Books On Books Collection – Michael Snow

Cover to Cover (1975)
Michael Snow
Cloth on board, sewn and casebound. H230 x W180 mm. 310 unnumbered pages. Published by Nova Scotia College of Art and Design. Unnumbered edition of 300. Acquired from Mast Books, 10 December 2020. Photos of the work: Books On Books Collection.

After a long search since first sight of it in 2016 at Washington, D.C.’s now defunct Corcoran Gallery library, the original hardback edition of Michael Snow’s Cover to Cover (1975) finally joins the Books On Books Collection. Thanks to Philip Zimmermann, more readers/viewers have the chance to experience Cover to Cover — if only through the screen — than the original’s 300 copies and Primary Information’s 1000 facsimile paperback copies will allow.

Amaranth Borsuk describes the work and experience of it in The Book (2018), as do Martha Langford in Michael Snow (2014), Marian Macken in Binding Spaces (2017) and Zimmermann in his comments for the exhibition “Book Show: Fifty Years of Photographic Books, 1968–2018” (for all, see links below). Like Chinese Whispers by Telfer Stokes and Helen Douglas and Theme and Permutation by Marlene MacCallum, Michael Snow’s Cover to Cover has that effect — of evoking an urge to articulate what is going on and how the bookwork is re-imagining visual narrative, how it is making us look, and how it makes us think about our interaction with our environs and the structure of the book.

The already existing commentary about Cover to Cover sets a high hurdle for worthwhile additional words. One thing going on in the book, though, seems to have gone unremarked. Some critics have asserted that, other than its title on the spine, the book has no text. There is text, however. It occurs within what I would call the preliminaries, and they show us how to read the book.

Front cover and its endpaper

On the front cover, we see a door from the inside. Then, on its pastedown endpaper, the author outside the door with his back to us. On turning page “1” of the preliminaries, we see in small type a copyright assertion and the Library of Congress catalogue number appear vertically along the gutter of pages “2-3” (a tiny clue as to what is going on).

Pages “2-3”

Over pages “4” through “14” from the same alternating viewpoints, the author reaches for the door handle, the door is seen opening from the inside, and the artist is seen walking through the door (from the outside) and into the room (from the inside). But who is recording these views?

Pages “10-11”

Over pages “15” through “24”, two photographers appear. Facing us, they are bent over their cameras — first the one outside (clean shaven and wearing a short-sleeved shirt) behind the author, then the one inside (bearded and wearing shorts) in front of the author. As the author moves out of the frame, we see that the photographer inside is holding a piece of paper in his right hand. All of this occurs through the same alternating viewpoints. At page “21”, the corner of that paper descends into the frame of the inside photographer’s view of the outside photographer, and after the next switch in viewpoint that confirms what the inside photographer is doing, we see a completely white page “23”, presumably the blank sheet that is blocking the inside photographer’s camera aperture. Page “24” is the outside photographer’s view of the inside photographer whose face and camera are blocked by the piece of paper.

Pages “16-17”, pages “20-21” and pages “24-25”

Over pages “25” (from the inside photographer’s viewpoint) and “26” (from the outside photographer’s), something strange happens with that piece of paper. Fingers and thumbs holding it appear on the left and right: we are looking at photos of the piece paper as it is being held between the photographers. What’s more, on the outside photographer’s side of the paper is the developed photo he just took of the inside photographer with his face and camera hidden by the sheet of paper. We are looking at images of images. But what is on the other side of that photo paper? — a blank with fingers holding it, which is what page “27” will show us from the inside photographer’s perspective. But whose fingers are they?

Pages “26-27”

From page “25” through page “38”, we see images of this piece of paper being manipulated by one pair of hands. The thumbs appear on the verso (the view from the outside photographer’s perspective), the fingers on the recto (the view seen by the inside photographer). By page “34”, it is upside down. By page “37”, we can see that the photo paper is being fed into a manual typewriter. But does the pair of hands belong to one of the photographers? Or a typist — the author?

For both pages “42” and “43”, the perspective is that of a typist advancing the paper and typing the title page. On both pages, we can see the ribbon holder in the same position. Pages “44-45” return to alternating perspectives, page “44” showing the photo paper descending into the roller. Page “45” presents itself as the full text of the book’s title page, curling away from the typist and revealing the inside photographer on the other side of the typewriter. Page “46” shows the upside-down view of the title page as it moves toward the inside photographer and reveals the outside photographer on the other side of the typewriter. Not only are we seeing images of images, we are witnessing the making of the book’s preliminaries.

From page “48” through page “54”, the photographers alternate views of blank paper advancing through the typewriter. By pages “55” and “56”, the typewriter has moved out of the frame. Look carefully at page “56”, however, and you can see the impression of the typewriter’s rubber holders on the paper. As a book’s preliminaries come to a close, there is often a blank page or two before the start of the book, which in this case is page “57”, showing a record player.

Zimmermann notes that, at somewhere near the book’s midpoint, the images turn upside down, and that readers who then happen to “flip the book over and start paging from the back soon realize that they are looking at images of images produced by the two-sided system, and indeed the very book that they are holding in their hands”. He notes this as another mind-bender added to the puzzlement of the two-sided system with which the book begins. Yet the prelims foretold us that the upside-downness, back-to-frontness and self-reflexivity of images of images were on their way. Without doubt, Cover to Cover is an iconic work of book art.

Further Reading

Borsuk, Amaranth. The Book (Cambridge, MA: MIT Press, 2018).

Langford, Martha. Michael Snow: Life & Work (Toronto: Art Canada Institute, 2014).

Macken, Marian. Binding Space: The Book as Spatial Practice (London: Taylor and Francis, 2017).

Michelson, Annette, and Kenneth White. Michael Snow (Cambridge, MA: MIT Press, 2019).

Zimmermann, Philip. “Book Show: Fifty Years of Photographic Books, 1968–2018“, Spaceheater Editions Blog, 3 February 2019. Accessed 16 December 2020.

