Second EARA International Art Bookbinding Competition 2014
Organized by EARA (Encuadernadores Artesanales de la República Argentina), The Book and Language Museum, The Argentine National Library and Eduardo Tarrico.
Here are some, but not all, details (make sure you check the link above for the full details in Spanish and in English (sorry – no French).
10,000 Argentinian pesos are the total amount for prizes and they are divided as follows:
1st Prize: AR$ 4,000.00.
2nd Prize: AR$ 2,500.00.
3rd Prize: AR$ 1,500.00.
1st Honorary Mention: AR$ 500.00.
2nd Honorary Mention: AR$ 500.00.
Prize to the best Argentinian or Argentinian resident bookbinder: AR$ 1,000.00.
The last day for enrolling to the competition will be June 30th, 2014.
Each participant can freely choose the book to bind. It has to be a printed book, it can not be a book filled with blank pages.
The maximum allowed measurements of the final bookbinding are:
Height: 30 cm
Width: 25 cm
Thickness: 6 cm.
The exhibition of the Second EARA International Art Bookbinding Competition 2014 is going to be held in November 2014 at The Book and Language Museum, 2555 Las Heras Ave., Buenos Aires.
The cost of enrollment is:
Argentinian bookbinders or residents in Argentina: AR$ 300.00.
EARA’s Argentinian members or residents in Argentina: AR$ 250.00.
Foreign bookbinders or non-residents in Argentina: USD $70.00.
EARA’s foreign members not resident in Argentina: USD $60.00.
The enrollment cost includes the return of the work by certified mail and a sample of the catalogue published by The Book and Language Museum and The National Library.
October 1st, 2014 is the deadline for receiving the final works.
Monique Lallier is no stranger in the world of designer bookbinding. Her dedication to service in the field is extraordinary, as is her binding. She began to teach bookbinding in 1976 in Montreal, where she is from, and where she received her initial training in design bookbinding. For more than a decade, she traveled to Europe to study with masters in the field. She served as chair of the Guild of Book Workers Standards of Excellence for twelve years and as director of The American Academy of Bookbinding from 2005-2009, succeeding Tini Miura who was the founding director (more about Tini very soon). Monique continues to teach at AAB and at her studio in Summerfield, North Carolina.
There is much more information about Monique on her website, on the AAB and GBW websites, and other sites all over the web. You can do the googling yourselves. What I have is different.
Monique has been kind enough to allow me to show two bindings that have yet to be published anywhere. The first, Winter Walks, was made for a demonstration on edge-to-edge doublures at the Society of Bookbinders Education and Training Conference in Leeds in August 2013. The other, Lost and Found, is Monique’s contribution to the upcoming Designer Bookbinders exhibit of bindings by North American and British binders (see last post). In Lost and Found, Monique uses a technique that is very unusual and special to her work. Much as a dos-à-dos binding allows for decoration on two more surfaces than usual, Monique creates additional surface area for her design by incorporating an overleaf cover panel. The effect is quite surprising and beautiful.
First, Monique’s binding from Leeds:
And now…Monique’s entry for the exhibit Contemporary Bindings of Private Press Books:
Designer Bookbinders has sponsored an exhibition of over 60 bindings by designer binders working in either North America or the United Kingdom (sorry Central and South America). The invited participants could choose from a group of private press books: four printed in the UK and 5 printed in North America. The bindings were due on February 3rd, and the selection and photography will commence on the 13th (today!).
As far as I know, this exhibit is a first. Designer Bookbinders has an annual competition for UK based binders only and a triennial international competition. I’m very excited because whatever the result, this is going to be a fabulous opportunity to see the work of many North American binders all in one place. I think we are going to see bindings by binders who rarely compete. Another great feature of this exhibit is that it is neither a set book, nor thematic. I am sure that allowing the binders to choose from so many lovely books provided scope for imagination and inspiration. I can hardly wait to see the bindings!
The chair of the committee for the exhibit is Sayaka Fukuda, a licentiate of Designer Bookbinders. I do not know who else is on the committee. There will be a catalogue of the exhibition and a tour.
The tour schedule is:
15 May – 22 August St Bride Foundation
11 Sept – 13 December Houghton Library
10 Jan – 28 March 2015 MCBA, Minneapolis
10 Apr – 19 Apr 2015 Bonhams, New York
6 June – 5 July 2015 San Francisco Centre for the Book, San Francisco
I really like the looks of the tour schedule. St. Bride’s makes perfect sense, as it is the home of Designer Bookbinders. Hitting the East Coast, the Midwest, and the West Coast is great. We could argue about Chicago vs Minneapolis and ask why there is no stop in the South. However, we must keep in mind that you have to have willing hosts, a vacant slot in the host’s exhibition schedule, and a space that can comfortably accommodate the exhibition. The tour lasts over a year. I hope we can all make it to one of these book meccas. The exhibit dates at Houghton Library (who do you have to know to get an exhibit placed there?) will very nicely overlap with the Boston Antiquarian Book Fair, an annual event sponsored by the Antiquarian Booksellers Association of America (ABAA) and the International League of Antiquarian Booksellers, which usually occurs in mid-November. I don’t know the dates for 2015 yet, but the brief appearance in New York may be during or just after the ABAA/ILAB antiquarian book fair. For those who don’t know, the New York Antiquarian Book Fair is a Very Big Deal. It’s huge. It’s International. It’s New York. Bonhams is a few blocks from the fair. The Center for Book Arts is a very long 40 blocks away.
