BOOK MARKS is an imaginative journey through artist Barbara Page's reading history, interwoven with memories prompted by the hundreds of titles depicted. At the heart of the book are over 430 artworks on repurposed library checkout cards, part of an ongoing art project housed in an antique two-drawer library case. Each richly illustrated "book mark" represents a title that has left an imprint on Page's life. Arranged chronologically in the order the books were read, the sections of plates correspond to the stages of her life undertaken in the individual chapters-child, young housewife, pilot, artist, widow, and traveler. The added layer of the author's personal history-sometimes whimsical, often fragmented-illuminates how the "mark" left by a book is anchored not only to its contents, but also to the memories associated with it, whether a hike guided by Alfred Wainright through England's Nannycatch Valley or a drive to Boston listening to Tuesdays with Morrie. A bibliophile's delight that will touch and inspire readers of any genre! Includes a complete bibliographic list of 434 titles-fiction, science, art, gardening, travel, history, biography, aviation, ecology, children's literature, and more-plus trivia on their publishing history; author and title indices for easy cross reference; and bound with two ribbon bookmarks, so readers can simultaneously mark their place in the plate section and corresponding page in the chapter.

Two tiny trilobites in a vast Cambrian ocean drift past sea cucumber parasols and a shaggy, tree-like sponge. Snail tracks loop enigmatically against brushed-gray Silurian slate, and ghostly white crinoids feather a Devonian seascape. A delicate pterosaur flies bravely into the Jurassic gloom, while a Tyrannosaurus rex so big that its teeth fill our field of vision stalks the deep orange sands that mark the end of the Cretaceous period. These are just a few scenes from the magnificent drama that unfolds in glorious full color and three-dimensional texture in Rock of Ages, Sands of Time. Each of Barbara Page's 544 contiguous painted panels represents a million years of the history of life on earth, with fossil plants and animals depicted at the same scale and in association with each other just as they might be found by a paleontologist in the field. A muted rainbow of background colors evoke the rocks in which the fossils were found—the Texas Red Beds, for instance, or the yellow Solnhofen limestone—and keystone events are shown metaphorically, with fat rolls of paint marking major extinctions or continental drift. To fully experience the awesome impact of an eon's worth of time spread across 500 feet of bas-relief panels, you'd have to visit the Museum of the Earth in Ithaca, New York, where Page's specially commissioned work will be installed when the museum opens in 2002. But this book is the next best thing. Not only does it contain crisp color reproductions of each painting, but it also includes an accessible essay from paleontologist Warren Allmon giving the scientific context behind the art. For fossil lovers of all ages, and anyone interested in the merging of art and science, Rock of Ages, Sands of Time will be the find of a lifetime.

The blogger behind forgottenbookmarks.com shares the unexpected keepsakes he's discovered between the pages of the books sold in his family's used book store, including photos, ticket stubs, old recipes, notes, valentines and unmailed letters. 40,000 first printing.

Colorful collection of bookmarks embellished with famous fairy tale and nursery rhyme illustrations will add joy to any youngster’s reading experience. 30 full-color bookmarks.

This book presents 123 calling cards of artists (painters, sculptors, photographers, architects, graphic designers, illustrators etc.) from the 18th century to the present day. The facsimiled cards are slipped like bookmarks into a book by several authors on the history of the use of calling cards, the social context in which they were produced, and related historical and fictional narratives. The often unexpected graphic qualities of these personalized objects, each designed to capture an individual identity within the narrow confines of a tiny rectangle card, implicitly recount a history of taste and typographic codes in the West. But this calling card collection also lays the foundations for a microhistory of art, inspired by the Italian microstoria, or a looser narrative that breaks free from geographic contexts and historical periods. We can imagine how social networks were formed before the advent of Facebook, and how artists defined themselves in the social sphere, whether they were students or teachers, dean of the art school or museum curator, founder of a journal, firm, restaurant or political party, and so on. Superimposed on this imaginary or idealized network formed by chance encounters is a living network of students of art or history, historians or anthropologists, librarians, archivists, gallerists, museum curators and artists themselves, the network upon which this pocket museum is constructed. The sheer variety of perspectives and stories brought together here makes this book a prodigious forum for discussion. (source : éditeur).