ravenpress ~ Colorado
(Alicia Bailey)

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Alicia Bailey: “I use various printmaking techniques such as intaglio, relief printing, silkscreen, woodblock/cut, solvent transfers and monoprinting in my books. Materials range from the norms of bound books (book board, paper, cloth, leather, thread) to less typical materials such as glass, wood, ceramic and various plastics.”
   

Miniature by Alicia Bailey

 
   
Stone to Star
By Alicia Bailey
Aurora, Colorado: ravenpress, 2014. Edition of 12.

9.25 x 3.8 x 1.8" box with removable transparent lid and two strap closure with magnets. Signed and numbered by the artist in bottom of box. Contains accordion bound eight panel visual book and case-bound pamphlet stitch booklet. Materials: laser etched cast acrylic, silver and aluminum leaf, PMA, gold core monofilament, book board, bookcloth (some handprinted with silver ink from plexiglass plate), Envirotex text weight paper, laserprinting with surface applied methylcellulose and pigment, black 100% rag HMP from Interocean Curiosity Studio (Ray Tomasso), steel, magnets.

Alicia Bailey: "This book pairs an extract from Rilke’s poem Sunset … with a visual presentation of seven phases of transmutation and transformation (the Magnum Opus) as practiced by alchemists beginning in 400 BC. Eight transparent acrylic panels are laser etched with applied silver leaf. Bound accordion style and presented in a custom box with double layer cast acrylic lid. Accompanied by a case-bound pamphlet stitch booklet that includes the text of The Emerald Tablet, a brief history of alchemy as a science, a philosophy, and a theology and discussion of the seven processes depicted in the acrylic panels."

The Sunset excerpt is etched on box lid: One moment your life is a stone in you, and the next a star. The seven processes depicted on panels and described in accompanying booklet are Circulatorium, Caput Corvi, Rebus Nigredo, Separatio, Coniunctio, Cibation, and Arbor Philosophica.
$900

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Extinct Extant
By Alicia Bailey
Lake City, Colorado: ravenpress, 2013. Edition of 18 + 2 SP.

4.5 x 5.5”; 8 envelope leaves with information cards slipped in. Enhanced accordion binding structure designed by Hedi Kyle with paper cover title page and paper cover end paper. Materials: Zander’s Elephant Hide paper (100gms); Epson Exhibition Watercolor paper, Neenah UltraII laserprinting paper, Perma/Dur 36# paper, 2 mm Coroplast, Verona book cloth, book board, vintage brown kraft photo envelopes, digital and solid color prints, black ink. Bird photographs printed digitally on an Epson inkjet printer with UltraChrome inks. Solid ink color prints. Handprinted envelopes. Laser etched labels and spine text. Housed in single tray drop spine box (6.125 x 5.25 x 1.5"). Signed and numbered by the artist on the colophon in the box and on the last page of the book.

Alicia Bailey: "In 2011, I made photographs of extinct bird skins held in the Denver Museum of Nature and Science. I photographed seven bird species (Bachman’s Warbler, Carolina Parakeet, Dusky Seaside Sparrow, Eskimo Curlew, Heath Hen, Ivory Billed Woodpecker, and the Passenger Pigeon) for this project. I have found great pleasure in reading different accounts, ranging from essays to encyclopedic style entries, about species of extinct birds. The continued existence of these birds in the form of skins, specimens, and eggs at museums worldwide is evidence of our impulse to preserve.

"Provided for each of seven extinct (or believed to be extinct) bird species are a photograph of skins held in the collection of the Denver Museum of Nature and Science Zoology Department, a brief synopsis of their existence, attributes, and habits, a map of their geographical range, a reproduction of a painting of the species by either John James Audubon or Mark Catesby, their scientific classification, binomial name, conservation status, the etymology of the bird’s common name, and a listing of the species’ collective nouns."

$450

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Euxoa Auxiliaris
By Alicia Bailey
Lake City, Colorado: ravenpress, 2012. Edition of 12 + AP.

