Joe D’Ambrosio Books, Bindings and Cases

A traditional Japanese Noh mask with a worried expression.

JD’A–BBC–1: MASKS

1983
Sculpted mask 35 mm high encased in cover."This book designed, illustrated & printed from handset type on Arches paper by Carol Cunningham at Sunflower Press. In this edition, there are 115 numbered copies and 10 artist's proofs"--Colophon

A book with a close-up illustration of an eye on the cover.

JD’A–BBC–2: Venus Explor’d

1983

Noel M. Izon, Rebecca Press _/10 special binding

JD’A–BBC–3: THE FIRST EMPEROR OF CHINA

1984

"This book was designed by Carol Cunningham at Sunflower Press and printed by letterpress on Arches paper. From an edition of 125 ..." — Colophon

Some of the illustrations are mounted postage stamps."Apologia" (from the printer) one leaf tipped in at end, not included in pagination.Bound by D'Ambrosio in molded natural sheep with angled spine in the shape of a miniature shrine, in a black folding case with printed paper spine label. Color illustrated endpapers stamped in gilt with Chinese characters.
48 unnumbered pages : color illustrations ; 60 x 68 mm in case 66 x 72 mm

JD’A–BBC–4: FROM AN ISLAND IN TIME

1984

by Michael Sykes binding by D'Ambrosio one of 500
Fairfax, Calif. : Jungle Garden Press
43 unnumbered pages : illustrations ; 26 cm

From Colophon: Five hundred copies of this book were printed using Garamond typeface and papers from Curtis. The books were bound by hand by Joseph J. D' Ambrosio.

A small stone-like rectangular block with a yellow textured center and worn edges.

JD’A–BBC–5: LAND OF THE INCAS

1985

"Eighty-five copies of this book have been printed latterpress by Carol Cunningham at Sunflower Press, Mill Valley, California. Printed on Shadowmould paper from type set by Mackenzie-Harris. Printing completed July, 1985"--ColophonBound in the shape of an Inca temple. Front cover is partially cut away to reveal an illustration of an Inca warrior stamped into gilt paper. Title printed in gilt lettering. Some illustrations hand-colored, some printed in gilt against black paper. Gilt end papers. Includes clear acrylic slipcase. Signed by the artist.

46 unnumbered pages : illustrations (some color) ; 60 x 72 mm

JD’A–BBC–6: SIMONOFF THE LEARNED CAT

1985

"This book was designed & printed by Emily Woodward. The paper is Ragston; type is Centaur, set by McKenzie and Harris. Illustrations are cut in linoleum by the artist printer. Binding is by D'Ambrosio in an edition of 126" — Colophon

Size: 6-3/4 x 10 inches

Binding: Japanese 4-needle non-adhesive;

blue cover stock with block print by Emily Woodward
22 pages : illustrations

From Colophon:

JD’A–BBC–7: Lyn & Ace Norton

1986

__/1

JD’A–BBC–8: Youthful Recreations

1986

From A Memoir of Book Design:

YOUTHFUL RECREATIONS

(Somesuch Press - slipcase only)

The slipcase for Stanley Marcus's miniature book Youthful Recreations required no design acumen on my part. I was told what to do and I did it. Susan Acker at The Feathered Serpent Press in San Raphael, California, did the printing and provided me with the decorated cover paper for the slipcases. I am grateful to her for suggesting me, although the edition is so large I wondered at one point if I could indeed complete it. I may have been the source of the ribbon pull feature, but l am not positive. In fact, 1 believe this is where I developed my dislike of a ribbon pull, because although it allows one to access a miniature book in its slipcase more easily, as it draws the book out of its case there is undue chaffing of the cover.

©Book Club of California

JD’A–BBC–9: Art Deco Ward Richie

1987

Edition: 5 copies

Size: 12-3/4 x 9-5/8 inches, Binding: Copper over archival boards hinged with plastic over Art Deco by Ward Ritchie.

From A Memoir of Book Design:

This is a rebinding of only five copies from a larger edition by Ward Ritchie and published by The Book Club of California. While contemplating the hinged binding design for the project that I was then working on, The Twilight of Orthodoxy in New England (to follow), I became aware of this book. I knew immediately that a metal binding for a book about the era of art deco-designed books was what | wanted to do. I had seen some metal bindings in the past, and each one of them was bent in the joint area of the binding. I concluded that it would not be long before the metal broke in those areas and the covers fell off. It is one thing to have a metal dust jacket which barely bends when a book is opened (it usually swings away from the spine area, and another to have an actual cover of metal. The piano-hinge arrangement seemed the best approach….

