galleries + editions 6th abmf 2017

Stand 1
grahame galleries + editions

numero uno publications
6th ab+mf 2017

grahame galleries + editions opened in 1987. The gallery specialises in fine art prints, artists’ books and other works on paper.

Since 1994 grahame galleries + editions has organized five international artists’ books + multiples fairs in Brisbane. Catalogues were produce for the first four fairs.

The 6th ab+mf  (7th-9th July 2017) 
at the Project and Webb Galleries, Queensland College of Art, is being held in conjunction with ABBE, a seminar on artists’ books, and with &So…, an exhibition of artists’ books and multiples from the Centre for the Artist Book collection including all numero uno publications alongside artists’ books from the Queensland College of Art. &So… will be on view at the Queensland College of Art Library from 3rd – 28th July

Joseph Beuys
Germany 1921-1986

holzpostkarte (from 1974)
Postcard multiple on wood. Screenprint on wood. Edition unlimited, unsigned, unnumbered. 600 copies signed and some stamped; 120 plus XX included in Postcards 1968-1974, (1974). 10.5 x14.7 x 1.0 cm. Edition Staeck, Photographer Carl Warner.

G W Bot
Drawing Book (2017)
A journey, a passage of life from the opening cover, full sun, to the closing cover, full moon – day and night, life and death.
The journey between the covers is made up of glyphs and tracks and mountains and grasslands and the written word. 14 x 14 cm. 22 leaves. Graphite and colour pencil on Magnani paper. Hard bound with Tapa covers.

Jan Davis

Virgil’s Keep
Virgil’s Keep is a response to ‘The Georgics’, an epic poem by Virgil on the challenges and virtues of agricultural life.
The reader passes through a series of eight gates: gates of possibility, of toil, of planting, of hope, of tending, of pestilence, of tempests & furies, and finally of harvest; markers of the gardener’s seasonal journey and visual markers across many Australian rural landscapes.
The eighth gate opens to reveal Virgil’s text: But lo! / A boundless space / We’ve travelled o’re / ‘tis time / our steaming horses / to unyoke
The eight paired relief prints and the dual binding generate a sense of enclosed space, ‘the keep’ of the title. 15.5 x 39.3cm. Bound by master bookbinder Fred Pohlmann. Edition of 6 signed and dated. Published by the artist and numero uno publications, grahame galleries + editions. Photographer Carl Warner.

Jan Davis

Drawing on the ground (2015)
Part diary, part history, part fiction, part autobiography – Drawing on the ground is a reflection on the labour required to draw sustenance from the land. The book contains carbon paper drawings and handwritten texts making each copy in the edition slightly different. Drawing on the ground was the outcome of a research project undertaken at the State Library of Queensland and responds in particular to settler and explorer diaries held in their Collection and to a selection of artifacts from the Queensland Museum Collection. The book was bound by Fred Pohlmann using kangaroo skin in the manner of a 19th century Labour Book – a book used by employers to record the hours of labour and wages paid to employees. The State Library of Queensland holds many examples of Labour Books in their Collection. My project was made possible with the generous support of a Siganto Foundation Artist’s Book Creative Fellowship.
Handwritten text with carbon paper drawings; bound by Fred Pohlmann. Published by the artist in a variable edition of 5 signed, dated and numbered copies; 192pp; 22.7 x 31.5 x 2cm. Photographer Carl Warner.

Jan Davis

Recounting Democracy
The right to vote is a precious thing. This is highlighted in Davis’ recounting of democracy in Australia. Throughout Recounting Democracy, small watercolour marks represent votes for different parties. Each vote is numbered in graphite pencil, the votes accumulating as the reader proceeds through the thirty-two pages of the book, until the total number is determined for each party and translated into seats in parliament. Each book in the edition has a slightly different outcome. Davis explains, ’As I painted votes and numbered them (many thousands during the production of the edition), I thought about the contribution to democracy that each person makes as they enter a voting booth and mark their electoral paper with those finely-sharpened, but rather short graphite pencils provided by the Australian Electoral Commission.’ Tucked inside the back cover of Recounting Democracy is a photograph taken by the artist on the streets of Paris during the 2012 French Presidential election, a comic reminder that not everyone believes in the power of the vote.
Watercolour, graphite pencil, stamping; softbound red cover, stitched; pocket in back cover containing a photograph. Published by the artist in a variable edition of 5; stamped signature and date; editioned in pencil; 32pp; 20 x 30 x.5 cm.