Book: 4 x 3.65 x 3"; 10 pages. Rigid pages bound with a cloth strap across the spine. Bound in wood covers. Pages constructed of wood, book board, and laser-cut-and-etched paste papers laminated to museum board. Laserprint text. Specimens encased in epoxy casting resin and mica. Page edges wrapped with handpainted Bugra papers. Covers laser-etched wengewood with surface-applied wax and pigment. End pages laser-etched double-sided unryu papers. Spine lining Bugra with surface-applied wax and pigment. Straps are paper backed cloth held in place with brass nails. Laid in box.

Box: 4.5 x 3.75 x 4.75". Laser-etched book board with surface-applied shellac, wax, and pigment. Corners and base are wrapped with paper-backed book cloth. Removable box lid with built in magnifying glass. Text on sides handwritten. Colophon tipped in bottom of box interior. Signed and numbered by the artist.

Alicia Bailey: "This book was begun during a summer when my studio was overrun with those plain brown moths we always called miller moths. One morning I found a moth floating on the top of an open glue pot; that beautiful moth reminded me that even the peskiest of critters have their engaging moments. Inspired, I began to draw, then did a bit of research, then figured out ways to present moth snippets and specimens in book form. I wrote the text, recruited friends to gather specimens, and designed the book and box. One of my favorite features is the detachable lid with magnifying lens built in, so one can roam around and examine other pesky critters more closely."
$700


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Burning Me Open
By Alicia Bailey
Lake City, Colorado: ravenpress, 2011. Edition of 18.

5 x 3 x 2.75" closed, opens to 6.25" circle; 9 leaves. Laser cut and etched images. Bound in purple heart wood boards. Copper leaf title label on front board.

Alicia Bailey, Prospectus: "Concept: This book takes the text and imagery from a 2009 artists' book of the same title. I wrote the original text; the original illustrations were oil-paintings, re-created as line illustrations for this project.

"The book pages are transparent, and thus allow sections of several pages to be viewed at once. The pages are rigid and thick, designed to display well both flat and upright. When displayed upright, lighting can be adjusted for increased interplay between the line illustrations and the shadows they cast.

"Construction: The rigid pages that make up the text block are constructed of 3 layers; the middle layer is of shaped copper leaf, the outer two layers are laser cut and etched cast acrylic (3/32 thick). This creates pages that are 3/16 inch thick, their edges are sealed with copper tape. The covers are sanded and waxed purple heart wood, planed to 3/8 inch thick. The recessed title label is laser printed copper leaf mounted on museum board. One of the book illustrations is repeated on the front cover via laser cutting. The book is coptic sewn across the spine with dyed and waxed 4 ply linen thread. I don't often weigh my books but this book, modest though it is in size has a nice heft and weighs 1 ½ pounds."

there is one who touches me so it burns
my hands open
at their feeling of
the length of me

$540


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Shedding
By Alicia Bailey
Lake City, Colorado: Alicia Bailey, 2010. Edition of 21.

4.5 x 5 x 1.5"; 24 pages.

Alicia Bailey: "Construction - Pages are laser etched Arches cream rag paper, which has been laminated to Unryu paper, then bound in a board book structure. The page insets are laserprinted on mylar over archival inkjet images. Specimen labels laserprinted on text weight cotton paper that is then overpainted with methylcellulose. Book covers are laser etched deerhide, museum board, archival corrugated board, Japanese tissue, with goatskin leather spine. Inset into the cover is a glass mounted slide with selected specimen sandwiched in between the glass. Cover label is laserprinted on text weight cotton paper overpainted with acrylic.

"Concept - This book is about specimen collection and presentation, combined with journal type entries about the specimens presented (in this case, things shed by my body). Each day for 21 days I rescued something my body was shedding ( an eyelash off my cheek for example) or helped something detach from my body (a plucked hair). The specimen was scanned at a magnification of 500%, the scans then printed via inkjet and placed behind window cutouts, as in a photo album. The cover of each book holds one of the specimens, sandwiched in between glass, for a variable edition of 21 copies."