©Book Club of California

JD’A–BBC–10: BEWARE THE IDES OF MARCH

1987

by Gloria Stuart

Edition: 20 numbered copies, and 3 artist proofs

Size: 9-1/4 x 6-1/2 inches

Binding: Japanese stab binding within a housing of moire silk and marbled paper over archival boards; hinged covers; two brass hearts sewn into niche in spine

Image from A Memoir of Book Design

© Book Club of California

JD’A–BBC–12: Laguna Verde

1988

Edition: one copy

Size: 8 x 10-1/2 inches

Binding: Ink-stained fabric over boards

with 10 pt. Della Robbia type projecting from top and fore edges of front and back covers,

message in metal type around left edge and top states:

Ward Ritchie, the founder and sole operator of the Laguna Verde Press, began at an early age to strive for the finer values in life, and without compromise continued with a long and fruitful life, to achieve his goals. He is a man who, with humor, wit, and Western grit, survived many of life's misfortunes to arise each time stronger than his adversaries and far ahead of his contemporaries. He will long be remembered as the paternal host of fine printing in Southern California and a major force nationally.

- D'Ambrosio 1988

Image from the collection of Gary Strong

JD’A–BBC–12: Laguna Verde

1988

Clam-shell box

Image from the collection of Gary Strong

From a Memoir of Book Design: This single binding of a copy of Ward Ritchie's bibliography of his Laguna Verde Press is designed to indicate that it is a book about a working printer. Ward produced the pages on his antique Albion printing press, and one set of the unbound sheets was actually a birthday gift to me from Ward. I bound it in a manner consistent with the author's vocation. Actual lead type protrudes from the top and fore edge of the front and back covers.

© Book Club of California

JD’A–BBC–13: THE INSCRIPTIONS AT TOR HOUSE AND HAWK TOWER

1988

by Gloria Stuart

Edition: 50 numbered copies

Size: 7-1/4 x 6-1/4 inches

Binding: Ecru-colored cloth over boards; clam-shell box of same material, cast paper by Gloria Stuart;

Ingres paper labels

JD’A–BBC–14: Landacre & Quince

1989

From A Memoir of Book Design:

This is a miniature book conceived and printed by Ward Ritchie. Ward was a close friend of Paul Landacre and had many of his original woodcuts that Ward would reprint when he felt the necessity. Peter Lum Quince is one of Ward's many pseudonyms-consequently, Landacre &Quince. I designed and executed the binding of the edition only. It is one of my favorites because in trying to reduce the design so it would not be too overpowering for Ward's work, it turned out to glow in its simplicity. And Ward, I presume, refrained from using his usual colors in deference to Landacre's work in black on white.

It is bound in full black cloth with a Paul Landacre woodcut printed in black on white paper adhering to the flat front cover. The spine is rounded with wales at the head and tail (top and bottom),...Visually, the eye first sees the woodcut print on the front cover, and then automatically follows the curve of the cloth around the spine. The wales at the head and tail provide a channel through which the eye may be directed. Because the back cover is blank, the eye returns to the front cover woodcut. If the spine were flat and not rounded, this would not occur. The eye would see the front cover and go nowhere simply because there is nothing else going on; and the observer could possibly lose interest. The wales are reminiscent of the ridges on the spine of antique leather books, which are the cords to which the pages are sewn. This similarity evokes a respect through bygone images. The wales on the top and base of the spine may also subliminally suggest the obverse of the headbands that are positioned just on the other side and are attached directly to the book block....

©Book Club of California

JD’A–BBC–15: Landacre & Quince

1989

From A Memoir of Book Design:

I bound one more copy of this book beyond its edition number. Ward asked me to do a special binding that he would present to Gloria as a birthday present. This allowed me to become more exotic. It is quarter bound in cloth with the balance of the front cover taken up by modeled copper in the shape of a swirling female (because in my presence Gloria wore only full flowing dresses down to her heels and has always seemed to swirl as she sweeps into and out of my memory). Small elongated leaves project from the edge of her copper image. The leaves are treated just as those in Emily & Oscar (1979). I created a slipcase lined with black felt. Thus the copper area will be self-polished by the felt each time the book is slid into and out of its slipcase.

