Robin Price, Printer & Publisher ~ Connecticut                      Share this page:

University of Connecticut: “Price is an artist, letterpress printer and publisher, whose artists’ books have the craft sensibility of her fine printing background. The work of the press, under the umbrella of Robin Price Publisher has become a lifelong, interdisciplinary liberal arts education…”

43, According to Robin Price, with Annotated Bibliography
By Robin Price
Middletown, Connecticut: Robin Price, Printer & Publisher, 2007.
Edition of 86.

11.75 x 8 x 1.5" closed; extends to 20 feet. Typefaces: ATF Garamond and Kabel. Six colors. Printed letterpress. Bibliography laser-printed. Housed in an olive green cloth-covered clamshell box, with a river section printed in blue, and map-paper spine label.

Robin Press, prospectus: "Constructing a book around the number 43 came to me during an Anthony Braxton solo saxophone jazz concert, on the eve of my forty-third birthday. The number evolved into my lens for obtaining text excerpts from 86 books significant to me as a book artist. Simple formulas, using modular arithmetic with the number 43, were applied to categories such as page number, paragraph, sentence, line of poetry, etc.

"The text is grouped by subject matter into sixteen page spreads. Titles of spreads include 'Water,' 'Counting,' and 'Flora.' Each is considered as something equivalent to an encyclopedia slice, in a manner directly inspired by the fifty-volume Zweite Enzyklöpadie von Tlön, by Ines v. Ketelhodt and Peter Malutzki. Visually flowing through the accordion-bound text sheets is a river image, borrowed from the Ninja Press book The Real World of Manuel Córdova.

"Paper maps, gathered from locations around the world that run along the 43rd parallels, form the background accordion that structurally supports the main text accordion, made of semi-translucent graph paper. Excerpts are identified by book title, printed in the margins, with a symbol that indicates the counting method used to retrieve it. A key for the symbols is printed on the Legend Card, found in a library-style pocket on the front cover of the book. A supplemental 32 page Annotated Bibliography, housed in a facing pocket within the case, provides personalized information on all titles. The pockets and the booklet cover are made of paper maps, mostly USGS topographic maps, and vary throughout the edition.

"The book is in an edition of 86, because forty-three copies seemed too few."

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A story by Amy Bloom with imagery by M. Jordan Tierney
Middletown, Connecticut: Robin Price, Printer & Publisher, 2005.
Edition of 125.

7.25 x 5"; 34 pages. Printed on Japanese handmades, acetate, doilies, Denril, Johannot, and Clearprint. Pyrographic cover of soft green Quinel, laminated to black Suedel Luxe on the interior. Japanese side-stitch binding. Metal type 10 point Bulmer, cast by Theo Rehak at the Dale Guild Type Foundry from the original ATF matrices. Titling face: Typo Upright. Reproduction techniques for the imagery by Tierney include photocopy and original rubbings using white crayon and spray paint. Materials used in the making of photocopied images include sewing patterns, broken china, and burned paper. One letterpress-printed image began as a watercolor. Second letterpress-printed image initially a spray-painted silhouette using the wildflower Queen Anne's lace. Designed, composed, printed letterpress, and handbound by Robin Price, with assistance from Anne Thompson.

Prospectus: "'Every death is violent' begins this short story by Amy Bloom, a writer who, as noted by Ursula K. Le Guin, 'can handle unspeakable pain with the quiet authority of a Chekhov, but has an even rarer gift: she describes happiness so that we can share in it.' The artist, M. Jordan Tierney, interprets the story with images that suggest memories. Her rubbings and shadow prints bear marks of absent artifacts. The texture and humility of the materials she uses—sewing patterns, paper doilies, broken china—speak of daily lives and the fragility of being."

