The Fool’s Journey, 2009, is a book of twenty-three etchings of the major arcana of the traditional tarot deck. Modeled on Renaissance cosmography, the book is a visual portrayal of a philosophical world-view, each card presenting a universal archetype of human experience and a parallel, symbolic element or quality of the physical world. The title page, colophon, and titles for each card were hand lettered by Tamara Stoneburner of Gracestone Calligraphics. The paper is handmade feather deckle paper from Papéterie St Armand in Montréal enclosed in a soft enclosure created by Sarah Creighton in an edition of eighteen.
Pierrot Lunaire, 2007, is a folio of twenty-one images from the dark, caustic, and poignant 1912 song cycle Pierrot Lunaire by Arnold Schoenberg. The etchings by Brian D. Cohen are printed twice on each page—in intaglio and relief, a visual analogy to the sudden and startling reversals of emotional tone from tenderness to despair in the music. The poem is printed in its original French in Bembo italic; in the German of Schoenberg’s song cycle in Gill Sans Light; and in a new English translation by Brian D. Cohen set in Monotype Bembo. The text was cast, set, and printed by Dan Carr and Julia Ferrari of Golgonooza Letter Foundry. The folio is housed in a decorated aluminum box, and is accompanied by a compact disc recording of a July 2003 performance of the song cycle at the Yellow Barn Music Festival for which the artist created the images. Pierrot Lunaire is published in an edition of twenty-one copies.
Winterreise, 2000, is inspired by Franz Schubert’s setting of Wilhelm Muller’s poignant poem. The book consists of twenty etchings, each associated with a song from Schubert’s cycle, which illuminate a traveler’s desolate view of the winter landscape. Holiday McNeil translated Muller’s poetry into English. Included with each book is a CD of the song cycle performed by Dietrich Fisher-Dieskau accompanied by pianist Jorg Demus. The book is available in an edition of fifteen in a binding created by Linda Lembke.
The Zeppelin Book, 1999, is a folio of ten etchings of a zeppelin in its travels around the world and close to home. The etchings are housed in a silver folio box with a built-in display easel. The title page is printed in ornamental German wood type from the turn of the (last) century. The folio is printed on Magnani Pescia in an edition of 10.
Vedute Italiane, 1997, is a small folio of sixteen etchings by Brian D. Cohen and a reflective prose piece on the redolent associations and pleasures of Italy by Sharon Krauss. The book focuses on an abandoned abbey in Tuscany that becomes the center of the artist’s and writer’s loving depiction of the Italian countryside. The type is Centaur, printed on Magnani Pescia and bound in an intimate enclosure by Linda Lembke in an edition of 15.
What the Animals Teach Us, 1995, is a book of twenty-six etchings of animals by Brian D. Cohen with a poem by Chard deNiord. The poem reminds us of what we know about ourselves from looking at the animal world and the etching depict the adaptive variety and character of form of animate creation. The type is hand-set Jansen, and was printed on Frankfurt paper. What the Animals Teach Us was bound by Linda Lembke in an edition of twenty-five.
Train, 1994, is a suite of ten etchings of steam locomotives by Brian D. Cohen with a poem by Chard deNiord. The etchings and poem evoke the power, movement, and mass of these machines and their primacy in the American landscape. Each 18" x 24" image is rich in texture and contrast. The title page is printed from antique wood type and the poem is hand-set in Stymie bold and printed on Magnani Pescia. The lid of each box for the volume holds a canceled plate from the suite. Train is bound in an edition of ten folios designed by Linda Lembke, each measuring 24" x 30" x 2".
Flower, 1993, is a book of five hand-colored mezzotints of flowering plants accompanied by the poem The Flower by Chard deNiord. The prints lyrically reveal the grace of shape, the mystery, and the seductiveness of flowers. The plates combine the techniques of mezzotint with the pentimento of photo-engravings of Rembrandt paintings. Each of the seven pages is placed individually in an exquisite gold silk-covered enclosure by Linda Lembke. Flower is published in an edition of ten.
Town, 1993, is a fold-book of ten hand-colored etchings by Brian D. Cohen of principal monuments and views which marked life and labor in a 19th-century New England town. The twelve-page text of Town consists of excerpts from postcard correspondence from the first decade of this century, and is hand lettered on Lana Gravure by Helen Merena. The volume is elegantly bound in an edition of twenty by Linda Lembke.
Bridge, 1992, a suite of fifteen etchings of bridges by Brian D. Cohen. The etchings depict the relationship of these structures to the land joined and space traversed by the bridge. The series underscores the architectural tension of the geometry of the picture plane, of the natural setting and of the structure of the bridge. The etchings are printed on full sheets of Magnani Pescia, and the title page was printed letterpress with 19th C. wood type. Linda Lembke designed and built the folio which measures 22" x 30". Bridge is available in an edition of ten folios.
Inferno, 1990, folio of thirteen etchings by Brian D. Cohen and thirteen poems by Chard deNiord based on the Inferno of Dante. The etchings evoke vivid landscapes, a labyrinth of spaces without time, and the poems reveal moral and emotional states suggested by the landscape. The densely textured etchings use a great variety of printing techniques--chine colle, multiple plates, a la poupee printing, and double printing. The seventeen pages of text are set in Caslon 514 and are printed offset. The clamshell folio, which measures 20" x 25" x 3", was bound by Linda Lembke in black cloth and blind stamped with the title. Inferno was printed in an edition of ten.
Begun near the time that Brian D. Cohen and his wife, Holiday Eames, learned they were expecting a child, The Bird Book is a children’s alphabet book of twenty-six hand-colored relief etchings of birds by Cohen with a rhyming couplet written by Eames on each page. The bird’s name corresponds with a letter of the alphabet, shown in both uppercase and lowercase. The book is bound with hand-rubbed bird’s-eye maple boards by Linda Lembke in an edition of twenty-six (A through Z). The text is hand-set Golgonooza Letter Foundry in DeVinne wood and metal type and printed on Somerset Satin paper. The book won the "Best Book in Show" award at the 2006 Pyramid Atlantic Book Arts Fair and was recently on display at the Brattleboro Art Museum and the Fairbanks Museum and Planetarium in Vermont.