Jan Davis

SOLOMON (1995)
SOLOMON is made up of seven volumes. It developed out of Davis’ concern with the operation of space in visual imagery and her interest in writing which exhibits a distinctly visual component and draws on the heritage of the experiments started by Mallarmé.
As with most books the title is printed across the spine, but here a single letter in capitals is isolated on the spine of each of the seven volumes to spell out
(S – O – L – O – M – O – N). Isolated, each letter carries more power than the whole. The seven volumes explore language and space in the context of the Solomon Islands and combine certain aspects of concrete poetry with historical and contemporary images and texts.
In ‘S’ the subtitle (‘name’) establishes ‘naming’ space – ‘space’ as in creating an expanse for language to operate and ‘space’ as in naming of a space in order to possess it. The three ‘O’ books are interchangeable yet linked. ‘O’ (‘corpus’) is about head hunting, singing, indigenous spirituality and the absorption of Christianity. ‘O’ (‘eat’) draws on the coconut. It underlines the importance of the coconut and the palm tree in a pre-colonial, pre-diesel society. At the edge of the sea, stacked on their sides, rusted oil drums contrast with the blue of the water and sky. In bright yellow the letters C O C O appear on four of the lids and symbolise both ‘domination’ and ‘loss’; dominate/lost (culture), dominate/lost (language). SOLOMON was produced from photographs taken in the Solomon Islands, which have been digitally manipulated and printed on a bubble jet printer. Seven volumes housed in slipcase. Signed and numbered inside back page of ‘N’. Each volume 13.5 x 13.5 x 1.4 cm in box 14.6 x 13.8 x 9.5 cm. Published by the artist. Edition of 10 (this is last copy available). Photographer Carl Warner.

Jan Davis with Noreen Grahame

the case of the extremely glad gallerist
the case of the extremely glad x sad gallerist (2001)
The flipbook format is used to great effect in these little books. The ‘glad gallerist’ comments on galleries, artists and others who have become red blind, while the ‘sad gallerist’ is for galleries, artists and others who remain ever hopeful. From ‘The Comments Series’. Signed and numbered in an edition of 200. 24pp. 9.0 x 12.0 cm. Published on the occasion of the 4th artists’ book + multiples. numero uno publications/grahame galleries + editions. Photographer Carl Warner.
$20.00 ea. or both $38.50

Noreen Grahame

Monsieur Le Président
( first published 1994 repubished 2015)
A protest flipbook about the resumption of French nuclear testing in the Pacific. The word ‘non’ enlarges gradually as the reader flips the pages until it screams “NON, Monsieur Le Président”. Signed. 3.5 x 12.0 cm. Unlimited edition. numero uno publications, grahame galleries + editions. Photographer Carl Warner.

Noreen Grahame

Lessons in dictation
The absurdity of the dictation test as proscribed in Section 3(a) of the Australian Immigration Restriction Act of 1901 is evident in the farce surrounding the 1934 Eugon Kisch incident. Kisch, a Czech national and a communist, was invited to speak at a meeting organized by The Movement Against War and Fascism. Wanting to prevent Kisch from entering the country, the Australian government of the day, ordered he undergo a dictation test in Scottish Gaelic, a language selected with the intention the multi-lingual Kisch would fail. He did. A deportation order was issued but the Supreme Court of Australia overturned this decision. Discussions in 2007 about reviving the dictation test to prove eligibility for Australian citizenship indicates Australia had not heeded this ‘lesson of history’. 12pp. 24.7 x 19.5 cm. Published for exhibition Lessons in History held at grahame galleries + editions March/April 2007. Signed and numbered in an edition of 100. numero uno publications, grahame galleries + editions. Photographer Carl Warner.

