My Day in Bindings, Part 1

September 10th was like an orgy of bindings.

I saw so many bindings and spoke to so many binders in one day; it was sensory overload. It has taken me days to recover.

I started out in Somerville at Sheri’s place (Sheri is my editor), met Sonya Sheats in Cambridge, took the T with her to Boston to see La couleur du vent at NBSS. Sonya has a binding (which she doesn’t like) in the exhibit, but hadn’t had a chance to see it yet (more on that exhibit later). We ran into NBSS binding program director Jeff Altepeter on his way back from a coffee run for Dominic Riley, who was teaching at the school last week. We had arrived just in time for Dominic’s informal lecture about his life in fine art bookbinding. What a nice surprise! Sonya and I were allowed to sit in.

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Continue reading “My Day in Bindings, Part 1”

InsideOUT: Contemporary Bindings of Private Press Books

InsideOUT

 

Lucky me! I got my catalogue early. Another example of my motto: You Don’t Ask; You Don’t Get. To tell the truth, I asked for something totally outrageous and impossible. Sayaka Fakuda, who is doing much of the administrative work for the exhibit on behalf of Designer Bookbinders, let me down gently and offered some nice consolation prizes. One was an advance copy of the exhibit catalogue. I cannot thank her enough. It is delicious. I can’t stop looking at it. These bindings are sexy. I want to fondle them.

So I took a leap of faith. Even though I cannot be at the collector’s preview at St. Bride’s on May 14th from 4:30-5:45, when the books can be fondled, sorry, examined, I have submitted a lottery form for a binding. That’s right. Just based on the book that was bound, two photos of the binding, and a description, I am attempting to purchase a binding by a binder whose work I have never seen in person. When I say “attempting,” I mean that it’s a lottery. If my form requesting this binding is picked out of a hat first, I get to purchase it. If another collector’s form is pulled first, with the same binding listed as first choice, I lose. Keep your fingers crossed for me. It’s the only one I want.

 

 

Claudia Cohen Eye Candy

Rudolf Koch, Schriftgiesserei im Schattenbild, 1936 Bound in full black Morocco; edges rough cut; sewn on three frayed-out cords; paste paper endleaves with sewn leather inner hinge; handsewn red silk endband; décor of gold and blind tooling with red leather onlays; title in gold on spine. 19 x 25.5 x 1 centimeters. Created n.d. GBW 100th Anniversary
Rudolf Koch, Schriftgiesserei im Schattenbild, 1936
Bound in full black Morocco; edges rough cut; sewn on three frayed-out cords; paste paper endleaves with sewn leather inner hinge; handsewn red silk endband; décor of gold and blind tooling with red leather onlays; title in gold on spine.
19 x 25.5 cm GBW 100th Anniversary

 

ChasingPaperCover
Claudia Cohen. Chasing Paper. Heavenly Monkey Editions, 2007. Edition binding
Each copy is laced into a heavy paper wrap (some white, some dark gray) featuring multi-color paper strips woven through the front board, and issued in a cloth-covered clamshell box.

 

Imp and Fiends. Northampton, MA: Gehenna Press, 1976. Out-of-series copy signed by the artist. Full black morocco with red and black leather onlays, gold tooling; sewn on flattened hemp cords; top edges gilt, leather endbands. 304 x 215 mm Bound in 1982. Contemporary American Bookbinding no. 16
Leonard Baskin. Demons, Imps and Fiends. Northampton, MA: Gehenna Press, 1976.
Full black morocco with red and black leather onlays, gold tooling; sewn on flattened hemp cords; top edges gilt, leather endbands. 30.4 x 21.5 cm Bound in 1982.
Contemporary American Bookbinding no. 16

 

Donna and Peter Thomas. Paper: A collection of Papers from Hand Papermills in the United States of America. Covered in a limp Barrett UICB papercase paper; sewn longstitch; decor of woven Dieu Donné blue and Barrett paper; title as cutout on spine. 11 ¾  by 9 ¼  inches  Bound ca. 1995 GBW exhibit Paper Bound
Donna & Peter Thomas. Paper: A Collection of Papers from Hand Papermills in the United States of America. Covered in a limp Barrett UICB papercase paper; sewn longstitch; decor of woven Dieu Donné blue and Barrett paper; title as cutout on spine. 11 ¾ by 9 ¼ inches
Bound ca. 1995
GBW exhibit Paper Bound

 

 

Bradford Morrow. A Bestiary. Grenfell Press, 1990. Edition binding. Full leather split board case binding. Black spine with inlays and onlays of scarlet, yellow, blue, purple, green, and orange leather. Pink leather head and tailbands. Sewn on 5 linen tapes. Somerset endpapers with sewn Japanese linen hinge. 39 x 28.5 x 6.5 cm. Bound in 1991. Fine Printers Finely Bound Too, no. 14A
Bradford Morrow. A Bestiary. Grenfell Press, 1990.
Edition binding.
Full leather split board case binding. Black spine with inlays and onlays of scarlet, yellow, blue, purple, green, and orange leather. Pink leather head and tailbands. Sewn on 5 linen tapes. Somerset endpapers with sewn Japanese linen hinge. 39 x 28.5 x 6.5 cm. Bound in 1991.
Fine Printers Finely Bound Too, no. 14A

 

Barbara Hodgson and Claudia Cohen. The Temperamental Rose &   Other Ways of Seeing Colour. Heavenly Monkey Editions, 2006. Three-piece case, with leather spine and fore edges. The boards are covered in an early 20th century European embossed paper, over which a number of different circular leather overlays are placed. 7 x 9 inches.
Barbara Hodgson and Claudia Cohen. The Temperamental Rose & Other Ways of Seeing Colour. Heavenly Monkey Editions, 2006.
Edition binding.
Three-piece case, with leather spine and fore edges. The boards are covered in an early 20th century European embossed paper, over which a number of different circular leather overlays are placed. 7 x 9 inches.

 

temperamental rose 2

 

 

Haruki Murakami, Sleep, Kat Ran Press, 2004. 7.5 x 10 inches.
Haruki Murakami. Sleep. Kat Ran Press, 2004.
7.5 x 10 inches.
Edition binding.

 

Barbara Hogson and Claudia Cohen. Occupied by Color. Heavenly Monkey Editions, 2012. 7 x 8.5 inches.
Barbara Hogson and Claudia Cohen. Occupied by Color. Heavenly Monkey Editions, 2012.
7 x 8.5 inches.
Edition binding.

 

Dean Koontz, Book of Counted Sorrows, Charnel House Press, Lynbrook, NY, 2003
Dean Koontz. Book of Counted Sorrows. Charnel House Press; Lynbrook, NY, 2003
Edition binding.