New: Swap Meet! September 29th, 2018
Judith Ivry Studio– 25 East 4th Street, 5th Floor
Dr. Ad Stijnman: Coloured Printed Illustrations in Medical Publications c1500-1850
October 18, 2019 Thursday 6pm – 8pm
New York Academy of Medicine, Room 440 – 1216 5th Avenue
Please join us for a presentation on Dr. Stijnman’s current research.
Colour in illustrations is rarely recorded in library catalogues or by book historians; art historical studies focus on single-sheet colour prints; and studies in the history of medicine rarely consider the implication of colour in illustrations. In these years, the same producers of printed materials used the same colour processes for artistic prints and medical illustrations. Thus, this growing corpus can be identified and understood only using an interdisciplinary approach encompassing printmaking processes, art history, the history of the book and the history of medicine.
This talk represents Dr. Stijnman’s preliminary findings of systematic page-by-page analysis of tens of thousands of early modern (1450–1850) scientific publications. Concentrating on material produced in middle and Western Europe enables the exploration of how changing technologies determined the application of colour. It traces the development of the role of colour in medical illustrations from mere decorative use in sixteenth-century woodcuts to the identification of diseases by naturalistic colouring. Standardized uses of colour emerged in eighteenth-century etchings and mezzotints, for example the depiction of arteries in red and veins in blue, but also that there were alternative colour codes. In doing so, it lays out a new methodology for object-based, interdisciplinary research into book illustrations.
Dr Ad Stijnman (PhD University of Amsterdam, Fellow of the Royal Historical Society in London) is a scholar for historical printmaking processes, specializing in manual intaglio printmaking techniques. He has lectured and published widely on the subject, including his seminal Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes (2012), for which he was awarded the Karel van Manderprijs 2015 for outstanding Dutch art historical publications. Together with Elizabeth Savage he co-edited Printing Colour 1400–1700: History, Techniques, Functions and Receptions (2015), which was awarded an honourable mention for best books on prints by the IFPDA in 2016. His curatorial activities include exhibitions on medieval prints, early modern colour prints and Rembrandt etchings on Japanese paper. Dr. Stijnman is currently in NYC working with the Columbia University Making and Knowing Project. Visit Dr. Stijnman’s website at https://tulip88x.wixsite.com/ad–stijnman
Julia Miller: Meeting by Accident – lecture & book signing
November 8th, 2018
Thursday, 6-8pm @ NYAM
Julia Miller returns to NYC for a lecture and signing of her latest book Meeting by Accident published by The Legacy Press. During her talk hosted by the New York Academy of Medicine a number of examples will be available for the audience to examine closely. Stay for the opportunity to speak with Julia and purchase her new book at discount in either bound or sheet format.
“Julia Miller’s second book grew out of the experience of writing Books Will Speak Plain: A Handbook for Identifying and Describing Historical Bindings…The bindings described in Meeting by Accident all had their initial fascination for Julia as she was researching Books Will Speak Plain, and though she wrote briefly about some of the binding types in that book, she continued to study them and decided to write more about them…There is still a great deal of research and writing yet to do to identify and describe other binding types, but there is also the need to revisit and perhaps add to past research, as we piece together binding history, and answer more of the “what” and “why” and “how” questions concerning historical bindings.” – The Legacy Press http://www.thelegacypress.com
Julia Miller is a highly regarded conservator who studies, writes, lectures and instructs about historical binding structures. She is the author of Books Will Speak Plain: A Handbook for Identifying and Describing Historical Bindings, now in a revised second edition, published in 2010 and 2014 by The Legacy Press. She authored a typology of American scaleboard bindings in Volume I of Suave Mechanicals – Essays on the History of Bookbinding published in 2013, and serves as editor for the series now on its fourth volume.
THE CODEX AND CRAFTS IN LATE ANTIQUITY:
BARD GRADUATE CENTER
Curator, Dr. Georgios Boudalis, will lead a tour for The New York Chapter during his visit to New York City Thursday, March 1st @ 6-7pm. Space is limited! Tour meets at Bard Graduate Center Gallery. Exhibition information here.