Noreen Grahame

Stamp out Democracy
Used for official endorsements the humble rubber-stamp embodies power.
For just that reason rubber-stamps are employed in Stamp out Democracy. A minimum number of words ‘endorse’ the message that democracy is always vulnerable. Like all dangers, which begin small and are ignored, ‘stamp out’ grows in strength with each page until ‘democracy’ has been ‘stamped out’.
On the surface a light-hearted book commenting on the erosion of democratic rights. Below the surface, page-by-page, this light-heartedness is stamped out. 21.0 x 15.0cm. Published for exhibition Lessons in History Vol. II – Democracy held at grahame galleries + editions 2012. Signed and numbered.  Edition of 100. numero uno publications, grahame galleries + editions. Photographer Carl Warner.

Jenny Holzer

Wooden postcards – Multiples
(early ’90s)
Seven wooden postcards from set of 14 with ‘Truisms’ from Holzer’s Turisms series (1977-1979) and Survival Series (1983-1985). Text is screenprinted in red onto the wood. The reverse is standard post card text also screenprinted in red with space for stamp. 9 x 14 cm. Now extremely rare.
1 Private property created crime
2 Torture is barbaric
3 Fathers often Use Too Much Force
4 Murder Has Its Sexual Side
5 Men Don’t Protect You Anymore
6 You are caught thinking about killing anyone you want
7 The beginning of the war will be secret
Photographer Carl Warner.
$99.00 ea.

John Honeywill

Memory Maps (1993)
The fading memories of a father who passed away twenty-five years ago and a mother’s memory affected by Alzheimer’s disease emphasise the tenuous hold on the source of memories. Honeywill’s book explores these links with the past through ‘the residual feelings that remain from memories that are lost. ‘ With extract from a short story ‘Water in the Wires’ by Ross Honeywill. Images and text screenprinted by Jonathan Tse. Bound by Fred Pohlmann. 15.2 x 20.5 cm. Edition of 100 signed and numbered.
grahame galleries + editions. Photographer Carl Warner.

Robert Jacks
Australia 1943 – 2014

Image: Twelve Red Grids Hand Stamped New York 1973
Rubber Stamp Books
Image: Twelve Red Grids Hand Stamped New York 1973
Jacks’ interest in the rubber stamp may have stemmed from his involvement with mail art. The rubber stamp also provided a drawing tool in his experimentations with minimalism. 
The first book in the set Twelve Red Grids was made in 1973 in New York where he had moved to in 1969. A further six were made in the USA and the last five in Australia. Right .. Left the twelfth book was produced in Sydney in 1982. Projected editions were 100 but Jacks continued to make and issue the twelve rubber-stamp books, so that actual editions are unknown.
Nine book from set of twelve available:
1 Twelve Red Grids, New York 1973
2 Twelve Drawings, New York 1974
3 Colour Book, New York 1975
4 Hand Stamped, New York 1978
5 Lines Dots Number Two, Houston Texas 1977
6 Vertical and Horizontal, Melbourne 1978
7 Red Dots, Sydney 1979
8 Black Lines, Sydney 1980
9 Right  Left, Sydney 1982
Rubber-stamps hand-stamped in colour. 11.5 x 12.8cm. Taped spine. Edition unknown. Unnumbered and unsigned. Photographer Carl Warner.
$330.00 ea.

Sharon Kivland


Encore un effort (2012)
The centre pages carry the breathless descriptions of the new fashions for 1968, when anything goes and details place the accent on this or that part of the body and its adornment: a pair of shoes that have come off in a struggle, for example, the heel of one snapped off; a checked shirt, with two buttons undone; a light-coloured trench coat (perfect for a May day); a blouson-style jacket that allows easy freedom of movement; pale casual slacks worn with an ankle boot. The images are cropped from documents of violence, but attention is directed to sartorial details. Beauty is in the streets as fashion becomes democratic (or so say the houses of haute couture), while the philosopher of the boudoir extorts us once again. In the last image, to an assembled crowd of sensitive men and women, which petit-maître or dangerous man of principles would suggest that the only moral system to reinforce political revolution is that of libertinage, the revenge of nature’s course against the aberrations of society?
Cropped images from a set of photographs in the student paper ‘Tribune’ from May 68. Centre pages are a spread of text drawn from fashion magazines of the same period in French history, but including two slogans, one from 1968 and the other from 1795. Democratically printed in a reprographic unit. 22.5 x 15.5 cm. 24 pp. Edition of 100. Photographer Carl Warner.

Bruno Leti
Italy lives Australia
Found (1990)
Loose pages and cover in slipcase. ‘Shaped text’ of poetry by Crepaldi in English and Italian. Letterpress, etching. 42pp. Edition of 99. Girgio Upiglio, Grafica Uno.

Peter Lyssiotis,
Cyprus lives Australia

In These Great Times (2015)
Constructivists, Futurists, de Stijl and the Abstract Expressionists’ schools ( & how rich were they in manifestos!)
Because something never comes from nothing, Lyssiotis sees In These Great Times as being a first cousin to two of his previous books More, More, More and The Ifs of Language. The title is a steal from a collection of essays by Karl Kraus, who was a satirist at one of the worst possible times to be a satirist: during the rise of Nazism in Europe.
In These Great Times presents questions such as,Will you sleep tonight?, What’s on line?, Business or Pleasure? The purpose of these questions is supposedly to inform but which create fear. The introduction contains his advice that we should not be afraid to confront these great questions. The caption to a photomontage of the artist/author claims that it is, ‘A photograph of the author at the exact spot where he first heard these questions.’
The book itself is printed in an edition of 11 with 3 artist’s proofs, on Mohawk Superfine paper 148 gsm. The pre-press work is by Frixos Ioannides. The yap binding is by Wayne Stock.

Ron McBurnie

Not very important for others but these things I use each day (1996)
A Collection of stamps made directly from objects the artist uses each day. Stamped words and phrases are placed beside images, and are intended to give a clue to the use of the objects and imbue them with a sense of poetry. Hand made rubber stamps. Three hole pamphlet stitch binding. Signed and numbered. 20pp. 17 x 30 x 3cm. Edition of 12. Published by the artist.

Jennifer Marshall and Janet Upcher

Quaternity– Four Elements (2015)
Quaternity is a five section hand-sewn collaborative artist book by the poet, Janet Upcher, and the artist, Jennifer Marshall.
The first two and last two sections contain four poems and an etching. The fifth section, the centre, repeats the four etchings. Each section is separated by relief prints.
The subject of Quaternity is the four elements; Fire, Air, Earth, Water. All sixteen poems were written by Janet Upcher for the book and are published here for the first time. The prints were made in response to the elements and not as illustrations of the poetry. Endpapers and cover are hand-printed linocuts. Relief prints on Somerset Book, soft white 110 gsm. Etchings on Zerkal smooth 145 gsm and Velin Arches 160 gsm. Printed by the artist at SeaFord Press, Mount Nelson, Tasmania. Text is handwritten by the poet in ink on Somerset Book, soft white 110 gsm. Bound by Fred Pohlmann. Quaternity printed on spine in upper case Bodoni Light and Q on front cover, bottom right, is blocked in copper foil. 26 x 21.2 x 1.3 cm. Signed by artist and poet. Edition 4/6

Karen Papacek

Australia, lives in France

Out of Water (2017)
Fish in plastic water bottles is a recurring motif in the artist’s work. She first used them in an installation on the theme of water for an installation ‘All That We Have’ held at L’Abbaye de Tuffé, France, in 2015. Out of Water resonates with the major environmental issues explored in her work over the past thirty years. An original watercolour and ink drawing reproduced with inkjet and hand stamped lettering, each fish suspended on a fragile stem is a message in a bottle from a planet marooned in its own detritus. Paper/ used plastic water bottles/ stainless steel/ bronze. 80 x 36 x 8 cm. Unique.

Michael Phillips

The Democracy of Disease (2012)
The mystery of disease, the mystery of identity and place and time are combined in Phillips’ book. The pages have been made by two overprints on make-ready sheets in blue.
In the first overprint (purple) pathology slides documenting various diseases of the human urological system have been scanned and used for imagery commenting on the mystery of the democracy of disease. On each slide in a small neat hand is the patient’s name next to images of their failing organs and tissue.
The second overprint was made from negatives found in a tobacco tin at a London flea market. The identity of the people and places in the negatives and the decade they were made are a mystery. Did they document a holiday taken by two brothers and friends? somewhere in the Mediterranean? in the 1930s? (orange/brown) is used in this second overprint.
The overprints merge both mysteries on the pages. They are contained between plain white covers with title in black belying the richness of the images, which entice the viewer to enter into the mystery of the democracy of disease.
Published in edition of 50 on the occasion of the exhibition Lessons in History Vol. II – Democracy held at grahame galleries + editions 2012. Offset and digitally printed. 21.0 x 14.0cm. The artist. Photographer Carl Warner.

