed) (1874) on page 110. The painting’s rich browns and glorious reds offer a color palette consistent with leather books during the fin de siècle.

My aim was to create the perception and dimensionality of a brilliant, old, eroding, not yet decayed binding. Various debossed materials produce a canvas-like sense and invite the reader to experience the contrast between texture and depth.

Bound 2020 / Private Collection

Jonathan Stone / Palgrave MacMillan 2019

218 x 160 x 25 m

Full calf leather sewn on 5 cords laced on boards with edge-to-edge calf leather doublures. Leather treatments include layers of image transfers, multiple dye applications, and debossing. Several layers of gold foils and gold leaf applied throughout the treatment processes, sanded and burnished. Japanese silk embroidered end bands. Untitled. Custom designed fly leaves scanned, and ink jet printed, with archival pigment inks on an Epson Stylus Pro 3888, onto Moenkopi Washi Unryu paper from Awagami.

My design inspiration was motivated by Gustav Moreau’s painting Salome Dancing Before Herod (Salome Tattooed) (1874) on page 110. The painting’s rich browns and glorious reds offer a color palette consistent with leather books during the fin de siècle.

My aim was to create the perception and dimensionality of a brilliant, old, eroding, not yet decayed binding. Various debossed materials produce a canvas-like sense and invite the reader to experience the contrast between texture and depth.

Bound 2020 / Private Collection

Jonathan Stone / Palgrave MacMillan 2019

218 x 160 x 25 m

Full calf leather sewn on 5 cords laced on boards with edge-to-edge calf leather doublures. Leather treatments include layers of image transfers, multiple dye applications, and debossing. Several layers of gold foils and gold leaf applied throughout the treatment processes, sanded and burnished. Japanese silk embroidered end bands. Untitled. Custom designed fly leaves scanned, and ink jet printed, with archival pigment inks on an Epson Stylus Pro 3888, onto Moenkopi Washi Unryu paper from Awagami.

My design inspiration was motivated by Gustav Moreau’s painting Salome Dancing Before Herod (Salome Tattooed) (1874) on page 110. The painting’s rich browns and glorious reds offer a color palette consistent with leather books during the fin de siècle.

My aim was to create the perception and dimensionality of a brilliant, old, eroding, not yet decayed binding. Various debossed materials produce a canvas-like sense and invite the reader to experience the contrast between texture and depth.

Bound 2020 / Private Collection

William Blake / Russell Maret / 2018

Monoprints by Coleen Curry

One of one hundred copies printed for OpenSet 2020 International Competition

225 x 165 x 15 mm

Full goat leather laced-in boards binding with edge-to-edge doublures of same blue goat leather. Multiple levels on inlays and onlays calf, fish, shark, and sheep skins, and stamped box calf. Inlays and original monoprint laminated with mylar laced through board cut-out to inside doublures. Title in foil on recto. Natural edges. Suede split doublures. Eleven original monoprints bound with text.

Bound 2019 / Private Collection

William Blake / Russell Maret / 2018

Monoprints by Coleen Curry

One of one hundred copies printed for OpenSet 2020 International Competition

225 x 165 x 15 mm

Full goat leather laced-in boards binding with edge-to-edge doublures of same blue goat leather. Multiple levels on inlays and onlays calf, fish, shark, and sheep skins, and stamped box calf. Inlays and original monoprint laminated with mylar laced through board cut-out to inside doublures. Title in foil on recto. Natural edges. Suede split doublures. Eleven original monoprints bound with text.

Bound 2019 / Private Collection

William Blake / Russell Maret / 2018

Monoprints by Coleen Curry

One of one hundred copies printed for OpenSet 2020 International Competition

225 x 165 x 15 mm

Full goat leather laced-in boards binding with edge-to-edge doublures of same blue goat leather. Multiple levels on inlays and onlays calf, fish, shark, and sheep skins, and stamped box calf. Inlays and original monoprint laminated with mylar laced through board cut-out to inside doublures. Title in foil on recto. Natural edges. Suede split doublures. Eleven original monoprints bound with text.

Bound 2019 / Private Collection

William Blake / Russell Maret / 2018

Monoprints by Coleen Curry

One of one hundred copies printed for OpenSet 2020 International Competition

225 x 165 x 15 mm

Full goat leather laced-in boards binding with edge-to-edge doublures of same blue goat leather. Multiple levels on inlays and onlays calf, fish, shark, and sheep skins, and stamped box calf. Inlays and original monoprint laminated with mylar laced through board cut-out to inside doublures. Title in foil on recto. Natural edges. Suede split doublures. Eleven original monoprints bound with text.

