Lilliput Press ~New York
(Carol Schwartzott)

 

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Carol Schwartzott: "A book for me is like a journey; along the way the road twists and turns, and sometimes I get lost, but my aim is to arrive at my destination and enjoy the trip along the way. Curiosity, investigation, observation, objects, words or images, intuition, connections and creative application accompany me on my journey. Processes are part of the reason I choose to make books. I love the processes involved in researching, writing, designing, drawing, painting, printing, constructing and binding. Very often, one idea will lead to another, ... My books are assemblages of thoughts, much like the collages I make, layering pieces of fact and fancy, bits of memory, objects mixed and matched, all added (and sometimes subtracted) to explore a theme. It becomes an adventure in searching for connections."
   

Spix's Macaw
By Carol Schwartzott
Freeville, New York: Lilliput Press, 2008. Edition of 7.

Assemblage housed in 8 x 10 x 4" painted wooden box. Materials include a used picture frame, paper cut-outs of Macaws, glass bottles containing an assortment of found and collected items including birdseed, parakeet feathers, nuts, dried moss, remaindered book, paint, thread, ribbon.

Carol Schwartzott: "A modern curiosity cabinet, I like to think of it as a contemporary 'time machine' that visualizes the environment and habits of Spix's Macaw, an endangered and extinct in the wild bird."

Techniques: Original maps and bird illustrations from the artist's personal collection of old books were scanned and printed on an Epson Photo 2000 using archival inks and paper. These scans were later hand-embellished using paint, colored pencils, graphite, and inks. Stencils are the artist's hand-cut original designs, printed using water based paints. Shelves and stops are constructed of archival foam core, covered first with japanese paper and recovered with a variety of printed and hand modified papers. The box houses two layers: above is the book [Spix's Macaw: The Race to Save the World's Rarest Bird by Toney Juniper (Atria Books, 2002)] and below the cabinet with contained ephemera and three-dimensional exhibit.

This work originally created for a fund-raising auction. "Faces in the Wild is an annual artist auction aimed at raising awareness and funds for wildlife protection. When I came across Spix's Macaw I immediately thought of presenting this endangered species within a cabinet, a technique that I began using early on in my career as a book artist and continue to enjoy. I frequently find small stashes of interesting materials and am also the recipient of many delightful hand-me-down gifts from friends and very often they seem to find a use in my art. So, the Spix's Macaw project soon housed not only the remaindered book I found on EBay, but a collection of molted feathers from a parakeet, nuts and seeds from some old pot-pouri, dried moss from last summer's flower arrangements, and any number of stencils and paper trimmings that I recycled from past projects."
$475 (Last 2 copies)


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The Rubáiyát of Omar Khayyám
Translated by Edward FitzGerald
Freeville, New York: Lilliput Press, 2007. Edition of 25.

11 x 6.5"; 50 leaves. Text pages: Mohawk Via vellum. Printed on an Epson 2000P using archival pigmented inks. Illustration portfolios: Moab Entrada with original art, scanned and printed on an Epson 2000P. Overprinted with a linocut to produce opacity and pattern. Additional applications of paint, colored pencil, and graphite used to heighten color and detail. Finished with gold and silver leaf. Lasercuts: Glama natural clear vellum. Lasercut archways with repeat patterns printed on an etching press using polymer plates. Marbled dividers: hand-marbled on Kozuke Japanese paper. Cover: a laser book board painted and fauxed. Title label underneath with brightly colored background behind the floral window. Housed in 12 x 7.5” drop-lid box. Book boards and box bound in Japanese book cloth. Box liner: Ingres Rag paper, handprinted as a collagraph using the positive shapes from the archway of cover.

Artist's statement: "The Rubáiyát began as a thought ... How ... finding a beautiful little leatherbound version at a secondhand bookstore. As my collection of Rubáiyáts slowly expanded I toyed with the possibility of creating my own version....

"The book is divided into seven segments, each separated by a divider of hand-marbled Japanese paper. The first contains the title page and introduction and the last an artist's statement, bibliography and colophon. The remaining five are dedicated to the seventy-five quatrains of FitzGerald's first edition. Each contains a vellum window, reminiscent of a Persian archway that opens to reveal my version of a miniature painting."

Carol Schwartzott: "This edition of the Rubáiyát uses the 1st edition of FitzGerald's translations. Although it is not considered the best of the translations, it is the original. The completion of this book ends my journey of almost ten years. Interestingly, as I worked on its design and reason I really felt it become a more timely piece. For me the Rubáiyát encapsulates the beauty, intellect, and mysticism of the Persian world. How lovely to focus on what a culture brings to others instead of the brutality, fear, anger, and enormous sadness that the war in Iraq has conjured up and bestowed upon all of us. I wanted the book to be calm, serene, ethereal, peaceful, tranquil. I chose a quiet solution for the typography, the layers of the illustration portfolios peel away like veils, and little dots of color here and there, along with the gold and silver leaf represent the jeweled covers and illuminated miniatures of rare Persian books. Since marbling was an art invented and developed by the Persians, I used it for a segment divider. A simple binding and protective box completed the presentation."
$695 (Four copies remaining)


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Liliput Press Out of Print Titles:
• A brief History of the Fan
• A Brief History of Paper
• Beyond Ichthyology: Selected Artistic Adventures
• Concept Color
• Kimono/Kosode
• Labyrinth: A Personal Journey
• Ola' Mola. The Kuna of San Blas
• The Old Bamboo Hewer
• Passage


 
   

A Brief History of Knitting
By Carol Schwartzott
2006. Edition of 50.

4 x 4 x 2", 37 pages. Housed in drop-lid box. Color Laser printed on acid-free paper. Partial accordion-fold construction, with spine incorporating miniature knitting needles (in a piano hinge construction).

A revised edition of the original published in 1999. This newer version contains the same information, uses the same piano hinge construction and drop-lid box as the original, but employs more color. Tidbits of historical information are accompanied by twelve illustrations and three fiber samples of knitting and felt.
(SOLD)


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Haiku Poems: Two
By Carol Schwartzott
2004. Edition of 50.

5.5 x 5" in box. The book box is a small folio design, covered and lined in Japanese dyed papers with tie closure of a wooden dowel and waxed linen thread. Text and labels are printed letterpress in black and gold. Type used is Gill Sans and ITC Kendo. papers are a combination of Japanese chiyogami, hand dyed Japanese papers, Indian papers, and archival papers. Hand decorating techniques used include stencil, stamp, gocco-printing, and dyeing. An expandable accordion structure of nine folios is used. Each folio contains a decorative paper, paper slip and a set of haiku poems with crest. The book may be viewed by turning each folio as a page or by pulling to expand the format to view all nine folios at once.

Carol Schwartzott produced her first Haiku book of poetry in 1994, an edition of 50. This is a new book of Haiku, again in an edition of 50.
(SOLD)


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Page last update: 11.13.17

 

   
  
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