Specimens available include leg hair, blood drop, eyelash, ear wax.
$540

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Theia Mania
By Alicia Bailey
Aurora, Colorado: ravenpress, 2010. Edition of 36.

6.75 x 5.25 x 1" tin container with snap lid holds 3 books, sachet, and audio CD. Colophon tipped in interior lids of container. Stiff decorative 2" cloth band slips on tin as decorative closure mechanism.

Madness of the Gods: 4.9 x 4.9"; 16 pages. Bound with tinted tyvek using woven binding based on a Claire van Vliet structure. Pastepaper pastedowns. Illustrated paper boards.

Potions: 1 x 3.75"; 10 pages. Piano hinge binding using metal hinges. Illustrated paper boards.

Contributors: 1.12" diameter circular book; 22 pages. Accordion structure. Ribbon spine. Laid in round aluminum tin with clear lid. Title printed on lid.

Theia Mania CD produced by Alicia Bailey & Scott Waknin, AMP A/V Studio: 4.6" round with printed illustrated label. Housed in matching illustrated 5" square envelope.

Sachet of Herbs: 1 x 3.5" clear plastic envelope; herb seeds. Illustrated sticky closure. Instruction sheet laid in. Text visible through enclosure.

Printing techniques: laser etching, color laser print, color inkjet print, black and white laser print, laserprinted metal foil, and relief printing.

Alicia Bailey, introduction: "This project is the result of an intermingling of stories told by those who have been struck by a sensation of instant connection with another. In the classical world such pricks from a dart of Eros were called Theia Mania (madness of the gods).

"Heidi Zednik and I began by collecting audio version of stories told by those willing to participate in the project. We recorded 12 such stories and these are the basis for both the text and audio portions of this piece. Two of the stories I wished to include could not be told by their subjects, so I wrote my own versions, presented as oral presentations on the CD."


$540


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Box of Eros
By Alicia Bailey, Jocelyn Esch, Steve Gordon, Paul Guitterez, Kim Harrell, Carson Reed, Susan Vaho, and Heidi Zednik
Denver, Colorado: ravenpress, 2008. Open Edition.

3.125 x 3.125 x 4.5" closed; initial opening 12 x 12". Four books: 2.5 x 4" each; 12 pages each. Drop down box design with lid. Box covered in handprinted bookcloth. Images and text inkjet printed with archival ink on rag paper. The four small books are secured with ribbon-and-button tie closure. Artwork by Heidi Zednik. Designed and produced by Alicia Bailey.

Each box wall is the back cover for a small book of erotic haiku and paintings commissioned for this project. The four books are titled Clamant; Rapturous; Exigency; and Amative.

braille shared language
your touch giving me goosebumps
thanks for the message
                            Alicia Bailey

$380


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alphabet of desire
By Heidi Zednick
2006. Edition of 26.

6.75 x 6.75"; 26 pages. Over the edition, the layout of the book is consistent yet each print is unique. Text laserprinted on Arches watercolor paper. All images painted on an open screen with water based acrylic inks, then hand pulled for each of the four colors, allowing artistic variation within the edition. Bound drum leaf style. Spine is goat skin and Moriki hand embossed with letters of the alphabet. Covers are mono screenprinted with embossed alphabet on Rives BFK. Cover board edges wrapped with Moriki, endpapers handmade by Katie MacGregor, page edges treated with blue pigmented wax. Label is foil printed Goatskin.

This book is an extended love poem in the form of an abecedary. The illustrations are abstract expressions of the text. The text not only chronicles the celebration of a relationship but expresses a wish to not forget and to remain attentive to love.

a
at what moment
did I recognize
did I remember you?

$1200
Miniature version $75

 

 

 


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Green is the Vein
Text by Barry Dempster
Lake City, Colorado: ravenpress, 2002. Edition of 5.