But as the scene “progresses,” an action is not completed within the spread, but loops back in the next one, so that the minimal “progress” extracted from reading left to right is systematically stalled each time a page is turned, and the verso page recapitulates the photographic event printed on the recto side from the opposite angle. This is the disorienting part: to be denied “progress” as one turns the page seems oddly like flashback, which it patently is not; it might be called “extreme simultaneity.” Two versions of the same thing (two sides of the story) are happening at the same time. Zimmerman.

Books On Books Collection – Claire Jeanine Satin

Alphabet Cordenons paper book (2020)

Alphabet Cordenons paper book (2020)
Claire Jeanine Satin
One of a series of unique works, each created with Cordenons paper, a fine paper that has been manufactured in Italy since 1630. This book uses alphabet letters, glittery strips of ribbon, sequins, crystals, and monofilament to create precise and inventive designs on the cover and each page. In a lavender cloth bag. Measures 9 x 7 inches. 10 unnumbered pages. Acquired from The Kelmscott Bookshop, 8 February 2021. Photos of the work: Books On Books Collection. Displayed with permission of the artist.

Claire Janine Satin’s Alphabet Cordenons is part of series of works celebrating this paper made in a mill established in Cordonens, Italy in 1630 and still being produced there.

Satin ribbon with graduated shifts of color, colored foil backing that lightens and darkens, and glittering beads threaded on multi-colored fish line call attention to the encaustic-like sheen that comes from the inclusion of mica in making Cordenons Stardream (285 gms) paper.

The finish’s indeterminacy under shifting light seems to find a mirror in the random order, selection and placement of the letters as well as the changing orientation of the ribbon.

Even more indeterminate is the fish line that flips about, curls within, and slips without the turning pages.

Of the 35 or so variants in Satin’s Cordenons series, Alphabet Cordenons suits the Books On Books Collection perfectly.

Further Reading and Viewing

Abecedaries I (in progress)”, Books On Books Collection, 31 March 2020.

Satin, Claire Jeanine. 1997. Alphabooks (Portfolios). Each topped with a water jet cut tile that features the alphabetic notation system to which the portfolio. The rim is stamped in gold letters: the spoken word flies away, the written word remains ( in Latin). Accessed 15 August 2020.

Satin, Claire Jeanine. 2006. Pentimento LCI: Open wide your hands, or the Twelve Tribes.
Printing on acetape with monofilaments and glass beads. Housed in black cardboard box. Library of Congress Collection. Accessed 17 February 20020.

Vermeer, Beth. May 2016. “Claire Jeanine Satin and her research on Henry James”, Design of the Universe. Accessed 17 February 2020.

Books On Books Collection – “La Prose du Transsibérien Re-Creation” by Kitty Maryatt

It was 1913. Stravinsky’s ballet “The Rite of Spring” debuted. The Cubists, Constructivists, Suprematists, Futurists all bound onto the art scene, many of them showcased in the Armory Show in New York that year. The Nouvelle revue française (NRF) attempted the first book form of Stéphane Mallarmé’s Un Coup de Dés Jamais N’Abolira le Hasard, which revived that 1897 typographic disruption of the page and prepared the ground for dozens of works of book art since. And Blaise Cendrars and Sonia Delaunay-Terk announced and published what they called le premier livre simultané. It was La Prose du Transsibérien et de la petite Jehanne de France.

From the Bodleian Library collection
Photos: Books On Books

From the National Art Library, Victoria & Albert
Photo: Books On Books

La Prose du Transsibérien et de la Petite Jehanne de France (1913)
Blaise Cendrars and Sonia Delaunay-Terk
Photo: Swann Gallery Auction “19th & 20th Century Prints & Drawings Featuring Property from the Ismar Littmann Family Collection“, 5 March 2019.

Like Mallarmé, Cendrars disrupts the page with multiple typefaces (thirty distinct ones in his case) and scattered placement of lines and stanzas. But La Prose presents an even more physical and structural disruption of the page and book than Un Coup de Dés. Unlike the latter, La Prose unfolds — twice — in an accordion format to over two metres in length or rather height since the text descends on the right and ends alongside the interlinked images of the Eiffel Tower and a Ferris wheel at the foot of the accordion. Cendrars and Delaunay had aimed to produce 150 copies of La Prose because, placed end to end, that would have equalled the Eiffel Tower’s height.

More than this monumental, sculptural, typographic and physical disruption of page and book, La Prose presents a temporal disruption. By le premier livre simultané, Cendrars meant a simultaneity of the verbal and visual — the way that text and image appear all at once — en un éclair. Early Bohemian that he was, Cendrars was co-opting a fair bit of artistic and literary theorising by the Cubists, Futurists and others. Most important and of the moment was his co-opting of Robert and Sonia Delaunay’s colour theory of simultanéisme. The “couleurs simultanées de Mme Delaunay-Terk” had also appeared in her 1913 robe simultanée and paintings. Building on a French scientist’s exposition on how perception of colours changes depending on the colours around them, the Delaunays claimed that rhythmic, musical and spatial synaesthetic elements were also at play. Sonia Delaunay asserted that the artwork produced for La Prose was not in response to reading the poem but hearing it from Cendrars. (Listen to it for yourself here.)

La robe simultanée/“The Simultaneous Dress” (1913)
as displayed in ”Sonia Delaunay at Tate Modern, 15 April – 9 August 2015
Photo: © LondonArtFile.

In presenting the adolescent Cendrars travelling physically eastward on the Transsibérien, travelling mentally to Flanders-Basle-Timbuctoo-Auteuil-Longchamps-Paris-New York while still registering the landscape outside, seeing the maimed and wounded returning from the front of the Russo-Japanese war, conversing with a prostitute named after Joan of Arc, doubting himself as a poet, and so on until a sudden transposition back to Paris, the process poem juxtaposes the sacred and profane, past/present/future, stationary and dynamic, national and international in outlook and locale. In short, simultaneously. In a format that is bound and unbound, the poem mirrors the swirling, interacting shapes and colours beside and in which it moves — and vice versa.