Bound 2019 / Private Collection

William Blake / Russell Maret / 2018

Monoprints by Coleen Curry

One of one hundred copies printed for OpenSet 2020 International Competition

225 x 165 x 15 mm

Full goat leather laced-in boards binding with edge-to-edge doublures of same blue goat leather. Multiple levels on inlays and onlays calf, fish, shark, and sheep skins, and stamped box calf. Inlays and original monoprint laminated with mylar laced through board cut-out to inside doublures. Title in foil on recto. Natural edges. Suede split doublures. Eleven original monoprints bound with text.

Bound 2019 / Private Collection

William Blake / Russell Maret / 2018

Monoprints by Coleen Curry

One of one hundred copies printed for OpenSet 2020 International Competition

225 x 165 x 15 mm

Full goat leather laced-in boards binding with edge-to-edge doublures of same blue goat leather. Multiple levels on inlays and onlays calf, fish, shark, and sheep skins, and stamped box calf. Inlays and original monoprint laminated with mylar laced through board cut-out to inside doublures. Title in foil on recto. Natural edges. Suede split doublures. Eleven original monoprints bound with text.

Bound 2019 / Private Collection

Rachida Madani / Anick Butre´ / Al Manar, Neuilly, France 2015

No. 7 of 20 Signed by Author and Artist

229 x 178 x 19 mm

Full calfskin laced on boards binding with edge-to-edge doublures of same. Leather is hand-dyed yellow and brown with overtones of bronze acrylic and decorated with image transfers and embossing. Three colors of gold leaf applied, sanded and burnished. Sunago technique to apply gold leaf on edges. Handwritten title stamped in gold on recto cover.

Ce qui aurait pu demeurer silence is a book of words on words, scrutinizing the page. Madani’s poetry explores what happens between the will to write and the gesture of writing; between the pen and the page; between the impatience to say, and the demand of silence. Rich painterly aquatints inspired my choice to layer yellow and brown dyes in varying tones and saturations. Image transfers were used to add textures and words. This layering of color, words, textures, and gold motivate the reader to perceive the words yet not actually read them. I was inspired to create a tactile experience to feel the words, without expressing them, to catch glimpses through the gold, only to have them pass, in silence.

Bound 2019 / Private Collection

Rachida Madani / Anick Butre´ / Al Manar, Neuilly, France 2015

No. 7 of 20 Signed by Author and Artist

229 x 178 x 19 mm

Full calfskin laced on boards binding with edge-to-edge doublures of same. Leather is hand-dyed yellow and brown with overtones of bronze acrylic and decorated with image transfers and embossing. Three colors of gold leaf applied, sanded and burnished. Sunago technique to apply gold leaf on edges. Handwritten title stamped in gold on recto cover.

Ce qui aurait pu demeurer silence is a book of words on words, scrutinizing the page. Madani’s poetry explores what happens between the will to write and the gesture of writing; between the pen and the page; between the impatience to say, and the demand of silence. Rich painterly aquatints inspired my choice to layer yellow and brown dyes in varying tones and saturations. Image transfers were used to add textures and words. This layering of color, words, textures, and gold motivate the reader to perceive the words yet not actually read them. I was inspired to create a tactile experience to feel the words, without expressing them, to catch glimpses through the gold, only to have them pass, in silence.

Bound 2019 / Private Collection

Rachida Madani / Anick Butre´ / Al Manar, Neuilly, France 2015

No. 7 of 20 Signed by Author and Artist

229 x 178 x 19 mm

Full calfskin laced on boards binding with edge-to-edge doublures of same. Leather is hand-dyed yellow and brown with overtones of bronze acrylic and decorated with image transfers and embossing. Three colors of gold leaf applied, sanded and burnished. Sunago technique to apply gold leaf on edges. Handwritten title stamped in gold on recto cover.

Ce qui aurait pu demeurer silence is a book of words on words, scrutinizing the page. Madani’s poetry explores what happens between the will to write and the gesture of writing; between the pen and the page; between the impatience to say, and the demand of silence. Rich painterly aquatints inspired my choice to layer yellow and brown dyes in varying tones and saturations. Image transfers were used to add textures and words. This layering of color, words, textures, and gold motivate the reader to perceive the words yet not actually read them. I was inspired to create a tactile experience to feel the words, without expressing them, to catch glimpses through the gold, only to have them pass, in silence.

Bound 2019 / Private Collection

Rachida Madani / Anick Butre´ / Al Manar, Neuilly, France 2015

No. 7 of 20 Signed by Author and Artist

229 x 178 x 19 mm

Full calfskin laced on boards binding with edge-to-edge doublures of same. Leather is hand-dyed yellow and brown with overtones of bronze acrylic and decorated with image transfers and embossing. Three colors of gold leaf applied, sanded and burnished. Sunago technique to apply gold leaf on edges. Handwritten title stamped in gold on recto cover.