Michael Phillips

Multiple – Untitled, (Fifty-Seven)
1 colour hand rubber-stamped on coated card
14.8 x 10.5 cm, 57 pieces, edition of 5

Michael Phillips

A Common Boat
Altered artist book off-set one colour printed text, four colour dust-jacket, 135 & 90 gsm Grange off-set, 250gsm Keaykolour with hand rubber-stamped overprint and random rubber-stamp prints, signed and numbered. 24 x 17 cm, edition of 30, Photographer Carl Warner.

Dieter Roth
1930 Germany – 1998 Switzerland

1234 weiche Schnellstzeichnungen (1234 soft speedy drawings)
Collected Works Volume 37 (1987)
1234 drawings for left and right hand pages made simultaneously. Printed offset. pp. 1236, 23 x 17cm. Photographer Carl Warner.

Alex Selenitsch
Australia born Germany

folded empires, series #1  (2015)
five hand-made books from found posters, folded and cut, hand-stitched,
variable number of pages, generally 30x12cms.
packed in a recycled computer keyboard box
books identified by cover image:
1. red square, number 8
2. double red square
3. yellow/orange double rectangle
4. red double triangle
5. red N/Z
A pile of abandoned CAT EMPIRE posters, colour-printed on one side of heavy paper, were stored under one of my beds for half a decade or more; kept in the hope that one day, I might make something out of them. In the end, some books emerged.
These came about through two working rules:
1. each poster sheet was folded three times, inaccurately to give displaced edges, and then hand stitched, but not cut open;
2. cuts and folds were then improvised in the folds to reveal the other sides of the sheet, and to establish relationships between opposing pages.
The cuts and folds become points of attention for the reader/viewer: an experience of discovery and revealed logic. Of course there is an occasional letter or word that intrudes, but I did take care not to just show what was actually printed on the poster. Unique.

Alex Selenitsch
Australia born Germany

dipthongs (2016)
four unique books
found paper with cutouts, hand-sewn binding, sizes for closed book
packed in a recycledcomputer keyboard box
1. fan (black covers) 16pp10x35.5cms
2. hexagon (black covers) 16pp 14x41cms
3. square (black covers) 16pp 13.5×40.5cms
4. bow-tie (ivory covers) 14pp 12.5x40cms
Petr Herel offers me some leftover papers from his book production. Of course I say yes, and am given three large boxes of paper strips. All the paper is acid-free, high quality fine-art printer’s stock, light brown, pale blue, grey, cream and white.
I think of doing some drawings, but folding the papers becomes attractive, and book after book is folded, bound and altered. Five of them are in this set. There are no texts, but the books produce paper narratives, integral to the turning page. Unique.

Michael Schlitz

the nature of things (2005)
Ten wood engravings on Japanese Kozo paper accompanied by the artist’s text screenprinted opposite the black images in light ink. the nature of things relates tales about the human condition from a personal perspective. Japanese binding by Fred Pohlmann. 20 pp, 24.7 x 27.2 cm. Signed and numbered. Published by numero uno publications in an edition of 10. Photographer Carl Warner. Last copy available.

Michael Schlitz

les sons of history
We follow Schlitz’s ‘sons’ of history in these tightly cut woodblocks. We follow their history making from the first image ‘every mothers son’. On we go with ‘swampman of the desert’, ‘explorers dream’ and ‘man on horizon’. All are searching and all are hopeful. Then comes ‘fear of an edge’ and ‘within the heart of another mans past’ and  others on to ‘momento mori’. les sons of history reflects all the hope and angst of those who make and those who wish to make history. Made for the exhibition Lessons in History Vol. 1 at grahame galleries + editions in 2007. 28 x 50 cm. Bound by Fred Pohlmann. Published by numero uno publications 10 + 2 ap. Photographer Carl Warner.

