Meynell, Frances – Poems & Pieces. 1911 to 1961. 482 of 750. The Nonesuch Press. 1961.
Bound in full chocolate goatskin with multi-coloured onlays. The drop-back box also houses an original prospectus that accompanies the book. Bound 2011.
De la Mare, Walter – Winged Chariot. Faber and Faber. 1951.
Bound in full burgundy goatskin with tooling in Caplain leaf. Drop-back box. Bound 2012.
Butterflies: Collection One. Designed and Illustrated by Hannah Brown.
The book is a concertina binding with wenge wood boards. The front board is drilled and inset with three small origami butterflies in miscellaneous papers behind acrylic windows. The boards have sewn detail and 9ct gold wire attached to surface and the book is held together with a leather-covered magnetic strap. The pages are individually hand-illustrated, sewn and tooled in carbon and gold foil. The box is made from tulip wood which has been routed, mitred and glued with an acrylic window inset into the top of the box to view nine origami butterflies.
This book is a ‘make your own’ origami book with step-by-step instructions of how to make your own origami butterfly. It is made in a square format to reflect the nature of the origami paper and includes a pouch with papers in it so you can make your own. The pages include imagery of the patterns made by each fold whilst progressing through the steps. The box is designed to be like a specimen box in a museum and uses genuine entomological pins to hold the butterflies in place. Within the box is a pouch, held in with red elastic, containing paper squares to make your own butterfly.
Cobbett, William – Life and Adventures of Peter Porcupine. ill. Gillray. Nonesuch Press, 1927.
Hand dyed fair goat. Coloured top edge, silk sewn end bands with coloured tooling. Hand dyed edge to edge doublers and manipulated end papers.
The design reflects the colour life, slip ups and adventures of Peter Porcupine.
Gogol, Nikolai – The Collected Stories of Gogol. Ill.Peter Suart. Folio Society. 2010.
Bound in full pink reverse goatskin with sanded purple goatskin onlay. Buttons sewn on and Japanese paper labels refer to each object within the small acrylic balls. They are connected by dotted lines with arrow heads, tooled in carbon. Complete with a drop back box and a magnifying lens for inspection. Bound 2011
Flynn, Danny – Finger Print. Ill. Eri Funazaki. Flynn & Funazaki. 2011.
Bound in goat skin and letterpress printed suede. Finished with gold and carbon tooling. Housed in a full leather box resembling a giant metal type of a pointy finger. The design was influenced by old wooden poster type and geometrical shape of printing furniture and quoins. It ends with a question, ‘Can it be trusted?’ The answer is ‘Well I really don’t know’
Flynn, Danny – One and Two. Ill. Eri Funazaki. Flynn & Funazaki. 2011.
Full calf, thin recessed leather onlay of an image of building site crane. The text was handset in metal type with screen-print and letterpress illustrations and additional gold tooling. Stub style sewing with leather jointed hand printed doublures. The couple within the text don’t sound like they know how to get on at all.
Pushkin, Alexander – Winter Evening. Ill. Neil Holland. Gwasg Gregynog. 1999.
Full leather binding in ultra flatback style; hand printed endpapers with leather joint to edge to edge handprinted doublers; blind and coloured tooling.
Mason, John – A Song in Favour of Bundling. ill Rigby Graham. Orpheus Press. 1961.
Full native Morroccan goat complete with flea bites and scratches, blind tooling, gold leaf highlights.
Shakespeare, William – The Sonnets. Ltd edn 148/1000. Riccardi Press. 1913.
Full fair calf, hand dyed graduating pink through red, gold tooling, teg.
MIDORI KUNIKATA COCKRAM
Water. A Series of Interpretations on the Theme of Water. ill Clare Curtis et al. Incline Press. 2008.
Double hollow in goatskin and paper. Cover paper decorated with gouache and salt. Leather inlay. Illustrations into final section in a concertina. Blind tooling on the spine.
KEATS, John – The Eve of Saint Agnes. A. C. Curtis. 1903.
The book is sewn on an accordion guard on printed paper with Japanese Kozo paper lining. It is a three phase binding.
Amman, Jost – Cuts of Craft Workers. (63 woodcut illustrations of craft workers from 16thC.) Incline Press. 2008.
Unsupported link stitch with a Fraynot hinge board attachments. Secondary sewing. Single leather core silk end bands. Top edge hand dyed, remaining edges deckled. Dyed natural calfskin with offset relief printing. Multiple foil hand finishing and black line work. The design was inspired by the woodcuts inside. I considered my own craft and the tools that I use to execute my pieces. I made observational drawings of each tool and these images were used not only for the end papers and doublures but were also used for the cover design. Bound 2009.
Coleridge, Samuel Taylor – Selected Poems. Ill. Miriam Macgregor. Folio Society. 2003.
Unsupported link stitch, linen board attachment with secondary sewing. Hand dyed edges. Hand sewn 5 colour double silk end bands. Water coloured end papers and edge-to-edge doublures. Bound in fair goat hand dyed, multiple onlays and foil and gold finishing. For the design I have visualised what it would be like at the bottom of the sea having taken opium. Bound 2010.