Ce qui aurait pu demeurer silence is a book of words on words, scrutinizing the page. Madani’s poetry explores what happens between the will to write and the gesture of writing; between the pen and the page; between the impatience to say, and the demand of silence. Rich painterly aquatints inspired my choice to layer yellow and brown dyes in varying tones and saturations. Image transfers were used to add textures and words. This layering of color, words, textures, and gold motivate the reader to perceive the words yet not actually read them. I was inspired to create a tactile experience to feel the words, without expressing them, to catch glimpses through the gold, only to have them pass, in silence.

Bound 2019 / Private Collection

Rachida Madani / Anick Butre´ / Al Manar, Neuilly, France 2015

No. 7 of 20 Signed by Author and Artist

229 x 178 x 19 mm

Full calfskin laced on boards binding with edge-to-edge doublures of same. Leather is hand-dyed yellow and brown with overtones of bronze acrylic and decorated with image transfers and embossing. Three colors of gold leaf applied, sanded and burnished. Sunago technique to apply gold leaf on edges. Handwritten title stamped in gold on recto cover.

Ce qui aurait pu demeurer silence is a book of words on words, scrutinizing the page. Madani’s poetry explores what happens between the will to write and the gesture of writing; between the pen and the page; between the impatience to say, and the demand of silence. Rich painterly aquatints inspired my choice to layer yellow and brown dyes in varying tones and saturations. Image transfers were used to add textures and words. This layering of color, words, textures, and gold motivate the reader to perceive the words yet not actually read them. I was inspired to create a tactile experience to feel the words, without expressing them, to catch glimpses through the gold, only to have them pass, in silence.

Bound 2019 / Private Collection

La Prose du Transsibérien et de la Petite Jehanne de France -Blaise Cendrars and Sonia Delaunay-Terk. Recreated by Kitty Maryatt, Two Hands Press, 2018. Signed No. 19

366 x 105 x 28.5 mm

Dyed goatskin cover with mixed media pink suede attached with secondary sewing consisting of ten gold wire staples secured wood and parchment tackets. Title tooled in blind and painted. Text folded on long side with first page sewn to inner flyleaves allowing accordion to fully open. Rounded mahogany spine piece affixed on spine.

Inspiration came from my immediate response to the vibrancy the pochoir. Sonia Delaunay said: “Colour is the skin of the world’ so I set about to create such a world. I wanted a structure that would enable a variable reading experience, be it page by page, or unfolding the entire structure

Bound 2018

Private Collection

La Prose du Transsibérien et de la Petite Jehanne de France -Blaise Cendrars and Sonia Delaunay-Terk. Recreated by Kitty Maryatt, Two Hands Press, 2018. Signed No. 19

366 x 105 x 28.5 mm

Dyed goatskin cover with mixed media pink suede attached with secondary sewing consisting of ten gold wire staples secured wood and parchment tackets. Title tooled in blind and painted. Text folded on long side with first page sewn to inner flyleaves allowing accordion to fully open. Rounded mahogany spine piece affixed on spine.

Inspiration came from my immediate response to the vibrancy the pochoir. Sonia Delaunay said: “Colour is the skin of the world’ so I set about to create such a world. I wanted a structure that would enable a variable reading experience, be it page by page, or unfolding the entire structure

Bound 2018

Private Collection

La Prose du Transsibérien et de la Petite Jehanne de France -Blaise Cendrars and Sonia Delaunay-Terk. Recreated by Kitty Maryatt, Two Hands Press, 2018. Signed No. 19

366 x 105 x 28.5 mm

Dyed goatskin cover with mixed media pink suede attached with secondary sewing consisting of ten gold wire staples secured wood and parchment tackets. Title tooled in blind and painted. Text folded on long side with first page sewn to inner flyleaves allowing accordion to fully open. Rounded mahogany spine piece affixed on spine.

Inspiration came from my immediate response to the vibrancy the pochoir. Sonia Delaunay said: “Colour is the skin of the world’ so I set about to create such a world. I wanted a structure that would enable a variable reading experience, be it page by page, or unfolding the entire structure

Bound 2018

Private Collection

La Prose du Transsibérien et de la Petite Jehanne de France -Blaise Cendrars and Sonia Delaunay-Terk. Recreated by Kitty Maryatt, Two Hands Press, 2018. Signed No. 19

Cover detail

Poem by James Sacre, Original paintings by Julius Baltazar. Bi-lingual edition with English Translation by Joshua Watsky. Stonington, CT: Wequetequock Cove Editions, 2012.

