• Walter Samuel Haatoum Hamady
    Post-Bastille Series No. 8
    antique 5 x7 sheet film carriers; crate wood (thinned by Arvid Berge at Workbench Tool, $1.25 per minute); small cedar frame confected by Paul Douglas; glas lantern slide; portrait game card; ‘Gray’s Anatomy’ and steel-engraved eye from a forgotten luminary; Japanese paper tape archivally unstable; printer’s reglet as shim; felt-ended organ-part; Japanese WWII camera back with original decal of appropriate film from David McClimans (traded); black zodiac wolf from the ‘Metal People’ (purchased); hold down roller from business machine; number shadower from old Burroughs adding machine from Lane Hall; ordinary brass hinge
    9 x 12 1/2 x 1 inches

  • Walter Samuel Haatoum Hamady
    Post-Bastille Series No. 10 “Irrational Crisis of Frog and Ball”
    sectioned cigar box with four old hinges out of the Story pump organ from Robert Runser; rough-sawn backing board from 19th c. picture frames; flower vase frog; spice ball from artist’s kitchen; collaged steel-engraved eyes; cedar fillet by Paul Douglas; manufactuer’s plate from lantern-slide projector; weathered painted metal from back of advertising thermometer, c. early 1930s; flocking by artist; small screws American made
    8 1/2 x 13 1/2 x 1 1/2 inches

  • Walter Samuel Haatoum Hamady
    Post-Bastille Series No.12 “The Focus of Solipsistic Desire” (Walter and his ubiquitous cutting die)
    disparate cigar boxes, one sectioned and flocked; some sort of printer’s compartmentalized box (use unknown); doll house folding chair seat from Paul Douglas; pre-WWI postcards die-cut with artist’s profile (ubiquitous); Austrian playing card from 19th c. (bought of Walter Schatzki on 57th Street in 1960); light meter scale; steel-engraved eye; foundry mould piece from Beloit Corp.; inverted heart from (Traité, d’Anatomie Humaine, 1889) recycled from ‘Prototype for the Diptychial Romance Series’ pre-2005; grooved crate wood; small screws and painted washers; brass hinges, fairly old
    9 x 11 1/2 x 1 1/4 inches

  • Walter Samuel Haatoum Hamady
    Post-Bastille Day Series No.15 “Be Prepared”
    two disparate cigar boxes, one sectioned; battery gauge lense from Depression Era American truck; Italian ex voto of women’s breasts from Joe Wilfer; Boy Scout pin admonishing youth (male) to ‘Be Prepared’ for women’s breasts; engraved eyes; geologic map detail configuring artist’s mechanic genius friend Harry the renowned Phoenix; old camera innard; brass hinge of no particular provenance; printer’s reglet; small screws from Hazlet; German Bezirk ticket (?); slim red remnant from Beloit Corp. Foundry; disparate digar box lids modified
    7 1/2 x 10 x 1 3/4 inches

  • Walter Samuel Haatoum Hamady
    Extrapolation 09/1 / a provisional formulation of part of the definition
    puros Indios cigar box, die-cut pre-WWI postcard (artist’s profile) with tags, camera innards,
    baggage tag, lithoed tin Folger’s (retrieved siding of Mississippi shack), halved protractor,
    spiraled dowel from Story pump organ, Plexiglas, German 2 mark note WWII?,
    attempted copy of NS Transitional Box #45 (2005).
    10 x 13 1/2 x 3 inches

  • Walter Samuel Haatoum Hamady
    (extrapolation) / ball bearing JG6
    old stressed “western shape” cigar box, bicycle license plate spliced, wooden pencil lead tube,
    old hinges, smaller cigarillo box, steel corners from monotype mat box, printers reglet,
    part of ball bearing foundry mold from Beloit, treble coupler stop from Story pump organ trades from
    Robert Runser, small cedar frame made by Paul Douglas, gessoed and inked 11 point unmounted
    printing plate (Grey’s Anatomy), steel engraved eyes, metal schnibbles from various sources.
    9 x 12 3/4 x 1 inches

  • Walter Samuel Haatoum Hamady
    Post-Bastille Series No.14 “French Eye/ing Bald Blue Scot”
    Cohiba cigar box flocked; unknown antique cigar box sectioned; cedar fillet holding mortised cloak-room board by Paul Douglas; recycled collage fragment; brass strip from anqiue Edwin Amies papermaking mould (from J. Barcham Green); red-rusted metal strip as per P.B.S. No. 13; slide of Beloit Corp. Foundry mould; red-felt-ended piece from famous (by Now) Storey Organ; all sitting atop of a narrow drawer from anqiue lap-desk; scarifications in and un intentioned
    9 x 10 x 2 inches

  • Walter Samuel Haatoum Hamady
    Extrapolation 128/12 “...nothing is an artwork without an interpretation...”
    Perdomo cigar box; recycled Hamady collage fragment c. 1980s; camera innards; cutting die of artist’s portrait (profile) (unused, reversed); lid from Railway Express Agency Fresh Eggs crate with original ‘perishable’ label; shaft from Storey pump organ from R. Runser, brass piano hinge, slices oak wood felled on this farm
    9 1/2 x 14 1/4 x 2 1/4 inches

  • Walter Samuel Haatoum Hamady
    Extrapolation 128/11 “...a parochial consideration into a universal condition...”
    Furnkle Creek Ranch dates box (bottom modified) Death Valley, California; steel hinge from small parts; revealed collage fragment, c.1980s; marbled paper by Norma Rubovitt; USDA tag; pre-WWI postcard; steel-engraved eye; backside of cutting die; wine crate wood ripped for fillet; small wood screws; drill chuck burns
    10 x 11 3/4 x 1 3/4 inches

  • Walter Samuel Haatoum Hamady
    NS No. 14 / the difference for there to be a difference
    cigar box of former box No. 194 (destroyed), Cutty Sark whiskey case wood, condenser lens from
    projector camera innards, 1/2 portable cribbage board from Ruth Evans Brinker, British military pins,
    mapping symbols template, piano hinge, toolbox corner guard, lead foil, tin can lid, tin box snippets.
    8 x 15 3/4 x 1 inches

  • Walter Samuel Haatoum Hamady
    NS #18 / extruding the objects it applies to from the rear
    oliveros cigar box, s.s. piano hinge from small parts, ginger ale crate wood, ex voto of ear (Italian from
    Amos Kennedy Jr.), wax cake, Ukrainian Easter egg wax application tool (kistka), ear wax extraction tool
    (both from artist’s mother, Ruth Evans Brinker, M.D.), mould board, camera innards, metal strapping band dowels.
    10 1/4 x 15 x 1 inches (open)

  • Walter Samuel Haatoum Hamady
    Box 180 / clearly mental/modal contexts
    corona natural cigar box, Queen egg incubator piece from Scotty Beat at Mt. Horeb Ace Hardware,
    ex voto of back from Walter Feldman, camera parts from Cy Burns, wood type corner pieces,
    brass number tacks, German postal sticker, matrix board, drilled Plexiglas, drill bit,
    brass screws, escutcheon pins, pencil.
    9 3/4 x 12 5/8 x 1 3/4 inches

  • Walter Samuel Haatoum Hamady
    A Timeline of Sorts (First Segmen 1963–72)
    handmade, hand-printed book, with twenty illustrations by seven artists
    10 7/16 x 7 1/8 x 5/8 inches

  • Walter Samuel Haatoum Hamady
    Hunkering, the last Gabberjabaugmented by Henrik Drescher, Patrick JB Flynn, David McLimans, Peter Sis, William Stafford and John Wilde)
    handmade, hand-printed book
    10 1/4 x 7 1/8 inches

  • Walter Samuel Haatoum Hamady
    Nullity(Kenneth Bernard, illustrated by diagrams and admission of structure)
    handmade, hand-printed book
    11 x 7 x 1/4 inches

  • Walter Samuel Haatoum Hamady
    Parking Lots(Clarence Major, illustrated by Laura Dronzek)
    handmade, hand-printed book
    9 1/4 x 5 1/2 inches

  • Walter Samuel Haatoum Hamady
    The Pool (Toby Olson, illustrated with one embellished lithograph and two collage-drawings by Lane Hall)
    handmade, hand-printed book
    10 1/4 x 7 inches

  • Walter Samuel Haatoum Hamady


b. 1940

Lives and works in Wisconsin.

Walter Hamady is a legend among artist book designers. Since 1964, he has run Perishable Press, where he published ingenious, immaculate, intricate small-edition books featuring poetry by luminaries such as Robert Creeley and Paul Blackburn. He has often referred to books as “the Trojan Horse of art,” thinking of the way they sneak artistic ideas into a familiar, handleable format. All along, Hamady, who is based in rural Wisconsin, made collages and assemblages, equally astonishing in conception and execution. These include fascinating, neo-Dada boxes, built of deconstructed cameras and all sorts of fetishistic materials and then mounted in cigar boxes (making them book-like diptychs). Hamady is also known for his Gabberjabs – virtuosic books that blur the distinction between design and art in the bound context.