Revival

This blog is not dead.

Sorry for the silence. I’ve had a few things going on. I’m sure you will all be pleased to know that my husband is recovering extremely well from his cycling accident and my daughter has successfully completed the fourth grade.

You know what else is not dead?

The Guild of Book Workers New York Chapter. After a hiatus, it is up and running again thanks to Celine LombardiSaira Haqqi, Jane Mahoney, and Carol Margreither Mainardi. The first event organized by the new board was the Spring Swap Meet, graciously hosted by Judy Ivry at her bindery on East 4th Street, a couple of weeks ago.

I recently joined the Guild and the NY chapter. I was pretty excited to talk to binders I’ve heard of, met only briefly, or have only communicated with via email. Plus, I heard that some binders would be selling books, catalogues, and journals from their personal collections. Pathetically, I couldn’t get my butt there until 2pm, so I missed many binders and books. I heard that the fine press books in sheets sold in minutes. I don’t want to know which books they were. I’m sure it would just make me sad. Still, I managed to pick up some nice items for my collection of catalogues (thank you, Jenny Hille!), some back issues of The New Bookbinder, and a back issue of The Guild of Book Workers Journal.

The whole event was kind of a blur for me. It was a constant stream of book folk coming and going. I finally met Celine in person. We had been corresponding sporadically ever since I coincidentally met her brother in January. I was delighted to meet Judy Ivry and Ursula Mitra (with whom I have also corresponded, but never met). Then I went into a world of bliss with Christine Giard and her laptop. Her website has a very small sample from the hundreds of bindings she has created. She showed me over two hundred photos of her design bindings (and at least as many of her amazing marbled papers). Ursula asked Christine how many design bindings she has made. Christine shrugged and said, “I don’t know. Maybe 500 or 600.” Jaws dropped.

Christine’s bindings vary widely in design and materials. I was blown away by her range. She is such a tease. After a while, she started making me guess the materials just by looking at the picture. I got just a few: wood, polycarbonate and automotive paint, brass with copper wire, box calf. Here are some others: neoprene, rubber intended for shoe soles, acupuncture needles, plexiglass, rubber cut from motorcycle tires (she’s a biker), and japanese paper covered relief structures that make the binding look like pleated fabric. I’m not going to give it all away here because I am going to write at least one post about her, with lots of pictures and details. Christine takes excellent photographs, not just of her bindings.

I hear all of you saying, but she is FRENCH! Yes, but Christine has lived and practiced in NYC for over two years.

I claim her for The Americas!

Recent acquisitions:

demi-siecle 1984

Jean de Gonet

DBinNA

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.

 

 

New bindings by Monique Lallier

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:

Winter Walks, Deep Wood Press, 6 5/8 x 10" Text by Jerry Dennis, illustrated by Glenn Wolff
Winter Walks, Deep Wood Press, 2008. 6 5/8 x 10″
Text by Jerry Dennis, illustrated by Glenn Wolff
Winter Walks doublures
Winter Walks doublures

And now…Monique’s entry for the exhibit Contemporary Bindings of Private Press Books:

Lost and Found, illustrated by Rachel Reckitt. Whittington Press, 2010. 10.5 x 7.5 inches
Lost and Found, illustrated by Rachel Reckitt. Whittington Press, 2010. 10.5 x 7.5 inches
Cover panel closed
Cover panel open
Cover panel open