325 mm x 249 mm x 12.7 mm

Artist’s book, copies with text printed on Velin d’Arche, the original watercolor that is the frontispiece is on Sekishu Japan paper, as are the four copperplate engravings, all copies signed by the artist, the author, and his translator, Joshua Watsky.

Full goat cerulean blue leather binding with laced on boards with magenta buffalo leather edge to edge doublures; inlays of hand dyed, embossed, and painted goat and calf leathers with painted incisions; title, author, and artist hand tooled in turquoise metallic foil; top edge painted with acrylic, polychrome silk end bands, Green Mokuba backed with blue Lotka paper fly leaves; original wrappers bound in; housed in magenta / grey cloth over boards clamshell box with title, author, and artist printed in black onblue paper spine label; small onlays in similar design and colors to those larger ones on binding panels.

Bound 2019

Priscilla Juvelis Books

Poem by James Sacre, Original paintings by Julius Baltazar. Bi-lingual edition with English Translation by Joshua Watsky. Stonington, CT: Wequetequock Cove Editions, 2012.

325 mm x 249 mm x 12.7 mm

Frontispiece

Poem by James Sacre, Original paintings by Julius Baltazar. Bi-lingual edition with English Translation by Joshua Watsky. Stonington, CT: Wequetequock Cove Editions, 2012.

325 mm x 249 mm x 12.7 mm

Artist’s book, copies with text printed on Velin d’Arche, the original watercolor that is the frontispiece is on Sekishu Japan paper, as are the four copperplate engravings, all copies signed by the artist, the author, and his translator, Joshua Watsky.

Full goat cerulean blue leather binding with laced on boards with magenta buffalo leather edge to edge doublures; inlays of hand dyed, embossed, and painted goat and calf leathers with painted incisions; title, author, and artist hand tooled in turquoise metallic foil; top edge painted with acrylic, polychrome silk end bands, Green Mokuba backed with blue Lotka paper fly leaves; original wrappers bound in; housed in magenta / grey cloth over boards clamshell box with title, author, and artist printed in black onblue paper spine label; small onlays in similar design and colors to those larger ones on binding panels.

Bound 2019

Priscilla Juvelis Books

Poem by James Sacre, Original paintings by Julius Baltazar. Bi-lingual edition with English Translation by Joshua Watsky. Stonington, CT: Wequetequock Cove Editions, 2012.

325 mm x 249 mm x 12.7 mm

Doublures Detail

Poem by James Sacre, Original paintings by Julius Baltazar. Bi-lingual edition with English Translation by Joshua Watsky. Stonington, CT: Wequetequock Cove Editions, 2012.

325 mm x 249 mm x 12.7 mm

Cover Detail

Bound 2019

Priscilla Juvelis Books

Pamphlet by Bret Harte printed in 1937 by Wilder and Ellen Bentley and illustrated by Lloyd “Hans” Hoff. Berkeley, CA : Archtype Press, 1937.

229 mm x 146 mm x 76 mm

Artist’s book, Pamphlet printed in 1937 by the Bentleys at 1836 Euclid Court in berkeley. Their motto was “ the fine printer begins where the careful printer leaves off.” The Wilder Bentley archive is housed at the SF Public Library. This charming jeu d’esprit was one of their earliest printing projects.

Semi-limp binding in the style ‘Reliure a Cru”. Hand dyed calf skin with image transfer and embossing. Agate slice inlaid onto front cover. Incisions on cover and edges of boards painted in red acrylic. Doublures surface treated and embossed goat suede.

Bound 2019

San Francisco Public Library, Grabhorn Bookbinding Collection

Pamphlet by Bret Harte printed in 1937 by Wilder and Ellen Bentley and illustrated by Lloyd “Hans” Hoff. Berkeley, CA : Archtype Press, 1937.

229 mm x 146 mm x 76 mm

Artist’s book, Pamphlet printed in 1937 by the Bentleys at 1836 Euclid Court in berkeley. Their motto was “ the fine printer begins where the careful printer leaves off.” The Wilder Bentley archive is housed at the SF Public Library. This charming jeu d’esprit was one of their earliest printing projects.

Semi-limp binding in the style ‘Reliure a Cru”. Hand dyed calf skin with image transfer and embossing. Agate slice inlaid onto front cover. Incisions on cover and edges of boards painted in red acrylic. Doublures surface treated and embossed goat suede.

Bound 2019

San Francisco Public Library, Grabhorn Bookbinding Collection

Pamphlet by Bret Harte printed in 1937 by Wilder and Ellen Bentley and illustrated by Lloyd “Hans” Hoff. Berkeley, CA : Archtype Press, 1937.

229 mm x 146 mm x 76 mm

Cover detail

Bound 2019

San Francisco Public Library, Grabhorn Bookbinding Collection

Pamphlet by Bret Harte printed in 1937 by Wilder and Ellen Bentley and illustrated by Lloyd “Hans” Hoff. Berkeley, CA : Archtype Press, 1937.