5.25 x 5.75 x .5"; 20 pages. Hand printed sheets, bound in drum leaf style, with transfer text and hand-applied color, plus two pastepaper endsheets. Page edges have been painted with bright green acrylic ink. The spine is goat with a leaf pattern embossed from one of the linocuts used in the text block. The two-layer covers have an underboard leafed with variegated metal, which is exposed by the top board cutaway. Top board debossed.

A song of erotic celebration.

Alicia Bailey: "The text is extracted from Barry Dempster's piece 'Green is the Vein...' published in the collection 'Letters from a Long Illness with the World: The D.H. Lawrence Poems' "
$400


   
 

Anguine
By Alicia Bailey
2001. Edition of 14.

4.5 x 5.5" slotted zig zag book. Housed in 6.5 x 5.5 x 1" box. With color monoprint images and laser transfer text on Rives lightweight buff paper. Page backs are hand painted and stenciled. The covers are snakeskin overlaid with hand-tinted sharkskin paper. The box is leather-spined with hand-painted cloth covers and a hand-painted, recessed label on the front cover.

Alicia Bailey: “A dream or perhaps a fantasy about waking with a snake under a starlit desert sky, this book describes a titillating experience in the Southwest canyon country.”
$400

 

   
   

Ab
By Aleka Keleman
2000. Edition of 12.

4.625 x 3"; 32 pages. This small book is bound in millimeter style with a maroon leather spine and Pamela Smith hand marbled papers on the covers. The title label is gold laserfoil printed on the same marbled paper and inset. Each of the 32 pages is hand painted with inks on Sumi paper. Text is laserprinted. Title page is heat embossed Gocco print with hand painting on Nideggan paper. The wraparound case is of burgundy book cloth and lined with Smith marbled paper with a complementary pattern to book's cover. The case cover is Gocco printed in gold. Illustrations and book design by Alicia Bailey.

Ab means, in Aramaic, “the breath of life.” The text of this book includes descriptions of the physiological workings of the circulatory system and Aubri Aleka Keleman's poem "Suggestions for Improving the Heart and Its Workings."
$250

 


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Tongue Tied
By Patricia Beers
1999. Edition of 25.

2.5 x 3.75 x 4"; six panels. Text is laser print on lace paper. Artist's photographs are inkjet printed on sumi paper. The two-sided accordian book is hinge-bound with 16 penny nails and housed in a nailmesh and wood structure.

Alicia Bailey: "The poem by Patricia Beers describes the almost unbearable results of a lifetime of keeping silent. Please handle carefully, could cause injury or pain. The artist's photographs allude to bondage and repression. Object and text initially hidden by the photographs are revealed as the reader interacts with this book."

I WAS BORN
TONGUE-TIED
AGES LATER
HERE
COMES
ONCE
MORE
THE
SUFFOCATOR

$140

 

 


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Jump
Text by Annie Dillard, Aubri Keleman, and Heidi Zednik
Lake City, Colorado: ravenpress, 1998. Edition of 25.

8.5 x 8.5" closed; 8.5 x 25.5" extended; 22 leaves. French door construction. Bound with three brass rings on each side. Images and text: black-and-white and color copies on transparent stock, color inkjet on Arches 90 lb. rough watercolor, 90 lb. cover and transparency, laserprint on a variety of text weight papers. Hand painted Arches cover. Cover: momi wrapped museum board with Canson endpapers. Endpapers: hand applied enamel and stampings. Title on cover: black and white xerox transfer. Black velcro closures.

Excerpts from Annie Dillard's Pilgrim at Tinker Creek, Aubri Keleman's "Someone Has Made a Mistake These Women Are Fish," and Heidi Zednik's "Skinning Blue."

An inventive examination of gravity, both physical and metaphorical. French door books are sometimes irritating because of the need to rebuild the sequence. Jump more than repays the effort.
$125

 


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Mexico Stories
By Carolyn Hull
1997. Edition of 100.

5.75 x 4"; 24 pages. Bound in a dos-a-dos-a-dos pamphlet stitched wraparound cover. Cover 130 lb. cotton watercolor paper with hand applied acrylic patterning and tipped in cover illustration and title. Text and title page illustrations laserprinted on 80 lb. Howard Mill crushed leaf paper. Illustrations color inkjet on mulberry paper tipped in. Decorative page elements hand stamped. With dyed cotton string and coconut beads wrap for closing.

Carolyn Hull: "I had the privilege of working with Clark Blaise at the Latin American Writers' Workshop in January 96. These stories come from that magic and surreal time. My own heritage growing up along the El Paso/Juarez border is similar to these stories. To quote Robert Bly, my soul is here for its own joy. I am here to interpret one dimension for another."
$35

 

 

ravenpress Out of Print Title:
• Prophet
 
   
Campfire Cookery
By Alicia Bailey
Lake City, Colorado: ravenpress, 2013. Edition of 5.

5.25 x 4.5"; Panorama Landscape structure with six panels extending form the base of enclosure. Materials: tag board, elephant hide covers stock, bond paper with surface applied color and laser printing, photographs, book board, Lokta paper, and book cloth. Bound in rigid wrap-around cover forming box-like container. Quarter cloth with paper covered boards. Title label tipped on front cover and on spine. Signed and numbered by the artist.

Alicia Bailey: “This book presents a selection of photographs, food tips, and recipes from the archive of Ruth Wheeler tipped into Hedi Kyle’s Panorama Landscape structure. ... Text from Book of the Camp Fire Girls, 1958 edition, published by Camp Fire Girls, Inc. Text and illustrations from Camp Fire Cookery for Camp Fire Girls published by the Kellogg Company (publication date unknown). Photographs scanned from originals taken by Ruth Wheeler during the years 1944-1950."
(SOLD)

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Safe as Houses
Text by Betty Adcock
Lake City, Colorado: ravenpress, 2000. Edition of 6.

15 x 6 x 1"; 18 pages. Nine double-spread illustrations, color copied onto Mohawk superfine text. Housed in an arch-shaped lidded wooden box. Hinged lid designed as door. Bound in board style with exposed spine.

ravenpress: "Extracts from the poem 'To Sylvia, Grown Daughter.' This book pairs portions of the poem with 9 paintings by Alicia Bailey. Adcock's writing describes the 'house of your first name' and details points of access to that house (ordinary love, fury, or any dying)."

Betty Adcock is the author of five books of poems from LSU Press. She was a Guggenheim Fellow for 2002-2003 Adcock has twice been a Pushcart Prizewinner, and has won North Carolina's Governor's Medal for Literature, and the Texas Institute of Letters Prize.
(SOLD)


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Wildflower Identification
By Alicia Bailey
Lake City, Colorado: ravenpress, 2013. Edition of 9 variants.

2 x 3.75”; 14 pages. Bound in a variation of Hedi Kyle’s Blizzard Book. Materials: Batik paper, photographs, Arches Text Wove paper, metal foil, laminated seed and flower specimens, Nepalese Lokta paper, and vegetable-tanned goatskin. Laser printed with 10 point Bristol type and applied surface pigment. Leather-wrapped covers with an exposed spine. Paper and metal foil title label recessed into front cover. Signed and numbered on the title card by the artist. Laid in cloth covered drop-spine tray box. Box numbered.

Alicia Bailey: "Wildflower Identification is a limited edition book work created from original texts, photographs, and plant material from Ruth Wheeler’s archive. Envelopes created by using Hedi Kyle’s Blizzard book binding style hold 2.5 x 3 inch cards, photographs, or laminated specimens. The cards are hand-written notes for activities designed to teach small groups about flowers and their identification. The photographs, taken in 1948 by Ruth Wheeler, are of young women participating in these activities. Also included in each copy is a selection from [Chester] Reed’s book [Flower Guide, 1916]. The selection and specimens vary from copy to copy, making this a variable edition. Text is from the handwritten notes of Ruth Wheeler. Photographs scanned from 1948 originals taken by Ruth Wheeler. Color reproductions from Flower Guide published in 1916 by Chester A. Reed.”
(SOLD)

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Page last update: 02.16.16

 

   
  
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