Beruflich Dokumente
Kultur Dokumente
Winter 2015
The Publication of the Delaware Valley Chapter of the Guild of Book Workers
More Collaboration!
hope this newsletter finds you all enjoying the holidays and not too stressed out.
There have been plenty of fun activities since our last newsletter. I realize
that when we have a collaborative book project going on, there is a flurry of
emails that I send out only to the participants. It might seem like we have had a
few activities this past fall, when actually, it has been more of a whirlwind. We held
our collation party in September and
the 39 participant have either been
busily binding or boxing their set
of maps. Or, more likely, they have
been contemplating what they will
do with their maps! All this activity
will culminate in an exhibit at the
Athenaeum of Philadelphia opening
on April 10, 2015. Mark your calendars!
Ten members attended the Ethiopian Bookbinding workshop in
October. Bill Hanscom taught us
three different bindings and it was
an action packed weekend. Most of
us even had homework and had to
sew our books Saturday evening, in
my case missing some of the World
Series. Now, thats devotion! See
the article in the this newsletter.
About a dozen members had a
Collation party for the Atlas project.
very stimulating tour at the Philadelphia Museum of Art of a small
exhibit titled The Art of the Book in South Asia with the curator, Neeraja Poddar.
She was impressed at questions we asked and the interest we took in the details of
these amazing books, or in many cases, pages from books. The books are on display
in gallery 227 through February 2015.
Jennifer Rosner
Chapter Chair
In this issue
Six Questions
Pages 2-3
Voynich Manuscript
Page 4
Ethiopian
Bookbinding
Page 5
Member News
Page 9
Delaware Valley
Chapter Officers
Jennifer Rosner
Chapter Chair
Alice Austin
Vice Chair, Treasurer
Rosae Reeder
Secretary
Denise Carbone
Programs Coordinator
Jon Snyder
Newsletter Designer
Jon Sweitzer-Lamme
Newsletter Coordinator
Valeria Kremser
Webmaster
Page 2
Pressing Matters
Winter 2015
Madeline
Lambalet
Pressing Matters
Winter 2015
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1
2
Ruth Scott
Blackson
Page 4
Pressing Matters
Winter 2015
Pressing Matters
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Page 5
Ethiopian Bookbinding
By Jennifer Rosner
ver the weekend of October
25th, the DVC held a workshop on Ethiopian bookbinding. Ten students attended the
workshop, taught by Bill Hanscom,
a conservation technician for special
collections at Harvard Library. Bill is
well-versed in Ethiopian bookbinding
and is currently writing an essay to be
published in the next volume of Suave
Mechanicals: Essays on the History of
Bookbinding.
At the beginning of the workshop,
Bill showed images of Ethiopian bindings and explained the typical features.
Amazingly, many of the features have
not changed for more than 1400 years.
He showed some videos of the books
being made in a marketplace in Ethiopia. In one, a man was working on
the ground, applying paste to leather
with his hand. Next, we examined
two Ethiopian bindings owned by the
Library Company, one rather large
and grand and the other very modest,
almost primitive. Now that we knew
more about how they were made and
could identify the various features, we
looked at them with new eyes! It was
very helpful for everyone to be able to
examine authentic examples.
Then we started working on our own
books. We shaped and pierced wooden
boards. We made sewing thread by
cutting a thin spiral out of a circle of
parchment, and then moistening and
twisting it into one long strand. Most
of us made three books with wooden
boards: one covered in leather, one
with a cloth wrapper called a lebas,
and one with a parchment spine.
Today, Ethiopian bindings are still
made with very few tools. Unlike the
Bill Hanscom
pointing out
tooling on the
Library
Companys
Ethiopian
binding.
Completed
Ethiopian
binding models
from the
workshop.