229 mm x 146 mm x 76 mm

Cover detail

Bound 2019

San Francisco Public Library, Grabhorn Bookbinding Collection

Plimpton, Sarah. Edges. [New York: 1994]. Sarah Plimpton’s poem is accompanied by her own aquatints which were printed by Peter Pettengill in Hinsdale, NH. Ms. Plimpton designed and illustrated and printed the book in 1994 at the Manhattan Graphics Center and the Grenfell Press in New York City.

No 24 in edition of 25 copies, all on Arches paper, each signed and numbered by Sarah Plimpton.

220 mm x 170 mm x 15 mm

Bound 2017

Staple binding of Pentland goatskin that has been collaged, sanded to tan, tooled with silver gilt and black dotted lines with onlays of sanded suede over the black goat skin, title EDGES in silver gilt on front panel, 5 pair of black staples on spine, maroon and silver grey suede turn-ins and paste-downs, black paper guards; original wrappers bound in; original six folios set in tabs to allow complete opening of each page spread,housed in custom-made black cloth over boards clamshell box lined with black Ultrasuede, spine of box with black goatskin collaged and sanded and stamped with title and artist / author in blind.

Private Collection

Plimpton, Sarah. Edges. [New York: 1994]. Sarah Plimpton’s poem is accompanied by her own aquatints which were printed by Peter Pettengill in Hinsdale, NH. Ms. Plimpton designed and illustrated and printed the book in 1994 at the Manhattan Graphics Center and the Grenfell Press in New York City.

No 24 in edition of 25 copies, all on Arches paper, each signed and numbered by Sarah Plimpton.

220 mm x 170 mm x 15 mm

Bound 2017

Plimpton, Sarah. Edges. [New York: 1994]. Sarah Plimpton’s poem is accompanied by her own aquatints which were printed by Peter Pettengill in Hinsdale, NH. Ms. Plimpton designed and illustrated and printed the book in 1994 at the Manhattan Graphics Center and the Grenfell Press in New York City.

No 24 in edition of 25 copies, all on Arches paper, each signed and numbered by Sarah Plimpton.

220 mm x 170 mm x 15 mm

Bound 2017

Staple binding of Pentland goatskin that has been collaged, sanded to tan, tooled with silver gilt and black dotted lines with onlays of sanded suede over the black goat skin, title EDGES in silver gilt on front panel, 5 pair of black staples on spine, maroon and silver grey suede turn-ins and paste-downs, black paper guards; original wrappers bound in; original six folios set in tabs to allow complete opening of each page spread,housed in custom-made black cloth over boards clamshell box lined with black Ultrasuede, spine of box with black goatskin collaged and sanded and stamped with title and artist / author in blind.

Private Collection

Plimpton, Sarah. Edges. [New York: 1994]. Sarah Plimpton’s poem is accompanied by her own aquatints which were printed by Peter Pettengill in Hinsdale, NH. Ms. Plimpton designed and illustrated and printed the book in 1994 at the Manhattan Graphics Center and the Grenfell Press in New York City.

No 24 in edition of 25 copies, all on Arches paper, each signed and numbered by Sarah Plimpton.

220 mm x 170 mm x 15 mm

Bound 2017

Cover Detail

Author Ted Gioa, Dana Gioa/  Artist James Todd Jr.  / 

Mixolydian Editions and Nawakum Press / Sebastopol, CA 2016

380 mm x 163 mm x 18 mm

Full black goatskin binding with boards laced-on.  Edge-to-edge black goatskin doublures.  Custom blue and grey paste paper flyleaves.  Black and white silk endbands.  Inlays of black grained leather, embossed and top-pared black calf, perforated sheepskin.  White box calf and paper onlays.  Title tooled with grey foil.

Bound 2016

Binding selected for 2017 Designer Bookbinders Traveling International Competition in UK and US.

Bancroft Library

Trading Eights, The faces of Jazz

Author Ted Gioa, Dana Gioa/  Artist James Todd Jr.  / 

Mixolydian Editions and Nawakum Press / Sebastopol, CA 2016

380 mm x 163 mm x 18 mm

Doublure and fly leaf detail.

