How Do I Love Thee
80″ round sunburst concertina separated with pearls into, 24, 2 3/8″ high pages. Pigment printed on Katie MacGregor’s handmade paper and housed in a vintage silk covered metal box 7″ in diameter by 2 3/8″ deep. Elizabeth Barrett Browning wrote Sonnets from the Portuguese, a collection of 44 love sonnets, chronicling the period leading up to her 1846 marriage to poet Robert Browning. One of the most prominent poets of the Victorian era, Elizabeth was an invalid and found it difficult to believe that Browning, who called her “my little Portuguese”, was truly in love with her. These sonnets explore that concern. Sonnet number 43, which begins “How do I love thee?”, is perhaps the most famous and is the subject of this book / box.
Album
6 x 8 inches, 118pp. Unique altered book. This original autograph album with the owner’s name, “Alma Blydenburge”, stamped in gold on the front within a decorative gilt rule, was rebound using the original covers with a black cloth spine and new sewing. The book is housed in a black cloth over boards box made by Mary McCarthy. Opening in front with recesses for white kid gloves, an embroidered linen handkerchief and a cross-stitched pink ribbon book mark, the front panels close with a black ribbon tie secured with pewter rondel. The artist’s statement reveals that Alma Blydenburge was born in 1811 in Smithtown, Suffolk, New York. She was 21 when she began keeping the album in 1832. At about the same time she married Richard Smith. She died in 1883 at age 52. There are five pages with original watercolors of flowers or plants and one calligraphic page. On most pages the elegant, feminine penmanship found in the album have illustrations of Charles Dana Gibson’s characterizations of the American feminine ideal transferred onto the original album pages with alcohol gel. Priscilla Juvelis descrbes it as “A charming look at a past that seems light years away from today.”
Garden of Eden
11” x 5”, opening to 33 inches, 12 pages. Box 12-1/8 x 6 x 6 inches. Unique book. The book contains images of Durer’s Adam and Eve, Simone Martine’s Angel Michael and a serpent from a natural history source. The images and the text, Robert Frost’s poem “Nothing Gold Can Stay,” are pigment printed in black on orange Mi Tiens paper, collaged onto Arches cover black. The poem is printed with Bickham Script Pro and the title uses the typeface James II WF. The apples, held by the figure in each of the three images, are of copper leaf. Housed in a wood box with vines carved into the domed lid, the book sits on top of a specimen of poison ivy encased in a block of Acrylic. A black grosgrain ribbon lifts the book. The verso of the concertina is a continuous image of a bucolic landscape from a sheet of decorative black and orange Mi Tiens paper. Priscilla Juvelis says: “An arresting juxtaposition of text and image and object, this Garden of Eden is one that can endure. A most provocative presentation of Robert Frost’s poem, “Nothing Gold Can Stay” relating the natural world to moral questions.”
SerpentStone
5 x 3.5 inches, 128 pages handmade paper, 12 pages mica. Ethopian Coptic binding with wood covers, a fossilized ammonite embeded behind mica and a leather clasp. Unique book. Housed in a wood and plexiglas box. In medieval Europe, fossilised ammonites were thought to be petrified snakes, and were called “snakestones” or, more commonly in medieval England, “serpentstones”. They were taken to be evidence for the actions of saints such as Saint Hilda and Saint Patrick. Traders would occasionally carve the face of a snake into the empty, wide end of the ammonite fossil and sell them to the public. Ammonites from the Gandaki river in Nepal are known as saligrams, and are believed by Hindus to be a concrete manifestation of God or Vishnu.
Happily Ever After
8 x 6 inches; 21pp. plus laid in colophon on transluscent vegetable vellum paper digitally printed in brown ink. Unique artist’s book on LamaLi paper toned with metallic pigment Hand sewn three-piece case binding with black leather spine and bookcloth painted in copper metallic tones to match the pages. The title is engraved on the front panel below a small (1-3/4 x 1 inch) metal dragon. The book is housed in a matching slip case of black cloth over boards toned bronze at edge,s with title engraved in dull silver on the front. The images are adapted from SLAV FAIRY TALES translated and illustrated by Emily J. Harding. The text, written by the artist, is pigment printed with the images, using Lucinda Handwriting and Lucinda Grande fonts. The colophon / artist’s statement starts, “This romantic fairy tale is set in never-never land with archetypal characters and motifs” and closes with “A symbolic psychological mirror, mythic childhood stories like this may well shape our adult lives.” A sample of the text is “I am made to work hard / at menial tasks – / spinning flax into gold, / cleaning the scullery or / taking care of geese. / Or I have been placed under a spell. “Priscilla Juvelis says, “We all know these stories; not all of us realize their effects on our lives. The modern-looking metallic pages on black ground combine with the “retro-looking” images to bring a strangely contemporary sensibility to our oldest archetypes.”
Book + Art: Handcrafting Artists
Book + Art: Handcrafting Artists’ Books focuses on content and suggests simple and elegant ways of presenting it in book form. It covers:• An introduction to bookmaking tools and common materials• The basics of selecting paper and other substrates• Traditional and digital ways to incorporate images and words• How to utilize blank and altered books• Simple […]
1997 Ennobling the Ordinary
flowerchild kneeling at the gate helmet of flowers madonna of san miguel birth tree of life lady of the flowers marketplace child of the universe cinderella against the wall looking back Ennobling the Ordinary: Women of the World Krause has built up her surfaces to new levels of texture and density. While this aesthetic choice […]
Lenticular prints
Lenticular prints 12″ x 12″, printed on clear film, laminated to 40lpi lenticular lens and placed over reflective or other surfaces. A lenticular print is made by placing an “interlaced” image, (cut and reassembled in vertical strips), behind a sheet of plastic with a series of parallel lens or lenticules embossed into one surface. When […]
Monoprint/ emulsion transfers
Monoprint/ emulsion transfers 30″ x 22″ image on 36″ x 28″ Stone Paper using Digital Art Studios Seminars transfer film and SuperSauce. Edition of 6. Select the following links to see lenticular images and monoprints in this series.
Monoprints
Monoprints 24″ x 24″ transfers to a variety of substrates including fresco, brushed aluminum, non-woven fabric and silver leaf. Select the following llinks to see lenticular images and emulsion transfers in this series.