Image from A Memoir of Book Design

© Book Club of California

JD’A–BBC–16: Mr. Whistler's 10 o’clock

1989

__/1 binding

JD’A–BBC–17: OF BOOKMEN & PRINTERS

1989

Revisions of articles previously published.Includes index."Five hundred copies, designed by Ward Ritchie, were printed by the Premier Printing Corporation for Dawson's Book Shop. "--Colophon.

For Ward a foreword / by Lawrence Clark Powell -- A bookman's Los Angeles in the 1930s -- Jake Zeitlin, when he was joyous young -- Paul Landacre, artist and wood engraver -- Merle Armitage, his many loves and varied lives -- Robinson Jeffers, recollections of the poet -- Jane Grabhorn, the roguish printer of the Jumbo Press -- Paris adventure with François-Louis Schmied -- John Cage, the maniac of music -- St. John Hornby and the Ashendene Press -- A requiem for Lawrence Clark Powell -- Virginia City and the genesis of a cookbook.

"This special hand binding, limited to 50 copies, has been designed and produced by D'Ambrosio in 1989 for Dawson's Book Shop.

189 pages ; 25 cm

JD’A–BBC–18: Dance Circle

1990

by Carol Cunningham __/25

JD’A–BBC–19: Printing Poetry

1990

From A Memoir of Book Design:

This one-of-a-kind, or designer, binding was done exclusively for David Belch of The Scarab Press in Northern California.* It is one of many designer bindings that David commissioned for this book. So, consequently, David has a collection of various bindings—all with the same book within them. It must be a great collection and should someday be exhibited if it hasn't already. It shows the different interpretations by various persons, all addressing the same subject.

Once again, I tried to allow the design of the binding to reflect the material within. Since this is a dissertation on the vagaries of printing poetic lines that are of varying lengths, as opposed to the relatively equal lengths of prose lines, I chose to illuminate the actual act of printing. It is not unlike the binding I did for Laguna Verde (1988) with actual lead type protruding from the edges of the covers. This time, however, the lead type wraps around the fore edges of the covers. It seems I can never do the absolute same thing twice; I must push a design feature a little further each time l use it.

Albert Sperisen, at some point before this, had given me a fine piece of vellum....The archival cover boards were first covered in vellum (leaving excess on either end to create hinges), taking care to see that the spine of the skin reminiscent of the animal is directly in the center of the front cover. Then the covers were hinged to the spine area. Working with vellum is not easy; it reacts erratically to water, and water is the basis of all the archival glues. Ancient binders used hot animal skin glue which is more compatible with another animal skin.

In this version the lead type is inlaid and wrapped around the edges of the front cover boards so that the title, "Printing Poetry," begins on one side of the cover board and ends on the opposite side. Where the type actually touches the endpaper, it is already printed. This is true in reverse for the back cover....The title is calligraphed on the spine with pen and ink.

Image from A Memoir of Book Design

©Book Club of California

JD’A–BBC–20: A Late offering of Quince box __/1 1990

Image from the collection of Gary Strong

JD’A–BBC–21: A Tribute to Stewart Davis

1990

__/1 binding

JD’A–BBC–22: VARIATIONS AND QUOTATIONS

1990

by Ward Ritchie binding by D'Ambrosio __/50

JD’A–BBC–23: EVE/VENUS

1991

by Gloria Stuart with binding by D'Ambrosio

"Sketches, embellishments, printing, and book design are by Gloria Stuart. The binding of this book-in-a-box is an original concept by D'Ambrosio ... Begun in 1990 and finished in 1991. Twenty copies and four artist's proofs were printed"--Colophon

Pages interleaved with numerous guards, including a few illustrated guards which are not included in the collation. Back endpaper has inlaid color illustration. Issued in an acrylic slipcase.

Publisher Los Angeles : Imprenta Glorias
41 unnumbered pages : illustrations (some color) ; 32 x 35 cm

JD’A–BBC–24: Herakleitos (Heraltus)

1991

__/1 binding

Image from collection of Gary Strong

Colophon:

The translation of the fragments of Herakleitos by Guy Davenport first appeared in an earlier version under the imprint of Grey Fox Books. This edition is limited to 113 copies, I00 of which are printed on Nideggen and 13 on Serpa handmade papers. ~~Pastepapers and~~ binding structure by [signature in pencil D’Ambrosio] ~~L Shelley Hoyt.~~ The Greek text, handset by Mark Livingston, is composed in Monotype Gill Sans 672; the Latin fragment 103 and the translations are composed in Bembo and Bembo Condensed Italic.

Peter Koch, Printer, Berkeley 1990

JD’A–BBC–25: The Perfect Blind

1991

From A Memoir of Book Design:

THE PERFECT BLIND

This is another one of-a-kind commission, or designer binding. It is also a miniature book. I had always wondered how a hinged binding would appear on a miniature book, and this looked like the best occasion to find out. It certainly would need no purposeful structural function, it would have to be visual and artistic. But, of course, it would have to have a function. In this case the function is the kinetic energy that swings the latticed panels away from the book block and reveals the yellow lattice configuration within. The binding is burgundy kid leather with a hinged spine area that has latticed panels. When the book is closed, all one sees is the burgundy color. But when the book is opened and the spine panels swing open, a bright yellow color is revealed—The Perfect Blind.

The lattice panels were painstakingly cut out of four-ply archival paperboard with an X-acto knife. I use the term "painstakingly" because this is a miniature book and the diamond-shaped openings in the panel are very, very tiny. Next, each panel was wrapped with leather, including wrapping leather into and around each individual diamond shape of the panel's openings. Then they were hinged around acrylic rods, and to the front and back cover. But before the panels were hinged in place, the yellow paper that makes up the background had to be adhered. Once the panels were in place, I would know where the individual diamond shapes would conform to the area below itself simply by closing the covers and tracing where the openings of the latticework fell upon the inner yellow paper. Individual diamond shaped pieces of leather were then placed with tweezers into those areas covering up the yellow background This created a consistency of color. Only when the panels are opened is the brilliant yellow paper allowed to appear against the dark red of the burgundy leather.

According to my notes, this book has no slip case. Instead, it has a French marbled paper chemise. This is a French term for a loose-fitting undergarment, but as a bibliophile's term, it indicates a protective cover very similar to a dust jacket, but one composed of more substantial materials. A printed title is pasted to the spine area of the chemise.

©Book Club of California

JD’A–BBC–26: Untitled artist book construction done for the Pasadena Armory exhibition

1991

__/1, 5 feet tall

JD’A–BBC–27: Waynesburg, Ohio

1992

__/1 box

Image from the collection of Gary Strong

JD’A–BBC–27: Waynesburg, Ohio

1992

__/1 designer binding

Image from the collection of Gary Strong

JD’A–BBC–27: Waynesburg, Ohio

WINESBURG, OHIO - 1992

Rebinding only by D'Ambrosio

This entire book was dismantled and all of the pages deacidified. Double hinged binding of burgundy leather; cover shadow box with verso miniature bedroom. Colored threads indicate the diverse paths of many lives coming together and impacting on one another. Rear endpaper one-of-a-kind tempera painting by D'Ambrosio Collection of Lorson's Books & Prints, Fullerton, California

A Memoir of Book Design - pages 136, 137

This first edition of Winesburg, Ohio has been completely deacidified with WEI T'O solution, except for the page in the false bottom of this clam-shell box. It is the other part of the original endsheet which carried the map of Winesburg, Ohio.

Deacidification process done in December, 1991.

Binding completed in January of 1992.

JD’A–BBC–28: Les Grande Merveilles D’Amour

1992

__/1 binding and box

From A Memoir of Book Design:

This is another miniature book, and yet another one-of-a-kind binding. Since this book is printed in French and I cannot read French, I was not too clear on how to proceed.

I knew it to be a love story so that was my only guidepost, and I decided to do it delicately and romantically French.....The exterior is simply, and totally wonderful, sexually soft alum-tawed pigskin over archival boards with a rounded spine....The inner areas between the covers and the book block are silhouette cut rococo-patterned white Rives BFK paper that accordion folds outward revealing delicate blue French marbled paper beneath....

The box (or case) that houses this presentation is unique in itself. It swings open from the upper rear to reveal the book resting on the base of the enclosure. It is covered in black cloth and lined with the same blue French marbled paper as the endpapers of the book.....

Image from A Memoir of Book Design

© Book Club of California

Les grandes Merveilles d'Amour

Image from A Memoir of Book Design shows signature of JD'Ambrosio '92 on back silhouette cut rococo-patterned endpapers and marbled paper beneath.

©Book Club of California

JD’A–BBC–29: David Hockney Orange clam-shell boxes –1993

1993

__/?

JD’A–BBC–30: Land of Fact

1993

__/1

JD’A–BBC–31: Predators in my Garden — 1993

__/1, double clamshell box

Left opens to14 prints

Right opens to leather bound book

Dark green leather. The spine has overlapping burgundy leather

≈2 x 2 1/2 inches

Signed by D'Ambrosio on back endpaper

Image from collection of Jennifer Lorson.

From A Memoir of Book Design:

...I thought the center mechanism was difficult as a full-size box, I was in for quite an awakening when I tried to do this in miniature with tweezers. It was difficult but rewardingly challenging. The exterior is bright orange cloth. A whimsical title of a buzzing insect and a broken cattail adorn the spine. This is a lighthearted look at garden pests.

The two sides (or boxes) are held closed with a bone fastener. When opened, the lid portions of the two centrally hinged boxes are revealed to be Momi paper beneath arcs of orange cloth. The green color bleeding into the brown of the Momi paper conveys an abstract representation of garden colors. That is precisely why I chose it. The arcs visually swing the eye upwards into an abstract canopy of a hazy, sunlit, leafy tree. When the two sides are further opened, the book and the prints are revealed. Because the prints are within a compartment that has one side wall as the central mechanism, a separate opening on the opposite side was created so a fingertip could access the small-sized prints. The book is easily accessed on the other side.

The intensity of the orange cloth provides the brightness of a garden sun without resorting to the color yellow. Besides, this is a miniature, which doesn't require a lot of material because of its size, and I had many remnants of this particular cloth left over from an edition of clam-shell box cases I had recently done for the noted international artist David Hockney...

©Book Club of California

JD’A–BBC–32: Muses — 1994

Muses

by Carol Cunningham

Designed and printed letterpress on Shadowmould paper. Type was handset Centaur, Arrighi and Mistral.

Twenty-one delightful drawings by Gene Holtan enliven the text. Book measures 6½ x 10 inches. The edition is limited to sixty numbered copies; 1-25 in distinctive deluxe bindings by D'Ambrosio, each in its striking orange clamshell box. Remaining copies handsomely bound at Taurus Bookbindery by John Demerritt.

Deluxe copies: $395.

Standard copies: $140.

Carol Cunningham, Sunflower Press

64 Castle Rock Drive, Mill Valley, California 94941

Because of the expense and time involved in producing this book, I regret I cannot offer a discount.

Comparison of Deluxe and Standard versions

From A Memoir of Book Design:

The binding.... It seemed at this time that the direction my work was heading was in creating tactile surfaces, along with a visual sense of depth; the sensual surfaces of different materials coupled, visually and tactilely, with the very shadow of the three dimensional structure that they cover. And in what better medium to accomplish this than in one which the viewer must touch the work while reading it. One might say that | was trying to convey The Book as an Art Sculpture. But that is not quite correct, because one does not usually touch an art sculpture. So, once again, The Book as an Art Medium permits a genre to enter into another area that would not be permissible in any other.

This is a quarter binding of Masonic sheep and linen-like cotton cloth. The covers had to be hand-shaped without the aid of moisture to make them pliable. Otherwise the plies that make up the two-ply archival paperboard would start to separate when the glue that binds them breaks down. The top and bottom structural struts of the cover (and one hidden in the center) are four-ply boards for rigidity. The real difficulty is in molding the cover cloth to conform to the desired shape. As an artist, I know how to stretch canvas onto a frame, but this was slightly more difficult because the surface is not flat, and shaping by hand must continue until the glue has sufficiently set. The fabric glue is also water-based, which again deters using water to shape the cover. A two-inch diameter wooden rolling pin was useful for creating the curves in the two-ply board before the fabric was applied.

A gray cord rests in a thin trough at the meeting of the cloth with the leather. The book is presented in a bright orange cloth-covered clamshell box. Every facet of this design had to convey the lyrical lightness conveyed by the Concept of the Muses.

©Book Club of California

JD’A–BBC–33: Seven letters from Jane Austen

1994

__/1 binding of # 26/300 for Bromer booksellers in Boston

JD’A–BBC–34: Kubla Khan

1995

Carol Cunningham book by Coleridge __/15

JD’A–BBC–35: California book illustrator's

1996

__/1 hardcover binding of keepsake of Book Club of California

Image from A Memoir of Book Design

© Book Club of California

JD’A–BBC–36: FORT UNION IN MINIATURE

1998

by Robert Utley __/1 binding of a miniature book done for Bromer Booksellers with cover of pavéd Peruvian pyrite