Author Ted Gioa, Dana Gioa/  Artist James Todd Jr.  / 

Mixolydian Editions and Nawakum Press / Sebastopol, CA 2016

380 mm x 163 mm x 18 mm

Cover Detail

Author Ted Gioa, Dana Gioa/  Artist James Todd Jr.  / 

Mixolydian Editions and Nawakum Press / Sebastopol, CA 2016

380 mm x 163 mm x 18 mm

Cover Detail

Author Ted Gioa, Dana Gioa/  Artist James Todd Jr.  / 

Mixolydian Editions and Nawakum Press / Sebastopol, CA 2016

380 mm x 163 mm x 18 mm

Author Ted Gioa, Dana Gioa/  Artist James Todd Jr.  / 

Mixolydian Editions and Nawakum Press / Sebastopol, CA 2016

380 mm x 163 mm x 18 mm

Author Harry Lewis. Illustrated with a Silkscreen Print by Sam Gilliam. The Perishable Press, 1974, Mt. Horeb, WI

Signed by both Illustrator and Author / no 28/150

280mm x 175mm x 10mm

Mixed media suede limp binding with secondary sewing consisting of ten-18K gold wire staples secured by handmade wood and parchment tackets. Original book pamphlet stitched with red and blue Moriki paper and with embossed green goat suede flyleaves. Book is affixed on red wood stub to allow for completely flat opening of silkscreen print by Sam Gilliam. Original paper wrappers in brown bound in along with the prospectus; housed in a custom-
made clamshell box.

Bound 2017 / Private Collection

Author Harry Lewis. Illustrated with a Silkscreen Print by Sam Gilliam. The Perishable Press, 1974, Mt. Horeb, WI

Signed by both Illustrator and Author / no 28/150

280mm x 175mm x 10mm

Mixed media suede limp binding with secondary sewing consisting of ten-18K gold wire staples secured by handmade wood and parchment tackets. Original book pamphlet stitched with red and blue Moriki paper and with embossed green goat suede flyleaves. Book is affixed on red wood stub to allow for completely flat opening of silkscreen print by Sam Gilliam. Original paper wrappers in brown bound in along with the prospectus; housed in a custom-
made clamshell box.

Bound 2017 / Private Collection

Author Harry Lewis. Illustrated with a Silkscreen Print by Sam Gilliam. The Perishable Press, 1974, Mt. Horeb, WI

Signed by both Illustrator and Author / no 28/150

280mm x 175mm x 10mm

Book is affixed on red wood stub to allow for completely flat opening of silkscreen print by Sam Gilliam.

Bound 2017 / Private Collection

Author Harry Lewis. Illustrated with a Silkscreen Print by Sam Gilliam. The Perishable Press, 1974, Mt. Horeb, WI

Signed by both Illustrator and Author / no 28/150

280mm x 175mm x 10mm

Cover detail.

Bound 2017 / Private Collection

Author Harry Lewis. Illustrated with a Silkscreen Print by Sam Gilliam. The Perishable Press, 1974, Mt. Horeb, WI

Signed by both Illustrator and Author / no 28/150

280mm x 175mm x 10mm

Doublure detail.

Bound 2017 / Private Collection

Author Harry Lewis. Illustrated with a Silkscreen Print by Sam Gilliam. The Perishable Press, 1974, Mt. Horeb, WI

Signed by both Illustrator and Author / no 28/150

280mm x 175mm x 10mm

Title Page.

Bound 2017 / Private Collection

Author Barry Lopez / Illustrator Barry Moser / Nawakum Press, Santa Rosa 2013

Signed by both Illustrator and Author / AP1

340 mm x 600 mm

Bound in hand dyed and embossed kangaroo leather with inlays of copper, snake and calf skins; onlays of snake and calf skins.  Blind tooled.  Edge-to-edge stone veneer doublures with matching stone veneer fly leaves.  Hand embroidered silk end bands. Title tooled in blind.

Awarded 'Highly Commendable for Onlays and Inlays' in 2017 Open Set International Competition.

Bound 2016 / Private Collection

Author Barry Lopez / Illustrator Barry Moser / Nawakum Press, Santa Rosa 2013

Front cover detail with snake inlays.

Author Barry Lopez / Illustrator Barry Moser / Nawakum Press, Santa Rosa 2013

Front cover detail.

Author Barry Lopez / Illustrator Barry Moser / Nawakum Press, Santa Rosa 2013

Edge-to-edge stone veneer doublures and stone veneer fly leaves.

Illustrated by Barry Moser / Poem by Paul Muldoon / Nawakum Press, Santa Rosa, 2014

Signed by both Illustrator and Author / AP1

370mm x 470mm x 35 mm

Bound in black goatskin with onlays of slate stone leaf, wasp's nest and leather splits.  Inlays of pewter and embossed and sanded leather.  Collaged leather splits and pewter inlay as center piece. Gold leaf tooled.  Slate stone leaf edge-to-edge doublures and suede flyleaves.