Stephen Spurrier

“Music and how not to Play It” (1999)
8 page concertina format book with six images looking how playing music should, or in this case should not be played. Collage, watercolour, drawing and rubber stamps on Pordenone paper. 8 pp. 15  x 12.5 cm.

Stephen Spurrier

“Art can damage your brain (XIII)” (1998/1999)
Can art damage your brain? Spurrier presents his reasoning in this his XII book on the subject. Collage, watercolour, pencil, screenprint and rubber stamps on Pordenone paper. 8 Pages, Concertina format. 12 cm x 12.5 cm.

Richard Tipping
Selection of signs:

3 Hour Barking (2009)
Published in Australia. Made in New York State, USA. Unlimited edition multiple.
Out of Print – special price for fair: $150.00

Private Poetry (2014)
Published in Australia. Made in NY, USA Unlimited edition multiple.

No understanding (2014)
Published in Australia. Made in NY, USA Unlimited edition multiple.

Notice Thank You For Noticing This Notice (2014)
Published in Australia. Made in NY, USA Unlimited edition multiple.

Exit Strategy
Published in Australia. Made in NY, USA Unlimited edition multiple.
Out of print – special price for fair: $150.00

Versions (Perversions Subversions and Verse) (1999)
Pressed-aluminum sign. Multiple as invitation to RT exhibition at Ubu Gallery, New York. 7.8 x 15.3 cm. Printed both sides. Edition #16 Ubu.
1 only available – $150.00

Judy Watson

under the ac
Judy Watson has drawn on letters, papers and official documents found in the Queensland State Archives, as well as personal family photographs as a base for under the act. The documents from the archives pertain to her great-grandmother and grandmother who lived under the Aboriginal Protection and Restriction of Sale of Opium Acts of 1897. The documents also reveal the categories, “full blood”, “half-cast”, “quadroon”, “octoroon”, ascribed to Aboriginal people of the day.
One document from the archive, which Watson used, is her great grandmother’s ‘exemption card’. These cards allowed holders to live and work outside the reservations. They were called ‘dog tags’ by their holders, as they were obliged to carry them on their person at all times. Also included are letters of objection from various parties to authorities at the time Watson’s Aboriginal grandmother and white grandfather were seeking permission to marry.
Using etching, lithographic techniques, silkscreen and stamping this work makes a powerful statement about life for all Aboriginal people who lived Under the Act.
Twenty etchings with chine collé in an edition of 20. 42 x 30.5cm in folio 43 x 32cm. Printers: Basil Hall Editions. Bound by Fred Pohlmann. Published in edition of 20 on the occasion of the exhibition Lessons in History held at grahame galleries + editions March/April 2007. Photographer Carl Warner.

Normana Wight

Posted (2009)
Each month over 10 months from October 2007 to July 2008 Wight made a postcard in an edition of 40, which she posted to a ‘select few’ including family members and friends in Australia and overseas. The project, ‘then and there 1937 – 1946’, was based on photographs of the Wight family from this period – a period full of upheaval for many Australian families.
In 2009 Wight further developed the project to make her artist book Posted. The title is a reference to those family photographs, which Wight’s mother had posted to her sister living on the opposite side of Australia. It also references the various ‘postings’ of the artist’s father, who served with the RAAF in WWII. Bound by Fred Pohlmann. Concertina format. 19.0 x 19.5cm. Edition of 10.

Normana Wight & Anne Kirker

Anne Kirker’s four poems refer loosely to the elements; earth, air, fire,
water. The artist, Normana Wight, has responded to these with a ‘page turner’ of a book, with a flow of text and image through a panoramic format of digital print on Raleigh Navajo Text 148 gsm and Tracing paper 115 gsm in an edition of 12 plus 4 proofs. Covers are Somerset Velvet paper 250 gsm. Japanese binding by Adele Outteridge. Perspex box sleeve.  13.5 x 29 cm. Signed and numbered inside back cover. Photographer Carl Warner.

