Light refreshments will be provided. The talk will begin promptly at 6:30pm.
The development of adhesive case binding was instrumental in the industrialization of bookbinding in the nineteenth century but little has been written about how bookbinding transitioned from laced-on boards to case construction. This talk will examine the history of adhered-boards construction, where the cover boards of bindings were attached with a waste sheet of the endpapers rather than lacing them on, and the role it played in moving to case binding. Examples from the eighteenth and nineteenth centuries will be used to show that the structure was widely practiced and that case construction did not occur as early as many bookbinding historians have stated. Finally, several techniques for identifying adhered-boards technique will be discussed to be able to differentiate it from case binding, as both were in common use in the 1830s and 1840s.
Todd Pattison is the Conservator at the New England Historic Genealogical Society, working to preserve and care for the Society’s collection of books, manuscripts and fine art. He has an undergraduate degree in Art History from Nazareth College and an M.L.S. from the University of Alabama. Todd is an active member of the New England chapter of the Guild of Book Workers, a Fellow in the American Institute for Conservation of Historic and Artistic Works (AIC), and for the past five years has taught the course “American Publishers’ Bookbindings, 1800-1900” for Rare Book School at the University of Virginia.
This lecture is based on an article co-written with Graham Patten for Suave Mechanicals Vol. 5 titled Confusing the Case: Books Bound with Adhered Boards, 1760 – 1860.
Graham Patten is a 2014 graduate of the Buffalo State College master’s program in art conservation, he currently serves as an Assistant Book Conservator at the Northeast Document Conservation Center (NEDCC). He was the 2014–2016 Conservation Fellow at Northwestern University Library and was previously a conservation intern at the Harvard University Weissman Preservation Center. In his artistic pursuits, Graham often focuses on dynamic sculptural and mechanical elements, and enjoys merging these features with innovative book structures.