Bound 2015 / Private Collection

Illustrated by Barry Moser / Poem by Paul Muldoon / Nawakum Press, Santa Rosa, 2014

Enclosure with binding and suite of plates

Illustrated by Barry Moser / Poem by Paul Muldoon / Nawakum Press, Santa Rosa, 2014

Front Cover Detail

Illustrated by Barry Moser / Poem by Paul Muldoon / Nawakum Press, Santa Rosa, 2014

Back Cover Detail

Poem by Alan Loney / Illustrator; Richard Wagener / Nawakum Press, Santa Rosa, 2014

Signed by Both Author and Illustrator / AP4

216mm x 360mm x 35mm

Black goat skin binding with edge-to-edge distressed laether doublures.  Inlays and mosaics of manipulated and decorated leather to complement the prints within then text. 

Bound 2015 / Private Collection

Poem by Alan Loney / Illustrator:  Richard Wagener / Nawakum Press, Santa Rosa 2014

Front Cover Detail

Poem by Alan Loney / Illustrator; Richard Wagener / Nawakum Press, Santa Rosa, 2014

Inside Doublure detail

By Henry David Thoreau  /  Illustrator: Abigail Rohrer/  Lone Oak Press

No. 55 of 70 , Signed

Full leather binding with edge-to-edge leather doublures.  Hand-dyed and distressed goatskin.  Inlays of cat-tails and leather splits.  Onlays of calf.  Gold leaf tooled and titled.

Bound 2014 for Designer Bookbinders InsideOUT Exhibition

Private Collection, UK

By Henry David Thoreau  /  Illustrator: Abigail Rohrer/  Lone Oak Press

No. 55 of 70 , Signed

Detail of distressed full leather edge to edge doublure with leather split fly-leaf

Herman Melville / Designed by Ronald Kellar/ The Red Angel Press, 1973

Signed by Designer / No. 27 of 100

260mm x 265mm x 20 mm

Water buffalo leather binding sewn 'Montage sur onglets' with water buffalo edge-to-edge doublures.  Okawara paper hand dyed blue and gray for fly leaves and onglets.  Cover inlay is collaged layers of top and back pared leather mounted on an alligator belly split that was pre-tooled with silver foil using binder’s custom made brass roulette. 

Bound 2016

Private Collection, NY

Herman Melville / Designed by Ronald Kellar/ The Red Angel Press, 1973

Signed by Designer / No. 27 of 100

260mm x 265mm x 20 mm

Cover Detail

Bound 2016

Herman Melville / Designed by Ronald Kellar/ The Red Angel Press, 1973

Signed by Designer / No. 27 of 100

260mm x 265mm x 20 mm

Cover Detail

Bound 2016

Herman Melville / Designed by Ronald Kellar/ The Red Angel Press, 1973

Signed by Designer / No. 27 of 100

260mm x 265mm x 20 mm

Illustration detail

Bound 2016

Herman Melville / Designed by Ronald Kellar/ The Red Angel Press, 1973

Signed by Designer / No. 27 of 100

260mm x 265mm x 20 mm

Illustration Detail

Bound 2016

By W.W. Elliott  /  Forward by James B. Snyder  /  Havilah Press, Emeryville, CA

286mm x 197mm x 38mm

Full leather French style binding sewn on cords with boards laced-in.  Embroidered silk endbands, graphite top edge decoration.  Black leather doublures, marbled paper fly leaves.  Title is hand tooled with palladium leaf.  Cover has Colorado agate embedded.  Magnetic panel opens 3/4 outwards to display 3 dimensional display of redwood trees.  Panel is comprised of top layer of ‘lacunose’ sanded leather, blind tooled, 2 layers of redwood cutouts form Japanese paper. 

Bound 2008

Selected for Guild of Bookworkers 'Marking Time' Exhibition

By Natalie Goldberg /  Illustrator: Claire Dunne /  Tinting Sialia Rieke

No. 14 of 50, Signed

197mm x 140mm x 15mm

Clamshell Box for binding

By Natalie Goldberg /  Illustrator: Claire Dunne /  Tinting Sialia Rieke

No. 14 of 50, Signed

197mm x 140mm x 15mm

Full leather binding sewn on 3 cords with boards laced-in.  Gilded title and rough edge gilding.  Lizard onlay.  Leather panel on front cover held with magnets.  Inside panel comprised of layers of leather, paper and suede embroidered with gold thread and painted.  Treated and distressed leather-split edge-to-edge doublures.  Leather-split fly leaves and silk embroidered headbands.

Bound 2014 /  Private Collection, Crested Butte, CO

by Natalie Goldberg /  Ilustrator: Claire Dunne /  Tinting Sialia Rieke

No. 14 of 50, Signed

197mm x 140mm x 15mm

Detail of leather panel on front cover opened to show panel comprised of layers of leather, paper and suede embroidered with gold thread and painted.

by Natalie Goldberg /  Illustrator: Claire Dunne /  Tinting Sialia Rieke

No. 14 of 50, Signed

197mm x 140mm x 15mm

Detail of hand-gilded title and embroidered panel clasp.

