Thoughtful, Well-Crafted Miniature Books

Marshes of Glynn 2

Aredian Press Publications

All books designed and created by me. While miniature book editions are the primary output for Aredian Press, I also create one-of-a-kind and larger format books. Please contact me for price and availability.

The Little Small Red Hen

Author unknown, illustrations by Johnny Gruelle

An industrious hen outwits a cunning fox, saving herself from the cooking pot with the clever use of a scissors and a stone.  This edition features eight watercolors and nine black & white illustrations by Johnny Gruelle.  The binder/ publisher has hand colored the half-title and title illustrations. Text is digitally printed in 7 pt Centaur on Mohawk Superfine paper. 

Presentation is within a tan and brown checked sack with hand embroidered “red hen” scrim patch and a second floral patch indicating the cover material of the book inside.  The book is a sewn codex with fabric-covered boards, hand-embroidered leather spine, and paper and/or fabric end sheets Binder created the book cloths and end bands for the edition; embroidered features are also her work.  A ribbon bookmark features a tiny scissors charm.  

Dimensions: 2 3/4″ square.  70 pages.      Edition of 10.

Each copy of the edition is bound with a different combination of patterned fabric, spine leather, and endsheet material and treatment.

The Worsted Monster

Text and illustrations by Edward Gorey First EditionDesign binding

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WORSTED PROLOGUE_0965_resize - Copy

Gorey’s play has been created as a star book capturing each of the play’s scenes. Built into the binding are
two slipcases: one holds the play text and the other a portfolio approximating the format of the original
printing in National Lampoon. Opening the enclosure, the viewer lifts the hand‐knitted wool sleeve out of the
box using a wool sock.

Dimensions: 3″ square x 1 1/4″, folding out to 24″ (book) ; 4 3/4″ square x 3 1/4″ high (enclosure). Materials: Mohawk Superfine paper, Epson Enhanced Matte paper, Mulberry paper, nonpareil‐patterned
miniature marble paper, laval, three different bonded leathers, and wool. Edition lettered A to Z (26 copies) for sale with three out‐of‐series nfs. Sleeves were knitted especially for
this project and coordinate with socks; colors vary over the edition.

Orders taken with deposit.   Please contact me at

Miniature Book Society

Distinguished Book Award, 2019

The Mourning Fan

Text and illustrations by Edward Gorey First Edition Design binding


Edward Gorey’s long awaited The Mourning Fan has been created as a fan-shaped miniature book!

With ink-colored velvet book cloth and hand-beaded Venice lace over boards,  the book rests in an enclosure covered with black Harmatan goatskin and black lokta handprinted with vintage Indian woodblocks. The box lid is foil-stamped with title art resembling a 19th century decorative book cover, created by me especially for this project.  The modified clamshell’s interior is lined with black duchess silk, black moire book cloth, Venice lace and a wooly mammoth ivory medallion.  The styling as a memento mori is my tribute to the delightful, prolific author and illustrator.

A particularly wordy work for Gorey, the poem consists of thirty quatrains, each accompanied by a fan-shaped illustration. Letterpress printed on Mohawk Superfine text weight paper, the 8 pt Perpetua text curves against the arc of the page.

Dimensions: 2 1/4″ high and wide (book); 4 1/4″ square x 2 1/4″ high (enclosure).

Edition lettered A to Z (26 copies) for sale with three out-of-series nfs.

Orders taken with deposit. Please contact me at


lil tree

by ee cummings

Lil Tree with its red and green print on Indian cotton rag paper covering shaped boards, resembles a tiny gift-wrapped package.  Sliding the horizontal ‘ribbon’ bandoff, the book opens to a pop-up Christmas tree and a very tiny book of cummings’ charming poem.Printed in 6.5 Verdana on heavy bond paper. Overall dimensions:  3″  x 2″. Poem dimensions: 1/2″ x 1 1/2″. From an edition of ten with two out-of-series.


Ethical Setting

Text by John Dos PassosThis quote, from a collection of Dos Passos essays entitled The Theme is Freedom, represents a commentary on current times. With black and silver cobweb-patterned lace overlaid atop black paper-covered boards, the text appears on a accordian layout, decorated with spider webs in various colored inks. Printed on translucent vellum and Nenah Classic Stipple.  The quote text is 20 pt Chiller; other text is 9 pt Garamond.  Dimensions:  2 1/4″  square. An edition of ten with two out-of-series was created.

Miniature Book Society

Distinguished Book Award, 2018

The Marshes of Glynn

by Sidney Lanier

The Marshes of Glynn is a long poem about the Golden Isles off the coast of Georgia. The book contains the poem itself, a short biography of the author, Sidney Lanier, and a US postage stamp issued to honor him.

This moveable book is constructed in three sections: the poem, in a perfect-bound matchbook style, the bio/stamp in a trifold within its own covers, and the central accordion tunnel comprised of vintage postcard images of the Glynn marshes. A band of natural straw slips off to open the volume.

