Jill Oriane Tarlau Eye Candy and News



I started this post in July after a wonderful correspondence with Jill. Then I was overcome by events:

I was frantically rounding up binders to participate in a fundraiser for Booklyn. Today, the photos posted are of Mark Cockram’s box, followed by 3 views of his binding (Mark was assigned copy 1/10, the “deluxe” copy with all kinds of weird ephemera included. He blogged about it here. The next two photos are Gabrielle Fox‘s binding, and the last four are Celine Lombardi‘s (already sold!). Bindings by Christine Giard and Uriel Cidor are in the photography queue and five more are in the works. Many, many thanks to all of the artists who have donated their time, materials, and extraordinary skill to create outstanding bindings to raise money for a not-for-profit organization that exists to support book arts.

At the same time, I was preparing for Brooklyn BAPD, which happened last weekend, and the Editions/Artists Books Fair in November (they have really early deadlines for all kinds of stuff). In the midst of all of this, I am delighted to announce that I became the sole dealer for Timothy C. Ely. Keep checking his page on my website as I add many images and essays about his work. Prepare to have your minds blown.

Back to Jill Oriane Tarlau.

Continue reading “Jill Oriane Tarlau Eye Candy and News”


What Makes a Binding Great?

Bookbinding is a difficult profession. It costs a lot of time and money to attain the level of craftsmanship necessary to do anything well. Being an obsessive perfectionist is not an absolute requirement, but it helps.

Then there are the artists who have chosen bookbinding as their preferred medium. It is a bit perverse of them. The level of craftsmanship, the depth and breadth of the knowledge of structures and materials that they must achieve before they can begin to create art in codex form is astounding. Combining all of that knowledge to imagine and create new tools, new structures, new techniques, and use unusual materials with which to express themselves is something few can do. Even then, not every binding is a success. This is true of art in any other medium.

Continue reading “What Makes a Binding Great?”

And the Winners Are…Part 2

Do over!

It has come to my attention that I failed to provide any information about the content of the winning bindings. Now I have that information. I also have physical descriptions. Unfortunately for many of us, they are in Spanish. On the up side, for the linguistically challenged (me), we can consult the Multilingual Bookbinding and Conservation Dictionary (Google Translate is completely useless and sometimes hilarious). I also omitted the award for the Best Binding by an Argentinian.

So here they are again, with actual information:

Gavin Dovey

William Shakespeare. The Tempest.Caliban Press: New York, 2001. Ejemplar 16/125.

Encuadernación de estilo Bradel en cuero de cabra montada sobre escartivanas. Cuero trabajado con aerografía en degradé. Decoración a partir de mosaicos y trabajo de hierros. Guardas en papel decorado. Cabezadas bordadas con hilos de seda. Continue reading “And the Winners Are…Part 2”