A Look Back // Events from 1980 – 1989

The first decade of the New England Chapter was filled with social gatherings at various institutions and member’s studios. The following is a list of events during 1980 – 1989, all sourced from the GBW Newsletter.

1989
– Timothy Barrett spoke about his research in Japanese and Western paper at the North Bennet Street School in Boston, MA

1988
– after a tour of the conservation lab at Sterling Memorial Library at Yale University members walked through the exhibit Eccentric Books, which included antiquarian and modern work with movable parts, revolving discs, cut-outs, flaps, pull-tabs, “pop-up” books
– Sue Baughman hosted a meeting at Clark University’s Goddard Library, where Dorothy Minkowski spoke about the collection in the rare book room including examples of fore edge painting
– Peter Geraty gave a workshop on Oriental book strucutres
– two workshops with Hugo Peller: “Pop-Up Boxes” and “Gold Tooling & Leather Decoration Techniques”
– John Dreyfus, a British typographical historian spoke about the connection between printing and the invention of spectacles
– a teacher at the Rhode Island School of Design, Janet Sweig, talked about contemporary artists’ books

1987
– during a meeting at the New Bedford Whaling Museum, members were given a tour of the storage facilities and conservation lab to view an extensive conservation project of 1,000 logbooks treated by Robert Hauser
– members Carol Blinn, Suzanne Moore, Joe Newman and Don Glaister participated in a panel discussion at the reception for the National Guild’s Exhibit Eighty Years Later
– North Bennet Street School hosted a meeting for members, where Mark Esser gave a tour of the new bindery facilities and special guests Don Glaister and Fritz Eberhart discussed their approach to design binding with a slide show presentation
– a film viewing of Robert Baart’s “Gold Beating: The Making of Gold Leaf” was screened at Harcourt Bindery followed by several demonstrations by Daniel Kelm (presentation on the “Mythology, Alchemy and Magic of gold”), Joe Newman (different techniques for gold tooling on trade and fine bindings), Peter Geraty (edge gilding) and Suzanne Moore (laying gold for illumination)
– tour of Carriage House Handmade Papers studio followed by a slide show presentation by Elaine and Donna Koretsky on making paper in Burma

1986
– Third Annual Book Workers Olympics
– Mr. Niyazi Sayin gave a lecture on Turkish Ebru
– Daniel and Babetta Gehnrich gave a talk on the German apprenticeship system with examples of their work at the Boston Public Library
– Hugo Peller offered two workshops, one on edge decoration at the Northeast Document Conservation Center and a second on vellum techniques at the Creative Arts Workshop
– Ole Olson taught a workshop on paste paper techniques at David Bourbeau’s studio in Easthampton
– members met at the American Antiquarian Society to critique and discuss bindings from an exhibit
– Roderick “Rocky” Stinehour, Chairman of Meridan-Stinehour Press and a well-known printer in New England, gave a lecture on the history of printing at Wellesley College (co-sponsored by Wellesley College, The Society of Printers, The Letterpress Guild of New England and the New England Chapter of the American Printing History Association)

1985
– the Boston Athenaeum hosted a meeting with 38 members with a tour followed by a special viewing of an exhibit at the Houghton Library Harvard University on the work of Arno Werner
– Sue Allen gave a slide show presentation on Victorian Publisher’s Bindings

1984
– Kathryn Gerlach hosted a meeting with 28 members at The Old Mill in Shaftsbury, Vermont. She set up her studio with a display of bindings in various stages of completion and showed several books that had been bound by her and her husband, Gerhard. Kathryn gave a short slide show of work they had completed discussing their experiences as binders.
– a meeting was held at the Abbey of Regina Laudis in Bethlehem, Connecticut with host Mother Agnes Shaw. Members were gathered to hear the Office of Sext (5th century Gregorian chant) followed by a presentation by Mother Agnes on cut leather, a technique dating back to the 12th century.
– Don Glaister and Suzanne Moore hosted the 2nd Annual Book Workers Olympics in Westhampton

1983
– a talk on the history of binding from the 19th century to the present was given by Julie Stackpole using slides images on collections from the Bodleian Library
– Bill and Elaine Streeter of Heraldry Bindery host the 1st Annual Bookbinding Olympics in Easthampton

1982
– at a summer meeting Don Glaister spoke about his bindings

1981
– Northeast Document Conservation Center hosted 30 members for a meeting where Sherelyn Ogden gave a slide presentation on a book treatment done at the center followed by a tour of the facilities
– a meeting in the fall took place at the Rare Book Room of Smith College

1980
– a meeting at One Cottage Street included slide shows and tours from Carol Blinn, Claudia Cohen, Daniel Kelm, Gray Parrot and Alan Robinson
– Don Glaister hosted a pot luck dinner for members to meet with Danish Ole Olsen who gave a slide show presentation

A Look Back // Celebrating Arno Werner’s Birthday

In June 1990, the chapter took part in a celebration for Arno Werner’s 91st birthday at his studio in Hadlyme, Connecticut.