However more disruptive of the page and book La Prose may have been, it did not inspire the profusion of direct re-interpretations (or appropriations) that Un Coup de Dés prompted from artists such as Jérémie Bennequin, Ellsworth Kelly, Man Ray, Didier Mutel, Michel Pichler, Eric Zboya and dozens of others.

Bennequin, Kelly, Man Ray, Mutel, Pichler and Zboya on the shoulders of Mallarmé.

Not until 2001 did a re-versioning of La Prose appear. Tony Baker and Alan Halsey published an English translation and codex re-formatting. Its black on white imagery is reminiscent of the Russian Futurists, the type is monochromatic, and the typefaces, fonts and weights vary but not as much as in La Prose.

Baker and Halsey note in their colophon:

So far as we’re aware no translation of the poem into English has ever been attempted to give a sense of Cendrars and Delaunay’s original conception, not the least reason for which may have been the difficulty until recently of seeing the first edition, even in reproduction. Prose of the Trans-Siberian and of the Little Jeanne de France (Sheffield: West House Books, 2001)

A well-founded lament — at least for the book art community. Not until 2000 had there been a reduced-scale reproduction of La Prose. It appeared in Granary Books’  A Book of the Book by Jerome Rothenberg and Steven Clay across a four-page foldout in the embrace of Ron Padgett’s English translation. Only in 2008 was there a full-scale, full-colour offset facsimile, produced by Yale University Press with an appended translation. It is now out of print.

The Yale University Press offset facsimile. Image courtesy of Accordion Publications

With her work La Prose du Transsibérien Re-creation (2019), Kitty Maryatt has changed all that. With this deuxième livre simultané, she has more than caught the echo of Cendrars/Delaunay’s original and its arrival. As scholar, artist and veritable impresaria, she has reinvigorated the book art/arts community with the legacy of La Prose

Her blogspot documents the research and production with rich details about sourcing the type, learning about stencil-cutting from Atelier Coloris (one of the few remaining businesses devoted to pochoir), determining the recipes for the ink colours, testing papers (Zerkall Crème, Biblio, and Rives HW), creating a census of the existing 1913/14 originals and their locations —  all that and more, including the use of bacon fat and a wine bottle filled with lead shot. She also organized a documentary by Rosylyn Rhee: “The Pochoir Re-creation of La Prose du Transsibérien”. It brings the importance of the original and this re-creation to life in the expressions and voices of prominent collectors, librarians and scholars, artists, rare book dealers and the project’s funders.

In addition, Maryatt has been either a contributor to, or the motivating force behind, several symposia and exhibitions such as “Paris 1913: Reinventing the Artist’s Book” (at the Legion of Honor Museum in San Francisco, 2018) and “Drop Dead Gorgeous”. The latter is a travelling exhibition resulting from invitations to twenty-four book artists and designer bookbinders to design and create bound copies of La Prose du Transsibérien Re-creation. For the San Francisco venue, Maryatt prepared a workshop on traditional French pochoir and provided text for the exhibition catalogue (available from the online store of the San Francisco Center for Books).

Announcement of “Drop Dead Gorgeous” exhibition at the San Francisco Center for Books, showing Dominic Riley’s fine binding of La Prose du Transsibérien Re-creation

Monique Lallier’s fine binding of La Prose du Transsibérien Re-creation 
Photos: Courtesy of Monique Lallier

The pinnacle of Maryatt’s efforts, of course, is the standard and deluxe editions of La Prose. Both editions consist of 4 pages, glued together to create the tall single page. For the standard edition, the page is folded into 21 sections and loosely placed in a painted vellum cover with a booklet describing the project and production. An acrylic slipcase houses the covered bundle.

The standard edition
Photo: Books On Books

Photo: Books On Books

Photos: Books On Books

For the deluxe edition, the single page is left double-wide, accordion-folded double-tall between aluminum covers and housed in a clamshell box. A separate case holds the painted vellum cover, colour cards, Sonia’s visual vocabulary, 27 progressives for page one, 5 pochoir plates with tracing paper and registration system, the booklet with introduction and colophon, and the list of 30 typefaces Cendrars used. A large clamshell box houses this separate case and the boxed book. The colour cards include the recipe for mixing the gouache, and Sonia’s visual vocabulary shows the numbered steps of operations. The progressives for page one show the steps for doing the pochoir stencils and handwork.

The deluxe edition
Photos: Courtesy of Kitty Maryatt

Any institution with a focus on book art or the graphic arts should seek out the standard edition of La Prose du Transsibérien Re-creation. Any institution with a focus on teaching and practice in those domains should seek out the deluxe edition. As indefatigable as Cendrars and as productive as Delaunay, Kitty Maryatt has provided the basis of master classes for generations. Now it is up to the book art community to respond as it has to Un Coup de Dés.

A shorter version of this essay appears in Parenthesis 39, Fall Issue, 2020.

Further Reading

Ashton, Doré. “On Blaise Cendrars. . . But I Digress.” Raritan 31, no. 2 (2011): 1-42,164. An entertaining extended anecdote sketching Cendrars and his milieu.

Gage, John. Colour and Meaning : Art, Science and Symbolism (Berkeley, CA: University of California Press, 1999). Despite her works’ better quality and representation of simultanéisme, Gage focuses on Robert and mentions Sonia only in passing or footnotes. (Telling that the Tate chose Sonia not Robert for a retrospective in 2015.) Nevertheless, there are passages that place her work in context.

P.198: Chevreul’s “privileging of the harmony of complementaries was essentially in the context of ‘painting in flat tints’, a method developed largely in the decorative arts, but which was increasingly integrated into many branches of French painting in the second half of the nineteenth century …”.

P.254 “When, probably early in 1912, Delaunay wrote to Kandinsky outlining his theories, he had shifted to a rather different approach, claiming: ‘the laws I discovered … are based on researches into the transparency of colour, that can be compared with musical tones. This has obliged me to discover the movement of colours.’ …

P.256 [Delaunay’s] Essay on Light, which was composed in the summer of 1912, attributed the movement of colours less to transparency than to the qualities of hue: ‘Movement is given by the relationship of unequal measures, of contrasts of colours among themselves which constitute Reality. The reality has depth (we see as far as the stars), and thus becomes rhythmic Simultaneity.’”

P.257 “For Chevreul in 1839 such painting [in flat tints] had only a decorative, accessory function, but the Delaunays did not feel the distinction, and Sonia had recently been experimenting with flat colours in appliqué textiles and in bookbindings decorated with collage.”

Maryatt, Kitty. “A Bookmaker’s Analysis of Blaise Cendrar’s and Sonia Delaunay’s La Prose du Transsibérien et de la Petite Jehanne de France”, The Quarterly Newsletter (Fall 2016), The Book Club of California. Online version available here.

Maryatt, Kitty. Interview with Steve Miller, Book Arts Podcasts, School of Library Information and Sciences, University of Alabama, 13 January 2006.

Perloff, Marjorie. The Futurist Moment: Avant-Garde, Avant-Guerre, and the Language of Rupture, 2nd ed. (Chicago and London: University of Chicago Press, 2003). Along with Shingler’s essay, this is the best explication of the work and its lineage with Mallarmé’s Un Coup de Dés.

Rothenberg, Jerome; Clay, Steven. A Book of the Book: Some Works & Projections about the Book & Writing (New York City: Granary Books, 2000). Contains an excerpt from Perloff’s book above, Ron Padgett’s translation of La Prose and a four-page foldout showing a full-color photo-reduction of the 1913 original.

Shingler, Katherine. “Visual-verbal encounters in Cendrars and Delaunay‘s
La Prose du Transsibérien
“, e-France: an on-line Journal of French Studies, Vol. 3, 2012, pp. 1-28. Accessed 15 November 2019. Along with Perloff’s book, this is the best explication of the work and its lineage with Mallarmé’s Un Coup de Dés.

Sidoti, Antoine. Genèse et dossier d’une polémique: ‘La Prose du Transsibérien et de la Petite Jehanne de France’. Blaise Cendrars – Sonia Delaunay (Paris: Lettres Modernes, 1987). Provides the compressed time line within which the poet and artist created the work.

Slevin, Tom. Visions of the Human: Art, World War I and the Modernist Subject (London: I.B. Tauris, 2015). Provides a lengthy discussion of la robe simultanée and La Prose.

Woodall, Stephen. “La Prose du Transsibérien et de la Petite Jehanne de France”, Insights from the de Young and Legion of Honor (San Francisco: Fine Arts Museums of San Francisco, 2020. A spectacular website presenting the original work in its context and its influences on subsequent book art. The work can be viewed panel by panel, and its overall structure is presented in an animation of its unfolding and refolding.

Books On Books Collection – Louisa Boyd

Stardust (2013)

Stardust (2013) Louisa Boyd 
Leather bound, oil-based ink, Somerset paper, micro-fibre suede, Magnani handmade ivory wove paper, metal leaf, pencil crayon; 16 panels.
Closed – H70 x W45cm x D10 mm; Open – H70 x W420 mm. Edition of 20, of which this is #10. Acquired from the artist, 28 May 2017. Photos: Courtesy of the artist.

Other works, not in collection

Flare
2013
Magnani handmade white wove paper
12cm x 12cm x 8cm
© Louisa Boyd, reproduced with permission of the artist

Through abstraction and symbol, Louisa Boyd‘s art focuses on sense of place and our intrinsic connection to nature. The titles of three of her artist’s book series – Infinity, Landscape, and Mapping – and those of the book art in them – Aether (2013), A Walk (2001), and Cartography I (2014)  – reflect that focus. How she manages abstract imagery and symbol across her range of material and techniques – paper (including hand-marbled paper), book structure, printmaking (block, screen, letterpress), watercolor, metalwork, leatherwork – adds to that unifying focus through a rightness of choice but also introduces a breadth of originality and variety.

In Aether, the crayon work, cutting and metalwork are applied with a three-dimensional sense wedded to an obvious understanding of the possibilities of the page and double-page spread. The stop-motion animation video tour of Aether (click on the image below) makes you wonder if Boyd conceived the work as a flipbook in the first place. There is no wondering, however, about the place of human existence in relation to the aether. In the video, look at the lower righthand fore-edge of the book.

Aether
2013
Leather handbound artist’s book with box. Cover in leather and paper onlay. Edge coloring.
© Louisa Boyd, reproduced with permission of the artist
For a video tour of Aether, click on the image.

A Walk illustrates Boyd’s skill with freestanding three-dimensional sculpture, a skill that has grown in The Flight Series (more later on two of its works from 2009) and The Paper Manipulation Series, from which the work Flare above comes.

A Walk 
2001
Handbound artists book, torn and cut with each page individually painted to depict the different views of a walk through the landscape. Watercolour on paper.
© Louisa Boyd, reproduced with permission of the artist
For a video tour of A Walk, click on the image. (Caveat: The title of the work in the video varies from that here, which is taken from Boyd’s website.)

Her use of abstract markings and the Turkish map folding technique in Cartography I demonstrates again her careful marriage of abstraction, symbol and technique.

Cartography I
2014
Turkish map-fold book with etched pages and collagraph end papers. Somerset paper. Blind tooled leather cover.
Edition of 3
Dimensions open: H 5” x W 10”x D 4”
Dimensions closed: diameter 5”, depth 1”
© Louisa Boyd, reproduced with permission of the artist

The etching printed on each of the three internal folded pages is an abstract that nevertheless evokes mapping, which the form and fold of the pages reinforces. Each Turkish fold page can lay flat to be viewed individually, or as pictured above and below, the book may be viewed as a sculpture.

Cartography I from above
© Louisa Boyd, reproduced with permission of the artist

The video tours (links embedded the images of Aether and A Walk above) represent Boyd’s search for what she calls “a bridge between traditional and contemporary media”. So far, that exploration reflects the artist’s rootedness in the book arts and traditional skills and processes of drawing, printing and painting. It is intriguing to think what effect a bit of influence from Helen Douglas or Amaranth Borsuk might have on Boyd’s bridge. The use of stop-action video for Aether hints at an instinct for what Douglas calls “visual narrative”.

A professed recurrent theme in Boyd’s book art is “restriction and freedom”. Although it arises from periods of city dwelling and lack of access to the countryside, imposed by the UK’s 2001 “foot and mouth” epidemic, it manifests itself in the more “traditional” spur of constraint of form and structure that goads an artist’s imagination. Flock (2009) and A Walk bear close resemblance, but note the difference in invention whereby the former plays with the book form by placing the bird imagery at the edges, spirals the paper tearing upwards and gradates the watercolor from dark to light (like a flock dispersing) and the latter deals with the “restricted” walk by blending the watercolor with tearing and tunneling.

Flock
2009
Artist’s book with watercolour
© Louisa Boyd, reproduced with permission of the artist

Take Flight (2009) frees its bird imagery even more fully from the structure of the book and occupies space as a fully three-dimensional work.

Take Flight
2009
Artist’s book with watercolour
© Louisa Boyd, reproduced with permission of the artist

Detail
Take Flight
2009
Artist’s book with watercolour
© Louisa Boyd, reproduced with permission of the artist
Multifaceted
2014
edition of 4
Dimensions closed 4” x 2” x 1/2” (10cm x 5cm x 1cm) open 4” x 21 1/2” (9cm x 51cm)
Leather, oil-based ink, Somerset and Magnani paper
© Louisa Boyd, reproduced with permission of the artist

Although Multifaceted returns to the theme of different views that was the intent in A Walk, it tilts the theme more toward the abstract side of Boyd’s work. In this, Multifaceted is more akin to the works in The Paper Manipulation Series: Flare (2013), Whorl (2013), and Pleat (2013). It almost purely plays with the concept of differing perspectives. Again, techniques and form express concept with a simple rightness. This double-sided leporello is designed to be viewed from four different angles. The display of photos here cannot offer the intended perspective (pun intended): the viewer needs to circle the piece to view its facets. That word “facet” is tooled on the interior pages four times, the clue as to how the book should be read.

Multifaceted I from above
© Louisa Boyd, reproduced with permission of the artist
Multifaceted II collage view
© Louisa Boyd, reproduced with permission of the artist

The abstract imagery evoking landscape or skyscape – whether juxtaposed vertically or horizontally – plays with viewpoint. Even the print technique on the interior pages plays with viewpoint: they are prints of an etching inked up both in relief and intaglio.  Breaking free of the ultimate restriction of the book, the pages are not attached to the cover, allowing the piece to be read in four different directions. These features of the work and the seeming absence of that human figure from Aether throw it back on the viewer’s necessary engagement to establish fully the human connection: by engaging with Multifaceted – “reading” it –  the viewer enacts the human place in the aether around the work.

Since graduating from Manchester Metropolitan University in 2001 and winning the Paperchase Future of Design Award (2001) and receiving a high commendation from the judges of the New Designer of the Year (2001), Boyd has exhibited in 46 venues. Her 47th is the most significant so far: inclusion in the John Ruskin Prize Shortlist Exhibition at Millennium Gallery in Sheffield, UK (21 June – 8 October, 2017). If this book artist manages to continue her sure-handed forging of concept, material and method, the Ruskin Prize Shortlist Exhibition will not be her last significant exhibition.

Further reading about Louisa Boyd and her work:

‘The 2017 exhibition has a theme of the “Artist as Polymath” and the jury have selected a shortlist of artists and makers whose works cross boundaries, take a multidisciplinary approach and bring together varying techniques and materials. As an artist who has been making artist’s books since my final year at university in 2000, I have found that such an approach to work has been essential to bring together concept and visual aesthetics.’

Books On Books Collection – Scott McCarney

Abecedaries have a long lineage among calligraphers, typographers, children’s book authors and designers (including those of online books), fine press impresarios and book artists. From the world of libraries and museums, we have had abecedary lists and exhibitions such as Favorite Alphabets, (Library of Congress), Primers, etc. Post-1850 (Bodleian), Artists’ Alphabets and Ecstatic Alphabets/Heaps of Language (New York MoMA).

Since 1981, Scott McCarney has diligently extended the lineage through a series of alphabets designed in book form, where the letterforms depend upon the materiality of the book. The limits and possibilities of the book — its material, form and processes by which both can be handled — have inspired McCarney’s Alphabook series. According to the artist, all the Alphabooks (with the exception of numbers 3, 10 and 13) “are one-of-a-kind, and have not been shown much (if at all), so I’m not aware of them being illustrated anywhere“. Fortunately, Alphabook 1 (1981) appears in The Penland Book of Handmade Books: Master Classes in Bookmaking Techniques (2004), p.134, and Alphabook 9 (1985), which McCarney produced as a one-of-a-kind book of photograms in a residency at Light Work in 1985, appears in the Light Work Collection. McCarney describes his inspired manipulation of material, form and process in creating Alphabook 9:

I folded pop-up letterforms with unexposed photo paper in the darkroom and exposed it to directional light then developed, fixed, dried and flattened the prints.  I made a book for Light Work for their collection that spelled out “LIGHTWORK” in the photogram alphabet, which can be seen in their database here: Light Work Collection / Artwork / Photogram Letter book [1133].

Correspondence with Books On Books, 7 February 2020.

And WorldCat shows that Alphabook 13 (1991) can be found in at least three institutions. It was produced in an edition of 25 and consists of one volume (110 x 100 mm) in which the letter A gradually morphs into the letter Z.

With three of the series works now in the Books On Books Collection, the lack of illustration can be somewhat remedied.

Alphabook 3 (1986)

Alphabook 3 (1986)
Scott McCarney
Two volumes, each of 26 unnumbered die-cut pages and wrapped in translucent belly band. Edition of 300, signed but not numbered. Each volume, closed: H151 x W104 mm; open: H151 x W2195. Acquired from the artist, 14 August 2017.
Photos: Books On Books.

Photos: Books On Books.

Unlike most others in the series, Alphabook 3 is a multiple of 300 copies.

Alphabook 10 (2015)

Alphabook 10 (2015)
Scott McCarney
Laser cut duplex papers hand bound with long stitch through slotted cover; housed in archival phase box. 56 unnumbered pages. 130 x 310 mm; in box 140 x 310 x 30 mm.
Edition of 14, of which this is #11.
Acquired from the artist, 23 January 2020.
Photos: Courtesy of the artist

The codex form receives McCarney’s playfulness in Alphabook 10. The artist writes:

The fore edge of each page is cut into geometric forms from black, white and cream toned duplex stock (two sheets of different colored paper laminated together). … Produced during a residency at The Institute for Electronic Arts, a high technology research studio facility within the School of Art and Design, NYSCC, Alfred University, New York, committed to developing cultural interactions spurred by technological experimentation and artistic investigations.

Scott McCarney, Visual Books. Accessed 9 February 2020.

The handling of the cover and first page draw attention to the role that empty space, light and stock color will play throughout the book.

Photos: Books On Books.

The binding warrants a closer look as well. Outside and inside, the red thread, its pattern and function stand out.

Photos: Books On Books.

And notice how the thread calls out the textured surface of the paper.

Alphabook 13 (1991)

Alphabook 13 (1991)
Scott McCarney
Flipbook, created with a Macintosh IIcx running Aldus® FreeHand™️ software.
H100 x W92 mm. 32 pages. Acquired from the artist, 15 February 2020.
Photo: Books On Books Collection.

Photos: Books On Books Collection.

Photo: Books On Books Collection.

In correspondence with Books On Books, McCarney explains that the Alphabooks’ mismatch of numbering and chronology stems from discrepancies between dates of conception and opportunities to execute. This little flipbook was conceived and executed as a photocopy edition of 25 in 1991; of more importance here though is the coming together of computer-based typesetting, book structure and pun. As we know, the shortest distance between A and Z is not B to Y, but the points in A reconfigured into Z across 24 flipping pages. It is interesting to compare this transformation with Claude Closky’s calligraphic version De A à Z (1991).

Various Small Books (2019/20)

Various Small Books (2019/20)
Scott McCarney
Photo: Books On Books.

Various Small Books (2019)
Scott McCarney
Photo: Courtesy of the artist.

The 2019 edition was conceived for a fundraising exhibition at Artspace in Richmond, VA. Both the 2019 and 2019/20 editions consist of 35mm slides documenting various of McCarney’s bookworks. Consisting of different slides, the two editions of Various Small Books are unique, and since the slides are bound together and cannot be projected, the images of the books appear small indeed.

Various Small Books (2019/20)
Scott McCarney
Photo: Books On Books

Courtesy of the artist, the inclusion in Various Small Books (2019/20) of slides documenting Alphabook 4, Alphabook 6 and Alphabook 10 makes the 2019/20 edition particularly apropos for the Books On Books Collection.

Further Reading and Viewing

ABCs, Bookmarking Book Art, 29 November 2015.

Alphabook 1. See The Penland Book of Handmade Books: Master Classes in Bookmaking Techniques (2004), p.134.

Alphabook 3”, Artists’ Books Database, Otis College of Art and Design, n.d. Accessed 25 January 2020.

Alphabook 9 (1986). Light Work Collection.

Reversing the Catastrophe of Fixed Meaning: The Bookworks of Scott McCarney”, Brochure for exhibition, 18 May – 9 July 2012, Visual Studies Workshop, Rochester, NY.

Photos: Books On Books Collection

Scott McCarney | Alphabook 3”, Artists’ Books and Multiples, 20 February 2013. Accessed 25 January 2020.

Scott McCarney, Special Edition”, Contact Sheet, No. 164 (Syracuse, NY: Light Work, 2011). Exhibition catalog, which kicked off the conference “Photographers + Publishing”, 3-5 November 2011, Light Work and Syracuse University.

Home Sweet Home (1985)

Home Sweet Home (1985) [Not in collection]
Scott McCarney
Paper in accordion binding with decorative and marbled paper-covered boards and paper-covered slip case.
11 5/8” x 9 1/2” x 1 3/4”

Books On Books Collection – Kees Moerbeek

No Nonsense (2020)

No Nonsense (2020)
Kees Moerbeek
Pop-up construction: corrugated cardboard, 1.5 mm thick; printed four-color/four-color with an additional print with silver Coldfoil.
Cover: Greyboard four-color/no-color, 3 mm, with an additional layer of unprinted and laser cut courrugated cardboard 1.5 mm thick.
Closed: H700 x W500 x D20 mm. Open: H700 x W1000 x D560 mm.
Published by OptArt in an edition of 100, of which this is #56.
Acquired from OptArt, 20 January 2020.

Artist’s description: The two lions holding the coat of arms function as a connecting hinge for the two separate base plates.

From the place where the crown belongs, a impressive tree arises, with roots, branches and countless shiny leaves.

The base for this entire construction is a simple corrugated cardboard, an unpretentious material that reflects the typical no-nonsense mentality of the Dutch.

The tree trunk, branches and its roots represent the cultural values of all of Dutch people and the silver leaves symbolize the true assets of the Netherlands: the Dutch people. All parts of this artwork are interlocked representing the fact that all elements in a society are also interconnected. The cloudy sky visible through the base of the pop-up represents fantasy and the unreachable….

The silver printing on the cardboard is a cold-foil printing technique and in combination with the oversized dimensions, this pop-up can be considered as a one-of-a-kind publication.

This is the largest pop-up in the Books On Books Collection.

Further Viewing

A video of the work in motion can be found here.