By James Whitcomb Riley  /  Illustrator:  Berrot H. Hubrecht/  Tryst Press, Provo UT

No 88 of 250

Clamshell Box for Binding

By James Whitcomb Riley  /  Illustrator:  Berrot H. Hubrecht/  Tryst Press, Provo UT

No 88 of 250

Full leather binding.  Electrical wires strung with glass beads embedded through board cut-outs.  Tooled foil title.  Doublure and fly-leaf paper collaged and printed by binder.

Bound 2012 / Private Collection, Boston MA

First Prize, Guild of Book Workers Rocky Mountain Chapter Exhibition

By James Whitcomb Riley  /  Illustrator:  Berrot H. Hubrecht/  Tryst Press, Provo UT

No 88 of 250

Detail of inside cover with doublure and fly-leaf paper collaged and printed by binder.

By James Whitcomb Riley  /  Illustrator:  Berrot H. Hubrecht/  Tryst Press, Provo UT

Cover detail

By Lawrence G. Van Velzer/  Illustrator: Peggy Gotthold/ Foolscap Press, Santa Cruz, CA

Signed by both Author and Illustrator/  No. 183

203mm x 235mm x 25mm

Full leather French style binding sewn on 5 cords with boards laced-in, matching leather doublures. Handsewn Japanese silk endbands, gilded top edge.  Tan suede fly leaves. Raised onlays using ‘lacunose’ style sanded leather.  Blind and gold leaf tooling on cover.  Title is hand tooled with gold leaf.  Clamshell box lined with ultra-suede and covered in ‘Duo’ cloth using magnets for closure.  Colored agate slice decorates box cover.

Bound 2008 /  Private Collection, Boston MA

Designed, illustrated and printed by Lili Hall

Signed by Author/  No. 4 of 8

178mm x 152mm x 51mm

Drum Leaf binding with handmade papers, PVC cover with red buffalo leather spine. Typeset on a Macintosh computer; Printed on a letter press from photo polymer plates.  Limited numbered edition signed by author and binder.   The ideas and opinions expressed in this book came from a thrift store. Each phrase was once a source of guidance to the now-anonymous people who underlined them in numerous self-help books. Later the books were tossed out. I collected these highlighted gems of wisdom and strung them together somewhat haphazardly to create an entirely new text.  The author collected visited thrift stores and collected passages from self-help books that other people underlined and then compiled the sentence fragments into the text for ‘In Other Words’. The result is a disjointed yet cohesive “self-help” text.

Bound 2009 /  Private Collection

Designed, illustrated and printed by Lili Hall

Signed by Author/  No. 4 of 8

178mm x 152mm x 51mm

Drum Leaf binding with handmade papers, PVC cover with red buffalo leather spine. Typeset on a Macintosh computer; Printed on a letter press from photo polymer plates.  Limited numbered edition signed by author and binder.   The ideas and opinions expressed in this book came from a thrift store. Each phrase was once a source of guidance to the now-anonymous people who underlined them in numerous self-help books. Later the books were tossed out. I collected these highlighted gems of wisdom and strung them together somewhat haphazardly to create an entirely new text.  The author collected visited thrift stores and collected passages from self-help books that other people underlined and then compiled the sentence fragments into the text for ‘In Other Words’. The result is a disjointed yet cohesive “self-help” text.

Bound 2009 / Private Collection, Boston MA

Designed, illustrated and printed by Lili Hall

Signed by Author/  No. 4 of 8

178mm x 152mm x 51mm

Detail of binding with enclosure

Author:  Gilles Vigneault/ Illustrator: Nastassja Imiolek /

No. X of 90 / Signed by Illustrator and Author

Full buffalo leather binding with inlays of embossed leather, lizard and chicken feet.  Title hand-tooled in yellow foil across cover.  Edge-to edge buffalo leather doublures.  Paste-paper fly-leaves made by binder.

Bound 2012 / Private Collection

Author:  Gilles Vigneault/ Illustrator: Nastassja Imiolek /

No. X of 90 / Signed by Illustrator and Author

Detail of edge-to edge buffalo leather doublures.  Paste-paper fly-leaves made by binder.

Author:  Gilles Vigneault/ Illustrator: Nastassja Imiolek /

No. X of 90 / Signed by Illustrator and Author

Detail of illustrations.

Author:  Gilles Vigneault/ Illustrator: Nastassja Imiolek /

No. X of 90 / Signed by Illustrator and Author

Detail of front cover inlays.