Italian Tacketed Stationery Bindings with Katherine Beaty
held @ The New York Academy of Medicine
Lecture: Friday – March 9th @ 6pm – 8pm (free)
Class: Saturday & Sunday – March 10th & 11th 10am – 4pm*
Members Class Fee: $300
Non-Members Class Fee: $325
Class materials fee directly paid to instructor of $65
During this workshop, we will explore the structure of early Italian tacketed stationery bindings. From the 14th through the 19th centuries, tacketed stationery books were used for day, letter, and account books. These books were designed for daily use and had to live up to the task. In this 2-day workshop, we will construct the most common style of tacketed stationery binding: a limp vellum binding with laced overbands and a fore-edge flap. The textblock will be sewn over split thongs, which will lace through the front cover and be secured under the overbands. The cover will be reinforced with stiff leather overbands, secured to the cover with decorative alum tawed lacings. During this workshop, we will discuss terminology, binding variations, and examine images from the Medici collection at Baker Library at Harvard University. Participants should have previous bookbinding experience, and be comfortable using paper, parchment, and leather.
Presenter Katherine Beaty is a rare book conservator in the Weissman Preservation Center for the Harvard Libraries. For the past 10 years, Katherine has been treating rare books from the Harvard library collection, with a special interest in parchment, Islamic and non-western books, and investigating historical book structures. Over the last four years, she has been conserving early Italian account books from the Harvard’s Business School’s Baker Library Historical Collections. Katherine earned her M.A. from the Buffalo State College Art Conservation program with a specialization in book conservation, and is a Professional Associate of the American Institute for Conservation.
For class registration email at : newyork@guildofbookworkers. org
*Class ends at 4pm so participants can attend New York Antiquarian Book Fair
Lecture & Book Signing by Dr. Pablo Alvarez
The Art & Science of Healing: From Antiquity to the Renaissance. This lecture is based on Dr. Alvarez’ s curated exhibition held at the Kelsey Museum of Archaeology & the University of Michigan Library. The exhibition catalog is published by Legacy Press and will be available for purchase.
Please Register through NYAM’s website:
Cancelled; to be rescheduled.
Lecture by Mark Cockram: Learning & Teaching For Tomorrow: A forward perspective on the need to acknowledge and embrace different work practices and skills for the future benefit of all. Thursday, November 16th, 2017 6-9pm @ Judith Ivry Bookbinding
Postponed: Traditional Ethiopian Binding with Bill Hanscom
to be rescheduled 2018
Lecture & Demonstration: Islamic Papermaking with Radha Pandey Monday, June 12, 2017 5:30-7:30 Fashion Institute of Technology
Workshop & Lecture: Tips and Tricks With Italian Fine Binding Maestro Luigi Castiglioni
Lecture: 6:30 – 8 pm (FREE EVENT! Click here to RSVP)
Fee (includes materials): $120 members / $135 non-members
Class Description: In this one day workshop, Luigi will share a selection of practical techniques refined over his 20-year career as a fine binder. The class will cover the steps of French fine binding with a focus on perfecting bench techniques. Topics include toolmaking, nuances of working with various types of leathers, gilding and finishing techniques, and more. In addition, Castiglioni will discuss practical aspects of setting up a studio and managing a bindery as a business, include marketing and self-promotion, connecting with clients, and using technology to speed up daily tasks.
This will be a hands-on workshop. Bring your toolkit.
Lecture: That evening, Castiglioni will give a slide show lecture that will walk us through the creation of a particular fine binding from design idea through execution. He will share with participants the process of binding an important “livre de peintre” in the French tradition. Using images from his recent project creating a binding for a copy of Jaime Sabartès’s Dans l’Atelier de Picasso, with 6 original lithographies of Pablo Picasso and 30 reproductions, the presentation will cover the full process from the design stage through the final finishing techniques.
Instructor: Luigi Castiglioni began bookbinding at the age of 19 and hasn’t stopped since. He completed the program in 2006 at Centro del Bel Libro in Switzerland under the Master Bookbinder Edwin Heim. Later he studied with Jean-luc Honegger, where he perfected binding in box calf. He returned to Italy to study gold tooling at the Atelier of Hélène Jolis, and later traveled to England to master edge gilding working under Julian Thomas. Since 1999 Castiglioni has lived in Rimini, working out of his atelier, Anonima Amanvensis. In 2005 he exhibited 30 bindings at the Antiquarian bookseller Fata Libelli in Paris. For the past ten years he has worked exclusively for collectors, while continuing to research and develop innovative techniques. Castiglioni is considered one of the premier fine binders working in Europe. His bindings are characterized by a fusion of traditional crafts with contemporary technologies and electronic media. His process blends the pure spirit of an artisan-craftsman, with the working habits of an efficient binder. Castiglioni’s recent work includes non-traditional bindings, sculptural books, and collaborative projects with engravers and painters. His website can be seen here.