Robin Price: "Fairly small and almost weightless, there is much transparency within. The story is violent, and it is exquisitely crafted. The more I read it, especially during hand typesetting, the more I realize why I want to publish this work: it scares me, and I am completely seduced by the beauty of the language and the tenderness of the narrator's voice. As for the imagery, it has been a deeply satisfying experience to work with Jordan. We first met in November 2003, at the Pyramid Atlantic book fair in D.C. She came to my table and asked intriguing, thoughtful questions about the work. Before she left, she told me that she was an artist, and asked if she could send some catalogs of her work. Six months later, when I was ready to go ahead with Amy's story, it was suddenly clear to me that I should send the
story to Jordan to see if she wanted to work on it. A very strong 'yes' was her prompt answer. Jordan's work, especially her 2-d work, often feels like an artifact, or the memory, of the thing or presence that no longer remains. Several of the images in By-and-by are rubbings, either direct, original
rubbings or printed reproductions (letterpress and xerox) of rubbings. She has expanded my thinking about ways to have imagery in books, and the best work happens when we are working together, either in her studio (D.C., then Baltimore) or mine."


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The Journey of the Guitar:
A Portrait of Pepe Romero

Selected and edited by Robin Price
Middletown, Connecticut: Robin Price, Printer & Publisher, 1999.
Edition of 200.

7 x 10.25”; 65 pages. Bound with a long-stitch variation over black tapes attached to black four-ply covers. A window in the front cover reveals Pitts' guitar. Letterpress from Bodoni Book with, appropriately, Stradivarius titling on Frankfurt white paper. A glossy vellum wrapper protects the book.

Reflections on his work in his own words by the world-renowned musician. Compiled from oral and written sources including transcriptions from private lessons and master classes, interviews, and film, with some additional material from unpublished manuscripts. With an original palladium print of a guitar by James W. Pitts on the title page. The deceptively simple presentation contains an intriguing composition that is part scholarly investigation, part poetic portrait of the artist drawn from various sources with subtly printed marginal annotations. The landscape format recalls the photo album, here with textual snapshots. Titled sections include an homage to his father and groupings of Romero's thoughts on: interpreting and performing; the guitar as friend; and transcendence through music. Transcriptions span the years from 1986 to 1998. Romero's eulogy to his legendary guitarist father, Celedonio Romero, his only teacher, and a dedication at the front are strikingly printed in gold ink on black Fabriano Italia.

As always, Price's printing and her detailed research into and presentation of her material are impeccable. Exceptionally handsome and satisfying.



Ravaged with Joy
By William Everson.
Middletown, Connecticut: Robin Price, Printer & Publisher, 1999.
Edition of 200.

13 inches square; 36 pages. Edited, designed, and printed by Robin Price. Six dramatic woodcuts by Keiji Shinohara. Handsomely printed on a pale grey paper custom made for the edition by John and Kathy Koller. Binding co-designed by Daniel Kelm. Walnut-dyed flax paper over boards; exposed long-stitch sewing; slipcase.

This exquisite edition is a record of the live performance of his poems given by Everson at the University of California, Davis in May of 1975. It marked Everson's cathartic return to the campus where, five years earlier, he had given the notorious reading in which he entered as Brother Antoninus and left as William Everson after publicly casting off his monk's robe at the conclusion. The original recording, made by Sidney Berger who wrote the introduction for this edition, is reproduced on a CD included with the book. Final authorized versions of the poems were provided by Everson's executor, Bill Hotchkiss, who documents textual differences from the earlier recording. Poet Gary Young translated Everson's meditative speech between the poems into lines of verse and wrote a brief editorial note on that verse rendering. Housed in the back cover is a booklet, "The Experience of an Everson Reading," that contains essays by various authors (Robert Hass, Gary Snyder, Robert Creeley, et al.) that reveal the spellbinding, risk-taking excursion that was a "typical" Everson reading.

The soft-hued woodblock prints by Keiji Shinohara, most spanning the double-page spread, were created for and typographically integrated with the text. They contribute to the serene elegance of this scholarly and artistic edition.




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Robin Price Out of Print Title:  
As You Continue
By Robin Price
Middletown, Connecticut: Robin Price, Printer & Publisher, 2012. Open Edition.

7.25 x 26.75"; 9 leaves. Japanese stab binding. Letterpress and handwriting. Dated and initialed in pencil. Rolled and housed in acrylic tube. Signed by the artist.

This publication from Robin Price celebrates the 100th birthday of John Cage (September 5, 2012). The following Cage quotation is handwritten on USGS topographic maps:

As you continue, which you will do, the way to proceed will become apparent.