Digitally printed in 8 pt Poor Richard on pale blue ribbed vellum paper in brown, green, and blue inks. All interior cover papers are layered unryu. The outer paper covers were painted with ink and watercolor by the binder/ publisher and each is unique. Dimensions: 2 3/4″ x 3″, closed. An edition of ten, with two out-of-series, was issued.



A one-of- kind piece, Elemental is comprised of an explosion box covered in a large scale marbled paper from India. Its bright colors are echoed in the covers of the four removable miniature books within, each featuring hand-lettered quotations associated with its respective classical element: fire, water, earth, or air. Underlays are used to convey the respective elemental symbol for each paper-covered book. The taupe-colored bookcloth spines have been marked with gold ink to reflect the gold of the marbled box exterior. Interior text calligraphy is also multi-colored. A wax-resist painted paper of orange with yellow dots appears as endsheets for all four miniature books and the box lid lining.

The Tell-Tale Heart

by Edgar Allan Poe

This Edgar Allan Poe title gets a cheeky treatment. Digitally printed in 7 pt Centaur on Neenah Southworth, the edition is bound in red goatskin, features a tooled electrocardiogram across the covers, and rests in a paper and goat skin-covered box, complete with beating heart. Sitting on four inset feet, the box appears to float. From an edition of five. SOLD OUT

Hinky Haiku

Text by Patrice & Chris Miller

Overwrought by grade-schoolers and wanna-be poets, the haiku has been abused unintentionally for far too long. First attempted to distract themselves during an excruciating flight, the authors acknowledge that the haiku in its purest expression is both lyrical and majestic. These are neither, but offer commentary on modern life.

Printed in 9 pt Tempus Sans ITC on mulberry paper.  Two black and gold chiyogami papers are cover papers; its traditional stab binding was accomplished with gold metallic thread.  Dimensions: 2 1/4″ x 3″. An edition of twenty is planned.


Text by Patrice Miller

Perhaps your shopping list is not so private. RNDM TXT is an exploration of personal information made public.

Letter-pressed by Small Fires Press of New Orleans on Crane Lettra in 6 pt Calibri. Endsheets of chiyogami with a vintage green and white floral pattern.  The book is case bound in black alligator- patterned goat skin, much like an old-fashioned pocket address book.  The enclosure is styled as a smart phone encased, with the  title foil stamped on a shimmering paper.  Dimensions: 2 15/16″ x 2″ without case. An edition of twenty books is planned.

The Chinese Zodiac

Art by Terri ThomanText by Patrice Miller

The Chinese Zodiac reproduces at reduced scale printmaker Terri Thoman’s series. The book and its enclosure designs were inspired by the artist’s east-meets-west approach to the subject matter. Created as a star binding with exposed stitch spine, the prints are showcased in a gallery format. Together with its accordion-folded text ‘wings’, the overall presentation is meant to subtly evoke a Chinese parade dragon or fireworks.

Text printed in 7 pt Candara and display in Lucinda Handright on  Epson watercolor. Book also features Indian rag-painted, Lama Li Lokta, and Shinriku papers along with slubbed silk book cloth are employed. Dimensions without cover: 2 3/4″ x 2 3/8″. An edition of ten was created. SOLD OUT

Edward Gorey Rebinding Project

Fascinated with the works of Edward Gorey since high school, my binding efforts led me to embark on the challenge of rebinding (or binding) all 100+ titles authored by him, with the occasional distraction of books featuring his illustrations only. The “Edward Gorey Binding Project,” I expect, will take me another five years to complete.  A selection of the books have been displayed at the Edward Gorey House, Yarmouth Port, Massachusetts. As part of my own Gorey collection, these books are not for sale, but have served as models for subsequent projects. Please see “Rebindings for Sale” for information about my small editions for purchase. 

The Unknown Vegetable

The Unknown Vegetable by Edward Gorey was published in 1995 as a single signature, staple bound. For the story of an autonomous vengeful vegetable and its victim, I created a structure that reflects the titular vegetable and Gorey’s Gothic whimsy. The exuberant treatment employs a variety of papers with momigami, collage, painting and embroidery for this book-within-a book. The structure, when removed from its case, unfurls its ‘pages’ to reveal the text nestled at the center of the leafy accordion.  When open, tip to tip of leaf extends nearly 48 inches. Created (and selected) in 2021 for  entry in the Guild of Book Workers Triennial Exhibition  “Wild/Life”, it is one of a kind. 

The Eclectic Abecedarium

This flag book features the Gorey text and illustrations cut from an Edward Gorey House poster. The text was mounted to red, blue, or green textured cardstock, which, in turn, was affixed to a red lotka-backed accordion. Black background yuzen paper with dots of bright blue, red, and green covered the boards. After this book was created, an edition of three (nfs) was made in a smaller version, using predominately the same materials.

The Wuggly Ump

Pastel cardstocks that recreated the original book’s palette were chosen for this accordion/stub binding with paper wrapped, non-adhered covers and a pale aqua ribbon tie closure. The edition of three copies (nfs) includes a pop-up depicting the children’s fate at the end of the story.

The Curious Sofa

Sumptuous in tufted red cotton velvet with covered buttons. The title appears on a silver foil-stamped spine of black Italian book cloth.  A near miniature version of  the rebinding  (not pictured) was made as an edition of four (nfs). Red velvet paper was substituted for the covers; the other materials are the same.

The Hapless Child

In honor of Gorey’s dedicatee, Violet ‘Bunny’ Lang, the flat-back binding’s front and back covers are a predominately purple yuzen floral, with a foil-stamped title on the goatskin spine. Endpapers are a screen-printed Indian cotton paper featuring a modern, post-war-reminiscent motif, a nod to the era of their friendship. The book’s enclosure is a clamshell box of blue faux suede, the same floral, and an interior lining of lavender mulberry paper. The styling of this rebinding was replicated at less than three inches square; three copies (nfs) were made using the same material palette.

The Arsenical Bun

Never before printed as a stand-alone work, this edition of four (nfs) includes the title, text, and colophon in a six-paneled page, with Gorey’s illustration on the opposite side. The folded piece is kept closed with a green ribbon band. The title is affixed to a paper ‘bun’ on the ribbon.

The Epiplectic Bicycle

Green Thai alligator patterned textured paper and moss green goat skin, distressed and painted, comprise the back and front covers. Endpapers were designed by the binder and printed on Cougar text.

The Insect God

Millicent Frawley’s sacrifice is memorialized in black lokta overlaid with pale green web-like ogura lace paper on the exterior.
The interior features a beautifully creepy marbled paper by Catherine Levine.

The Evil Garden

Clover sun-washed print is featured on the exterior of this rebinding, while the interior employs a green and grey swirl patterned marble paper by Catherine Levine.

The Osbick Bird

Covered in a bright yellow-green calfskin, the leather was sanded, distressed, and dyed with blue inks and features blue and green feathers from the binder’s Quaker parrot, Django. A green and blue hand-marbled paper by Catherine Levine is used for the endsheets.

The Other Statue

For this binding, a “hand” pattern of blues and tans, visible in a marbled paper by Catherine Levine, evokes the title. Painted and distressed goatskin is used at the spine area. Endsheets are a heavy, watery blue lotka.

The Twelve Terrors of Christmas

Although not on the “A” list, the book, authored by John Updike and illustrated by Gorey, proved irresistible for a new binding treatment. Silk-screened Indian cotton rag papers were used for the cover and endsheets. The cover features red and green goatskin overlays depicting a Gorey holly sprig.

The Glorious Nosebleed

Sheer paper imbedded with irregular black yarn circles overlays almost metallic reddish-pink covers. A mottlled paint-spattered background paper is employed for the endsheets.

The Unstrung Harp

Gorey’s first book gets an unexpected treatment, with vintage gold brocade bookcloth covers topped with an overlay of burgundy goat, hand cut to resemble the concert hall drapery of the original cover image. With matching burgundy leather hinges, the interior features endsheets of charcoal grey rag paper printed with gold, silver and burgundy geometric shapes – a very 50s look to salute the 1953 publication of the original.

The Lavender Leotard

With the Gotham Book Mart softcover’s staples  removed, The Lavender Leotard’s text block was left in tact by sewing with linen thread and creating a new sewn board binding.  Now encased in hardcovers, the book features a painted book cloth spine and purple lotka over boards.

Edward Gorey Rebindings for Sale

For prices and availability of the bindings listed below, please email Kim Herrick at The Book Lair: To find current listings, search for ‘Patrice Miller’ at the Book Lair site,

The Curious Sofa

Rebindings of the first printing of the 1980 Dodd, Mead first hardback edition of Gorey’s 1963 book. The front cover is of a sumptuous red cotton velvet with covered buttons, while the back cover is of a red ivy patterned lokta,  Endsheets are a black and white silkscreen-printed lotka, or an Indian cotton red, gold, and black paper. An edition of five was created. SOLD OUT

The Iron Tonic

Rebindings of the first printing of the Harcourt edition, the work has been recast in a Braedel binding with black goatskin at the spine and with black suede ‘branches’ on covers adjacent to the spine, Nepalese silkscreen paper covers, and poison label endsheets. An edition of five was completed.  SOLD OUT

The Lavender Leotard

Modifying the design of my original rebinding, this treatment features the 2007 Ballet Review edition. The original covers are left intact, with only the softcover’s staples  removed.  An enhanced sewn board binding is employed, and the new boards are covered in a dark blue printed pattern on purple lokta.