In her book, A Binding Love, Carol Blinn reflects on her apprenticeship and friendship with Arno. In 1975, Carol interviewed Arno about his early life in Germany, fifty years after he came to the United States with just $25 in his pocket and a cigar box which held his small binding tools.

excerpt from A Binding Love

Arno was born in Mylau, Saxony in 1899 (or as he put it “I yust got under the wire!”) to a large family. As one of ten, it was encouraged that the younger kids stand on the table during meals to make room for everyone. At age 13, Arno intended to begin an apprenticeship as a baker, however the work was too physically demanding for his physique. His doctor recommended entering the bookbinding trade instead.

His apprenticeship lasted for 3 years under the tutelage of Louis Herold. As the youngest apprentice, he woke at 6:00 a.m. to prepare a fire in the stove to warm up the shop, made sure all the glue pots were ready and refilled water buckets so the workers could wash their hands. Each day ended at 7:00 p.m. with lots of clean up including the hand tools and machinery.

His training then led him to work with the famous master binder Ignatz Wiemeler in Leipzig. Arno returned to the United States in 1939, when war broke out and settled in Pittsfield, Massachusetts where he maintained his own bindery until 1977.

Sonderarbeiten des Buchbinders by Fritz Wiese | bound by Arno Werner (Collection of Peter D. Verheyen)

In 1981, the Houghton Library at Harvard University celebrated Arno Werner’s work and legacy with a 40-year retrospective, where he delivered a lecture to a gathering of friends and colleagues. In Arno Werner/One Man’s Work, Carol prints Arno’s thoughts on his life in the bookbinding trade for the first time. It also highlights twelve of his bindings in full color and includes the lecture he gave at the Houghton Library.

title page for Arno Werner/One Man’s Work | drawing by Carol Blinn

As Carol describes, his workshop became a home to many as Arno taught how to bind books well and that he freely shared his knowledge and techniques. Over six decades of bookbinding, Arno maintained the highest of standards, placing him among the most celebrated binders.

A Look Back // Honoring Polly Lada-Mocarski – Book Arts Exhibition 1990

In 1990, the Creative Arts Workshop in New Haven paired up with the New England and New York Chapters of the Guild of Book Workers to build an exhibit to honor Polly Lada-Mocarski and celebrate the 10th Anniversary of the bindery at CAW.

Gisela Noack, Chairman of the Exhibition, noted the exhibit was a tribute to Polly, who was a “bookbinder and conservator, a teacher and mentor, a fundraiser, sponsor and inventor, but most of all a friend.”

Book Arts Exhibition 1990 — Polychrome — Polytechnique went on display from April 22 – June 3. During the opening reception attendees were entertained by Susan Joy Share and Geoffrey Morrow as they performed excerpts of their performance “Unfolded World” (click on the link above and scroll down to find images of this work).

Below are some of my favorites from the exhibit catalog, which was provided by Gisela Noack. Check out the entire catalog here: Book Arts Exhibition — Polychrome — Polytechnique.

Karl Eberth | La Reliure Originale Francaise
David P. Bourbeau | Todten Tantz
Hedi Kyle | Guest Book
Valerie Wyckoff | Lotus
Mindell Dubansky | A Child’s Guide to Knowledge

 

 

 

Workshop – Laser Cutting Boot Camp for Artist Books and Printmakers

The following workshop is not sponsored by the New England Chapter, but may interest our members.

Laser Cutting Boot Camp for Printmakers
June 12 – 15, 2020

Laser Cutting Boot Camp for Artist Books
June 26 – 29, 2020
North Adams, MA

Learn how to:
– operate a laser cutter
– make laser-ready files
– test innovative laser cutting & engraving applications
– produce a material sample book
– combine traditional techniques with new technology
– take advantage of tips & tricks
– identify laser safe materials
– recognize problems and solve them
– incorporate best practices and optimize work-flow efficiency
– make the most of connecting with faculty and brainstorming curriculum development
– laser cutting techniques for artists

For more information and to register visit: https://www.freefall-laser.com/workshops

Exhibit at Boston College // Devoted Catholic & Determined Writer: Louise Imogen Guiney in Boston

Member Barbara Adams Hebard, Conservator at Boston College, has curated the following exhibit that may interest others in our chapter.

Devoted Catholic & Determined Writer: Louise Imogen Guiney in Boston
February 10 – May 29, 2020
John J. Burns Library, Boston College

Louise Imogen Guiney (1861 – 1920), one of only two women represented in Bapst Library’s stained glass portraits of American authors, may have faded from the canon, yet she continues to offer a unique window into the multifaceted literary establishment of late 19th-century Boston. Guiney’s family and friends connected her to Boston’s literary circles where her own drive to write—first poetry, and later, stories and biographical essays—earned her acclaim, if not the financial independence she sought.

Guiney’s choice of subjects was informed by her Catholic beliefs, her admiration for Jesuits, and her sojourns in Ireland and England. This retrospective exhibit focuses on her relationships with Catholic religious leaders, fellow writers, and publishers in Boston. Of special interest to book artists, there are notable book cover designs and printing examples in the exhibit.

Exhibit reception: March 25, 2020, 6:00pm

For visiting information click here.

*This exhibit is not being sponsored by the New England Chapter of the Guild of Book Workers.

Workshops with Juliayn Coleman at Lake Damariscotta

The following workshops at the Sunset Lodge in Maine may interest our members:

Hand Bookbinding with Juliayn Coleman
August 30 – September 5, 2020

Repairing Children’s Books with Juliayn Coleman
September 6 – 12, 2020

The venue for the workshop is on the shore of Lake Damariscotta, Jefferson, Maine (about 2 hours north of Portland). The lodge was once an old fish camp built in the early 1900s. After being renovated it has served as a space for creative writing and bookbinding.

These workshops are not sponsored by the New England Chapter of the Guild of Book Workers.

A Look Back // 1989 Members Exhibition at RISD

In 1989, the New England Chapter put together an exhibition of member work, which showcased the scope and skill of the members at the time. This regional show highlighted the exuberance of book work in the Northeast, with many of the exhibitor’s reputations spanning across the nation and even internationally.

With the year 2020, our Chapter celebrates its 40th year! We will be posting on past events throughout the year in a series called A Look Back. In our first post, I asked three exhibitors to speak about their work and their place in the bookbinding community at the time.

Check out the full catalog here: 1989 Members Exhibition Catalog

Barbara Blumenthal:
Chinese Decorated Papers was the first of the five limited editions which I bound for Henry Morris and his Bird & Bull Press. I’ve been thinking about Henry from time to time since his death in May 2019.

Chinese Decorated Papers: Chinoiserie for Three | Barbara Blumenthal

In the 1970s, Henry’s exclusive bookbinder was Gray Parrot. In 1987 Henry decided not to keep all of his binding eggs in one basket, so he hired me to bind 325 copies of the Schmoller book in quarter leather with his printed paper sides. I also designed and created a deluxe copy, bound in leather leather with a design that featured some of the metallic papers tipped into the book. Henry and I (and his wife Pearl) remained good friends even after he abandoned me, and other hand bookbinders, to have his Bird & Bull books bound by the larger Campbell-Logan Bindery. Henry inscribed the binder’s copy of one of his publications to me, “Massachusetts’ finest bookbinder;” hyperbole, of course, but evidence of Henry’s sense of humor and our mutual fondness and esteem.

excerpt from Chinese Decorated Papers | Barbara Blumenthal

Julia Ferrari:
I was an artist, engaged in a career (vocation) of typography within the book arts, co-running Golgonooza Letter Foundry & Press with partner, Dan Carr, in Ashuelot, New Hampshire. Besides creating our own books as artist (myself) and poet (Dan Carr) we had been designing, setting and printing – in metal monotype, full size books for limited edition publishers for 7 years.

Intersection | Dan Carr and Julia Ferrari

When we moved to New Hampshire from Boston we were in our 20’s and we wanted to work doing the craft we so loved. We decided to run a monotype print shop, so we could continue to expand and develop our skills with letterpress printing and typesetting equipment to the country. We were also part of the Four Zoas Press, a literary small press, that was started in Hardwick, Massachusetts, publishing unknown poets. In Boston I had begun writing poetry which led me to Dan Carr and his literary print shop on the Charlestown/Somerville border. I was a practicing artist, and so brought those skills to the press, teaching myself woodcut and lino-cuts (these got used in the chapbooks we were producing), bookbinding, and later in 1989 making abstract paste-papers as original art be used on book covers (very possibly one of, if not the first person to do that.)

Swallow Island | Julia Ferrari

All was opening up as the traditional craft was being discovered by my generation, partly because the printing machines were being discarded by the commercial industry. I continue to run the press, even though my partner has passed away, and feel a responsibility to energetically pass on the craft to the next generation by offering residencies and internships yearly.

Check out Julia’s website for more about Golgonooza Letter Foundry & Press.

Julie B. Stackpole:
Since I live down in mid-coast Maine and don’t have many opportunities to gather with fellow bookbinders and book collectors, I have always tried to enter as many exhibitions of bookbinding as possible, to keep my name and work familiar to the public.

In 1989, I was trying an idea to expand my client possibilities by appealing to interior decorators to commission a guest book that ties in with the design of their project that they would give to their client at the end, a symbol of the interior’s new life. My mother, Mary Ann Beinecke, had a textile design business that produced luxury throws, yarns, fabrics, and needlework rugs made for her in Portugal. To demonstrate the possibilities of my idea, I chose one of her room-sized rugs made with this butterfly design as the inspiration for a blank book that I could also enter in the NEGBW exhibit; then she could sell it along with the rug afterwards.

Butterflies | Julie B. Stackpole

I used a finishing technique that I am very fond of: linoleum-cut blind embossing over onlays of leather. The butterfly lino-cuts also were used in making the endpapers with gum arabic resist. All the colours reflect those of the rug.

endpapers for Butterflies | Julie B. Stackpole

My mother never sold the rug but kept it for her own personal use, and so I gifted her the guest book also. Thus, it came back to me after she died (age 87) and so I am able to see and photograph it in its 30 year old condition. I am pleased to note that the structure of the book and wrapper are in good shape, but the aqua blue Niger goatskin has browned on the spine and near the edges of the boards, despite the book being kept in its wrapper. This is why I almost always make clamshell boxes for my fine leather bindings, especially light blue or green ones! (But guest books are easier to sign if they have a padded wrapper to rest on.)

Thanks to Barbara, Julie and Julia for their contribution to our community and this blog series.

Upcoming Workshop on Traditional French Pochoir with Kitty Maryatt

In February, North Bennet Street School will be hosting the exhibit Drop Dead Gorgeous: Fine Bindings of La Prose du Transsibérien Re-creation. In conjunction with this exhibit, NEGBW is hosting a workshop with Kitty Maryatt on the technique of traditional French pochoir.
 
Kitty Maryatt of Two Hands Press has been researching the production of La Prose du Transsibérien since 2012. She studied pochoir with Atelier Coloris in Ploubazlenac, France. In 2018, she debuted a new edition of 150 copies, which faithfully incorporates techniques and methods used in the original.

What: Traditional French Pochoir Workshop
Where: North Bennet Street School, Boston, MA
When: February 29 – March 1
Register here

The word pochoir in French simply means stencil, which has been done by every culture since mankind blew iron oxide around their hands onto cave walls. As the French are known to do, they developed particularly sophisticated stencil techniques in the early twentieth century. This workshop will introduce the basics of printing multiples through such stencils. The steps involve the following: trace the imagery that you want to reproduce, develop a registration system, identify and separate the colors, cut aluminum plates by hand, mix gouache colors, prime the French pochoir brush and apply the liquid in a swirling fashion.

Demonstrations of tracing images and cutting the plates will be shown first. Participants will trace one color from the image and cut an aluminum plate. The instructor will bring a pre-designed image with plates already cut so that participants can immediately learn the brush techniques. The six colors will be applied as the group makes an edition of the image. Then we will look at the images brought in by participants and discover which images are appropriate to reproduce in this way, including printing a base image.

Next, participants will select or create an image to be reproduced and go through the steps to make an edition of that image. Since this is an introduction, the focus will be on problem-solving and experiencing the joy of vibrant and true color. Additional techniques used on La Prose du Transsibérien will be highlighted and demonstrated.

For more information click here: https://gbw.formstack.com/forms/negbw_introduction_to_traditional_french_pochoir

Announcement // 40th Anniversary Exhibition – Intent to Enter Open

The New England Chapter will be celebrating 40 years in 2020! To commemorate this milestone, we are inviting members to submit work to our upcoming 40th Anniversary Exhibition. We encourage submissions of all types of book work (this includes bindings, artist books, calligraphy, printmaking, paper making, etc.) to showcase the diversity of our membership. In order to submit work, please fill out an Intent to Enter form. The deadline to submit the form is February 14, 2020.

You must be a member of the Guild of Book Workers – New England Chapter to participate and you must carry your membership throughout the entire run of the exhibition.

For more information about the rules and regulations and deadlines, please click here. If you have any questions, please feel free to email me: newenglandgbw@gmail.com

I look forward to your participation!

Lecture at MIT on Adaptive Preservation

The following lecture may be of interest to conservators and binders in NEGBW:

Adaptive Preservation
presented by Hugh Phibbs

When: Thursday, November 14 from 10–11
Where: MIT, Maclaurin Building, 4–370.

Please find details and register here https://libcal.mit.edu/calendar/events/adaptivepreservation

The lecture is sponsored by the MIT Libraries Wunsch Conservation Laboratory, The MIT Museum, and the MIT LIST Visual Arts Center. This is not a NEGBW sponsored event.