JD’A–BBC–37: Max und Moritz

1998

__/1 binding of a miniature book

JD’A–BBC–38: The book of Revelation

1999

__/1, clamshell box

Image from the collection of Gary Strong

JD’A–BBC–39: The Cask of Amontillado

1999

binding of a miniature Edgar Allan Poe book

Image from A Memoir of Book Design

© Book Club of California

JD’A–BBC–40: CSA loves Francine Smith

2000

box to hold calligraphed farewell wishes, and appreciation

Image from A Memoir of Book Design

© Book Club of California

JD’A–BBC–41: Laguna Verda Imprenta

2000

three identical clamshell boxes containing pockets for publications

Image from collection of Gary Strong

JD’A–BBC–41: Laguna Verda Imprenta

2000

contents of one of the boxes

Image from collection of Gary Strong

JD’A–BBC–42: A typographical masterpiece – the engraved book plates of Eric Gill

2000

__/1 combination of two books

Image from A Memoir of Book Design

JD’A–BBC–43A: The Stone Mason of Tor House

2000

limited binding – 2000

JD’A–BBC–44–P: Hard Cover for Paperbacks prospects

2001

__/?

JD’A–BBC–44–P: Hard Cover for Paperbacks prospects

2001

__/?

JD’A–BBC–44: Hard Cover for Paperbacks

2001

__/?

JD’A–BBC–45: Dragonfly

2003

poems Carol Cunningham and Kay Ryan printed by Sunflower Press __/28

JD’A–BBC–46–Pa: A Memoir of book design prospectus 2003.

The Book Club of Calfornia is pleased 1o

invite its members to accompany Joe

D'Ambrosio along a journey through more than thirty years of book design and production. Begin with him in 1969 in Chicago in his most rudimentary state, and travel with him as guide over the years to Southern California and Arizona as the works evolve into the most innovative and unusual books ever seen. The typographical designs and the structures are incredibly new and creative, and yet the roots of a design in classical form is clearly evident. Joe writes as well as sets the type, prints letterpress, creates the original artwork, and binds each book into a unique structure so that all of the bookmaking facets come together into one total entity with all the parts dependent on each other for the total communication. This work relates the how and why of his entire body of work utilizing 92 separate entries and 173 color photos in 224 pages of text.

Joe began in Chicago in 1969, where his printing mentor was Elmore Mundell, The Compulsive Printer of Portage, Indiana—a maverick in his own right. He attended The American Academy of Art in Chicago, and The Illinois Institute of Technology.

The first to become a graphic artist and the second to become an electrical engineer. He moved to Southern California in 1979 and produced many of his greatest achievements in his workshop in Sherman Oaks, including the terrazzo design of concentric letters emanating from a central point for the rotunda of the state library annex building in Sacramento. His archives are located at the library. In 1994 he relocated from California to Arizona and maintains a studio workshop in Phoenix.

Over the years he has not only written many of his own books, but also worked with notable authors-their words and/or their actual presence.

They include Ray Bradbury, Gloria Stuart, Ward Ritchie, Charles Bukowski, and James Joyce. His many signed and numbered limited editions housed in numerous private and Institutional collections throughout the world.

This edition of his memoirs was written and designed by him especially for The Book Club of California. It reveals for the first time not only a new way of presenting a text block on the printed page, but also revives a lost pagination technique which will help those who have a problem with turning too many leaves at one time. The major portion of the type is digitized 10 pt.

Della Robbia and is printed in four-color offset along with 173 photographs by Lithotech, Inc., in Phoenix, Arizona, on Mohawk Superfine paper.

JD’A–BBC–46–Pa: A Memoir of book design prospectus 2003

Other fonts used include digitized versions of Updike's Michelangelo face (Adriano), Palatino, and Cooper Black (Antique No. 14).

The 224 pages of text with photos are Smyth-sewn into a hard-cover book composed of black cloth which covers one quarter of the front cover,

the spine, and the entire back cover, by the Cardoza-James Bindery of San Francisco. The spine of the book is rounded for easier access, and also so that the book may be successfully used as a reference work. The front cover carries a decoratively patterned paper designed by the author. It is an evolution of a design he used in

1979 when he first arrived in California. It is a repeating stylized version which hints at baby birds with their beaks straight up awaiting food from a nursing bird: nourishment not only for the body but for the soul. The cover is protected with a mylar dust jacket. The decorative endpapers are composed of a collage of various typefaces and type sizes listing many of the titled entries included within the book.

The edition is 350 copies and the price is $175.00

per copy (plus tax and shipping). Requests for second copies by Book Club of California members will be honored in order of receipt, should copies remain after all first-copy orders have been filled. This is Publication No. 216.