Robin Price: "Cage's words are handwritten with sumi ink using the artist's left hand (non-dominant), across seven large sheets of USGS topographic maps, followed by a printed colophon page that provides the context in which Cage spoke these words to Kathan Brown, founder of Crown Point Press, almost 25 years ago. A small piece of Fabriano Tiziano green on top functions as title page and directions for handling.

"This work began after I discovered the quotation by John Cage on the Crown Point Press's Magical-Secrets website one night in December 2010. Having immediately written out the text with India ink onto large sheets of maps, I thought I would put them on a ceiling beam of my apartment, above my bed. Eventually I sewed the sheets together, side-stitched, and gave the book to a collector-friend. A couple of months later I made approximately ten more, adding a printed colophon to the last page and an acrylic tube. This year, 2012, in anticipation of John Cage's centennial, I took up the project anew and practiced writing on several different occasions, feeling dissatisfied with various trials. Eventually I found my way to writing with my left (non-dominant) hand as the most authentic expressions I could bring to the content, as visualization of struggle, fear, and acceptance of imperfection. If your copy of the book feels a little awkward or irregular, then you will have received a representative copy of the edition."


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Incidental Directions
By M. Jordan Tierney and Robin Price
Middletown, Connecticut: Robin Price, Printer & Publisher, 2010. Edition of 30.

12.5 x 4.75" closed, extends to 23"; 9 pages. Five double-sided panels unfold from case with the side of one panel becoming a pastedown. Printed letterpress in seven colors. Printed in Standard Gothic and Perpetual types. Hand painted. Enclosure printed and painted Murillo brown paper, with tab and slit closure. Signed by Tierney and Price.

Text appearing on the gameboard was excerpted from The Oxford History of Game Boards by David Parlett, 1999, and the opposing texts, printed on orange field, are from 1983 Dictionary of Energy, edited by Malcolm Slesser.

Robin Price, Printer and Publisher, "Incidental Directions: A collaborative artist's book by M. Jordan Tierney and Robin Price, inspired by gameboards and the kind of wallet-like pouches formerly used to hold significant documents. With a narrow palette of language and form we were seeking to make an object that feels like a handy something kept in the glove compartment of one's car, at the ready for quick consultation. Atop original gouache paintings by Tierney, a yellow meandering pathway covers one side of the fold-out. Seven circular nodes along the way include excerpts from The Oxford History of Board Games, printed in Standard Gothic type. Opposing texts printed in Perpetua on the bright orange verso are from a Dictionary of Energy."

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Language of Her Body
By Amy Bloom
Middletown, Connecticut: Robin Price, Printer & Publisher, 2003. Edition of 60.

8 x 18" closed, extends to 36"; 17 pages. Images printed onto cream Tosa Hanga using archival pigmented inks. Text handset in Arrighi and printed letterpress.

Photography by Derek Dudek whose wife is the model. Sumi-e by Keiji Shinohara. Text fragments by Amy Bloom were selected passages from her novel Love Invents Us. Handbound, housed in a bone-clasp enclosure of red Japanese silk cloth over boards by Claudia Cohen and Mark Tomlinson.

A visual lyric by Derek Dudek and Keiji Shinohara, with fragments of text by Amy Bloom. Derek Dudek's large-scale photographs are printed directly onto the soft, cream Tosa Hanga. The text is printed letterpress by Robin Price. Keiji Shinohara completes the sheets, painting directly onto them with sumi inks.

This lush, meditative artist book explores the photographic nude female figure, re-interpreted through a landscape of sumi-e (Japanese brush painting). Typographically embedded into the images is a sensual vocabulary of the necessary, the beautiful, and the devastating.

Robin Price: " Conceived as a visual lyric composed independently by Derek Dudek and Keiji Shinohara—two artists of very different media—Language of Her Body explores the photographic nude female figure, re-interpreted through a landscape of sumi-e (Japanese brush painting). A desire to suggest alternate readings of the visual led to a third element that expands the meaning of the book: fragments of text, by author Amy Bloom, are typographically embedded into the images. Even though the page width is approximately the length of your arm, a feeling of intimacy is retained by its diminutive height."

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Page last update: 07.06.16


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