Books On Books Collection – Wilber Schilling

Bartleby the Scrivener: A Story of Wall Street (1995)

Herman Melville, Bartleby the Scrivener: A Tale of Wall Street, 1853. Indulgence Press, 1995.
Type composed in 12 point Bulmer on the Monotype System and printed by Wilber Schilling on Arches MBM mould made paper at Janus Press. Calligraphy by Suzanne Moore. Ochre-coloured endpapers handmade by MacGregor & Vinzani.
Wilber Schilling created the frontispiece photo as a Kallitype print from a negative generated in Adobe Photoshop. The binding, also by Schilling, is cloth over sewn boards and, over the cloth, an embossed print of details from the frontispiece photo.
Edition of 100 of which this is #71. H320 x W158 x D14 mm. Acquired from Indulgence Press, 17 December 2015.

Further Reading

Adamson, Chris T. “Bartleby, the Scrivener: A Story of Wall Street, by Herman Melville, Indulgence Press (1995)”, Books and Vines, 11 August 2014. Accessed 14 January 2020.

Bookmarking Book Art – Wilber Schilling, 23 November 2015.

Books On Books Collection – Salt+Shaw

Mill (2006)

Mill (2006)
Wood and leather binding, using discarded library shelves, canvas and upholstery nails. Plaster cast and canvas pages with individual pamphlet book text inserts printed on Canson paper. Casts made using water extracted in dehumidifying the building.
H143 x W114 mm closed, H143 x W310 mm open.
Edition of 24, of which this is #2.

The work is a tactile exploration of the interior and exterior space of a corn mill in Cromford, built c.1780 to grind grain for workers at Arkwright’s cotton mill.A journey around Cromford Mill, Derbyshire.

Mill is an investigation of the marks of passage, which have become part of the fabric of the space and reveal time, energy, endeavour and change:

(i) recording the interaction of the human body with the building

(ii) recording the impact of natural forces upon the built environment

(iii) locating the marks that reveal a momentary connection or repetitious action

(iv) examining clues and ephemera.

Silicone moulds were taken from marks of usage around the mill, including the spotwhere a door handle impressed upon a wall and the shape of a break in a pane of glass. Plaster casts were then produced, using water from a dehumidifier within the building to make the plaster. A text piece, contained within canvas pocket pages, creates a unique map of the mill and takes a journey through the building – both to experience the environment and locate the plaster casts.” Correspondence from the artists, 5 December 2018.

What …? (2018)

What …? (2018)
Hardback, boxed-bound, black book cloth, concertina book with magnetised and elasticated fastening. Drawings and collages printed on black and orange Canson card. Letterpress. Hinges engineered in Canson card to create a spring in the turning of the pages.
H213 x W80 mm closed, H213 x W830 mm open
Edition of 5, of which this is #2. Acquired from the artists, 25 November 2018.

The two photos of the same two panels are taken at different angles to highlight the images on the recto panel.

What? is a book about finding solutions, both in its construction and content. Made over a period of several years, from the first drawing to the final binding, it prefers to raise questions, rather than provide answers. Hence the title. The relationship between What? and viewer therefore depends upon response, perception and making connections. Clues could include: • William Blake • harbingers • manipulation • dislocation • loss • finding a way out • George Orwell”. Correspondence with artists, 5 December 2018.

Further Reading

Paul Salt and Susan Shaw are two artists in Sheffield, England who collaborate under the name Salt+Shaw. Their objects are held by  the British Library, the Tate Library and other prestigious collections as well as several private ones. Sarah Bodman (University of Western England) has highlighted their work in a-n News with some outstanding photos:

“At the recent 21st International Contemporary Artists’ Book Fair in Leeds, they launched Ocean Bestiary, a unique book of strange and miraculous Medieval-inspired sea creatures that features a concertina construction, letterpress text, acrylic paint, gold foil, whale bone and a leather inlay.” Sarah Bodman, “Artists’ Books #28: Salt+Shaw, collaborative book makers“, a-n News, 6 March 2018.

Three among others of note — WhorlMeniscus and 9 Things to Do on Holiday — can be located by the links and seen at the Salt+Shaw site

Books On Books Collection – Daniel E. Kelm

Neo Emblemata Nova (2005)

Neo Emblemata Nova (2005)
Daniel E. Kelm
Box: H96 x W109 x D102 mm closed.
Booklet cover: H72 x W79 mm closed, H72 x W224 mm open.
Booklet: H72 x W78 mm.
Möbius strip: each tile is H70 x W70 mm; the strip extended is 1000 mm.
Edition of twenty-one, of which this is #18.
Acquired from the artist, 20 October 2018.

Opening the work.

Booklet about the work and its creation.

Inside the top of the box.

View of Neo Emblemata Nova and case

Closing and returning the Möbius strip to its box requires considerably more dexterity than reading; so much so that the booklet included provides instructions.

The Anatomy Lesson (2004)

The Anatomy Lesson (2004)
Joyce Cutler-Shaw
Middletown, CT: Robin Price, Publisher, 2004)
Limited edition of 50, of which this signed copy is the binder’s copy (Daniel E. Kelm). Acquired from the binder, 20 October 2018.

Top of case removed to show book with embedded hologram on cover

Twelve signatures of handmade cotton text paper, the central ten signatures each made up of one sheet H356 x W514 mm and one sheet H356 x W500 mm glued to the 14 mm margin of the first sheet, for a total of ninety-six pages, each measuring H356 x W253 mm.
Binding of leather covered boards (a hologram embedded in front cover) with an open spine, taped and sewn into a reinforcing concertina structure: H361 X W259 mm.
Contained in engraved steel box: H370 x W326 x D44 mm.

Book removed from case, viewed horizontally, spine showing

Detail of sewing and internal view of reinforcing accordion structure. For a description of this type of structure, see Hedi Kyle’s The Art of the Fold (London: Laurence King, 2018), pp. 82-85.

View of the doublure, which is part of the reinforcing concertina structure.