JD’A–BBC–46–P: Letter about A Memoir of book design reception and limited binding of April 16, 2003.

2003

This is a form letter, but even so I hope that it finds you happy and in good health.

On Monday evening, May 19, 2003, at 5pm there will be a reception at the headquarters of The Book Club of California, 312 Sutter Street, Suite 510, San Francisco, California, for the occasion of the publication of my Memoirs of Book Design 1969-2000, and an exhibition of my work which will run until July 11th. At 7pm of that same evening I will give a one hour presentation in the SPUR room at the same location.

The Book Club's publication of my Memoirs of Book Design is a 224 page hard cover edition of only 350 copies. It is printed on archival Mohawk Superfine paper and includes 173 color reproductions of most of my works. It has been Smyth-sewn and bound by Cardoza-James bindery in San Francisco. The price of the book is $175.00 plus shipping and applicable tax.

However, Book Club members receive the first opportunity to purchase copies. If copies re-main, they will be offered to nonmembers. Please let me know if you are interested in the Club's edition. I will keep you informed if you are a nonmember.

In conjunction with the Book Club's edition I am creating a separate limited edition of the same book which I am personally binding. The limited edition will consist of only twelve copies and the price is $600.00 each. It is bound in dark brown morocco-grained leather, copper, and crumpled colored papers similar to their usage in my recent work, Martha on Copper Mountain.

It is presented in a protective clam-shell box. At this writing only four copies of the special edition remain unreserved. Please let me know as soon as you can if you want to reserve a copy. Do not send money at this time. I only need to know if you want to reserve a copy. Each binding takes three weeks to complete.joe

JD’A–BBC–46–Pc: Card about A Memoir of book design meet the author and slide show May 19, 2003 at BCC.

A Memoir of Book Design

1969-2000

by Joe D'Ambrosio

A new Book Club of California publication.

Meet the author and hear his talk to coincide with the opening of an exhibition of his work at the Club,

312 Sutter Street, Suite 510, San Francisco, California.

Monday, May 19, 2003

5pm - slide lecture at 7pm/SPUR Room

The exhibition will be on display until Friday, July 11, 2003.

This postcard was produced as a combination of ink jet and letterpress printing by Joe DAmbrosio

JD’A–BBC–46–Pd: A Memoir of book design limited number left, 2003.

A MEMOIR OF BOOK DESIGN

by Joe D' Ambrosio

A few copies of the edition remain and are now available to non-members. California residents please add appropriate sales tax. Please add $6.50 shipping for each copy. Checks may be made payable to The Book Club of California.

The Book Club of California

312 Sutter Street, Suite 510

San Francisco, CA 94108-4320

Telephone: (415) 781-7532

or toll free: (800) 869-7656

Fax (415) 781-7537

JD’A–BBC–46: A Memoir of Book Design binding 1/12 – 2003

From collection of the Book Club of California

From the collection of Gary Strong

Courtesy of the California History Room, California State Library, Sacramento, California

Dear Gary,

This is to let you know that work has begun on copy number nine of the twelve copy special edition of A Memoir of Book Design. It takes three weeks to put one together. So, in about three weeks you may expect delivery. Per our prearrangement, no invoice will accompany it. But, for your archival data, the publication price is $600. One book dealer who has reserved copies is charging $950—and getting it! The special edition is totally reserved at this time.

Happily, I have received many wonderful comments about the book. Sadly, I have received one negative comment and that was from someone whom I only mentioned once in the book and he thought I should have mentioned him at least two more times in conjunction with two other books. I shudder to think of the many, many, others whom I did not mention at all. But, maybe therein is fodder for another book-only kidding!!!

Best to all in Sacramento.

Sincerely, Joe

Courtesy of the California History Room, California State Library, Sacramento, California