Normana Wight & Anne Kirker

As It Is
Poems by Anne Kirker with images by Normana Wight in a boxed folio of eight poems on seven folded sheets. Printed by Normana Wight on Arches Aquarelle 185gsm paper using Hewlett Packard 930 Inkjet printer. Folio size 18 x 25 cm.  Box size 20 x 26.6 cm. Photographer Carl Warner.

numero uno publications / grahame galleries + editions

Catalogue as artist book

Ron McBurnie

The Temptation of St Antony
Catalogue as artist book. Red cover folder held with red ribbon threaded through back and front folder covers. Linocut end papers showing St Antony under temptation and list of contents inside back cover.
The publication was made for the artist’s exhibition The Temptation of St Anthony at grahame galleries + editions from 12 October – 12 November 1994. It contains a catalogue of works, a booklet of modern saints, a booklet entitled ‘The Falling’ with relic attached and separate sheet rubber stamped with ‘A Printed Kiss’. These are held in a folder with rubber stamp title on front. The folder opens out in shape of a linocut cross. Bound by Fred Pohlmann. 31 x 22cm. Edition of 12. Photographer Carl Warner.


Une historie du livre d’artiste australien
Catalogue to accompany exhibition Une histoire du livre d’artiste australien at the Cabinet du livre d’artiste, Université Rennes 2, France – 10 December 2015 – 4 March 2016.
60 pp – b&w images plus descriptions of 48 artists’ books produced in Australia since 1968 published in an edition of 200 by numero uno pubications/grahame galleries + editions.
price during fair $10.00

Lessons in History Vol. II Democracy
95 page exhibition catalogue from Lessons in History Vol. II Democracy : 27 October to 15 December 2012.
The exhibition was staged around the theme of Democracy. Catalogue contains descriptions and images of all 51 books by 50 artists. Cover design is wrap-around colour poster with images of each book.
price during fair $10.00

3rd artists’ books + multiples fair ‘98

The 112 page catalogue to accompany the 3 rd Australian artists’ book fair with essays by Zara Stanhope , Assistant Director Monash University Gallery, Melbourne and Richard Kelly Tipping , artist, poet and lecturer in the Department of Communications & Media Arts at the University of Newcastle. Nineteen b+w illustrations accompany 398 extensive catalogue entries, plus a listing of Artists’ Books Collections in Australia. Printed in an edition of 500 by Numero Uno Publications. Photographer Carl Warner.
price during fair $10.00

artists’ books + multiples fair ‘96

Catalogue to accompany artists books’ + multiples fair  7+8 September 1996.
The sixty-nine page catalogue contains essays by Judith  A. Hoffberg (a California-based librarian, archivist, lecturer, art writer, curator of many artist book exhibitions, and editor and publisher of Umbrella , a newsletter on artist books and artist publications, and other publications), and Anne Kirker , Curator of Prints, Drawings and Photographs, Queensland Art Gallery. Thirty b+w illustrations accompany over 170 extensive catalogue entries. Dust jacket designed by artist, Juli Haas. Printed in an edition of 300. Photographer Carl Warner.
price during fair $10.00

Artists’ Books – The Catalogue
Exhibition catalogue to accompany exhibition of artists’ books,
Special edition: 100 with original works by 10 artists:
Carolyn Dodds, Untitled, linocut.
John Honeywill, Spanning a chasm, hand-coloured rubber stamp
Peter Liddy, Untitled, cyanotype
Anne Lord, Pie in the Sky or TAAC? wood engraving
Ron McBurnie, the black rhinoceros and the moon girl, hand-coloured rubber stamp
Milan Milojevic, Great white Hunter in Dangerous Times, rubber stamp
Tim Mosley, Untitled, lithograph
Wim de Vos, June Winter Night, soft ground etching and embossing
Normana Wight, Tanti auguri, screenprint, 8 colours (both sides)
Lansheng Zhang, Untitled (book seal), chop.
Limited Edition with hand screenprinted cover by Mike Schlitz. Numbered 1/100-100/100 plus 10 AP’s reserved for collaborators. Photographer Carl Warner.
Limited edition price during fair $100.00
Standard edition: 200 Numbered 101/200-200/200.
price during fair $10.00