Frontispiece double page spread

Cover page of second signature.

French fold of the frontispiece

Second signature open to double-page spread.

Second signature open to four-page spread.

Further Reading

“Bieler Press”, in Book Art Object, ed. David Jury (Berkeley, CA: Codex Foundation, 2008), pp. 116-17.

Exhibition: Getting Physical: the Significance of Making Books by Hand, October-December 2015”, Smith College Libraries, 28 October 2015. Accessed 6 September 2019.

“Indulgence Press”, in Book Art Object, ed. David Jury (Berkeley, CA: Codex Foundation, 2008), pp. 198-99.

Poetic Science: Bookworks by Daniel E. Kelm, 12 October 2007 – 10 February 2008“, Smith College Museum of Art. Accessed 6 September 2019. One of the few book art exhibitions that makes an effort to demonstrate the movement and articulation of the works. (Requires Adobe Flash Player)

Miller, Steve. “Daniel Kelm”, Book Arts Podcasts, School of Library and Information Studies, University of Alabama, 22 July 2012. Accessed 6 September 2019.

Reed, Marcia. “Handling a Cosmic Book Object”, The Irish 15 October 2018. Accessed 6 September 2019.

Books On Books Collection – Marlene MacCallum

“examination of everyday spaces … a celebration of interior life with special attention to the collection of objects and the adornment of surface”  —Marlene MacCallum

Theme and Permutation (2012)

Theme and Permutation (2012)
Marlene MacCallum
Hand sewn pamphlet, images custom-printed in offset lithography on Mohawk Superfine, text printed in inkjet, covers inkjet printed on translucent Glama.
H235 × W216 mm
Edition of 100, of which this is #54. Acquired 5 October 2018.

Photos: Books On Books Collection.

Theme and Permutation is one of a series of artist’s books inspired by the experience of living in Corner Brook’s Townsite area on the west coast of the island of Newfoundland. Between 1924-34 the pulp mill built 150 homes to house the mill management and skilled labourers. Over a period of 10 years, I have photographed in several homes, all the same type-4 model as the one I live in. These homes vary in condition from close to original in design and décor to highly renovated. This project gave me the rare opportunity to record the evolution of interior aspects of these homes. It has been the context to explore the paradoxical phenomena of conformity and individualization that occurs in a company town. Having grown up in a suburban housing development, my earliest memories of home is that of living in a space that is reminiscent of my neighbors’. Each artist’s book explores a distinct facet of image memory, multiplicity, sequence and offers the viewer a visual equivalence of the uncanny.
Theme and Permutation is a response to the permutations and variations of the type-4 Townsite House. Digital tools were used to translate the original film source of eight different window images from five houses. The sixteen offset lithographic plates were custom printed in twenty-nine separate press runs. Each image is the result of a different combination of plates. The structure is a sewn pamphlet with translucent covers. The viewer enters the body of the book with a tritone image of a single Townsite window. As one moves into the piece, new window images appear and layer over each other. The images become darker and more heavily layered towards the mid-point. The center spread has an inkjet layer of two text blocks printed over the offset litho images. The text speaks of the history of the homes, the architectural permutations and economic shifts within the Townsite area. The ensuing pages continue to provide new combinations of window layers, gradually lightening in tonality and allowing the individual windows to become more distinct. A third text block provides a personal narrative. The piece concludes with a tritone image of one of the Townsite windows in original condition.
(From artist’s website. Accessed 1 September 2019.)

Chicago Octet (2014)

Chicago Octet (2014)
Marlene MacCallum
Hand bound artist’s book with folded paper structure, letterpress and inkjet printing,
H166 × W78 mm closed, H443 x W293 mm open
Unique. Acquired 5 October 2018.

Photos: Books On Books Collection

Chicago Octet is a work of visual poetry by eight masters of book art. If they were performing music (and you can almost hear the music of Michigan Avenue), MacCallum would be their performing conductor.

The piece I created, Chicago Octet, had several collaborative components. The letterpress printing consisted of a word selected by each participant printed on one of Scott [McCarney]’s folded structures. The images were a digital layering of every cityscape photograph that I made and then inkjet printed on top of the letterpress. The final folded structure was designed by Mary Clare Butler. The case was designed and built by Scott McCarney, the front cover embossment was by David Morrish and Clifton Meador. (From artist’s website. Accessed 31 August 2017.)

Update: With funding from the Canada Council for the Arts Digital Originals Grant and assistance of Matthew Hollett and David Morrish during the Covid pandemic, the artist created Shadows Cast and Present, a digital re-imagining of her three most recent book works. The three cantos into which the work is divided also enrich one’s appreciation of Theme and Permutation and Chicago Octet. MacCallum orchestrates the various media — text; sound from music, voice and the noise of city and nature; video — with a touch as light as paper and light.

Further Reading

Books On Books. “Architecture”. Books On Books, 12 November 2018.

Books On Books. “The Colophon and the Leftover “i”. Books On Books, 23 April 2019.

MacCallum, M. “Creating the Visual Book through the Divergent Technologies of Photogravure and Digital Processes”. Presentation at fourth annual Grenfell Campus Research Showcase, Memorial University, Corner Brook, NL. 29 March 2011.

MacCallum, M. and David Morrish, D. “The Discrete Potential of Four-Colour Photogravure in Contemporary Art Production”, Rapport, Volume 2, Norske Grafikeres, 2010.

Otis Artist Book Collection. “Conrad Gleber ‘Chicago Sky Line’”, 27 January 2014. Gleber’s work is an interesting one to compare with Chicago Octet. Chicago Sky Line (1977) is a fan book of photographs secured at a single point by the binding and, when spread clockwise, reveals the sky above Chicago and, when spread counterclockwise, shows the Chicago “skyline” below clouds and sky.

Robertson, L. and Tuttle, G. Marlene MacCallum: the architectural uncanny (Corner Brook, NL: Sir Wilfred Grenfell College Art Gallery, 2007).

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