JD’A–BBC–50B: The Dawson 80, special binding – 2007

Box

Book

Inside front flap, tied with ribbon

Images from collection of Gary Strong

colophon

Inside back flap, tied with ribbon

Inside front flap, tied with ribbon

Images from collection of Gary Strong

Flyleaf signed by D'Ambrosio '08

Inside back flap, tied with ribbon

Images from collection of Gary Strong

Inside back flap, tied with ribbon

Images from collection of Gary Strong

Inside back flap, tied with ribbon

back of box

Inside back flap, tied with ribbon

back of box

Images from collection of Gary Strong

Joe D’Ambrosio Books, Bindings and Cases

JD’A–BBC–1: MASKS

JD’A–BBC–2: Venus Explor’d

JD’A–BBC–3: THE FIRST EMPEROR OF CHINA

JD’A–BBC–4: FROM AN ISLAND IN TIME

JD’A–BBC–5: LAND OF THE INCAS

JD’A–BBC–6: SIMONOFF THE LEARNED CAT

JD’A–BBC–7: Lyn & Ace Norton

JD’A–BBC–8: Youthful Recreations

JD’A–BBC–9: Art Deco Ward Richie

JD’A–BBC–10: BEWARE THE IDES OF MARCH

JD’A–BBC–11: Shanghai

JD’A–BBC–12: Laguna Verde

JD’A–BBC–12: Laguna Verde

JD’A–BBC–13: THE INSCRIPTIONS AT TOR HOUSE AND HAWK TOWER

JD’A–BBC–14: Landacre & Quince

JD’A–BBC–15: Landacre & Quince

JD’A–BBC–16: Mr. Whistler's 10 o’clock

JD’A–BBC–17: OF BOOKMEN & PRINTERS

JD’A–BBC–18: Dance Circle

JD’A–BBC–19: Printing Poetry

JD’A–BBC–20: A Late offering of Quince box __/1 1990

JD’A–BBC–21: A Tribute to Stewart Davis

JD’A–BBC–22: VARIATIONS AND QUOTATIONS

JD’A–BBC–23: EVE/VENUS

JD’A–BBC–24: Herakleitos (Heraltus)

JD’A–BBC–25: The Perfect Blind

JD’A–BBC–26: Untitled artist book construction done for the Pasadena Armory exhibition

JD’A–BBC–27: Waynesburg, Ohio

JD’A–BBC–27: Waynesburg, Ohio

JD’A–BBC–27: Waynesburg, Ohio

JD’A–BBC–28: Les Grande Merveilles D’Amour

Les grandes Merveilles d'Amour

JD’A–BBC–29: David Hockney Orange clam-shell boxes –1993

JD’A–BBC–30: Land of Fact

JD’A–BBC–31: Predators in my Garden — 1993

JD’A–BBC–32: Muses — 1994

JD’A–BBC–33: Seven letters from Jane Austen

JD’A–BBC–34: Kubla Khan

JD’A–BBC–35: California book illustrator's

JD’A–BBC–36: FORT UNION IN MINIATURE

JD’A–BBC–37: Max und Moritz

JD’A–BBC–38: The book of Revelation

JD’A–BBC–39: The Cask of Amontillado

JD’A–BBC–40: CSA loves Francine Smith

JD’A–BBC–41: Laguna Verda Imprenta

JD’A–BBC–41: Laguna Verda Imprenta

JD’A–BBC–42: A typographical masterpiece – the engraved book plates of Eric Gill

JD’A–BBC–43A: The Stone Mason of Tor House

JD’A–BBC–43B: The Stone Mason of Tor House – 2007

Clam-shell Box

Book

Book spine

Book spine

title page

endpaper with D'Ambrosio signature '07

Book spine

endpaper with D'Ambrosio signature '07

endpaper with D'Ambrosio signature '07

endpaper with D'Ambrosio signature '07

JD’A–BBC–44–P: Hard Cover for Paperbacks prospects

JD’A–BBC–44–P: Hard Cover for Paperbacks prospects

JD’A–BBC–44: Hard Cover for Paperbacks

JD’A–BBC–45: Dragonfly

JD’A–BBC–46–Pa: A Memoir of book design prospectus 2003.

JD’A–BBC–46–Pa: A Memoir of book design prospectus 2003

JD’A–BBC–46–P: Letter about A Memoir of book design reception and limited binding of April 16, 2003.

JD’A–BBC–46–Pc: Card about A Memoir of book design meet the author and slide show May 19, 2003 at BCC.

JD’A–BBC–46–Pd: A Memoir of book design limited number left, 2003.

JD’A–BBC–46: A Memoir of Book Design binding 1/12 – 2003

JD’A–BBC–47: Artists Books Review #1

JD’A–BBC–48: Adventures of Huckleberry Finn

JD’A–BBC–48: Adventures of Huckleberry Finn

JD’A–BBC–49: Artists Books Review clam shell box #2

JD’A–BBC–50A: The Dawson 80

JD’A–BBC–50B: The Dawson 80, special binding – 2007

Box

Book

Inside front flap, tied with ribbon

Inside front flap, tied with ribbon