Bone Tools, Awls, Objects and Tool Sharpening with Jim Croft
Class Description: In this two-day workshop, students will learn the essentials needed to make their own hand tools to fit their hands and needs. Beginning with the raw materials, students will cut, hew, file, scrape and polish bone and wood into beautifully functional folders, awls, and/or objects. Though the emphasis is on tool making, if desired students will also have the opportunity to hone their sharpening skills, so be sure to bring some knives that need some love!
The workshop fee includes either 1 large, 2 medium, 3 small, or some combination thereof of raw bone, and an assortment of raw awl handles and needles, with the option to purchase more blanks if desired. It is recommended that students bring a dust mask as well.
Date: Sept 10, 2016, Saturday 10am – 4pm
Class Description: This a one day class is limited to 12 students.The class will begin with a short talk about the history and technique of creating a book-edge decoration. Students can expect to take away their own gilt-edged book with a hidden painting. Some skill with fine brushes recommended, but it is not necessary to be a fine artist. Bring watercolor paints (either tube or pan), a mixing plate, ruler, pencils, a water container and a variety of watercolor grade brushes including sizes 3 – 5. Students are invited to bring a draft image of their choice in a 1:5 format. Students are welcome to bring their own suitable gilt-edged books and holding clamp. However specially created gilt-edged bookblocks can be purchased at $40 and quality workshop presses will be on loan and offered for sale at $65. Specially printed workshop manuals come free with the course.
Class Description: This workshop combines a traditional structure with an opportunity for creative play. Vellum stiffboard bindings were common from the 16th to the 19th centuries throughout Europe. This course will explore a hybrid modern structure utilizing historical elements found in early versions of the vellum stiffboard binding, but with flexible joints that create less stress. This binding is sturdy and elegant, takes gold tooling well and is suitable for conservation re-bindings as well as for presentation and design bindings. Using this structure, students will create modern versions of the 17th century pierced vellum binding, with the design created by utilizing a punctured vellum cover revealing decoration on the boards beneath. This course will cover: lap link sewing on vellum tapes; back bead endbands; fabricating and decorating the boards; constructing a stiffboard case; creating a pierced vellum design; and covering in vellum. Historical examples of pierced vellum bindings can be seen here, and some of the instructor’s are available here.
Tour: Blooks Exhibition at the Grolier Club
Date: Feb 18, 2016, 5:30 – 7:30 pm
Workshop: Collapsible Book Structures
Part of The Guild at the Center Series
Dates: September 26 and 27, 2015, Saturday and Sunday, 10am – 4pm; Lecture on September 25, 6:30 pm
Instructor: Helen Hiebert is a Colorado artist who constructs installations, sculptures, films and artist books using handmade paper, thread and light. She teaches and lectures about papermaking and lamp-making and exhibits her work internationally. She is author of the books Papermaking with Plants, The Papermaker’s Companion, Paper Illuminated, Playing With Paper, and Playing With Pop-Ups. Helen has an extensive network of paper colleagues around the world and her interest in how things are made (from paper) keeps her up-to-date on current paper trends, which she writes about in her weekly blog post called The Sunday Paper. Helen’s most recent installation, The Wish, is a giant dandelion sculpture at Anythink Huron Street Library in Thornton. She holds an annual paper retreat in her Red Cliff studio each September.
Class Description: In this workshop we’ll create a variety of panel structures with unique hinges that can be utilized to make books, lanterns, folding screens wall or window hangings. We’ll make a shadow lantern, composed of lightweight wooden panels, featuring cut-outs that cast shadows onto a second layer of paper. We’ll construct an envelope folding screen with an adapted piano hinge. And we’ll create an inflatable ball structure that magically transforms from two- into three-dimensions. As we make these structures, we’ll also explore ways to layer, fold and weave papers.
Tour of New York Botanical Garden
Date: Friday, August 21, 2015 from 2:00 PM – 6:00 PM
Location: New York Botanical Garden, 2900 Southern Blvd, Bronx, NY 10458
Description: Join us at the New York Botanical Garden for a tour of the Mertz Library, one of the world’s largest botanical and horticultural research libraries, meet the conservation department, and see what they working on.
Admission to the garden will be free, and we are welcome to stay after the tour to visit the gardens, including the Frida Kahlo exhibit. The garden closes at 6pm.