So, I’ve mentioned antiquarian book fairs twice. What does that have to do with contemporary designer bindings, you may ask? Simple: there are quite a few dealers who specialize in bindings, artists’ books, and book arts: antique, contemporary, and that fuzzy area in between. The next ABAA/ILAB book fair will be in New York, the first weekend in April. The one after that is in London in May. There are other ILAB book fairs. Paris and Frankfurt, I think. The one in Los Angeles just ended. Next year it will be in San Francisco. Check the ILAB website for dates.
California Antiquarian Book Fair
Look what Sims-Reed has!
There is an extensive interview with Sol in The Thread That Binds. (Seriously, people. You have to get a copy of this book.) Coming from a family of artists and bookish folk (an aunt was an antiquarian bookseller!), it seems that Sol was born to be a designer bookbinder. At art school, Sol chose bookbinding as one of her classes three years in a row, despite planning to be a fashion designer. Call it coincidence; call it fate. Whatever you call it, bookbinding kept throwing itself in her path. First, her aunt needed some bindings done for books in her store. Her brother, who worked in a store selling conservation and restoration materials, introduced her to an artist who needed help figuring out how to put her work into a book to show at a gallery. The curator wanted to know who made the book. He turned out to be the editor of books with very small limitations. The edition of 40 copies he’d just done needed boxes. Guess what? His bookbinder had just died! Sol got the job and found her first binding mentor and cheerleader. When she showed him the design bindings she had been goofing around with at school, he showed he a book with pictures of 20th century French bindings (was it the one by Alisdair Duncan?). Once she saw those pictures, Sol knew that was what she wanted to do. At the time, no one in Argentina was doing design binding. Now what?
First, Sol studied privately with a bookbinder, learning traditional French fine binding. Eventually, though, Sol knew she would have to go abroad. There were many obstacles, but Sol is a lucky woman. After a few false starts, things started to fall into place. Sol was finally able to study with masters in Canada, the United States, and Europe. The results of her hard work, combined with her natural talent, are impressive (understatement).
Neale Albert has a couple of her miniatures in his collection, so I was able to experience her work up close. Her technique is superb.
I had a quick Facebook chat with Sol recently. She was so nice. She answered my questions about my favorite binding and offered to send me more pictures.
A binder I know once told me that he has always wanted to bind James Joyce’s Ulysses, but didn’t know which edition or editions were suitable or affordable. I think I said I’d send him a list of editions. I’m almost positive I didn’t.
To make up for failing to fulfill a promise, I present this handy guide to editions of Ulysses:
- Paris: Shakespeare and Co, 1922. First edition. 1000 copies in three limitations (all bound in Aegean blue wraps):
- 100 were printed on Dutch handmade paper, numbered, and signed by Joyce
- 150 large paper copies numbered 101- 250, printed on Vergé d’Arches, not signed
- 750 were numbered 251-1000 and printed on a lesser grade of handmade paper, not signed
- London: Egoist Press, 1922. Purportedly first edition printed in England (except that it was actually printed in Dijon for UK distribution). Pirated edition. 2000 copies.
- New York: Roth, 1929. Except that it says no such thing on the title page. Pirated edition, unauthorized by Joyce. 2-3000 copies.
- Hamburg/Paris/Bologna: The Odyssey Press, 1932. First hardcover edition. Printed on India paper.
- New York: Random House, 1934
- New York: Limited Editions Club, 1935. Illustrated by Henri Matisse. 1500 copies:
- 250 signed by both Matisse and Joyce
- remaining 1250 signed only by Matisse
- London: John Lane, The Bodley Head, 1936. First authorized edition printed in England, designed by Eric Gill. 1000 copies in two limitations:
- 100 copies on mould-made paper and bound in vellum, signed by Joyce
- 900 copies on japon vellum and bound in green buckram, not signed
So here’s the problem: all of these editions are rare and expensive. I’d go with Random House without dust jacket. That one is probably the easiest to find and least expensive.
Forget what I said about follow-the-flag. Joyce is an exception. He was Irish, but spent most of his time in Paris and Trieste.
Gérard Charrière is a Swiss bookbinder and artist who practiced in the United States from 1965-2001. He now lives in Berlin.
I recently acquired the catalog pictured below. Sadly, all the images are in black and white. It has been a bit of a struggle to find color images of his work.
The first color image I saw of one of his bindings is in the retrospective section of the Guild of Book Workers 100th Anniversary Exhibition catalog (another recent acquisition). The catalog is online, but I wanted my own copy.
There’s a really terrible image of the binding on the back of the catalog. Fortunately, I discovered that Bowdoin College in Maine has several Charrière bindings, including that particular binding and a binding quite similar (but not identical) to the one in the 1982 exhibit. Bowdoin has excellent images embedded in their online catalog, bless them:
Two more spectacular Charrière bindings from Bowdoin College Special Collections: