Books On Books Collection – Andrew Morrison

Chroma Numerica (2019)

Chroma Numerica (2019)
Andrew Morrison
Perfect bound cased in quarter-hinged paper-on-board binding. H143 x W145 mm, 60 pages, printed on one side. Edition of 30, of which this is #17. Acquired from the artist, 2 September 2021.
Photos of the work: Books On Books Collection. Displayed with artist’s permission.

In the children’s book tradition, counting books and alphabet books often come paired. Chroma Numerica‘s partner appears with the same binding earlier in Andrew Morrison’s work below, and in both cases, the printing process is the real subject — not the learning of numbers or letters. From his wood type, Morrison rolls out oversized numbers 1-30 printed in a chromatic scale on Somerset Book 200gsm paper.

Provenance (2018)

Provenance (2018)
Andrew Morrison
Casebound with dustjacket. H152 x W155 mm, 9 foldouts, 6 leaves (including 1 trimmed short), 2 end leaves. Edition of 30, of which this is #28. Acquired from the artist, 2 September 2021.
Photos of the work: Books On Books Collection. Displayed with artist’s permission.

While Chroma Numerica and A-Z use printing processes to count and spell out their subjects, Provenance uses folds and stitching to conceal texts and images that reveal the making of the book itself. More than the other two books, Provenance requires “reading with the hands”. The two sequences below show the result and process — or the effect then cause — of needle perforation and wire stitching. In the first, the perforation can be seen along the right-hand edge, then along the left, and then in the middle of the unfolded image, which is annotated with a description of the printing process and paper. In the second sequence, the wire stitch can be seen in the gutter; then, with the two tabs pushed back, the German stitching machine comes in view, again annotated with a description of the printing process.

Provenance recalls those sets of binding models produced by Gary Frost, Karen Hanmer and others, but it may be too fragile for the constant reading with the hands that it would undergo as a teaching tool. It is more to be carefully and gently admired — a beautiful peacock admiring itself in the mirror of itself.

Two Wood Press A-Z (2013)

Two Wood Press A-Z (2013)
Andrew Morrison
Hardcover. Casebound glued. H180 x W155 mm, 56 pages. Edition of 30, of which this is an A/P. Acquired from the artist, 5 May 2020.
Photos: Books On Books Collection. Displayed with artist’s permission.

An inspired A-to-Z, with tongue in cheek evident in the material form as well as the text. At first, there seems to be no letter A, but closer inspection reveals the ampersand sneakily placed at the start of the alphabet on a page glued halfway up the pastedown. For the letter C, we have “chase” — the heavy steel frame used to hold type in a letterpress. Of course, the type held in a chase would read as in a mirror, and so “C. WADE.” and “HALIFAX.” do just that in their “paper” chase. E for embossing is, of course, embossed. The usually difficult search for a word or term beginning with X is not a problem for typophile and provides a self-defining demonstration as does “yellowing” for Y. For the letter Z, we have to take it on trust that the images are the result from “an etched letterpress printing plate made of zinc”.

Ampersand& (2007)

Ampersand& (2007)
Andrew Morrison
Board cover, perfect bound. H180 x W180 mm, 22 pages. Acquired from the artist, 5 May 2020.
Photos: Books On Books Collection. Displayed with artist’s permission.

The sneaky ampersand at the beginning of Two Hand Press A-Z may have escaped from Ampersand& — or given the density and evenness of the possible escapee’s color, perhaps not. Any collection of wooden type will have “character”-giving flaws — nicks, nocks and abrasions. So it is with this … what is the collective noun for ampersands? The variation in shape of these ampersands and Morrison’s flaunty display of them deliver even more character. And note the watermark in the Somerset paper peeking through the third image below.

Books On Books Collection – Tara McLeod

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ABC (2015)

You think the beginner’s ABC, the primary colors and the humble linocut are so simple? That’s the challenge posed by this accordion wrapper’s overlap of a red A with a yellow B and its overlap with a blue C.

ABC (2015)
Tara McLeod
Miniature accordion book. Wrapper: H90 x W90 mm; Acccordion closed: H85 x W85 mm; 26 hand cut multi-color lino block letters printed on 200gsm Lana Desin Blanc. Acquired from National Library of New Zealand, 1 August 2021.
Photos of the work: Books On Books Collection. Displayed with the artist’s permission.

With each letter’s stylistic shift in shape …

with each panel’s chromatic shift around the shifting shapes …

Tara McLeod’s artistry shows how these 26 signs, 3 colors, blade, block and surface are both anything but simple and everything that is simple.

Books On Books Collection – David Clifford

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Letterpress Printing ABC (2004)

Letterpress Printing ABC (2004)
David Clifford
Miniature. H78 x W78 mm, 62 pages. Edition of 50 numbered copies, of which this is #48. Acquired from Bromer Booksellers, 1 August 2021.
Photos of the work: Books On Books Collection. Displayed with permission of the publisher.

Among the several outstanding production features of Clifford’s miniature is its variation on Claire Van Vliet’s binding structure in The Gospel of Mary (2006). It first becomes apparent in the double-page spread below. As with most of the structures demonstrated in Woven and Interlocking Book Structures (2002), the binding structure consists of woven strips of paper to hold the folios together and attach the cover. The top-down view of Letterpress ABC shows the gathered folios and, if enlarged in a browser, also shows the paper tape running from the cover and across the gathers.

Staking his claim over Andrew Morrison as first past the post, Clifford starts his A-Z with the last symbol of the alphabet (“Ampersand”) and closes with the same Z term (“zinco”). There are other overlaps in terms, but the two efforts differ so rewardingly — Clifford’s woven binding, typeset definitions, miniature trim size and handmade paper versus Morrison’s children’s board book hinged binding, demonstrated definitions, larger trim and Somerset paper — that one cannot be chosen over the other.

An additional pleasure from Clifford’s book is its complement to two other Heavenly Monkey publications in the Books On Books Collection: Francesca Lohmann’s An Alphabetical Accumulation (2017) and Rollin Milroy’s Francesco Griffo da Bologna: Fragments and Glimpses (2020). If it were not for Rollin Milroy, the attentive reader and I would forever struggle with the puzzle of how Clifford’s 2004 binding came to be influenced by Van Vliet’s 2006 binding. Milroy writes:

Claire came to Vancouver in ’04 and gave a day-long class, which David (& his daughter Yasmine) attended. The project was already in development (probably even printed), and D showed Claire a dummy and got some pointers. I didn’t realize ABC preceded her own Gospel.

And here is the entry for Letterpress extracted from proofs for Heavenly Monkey’s checklist to be published in 2022:

Courtesy of Rollin Milroy. 2021 © Heavenly Monkey.

Books On Books Collection – Borje Svensson & James Diaz

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Letters (1982)

Letters (1982)
Borje Svensson and James Diaz
Book in a box. H61 x W61 X D61 cm, 18 accordion panels and diorama. Collins © 1982, Borje Svensson.
Photos of the work: Books On Books Collection.

Animals (1982)

Animals (1982)
Borje Svensson and James Diaz Letters (1982)
Book in a box. H61 x W61 X D61, 18 accordion panels and diorama. Collins © 1982, Borje Svensson
Photos of the work: Books On Books Collection.

Given the effectiveness of Svensson and Diaz’s Letters alphabet book-in-a-box effort, it is surprising that they did not follow up the alphabetical theme from Animals, especially since animals have made up the most popular category of alphabet books for centuries. Another 24 or 25 books in boxes beckon. Alphabetical cubes of birds, cats, dogs and the zemmi! And what about the ampersand? And what different paper artistry might Diaz have performed if requested to fill out the series with further innovation? Consider Claire Van Vliet’s alphabetical Tumbling Blocks for Pris and Bruce (1996), Helen Hiebert’s Alpha Beta (2010) and Karen Hanmer’s The Spectrum A to Z.

Before its acquisition by Harpers in 1985, William Collins & Sons settled on the less risky venture of four books in boxes: Animals, Letters, Numbers and Colors. First with Elgin Davis Studios, James Diaz was the paper engineer behind all four and later joined David A. Carter (see his tribute to Bruno Munari here) to produce The Elements of Pop Up: A Pop Up Book for Aspiring Paper Engineers (1999), still used as a primary textbook.

Of course, B. S. Johnson and Marc Saporta pioneered boxes containing loose pages or leaves to be read in any order, but to find contemporary books in boxes where the box is not just a storage mechanism but functionally integrated, we have to look to Ed Hutchins, Sue Johnson and Hedi Kyle among others.

More celebrations of the alphabet and book as “total expansion of the letter” to come.

Books On Books Collection – Molly Peacock & Kara Kosaka

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Alphabetique: 26 Characteristic Fictions (2014)

Alphabetique: 26 Characteristic Fictions (2014)
Molly Peacock & Kara Kosaka
Casebound with headband and collaged endpapers. H236 x W146 mm, 158 pages. Acquired from The Book Depository, 6 August 2021.
Photos of the work: Books On Books Collection.

Given the intent spelled out in its specimen below, Frank Heine’s Tribute should add to the fabulistic atmosphere of Peacock’s fictions played out by her 26 characters each named after a letter in the alphabet. Despite the book’s colophon extolling the typeface, there is something about it, however, that does not quite work for Alphabetique.

Tribute (2003), Frank Heine, Emigré Fonts; Type specimen sheet attributed to François Guyot (1565), Luna: Folger Digital Image Collection.

For example, its capital G squats like an un-Guyot-esque toad in the seventh chapter, and the capital Q lacks Guyot’s swordlike swash so appropriate to the tale of Q, master of the quilloned thorn knife who rises to the position of Royal Flower Keeper. Nevertheless, the choices of font (lowercase and smallcaps for the children, uppercase for the grown-ups, roman for the married sister and italic for the single) and the use of color for each character’s name ring true throughout the narrative. Like the layout and choice of font, Kara Kosaka’s collages fuse with the narrative and, unlike the typeface, deliver the atmosphere the fictions deserve.

When the character T appears (a maple tree), characters from the other vignettes show up, including the offspring of the articles A and THE, but this coalescence is only a feint toward an ensemble tale. The stories of U-Y return to standalone status, making the twenty-sixth chapter a surprise gathering of all the letters, albeit not in their characters of the preceding twenty-five fictions.

What happens to Z, the zoologist, is perhaps the most original of all the fictions. Any hint beyond the choice of font in that preceding sentence would spoil the surprise for the book artist with a mastery of letterpress, access to an extensive collection of typefaces and the readiness to be inspired to complete delivery of what Alphabetique deserves.

Books On Books Collection – Cristina Balbiano d’Aramengo

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Alphabet Flag Book (2010)

Alphabet Flag Book (2010)
Cristina Balbiano d’Aramengo (photos by Federico Novaro)
Flag book. H207 x W176 mm, 14 panels, 28 flags. Edition of 20. Acquired from the artist, 21 July 2021.
Photos of the work: Books On Books Collection. Displayed with permission of the artist.

In part, the Alphabet Flag Book is a case of web-found art. In 2008 Federico Novaro initiated a blog of editorial news and reviews. Like a chapter in an illuminated manuscript, each article opens with the enlarged image of a letter or punctuation mark taken from Novaro’s photo of the cover of the book being reviewed. Friend of Novaro, Balbiano d’Aramengo proposed the flag book structure and then found that there were enough images for an edition of twenty unique copies.

For each copy, the artist could have followed an alphabetical order with each row of characters reading left to right. Or a boustrophedon order with A-G reading left to right in the top row, H-N reading right to left in the second row, and so on as the ox plows. Of course, the artist’s eye for harmonies of color and shape when selecting from the found images has a role in choosing the order of content. But then there is the need to fill the 27th and 28th flags. The availability of punctuation marks in the found images solves that constraint. In fact, the front and back covers embrace them. The symmetry of the marks on the covers is even enhanced by the precision of the belly band that holds the book closed. So what order will the covers reveal?

The artist has been kind enough to provide the following behind-the-scenes photos of the process.

Photos: Courtesy of Cristina Balbiano d’Aramengo.

Despite the alphabetical sorting process to assemble the content for each copy, the result is far from alphabetical.

To have followed a left-to-right order or boustrophedon order would not have embraced how a flag book’s structure breaks up the traditional codex pages vertically and horizontally no matter the angle of view. The explosion of non-alphabetical color and shapes inside the orderly covers is a bit like the chaos of the internet behind that simple rectangular search button between the clamshell covers of a laptop.

Books On Books Collection – Tana Hoban

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A, B, See! (1982)

A, B, See! (1982)
Tana Hoban
Hardcover, casebound. H252 x W286 mm, 32 pages. Acquired from Cattermole 20th Century Children’s Book, 7 August 2021.
Photos of the work: Books On Books Collection.

Made in dark-room conditions with light-sensitive paper, actual objects and cutouts, these photograms lift this simple ABC book to the plane of object recognition and to the level of art. Other artists who have applied photographic techniques to the abecedary are Anthon Beeke, Eileen Hogan, Peter Hutchinson, Simon Jennings or Stephen T. Johnson. Each has a distinctiveness of eye, technique or conceptualizing. Hoban’s seems to lie in extracting something more from that simple imposition of white on black.

The Poetics of Reason (2020)
Text: Éric Lapierre, Ambra Fabi and Giovanni Piovene, Mariabruna Fabrizzi and Fosco Lucarelli, Sébastien Marot, and Laurent Esmilaire and Tristan Chadney. Design: Marco Balesteros
Five-volume set of perfect bound paperbacks in bellyband; laminated display letters on front cover, tinted fore-edges. H212 x W130 mm, 712 pages. Acquired from Small Projects, S.A., 19 February 2020.
Photos of the work: Books On Books Collection.

“The Poetics of Reason” was the title and theme for the fifth Lisbon Architecture Triennale in 2019 (the first was in 2007). Awarded the ADG Laus 2020 Golden Prize in the category of editorial graphic design, this work stands well with Bruno Munari’s three small 1960’s books on the square, circle and triangle, now available in a single volume, and calls to mind several works testifying to the relationship between architecture and book art. In the first of the five volumes, Éric Lapierre even interweaves with his text on architectural rationality illustrations from book artists such as Bernd and Hilla Becher, Sol Lewitt and Ed Ruscha — all without comment, in itself conveying their implicit relevance. His similar display of a page from Stéphane Mallarmé’s Un Coup de Dés Jamais N’Abolira le Hasard — that progenitor of modern and post-modern book art — speaks to the role that space — les blancs, as Mallarmé calls it — plays in these adjacent communities.

136 pages

The second volume, by Ambra Fabi and Giovanni Piovene, draws in Leon Battista Alberti, of course, whose columns ornament works by Mari Eckstein Gower, Helen Malone and many other book artists.

136 pages

Drawing on Gaston Bachelard and Juhani Pallasmaa as it does, the third volume, by Mariabruna Fabrizzi and Fosco Lucarelli, calls to mind the work of Olafur Eliasson and Marian Macken here in the Books On Books Collection and elsewhere. Anyone familiar with Richard Niessen’s The Typographic Palace of Masonry will appreciate Fabrizzi and Fosco’s exploration of where architecture, imagination and memory intersect.

136 pages

In the lengthiest of the five volumes, Sébastien Marot takes us into the territory of urban architecture and the anthropocene, also occupied by book artists Sarah Bryant, Emily Speed, Philip Zimmermann and many others.

216 pages

The last and shortest volume, put together by Laurent Esmilaire and Tristan Chadney, consists mostly of photos that may remind the viewer of Irma Boom’s Elements of Architecture, with Rem Koolhaas, or Strip, with Kees Christiaanse — especially in conjunction with the tinted fore edges.

88 pages

Referenced below, Pedro Vada’s review of the Triennale and the five separate sites across which it occurred in Portugal provides more insight into the five volumes themselves. Marco Ballesteros LETRA website provides additional images of the five volumes’ design.

Bookmarking Book Art – Books on Book Art | 4 August 2013

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Books On Books Collection – Bruno Munari

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Munari’s Books (2008/2015)
Giorgio Maffei
Perfect bound book. H240 x W170, 286 pages. Acquired from Wordery, 25 June 2015.
Photos of the work: Books On Books Collection. Displayed with permission of Corraini Edizioni. © Bruno Munari. All rights reserved to Maurizio Corraini s.r.l.

Giorgio Maffei’s 2008 definitive collection of book designs by Bruno Munari brings together two of Italy’s renowned book artists. Giorgio Maffei’s own work, his writing and gallery/bookshop (highlighted by his son Giulio Maffei’s extraordinary video catalogues Le vite dei libri) warrant a catalogue raisonné in their own right. The Italian edition published by Munari’s long-time publisher Maurizio Corraini was followed up in 2015 by this translation by Martin John Anderson and Thomas Marshall in 2015. For the Books On Books Collection, one of the great pleasures of Munari’s works is its attention to the alphabet, which this book documents.

Although not shown in Munari’s Books, an alphabet-related work that underscores Picasso’s calling Munari “our Leonardo” is ABC con fantasia (1973/2000). If we are to believe Fra Luca Pacioli, it was Leonardo da Vinci who inspired his “straight lines and curves” exposition for creating letters. Following in their footsteps, Munari provides the linear and curvilinear basics for the collector and offspring to join the game.

ABC con fantasia (2008)
Bruno Munari
Boxed set of shapes. H x W Acquired from Corraini Edizioni, 4 August 2020.
Photos of the work: Books On Books Collection. Displayed with permission of Corraini Edizioni. © Bruno Munari. All rights reserved to Maurizio Corraini s.r.l.

Another pleasure is how Munari’s works lead to other works in the collection. Just by preceding them in Pieter Brattinga’s Kwadraatblad/Quadrat-prints series, Munari’s An Unreadable Quadrat-Print (1953), below, conjures up Wim Crouwel‘s, Gerard Unger‘s, Timothy Epps and Christopher Evans‘, and Anthon Beeke‘s more alphabetical contributions.

Libro illeggibile bianco e rosso/An unreadable Quadrat-Print/Een onleesbaar kwadraat blad/Ein unlesbares Quadrat-Blatt (1953)
Bruno Munari
Artist book. 250 x 250 mm + 1 wrapper (770 x 770 mm folded to 260 x 260 mm). Acquired from Antiquariaat A. Kok & ZN, 4 August 2021.
Photos of the work: Books On Books Collection. Displayed with permission of Corraini Edizioni. © Bruno Munari. All rights reserved to Maurizio Corraini s.r.l.

Although there are no words on numbered pages that have to fall in the right order, An Unreadable Quadrat-Print still presents the author/printer/binder with a challenge in imposition. White and red alternate, which is easy enough, but to cut or not cut a folio on the left and right, how to cut it, how to place the differently cut folios in the right order to achieve the variation in images when the pages turn, how to ensure a sewable area down the center for each folio whether it has a horizontal cut extending into the spine or a diagonal one extending from some point along the spine — that is impressive. It speaks to the sculptural process and result in making books, as well as the sculptural process of reading them.

The following sequences — the book’s first five double-page spreads and then its last six — take a normal page-turning approach, always turning from the upper right corner of whatever shape/page is available. Note how, in the last six double-page spreads, the pages and shapes become more complex.

Libro illeggibile (1966), below left, calls to mind Katsumi Komagata’s A Cloud (2007), and the one in the middle foreshadows Eleonora Cumer’s subtle artistry with transparent paper in Circoscrivere lo spazio No. 3 (2021). While Munari’s rare works press modest budgets, some of it — in its simplicity and popular appeal — has led Corraini Edizioni to put it within easier reach. Numerous reissues of the 1984 Libro illeggibile MN 1 have pushed its price to €5. Short of the artist’s signature (which would likely obstruct the aesthetic intention), a copy from the latest 5000-copy print run will “perform” and deliver the same experiential value as one from the earliest run.

From Munari’s Books.

Libro illeggibile MN 1 (2006)
Bruno Munari
Booklet. H100 x W100 mm, 28 pages from 14 sheets cut in various shapes, notched at the center, bound with single loop of red thread over the notch and knotted at the foot of the spine. Acquired from Corraini Edizioni, 4 August 2020.
Photos of the work: Books On Books Collection. Displayed with permission of Corraini Edizioni. © Bruno Munari. All rights reserved to Maurizio Corraini s.r.l.

Munari’s many series of illegible books tap into book artists’ longstanding and ongoing preoccupation with whether a book without words can communicate information, narrative, sensations or feelings through material, shape or color and their permutations. The colors, shape, feel and binding of Libro illeggibile MN 1 evoke simple and sophisticated pleasure in their juxtaposition and sequence. The unchanging straightness of the top edge and the anchoring red thread of the binding set off the changeability of shapes and colors.

Although not a book of Munari’s making, David A. Carter’s Le sculture da viaggio di Munari is one way of bringing the spirit of Munari’s “travel sculptures” into the collection. Carter’s homage carries the blessing of Corraini Edizioni, further justifying its inclusion.

Le sculture da viaggio di Munari (2019)
David A. Carter
Pop-up book. H210 x W210, 10 constructions over 5 spreads, 2 with fold-out leaves. Acquired from Corraini, 4 August 2020.
Photos of the work: Books On Books Collection. Displayed with permission of Corraini Edizioni. © Bruno Munari. All rights reserved to Maurizio Corraini s.r.l.

Travel sculptures started off as small sculptures (some even pocket-sized) to carry with you, so you could take part of your own culture to an anonymous hotel room. Later they were turned into ‘travel sculptures’, five or six metres tall and made of steel. One of these was seen for a few months in Cesenatico, another one in Naples. Others are sleeping among huge trees in the Alto Adige region.’ This is how Italian designer Bruno Munari (1907-1998) described his ‘travel sculptures’, which in turn inspired American illustrator and designer David A. Carter for this pop-up book. –Corraini Edizioni website. Accessed 3 August 2021.

Munari’s travel sculptures also recall works in the collection like Cumer’s scultura da viaggio dipinta n.2 (2017), Komagata’s「Ichigu」(2015) and, albeit less portable, Ioana Stoian’s Nous Sommes (2015).

Books On Books Collection – Maria G. Pisano

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XYZ (2002)

XYZ (2002)
Maria Pisano
Housed in a paste paper wrapper, a miniature concertina book, case bound, each page individually sewn to the next in a light green cotton thread. The title is watermarked on the front cover. H72 x W65 mm closed, 26 lettered pages alternating in colors. Edition of 26, of which this is #17. Acquired from the artist, 22 July 2021.
Photos of the work: Books On Books Collection. Displayed with permission of the artist.

This work finds its way into the Books On Books Collection on several counts. Many of the ABC books in the collection use the accordion, concertina or leporello structure, but none combine fine beaten abaca in two colors and the watermark technique to print. The colored abaca resonates with the collection’s interest in “Strange Papers” as Fred Siegenthaler labelled them and in “painting” with the watermark as Siegenthaler, Gangolf Ulbricht, John Gerard and others have done (see below under Further Reading.

Besides fusing papermaking with printing, Pisano unifies XYZ by making the alternation of colored paper and printing by watermark extend outwards from the “text block” to the case and paste board housing. The photos below follow this from the outside in.

Usually a watermark is barely noticeable, a thin-lined monogram or insignia created by a wire fixed into the mesh or screen in the “deckle” (frame in which the mesh is stretched and into which paper pulp is poured). As the water drains from the pulp through the mesh, the papermaker shakes the deckle to mix the fibers evenly. The fibers thin against the mesh and watermark leaving impressions in the paper.

Each letter shape lies face down and runs head to tail along the “laid lines” (made by the closely spaced wires in the mesh) and perpendicular to the “chain lines” (made by the wider spaced wires in the mesh). One of the chain lines can be seen just under the upper stroke of the letter E below. When a sheet is pulled from the mesh, laid between layers of felt and subjected to pressure to squeeze out the remaining water, the rough side (the side previously face down on the mesh) becomes the right reading side. If your screen permits enlargement, the mirror reading side on the right below displays its smoothness.

Given the shaking of the deckle that goes on, those letter shapes had to have been secured to the mesh. Their points of attachment can just be detected; see the curves of the C and P.

Books On Books

Curated by Robert Bolick

Books On Books Collection – Andrew Morrison

Chroma Numerica (2019)

Provenance (2018)

Two Wood Press A-Z (2013)

Ampersand& (2007)

Further Reading

Books On Books Collection – Tara McLeod

ABC (2015)

Further Reading

Books On Books Collection – David Clifford

Letterpress Printing ABC (2004)

Further Reading

Books On Books Collection – Borje Svensson & James Diaz

Letters (1982)

Animals (1982)

Books On Books Collection – Molly Peacock & Kara Kosaka

Alphabetique: 26 Characteristic Fictions (2014)

Further Reading

Books On Books Collection – Cristina Balbiano d’Aramengo

Alphabet Flag Book (2010)

Further Reading

Books On Books Collection – Tana Hoban

A, B, See! (1982)

Further Reading

Books On Books Collection – The Poetics of Reason (2020)

Further Reading

Bookmarking Book Art – Books on Book Art | 4 August 2013

See also Resources (in progress) page.

Books On Books Collection – Bruno Munari

Further Reading

Books On Books Collection – Maria G. Pisano

XYZ (2002)

Further Reading

Chroma Numerica (2019)

Provenance (2018)

Two Wood Press A-Z (2013)

Ampersand& (2007)

Further Reading

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ABC (2015)

Further Reading

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Letterpress Printing ABC (2004)

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Letters (1982)

Animals (1982)

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Alphabetique: 26 Characteristic Fictions (2014)

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Alphabet Flag Book (2010)

Further Reading

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A, B, See! (1982)

Further Reading

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Further Reading

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See also Resources (in progress) page.

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Further Reading

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XYZ (2002)

Further Reading

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