A Visit with Hewitt Leather
Date: Wednesday, June 24th, 6:30-8:30pm
Description: The NY Chapter of The Guild of BookWorkers is proud to present an intimate, exclusive and informal meeting with David Lanning of J. Hewit & Sons, the leather manufacturers in Scotland. He will give a presentation and there will be time for Q&A. Special thanks to Judith Ivry for opening her studio for this special event.
Twined Endbands in the Bookbinding Traditions of the Eastern Mediterranean
Presented in collaboration with the Love Your Library Series at the Fashion Institute of Technology
Lecture: Thursday, May 7, 2015 at 6:30pm
*Lecture is free and open to the public. Attendance is highly recommended for those taking the workshop*
Workshop: Saturday, May 9, 2015, 10 am – 5 pm
$125 for NYGBW members and $175 for non-members.
Location: Both events will take place at the Fashion Institute of Technology (rooms TBD) , 227 West 27th Street, New York, NY 10001 (map)
Although beautiful to look at and interesting to reproduce endbands have much more to tell about their provenance, their evolution, their purpose and their relation with other crafts. Twined endbands represent a distinct category of rather elaborate compound endbands commonly found in one variation or the other in virtually all the distinct bookbinding traditions of the Eastern Mediterranean, that is, the Coptic, the Byzantine, the Islamic, the Georgina, the Syriac, and the Armenian. The aim of this one-day practical course is to demonstrate and clarify the characteristics of these endbands and explain their basic technical and decorative variation. An introductory lecture will explain their evolution in time and place, their classification and terminology, their structural and decorative features as well as their relation to fabric making techniques. A hand out with explanatory drawings and some reading material will also be provided. This course is addressed to both book conservators and bookbinders at all levels of expertise, although a minimum of previous experience with endbands would be helpful.
Dr. Georgios Boudalis works as a book conservator at the Museum of Byzantine Culture in Thessaloniki, Greece. He has worked in various manuscript collections such as those of the monasteries of Mount Athos and St Catherine’s Monastery in Sinai. He has completed his PhD in 2005 on the evolution of Byzantine and post-Byzantine bookbinding and has published on issues of bookbinding history and manuscript conservation. His main interests are related to the evolution of bookbinding techniques in the Eastern Mediterranean and since 2006 he has been teaching courses on the history of Byzantine and related book bindings both on a historical and practical basis. He is currently pursuing research on the relation between the making of the early codex and the crafts of Late Antiquity with a scholarship at Bard Graduate Center.
Exclusive Tour of Columbia University Library Conservation Lab
Date: Wednesday, April 15, 2015, 3 pm – 4 pm
Location: Butler Library, 535 W 114th St, New York, NY 10027 (map)
Leader: Alexis Hagadorn, Conservator and Head of the Conservation Program at Columbia University Libraries.
Description: Get an exclusive look into Columbia University Library’s Conservation Lab! The Columbia Conservation Lab serves the special collections of Avery Fine Art and Architecture Library, Burke Library at Union Theological Seminary, CV Starr East Asian Library, Augustus C. Long Health Sciences Library, and the Columbia Rare Book and Manuscript Library as well as all the general collections materials in the Columbia system. Visitors will see conservation treatments in progress and will have the opportunity to ask questions.
Private Tour of Morgan Library Exhibit “Hebrew Illumination for Our Time”
Date: Friday, April 3, 2015 at 6 pm
Location: The Morgan Library & Museum, 225 Madison Avenue, New York, NY 10016 (map)
Leader: Karen Gorst is a long time calligrapher and illuminator based in Harrison, NY. A former president of the Society of Scribes, she has exhibited and taught widely.
“Karen Gorst is consistently ranked as one of the best living illuminators. She has been ranked as one of the top 100 most influential calligraphers of the entire 20th century, and was named the top calligrapher and manuscript illuminator in Louis Vuitton • Moët Hennessy’s “Made in New York.””Center for the Book Arts.
Karen’s class at the Center for Book Arts March 30-April 3 will run concurrent with the artist’s show at the Morgan Library, which will be showing for the first time the work of a living illuminator.
Q & A with the Volunteer Lawyers for the Arts
Date: Friday, January 30, 2015 at 6:30pm.
Instructor: The Volunteer Lawyers for the Arts deliver legal services and educational programming to over ten-thousand visual and performing artists each year.
Class Description: Have you ever wished for a free lawyer? As individuals working with clients, as artists selling our work, as small business owners, situations come up that are unclear or just beyond our expertise. The New York Chapter of the Guild of Book Workers is hosting the Volunteer Lawyers for the Arts at the Center for Book Arts. They will give a brief presentation about contract law, reviewing how to write contracts, enforce them, and how much protection they offer. Then they will answer any questions audience members may have. The more we ask, the richer the evening will be for everyone! They are also experienced with commissions and consignments, so feel free to bring any legal question that has been sitting in the back of your mind.
The 19th Century Persian “Frame” Binding
Date: January 10 & 11, 2015, Saturday and Sunday, 10 am – 4 pm
Location: Barbara Goldsmith Preservation and Conservation Laboratory at New York University Bobst Library, 70 Washington Square South, New York, NY 10012 (map)
$325 for NYGBW members and $375 for non- members.
Instructor: Yasmeen Khan is a Senior Book Conservator in the Conservation Division of the Library of Congress, where she has worked since 1996. She has worked on various projects in both paper and book conservation. Her main area of interest is parchment conservation, and Middle Eastern bookbinding and its associated crafts. She has taught and trained conservators in the U.S. and Asia on conservation approaches and treatment techniques in general, and on the care of Islamic bindings in particular. Prior to LC, Yasmeen worked and trained in conservation at the Smithsonian Libraries, the Harry Ransom Humanities Research Center, Bayarische Staastbibliothek in Munich, and the Staatsbibliothek zu Berlin.
Class Description: Students will make the Persian leather “frame” or “chahar goshe” binding dating from the mid-1800s in the two-day workshop. This style was used to highlight exotic and expensive materials on the exterior of the bindings by framing it with leather. It is a soft cover leather binding and feels luxurious and personal. All techniques used will be in keeping with a historical model: students will sew the text block with linked stitches, construct a Persian “chevron” endband, line textile with paper, and do some simple blind and gold tooling on leather. The style does not have many of the features of the “classic Islamic binding” described in Bosch and Petherbridge’s Islamic Bookbinding and Bookmaking, such as the envelope flap. Variations of the frame binding and its decoration will be discussed. For this class, experience working with leather is not required; however, good eyesight or glasses for close work are necessary.
Embroidery as Binding
Date: November 22 & 23, 2014 , Saturday and Sunday, 10 am – 4 pm
Instructor:Debra Eck is an internationally exhibited book and installation artist who works primarily with paper, text and thread. Her work reflects an interest in the space occupied by women in society; most recently about how work and women are historically connected and especially with the uneasy space occupied by women’s handicrafts in the Art world. She has been the recipient of several grants and awards, including recently: the Ray and Wynn Ritchie Evans Artist in the Community Grant, NYFA MARK Class of 2012, a Zonta Women in Leadership Award for services to women artists in the region and an individual artist stipend from the United Arts Appeal. Debra also teaches as an adjunct at JamestownCommunity College and for many other arts and cultural organizations in Western NY. Originally from Essex in the UK, she received a BFA from the University at Buffalo and an MA in Visual Culture from the University of Northumbria in Newcastle (UK).
Class Description: The first in a series of classes and lectures hosted by the Guild of Book Workers, this workshop combines the craft of bookbinding with the aesthetics of traditional embroidery to create fabulous works of art.
Over the weekend, you will create at least three sample bindings. The first is a simple adaptation based on the Portuguese stem stitch that can be used to transform traditional bindings. From there, Debra Eck will demonstrate a simple embroidered binding from a chart which you will then replicate on your own. This structure will use two needles and is based on the cross stitch. The last project will be a far more complex binding derived from Elizabethan Blackwork designs which looks like maple leaves.
This is a perfect workshop for those that enjoy embroidery and are looking to understand the connection it may have to bookbinding. For those who bind books, it is a way to expand the creativity of the spine. Previous experience with bookbinding is helpful but is not necessary.
Tour of the American Museum of Natural History
Date: Friday, September 26, 2014 at 3 pm
Location: American Museum of Natural History, Central Park W & 79th St., New York, NY 10024 (map)
Description: We will gather in the Reading Room. The tour should not take more than an hour. Join us afterwards for Happy Hour at McAleer’s Pub, at 425 Amsterdam Avenue, between 80th and 81st !
Spring Swap Meet
Date: June 14, 2014, 10 am – 4 pm
Description: Members came to sell or trade supplies and tools from their seasoned collections. There were calligraphy supplies, Japanese papers, book cloth, a large alum tawed skin, some vellum, a couple of paring stones and bookbinding manuals. Pergamena was there with their leathers and Talas set up a table too.