Page 6
Pressing Matters
Winter 2015
Beutelbuch Bootcamp:
Constructing a Girdle Book Model
By Bruce Bumbarger
orking as a book conservator
in a college library, dealing
primarily with 18th20th
century materials, I have never been
called on to create a medieval-style
wooden board binding. However,
when I saw the opportunity to attend a
three-day class in August at the Folger
Library covering the construction of
a model of a fifteenth-century girdle
book, curiosity led me to sign up for the
workshop. Sponsored by the Potomac
Chapter of the Guild, and taught by
Renate Mesmer, head of conservation
at the Folger and a bookbinder with
a reputation as an able instructor, the
course promised to be an informative
and fun way to spend a long weekend.
The girdle book, for those who are
unfamiliar with the term, is a book,
generally smallish in format, bound in
wooden boards and covered with leather that extends beyond the bottom edge
of the book to form a tail by which the
book can be carried, either in the users
hand or hung from their belt or girdle.
In some examples, the leather tail is
simply left loose or tied into a knot. It
may also be finished off with a woven
leather knot fashioned around a hard
core, known as a Turks head (probably after the turban worn by medieval
Muslims). Brass clasps were sometimes
used to keep the book closed while being carried.
The term beutelbuch (German for
bag or pouch book) is also used to refer
to this style of binding.
The limited number of examples
Pressing Matters
Continued from previous page cover boards with rasps and plane so
the possession of clergy or saints; most that the inner spine edge of the board
fit nicely into the angle of the text
of the known bindings cover religious
block shoulder and the outer edge
works, with a few protecting legal
texts. It is generally assumed that they formed a curve that continued the arc
of the text block spine. We then drilled
were used as working texts by monks
holes to accommodate the laced-in
and scholars, or perhaps by the occasional noblewoman to protect a prized cords, used gouges and rasps to form
channels for the cords on the inner
breviary. Given the relatively large
sides of the boards, laced on the boards
number artworks picturing the books
and left the books to sit under pressure
it is somewhat mysterious as to why
overnight.
so few copies have survived, although
The following morning we applied
many may have been restored beyond
gelatin
to the cords and board chanrecognition by later generations of
nels, and pulling all up firmly, used
binders.
For our workshop, we were instruct- wooden pegs to aid in holding the
cords in place. It took a fine touch to
ed to prepare a somewhat chunky
little text block sewn on double-raised get the tension on the cords just right.
After sawing the pegs flush with the
cords. With this and a recommended
kit of binding, woodworking and met- boards, we cut, pared and affixed with
alworking tools in hand, five of us met paste a strip of leather to the bottom
with Renate at noon on a Friday after- edge of the boards and worked the
leather turn-in around the board and
noon and were escorted to the Folger
endband.
lab. It soon became apparent that this
We used cheap leather splits for
would be a fairly fast-paced weekend,
covering
that tore easily, so paras Renate directed us to quickly find a
ing called for a sharp knife and even
bench, set up our tools, and assemble
around her bench. It turned out that
previous workshops she had offered on
the structure had been five days long.
She told us that this time we were participants in a girdle book bootcamp
with much to cover in two and a half
days.
We began by making and sewing
on endsheets with leather hinges, after
which we pasted up our books spines.
When dry, we gently rounded the text
blocks and put them in a bench press.
Spines were glued up with gelatin
and lined using linen cloth and paste,
leaving the area at top and bottom
unlined. When the text blocks had
once again dried, we worked endbands,
and then added linings at the top and
bottom of the spine.
We next turned to shaping our oak
Winter 2015
Page 7
Turks-head knot.
Page 8
Pressing Matters
Winter 2015
MORE INFO
Pressing Matters
Winter 2015
Page 9
Member News
Please join the Book Arts + Printmaking
MFA department for a public reception with
the artist Alice Austin, for her exhibition,
Encircled by Water: Venice and Ireland.
The show is from January 20th to February
13th; the reception is on Jan. 23 from 5 - 7
p.m. in the 6th floor gallery of the Anderson
Building at the University of the Arts, 333
S. Broad St. Photos on Alices web site.
NEW
MEMBERS: