Books On Books Collection – Helen Hiebert

Alpha Beta … (2010)

Alpha Beta (2010)
Helen Hiebert
Lantern-structure book in open-sided box. Closed, H158.75 x W114.3 mm; opens out to 2971.8 mm. Box size: H171.45 x W114.3 x D133.35 mm.Edition of 25, of which this is #22. Acquired from the artist, 17 February 2021.

Each panel displays an alphabet letter cutout casting a shadow against a second layer of handmade paper. Appropriately, the letters follow in the Arts and Crafts style font designed by Dard Hunter, “the father of hand papermaking in 20th century America”, renowned scholar and author of Papermaking: The History and Technique of an Ancient Craft.

The book’s flexible hinges between the panels allow it to be set up in a variety of ways. As can be seen above and below, the right-reading alphabet appears on the less colorful side of the structure. When viewed from the more colorful side, the letters show in reverse, which is, of course, more evident with C-B-A than Y-X-W. The swirling strokes that shadow the right-reading letters reveal themselves on the more colorful side as asemic characters watermarked into the handmade paper. A fusion of paper, letters, form and meaning.

On the reverse side: C-B-A and Y-X-W.

The Secret Life of Paper: 25 Years of Works in Paper (2016)

The Secret Life of Paper: 25 Years of Works in Paper (2016)
Helen Hiebert
Artist-made paper covers sewn over two signatures with an original string drawing in the center. H282 x W218 mm, 22 pages. Acquired from the artist, 4 April 2016.
Photos: Books On Books Collection.

Catalogues like this are works of art about works of art. It came about as a result of an exhibition held at the Kalamazoo Book Arts Center and the Waldo Emerson Library at Western Michigan University. The catalogue contains an illustrated chronology of the artist’s art and career up to 2015-16. Not only does it contain that work of string art in its center, its cover is hand bound and features a pulp stenciled handmade paper.

Curated Paper Collection #1 (2021)

Hiebert has begun a series of curated collection of papers from around the world. The first collection contains eleven papers. The largest sheet comes from Laureli Spokes: a handmade recycled rag paper from India (100 gsm), 357 x 502 mm. It features an exclusive retro two color silkscreened design that features a retro two-color silkscreened design. The smallest sheets are ten 200 x 200 mm squares of Kite Paper at 42 gsm in brilliant colors. Similar to waxed paper, it is translucent and folds well.

In material and process, the two most interesting papers are Tangram Watermark (100 gsm with thinner watermarked areas, 310 x 460 mm) and Portugese Cork Paper (140 gsm, 255 x 255 mm). Handmade with 100% bleached flax fiber and deckle-edged on all four sides, the Tangram Watermark comes from the Helen Hiebert Studio. The first image below shows the deep impression left by the watermark design cut out of a thin vinyl material and adhered to the papermaking mould. The second image, created with the sheet held up to the light, shows more clearly the tangram design left as a sheet is pulled. The cork tree sourced is highly renewable and organically grown. Handmade in Portugal from the tree’s outer bark, the naturally water-resistant sheet consists of thin layers of cork laminated to a coated base paper. The cork is acid free, but the backing paper, shown in the last image, is not.

The next two curated papers show similarities and differences arising in the Japanese and Korean traditions. The Nanohana Washi (48 gsm, 315 x 470 mm) is a “nature paper” from Awagami Factory in Tokushima, Japan. The images show the changes under different light and from views of different sides. Traditionally, Japanese washi (like Korean hanji) is made from mulberry plant fibers. Here, Awagami has used the nanohana plant (related to broccoli). It grows along the local Yoshino river, and Awagami collects the florets each Spring to mix into these sheets of washi, resulting in the green and yellow flecks. The lightweight hanji (15-19 gsm, 325 x 490 mm) is made from 100% dak (mulberry) fiber, grown and harvested in Korea by Seongwoo Jang, a fourth generation papermaker at Jangjibang, a hanji mill in Gapyeong, Korea. Hiebert notes, “The sheet was formed using the traditional Korean technique called webal or heulim ddeugi, where the slurry flows onto and off the frame in multiple directions, resulting in a strong sheet without a prominent grain direction”. The images in the middle row aim to show this with the sheet laid atop dark art paper in full sunlight and draped over the hand. The detail of the corner in the last row shows the two-ply of the sheet, where — in another interesting difference between the washi and hanji –two thin layers were couched together to form a single strong hanji sheet.

The next two papers are paired for uses and decorativeness. The silk-screened, matte-finish Italian Carta Varese Origami Paper (100 gsm, 350 x 500 mm) is heavier than traditional origami paper, it has a smooth surface and creases well with crisp folds. Smooth-surfaced and creasing well for turned in corners, this sheet with its red scroll pattern would serve well for endpapers. Debra Glanz designed the next set of papers — Paper Assembly (28#-32# text weight, 305 x 305 mm) — with that use, among others, in mind for book and paper artists.

The next two papers demonstrate the curator’s attraction to painterly surfaces. Silkscreen printed by hand with a lacquer-like ink, the Red and Blue Dragonfly Pattern Japanese Lacquered Yuzen Paper (140 gsm, 330 x 485 m) has the depth, texture and glow Japanese lacquer ware, which the first three images attempt to convey. The painting base consists of kozo and wood sulfite. The sheet of paste paper (230 x 305 mm) in the last image comes from the late Louise Lawrence (Larry Lou) Foster. It has an op-art feel to it. More of her unique papers painted with pigmented paste can be found in the limited-edition book The Paste Papers of Louise Lawrence Foster and in the Metropolitan Museum’s Thomas J. Watson Paper Legacy Project.

A blend of abaca fibers and cotton rag, Bistre Mixed Media (150 gsm, 280 x 360 mm) from Kelsey Pike’s Sustainable Papercraft in Kansas City, Kansas, is at once hard, resilient, durable, bulky, thick and soft. The images below attempt to show the sheet’s homogeneous surface and smooth, fine grain texture, intended as the name suggests for all fine art media – pencils, charcoal, conte, pastel, acrylic, watercolor, ink, gouache, etc.

For the Books On Books Collection, Curated Collection #1 presents a challenge for display and storage alongside Fred Siegenthaler’s Strange Papers and the Gentenaar-Torley’s first seven books of the Rijswijk Paper Biennial. Helen Hiebert’s contribution to book and paper art warrants that place.

Curated Paper Collection #2 (2021)

Hiebert’s second round of curation comes with a helpful printed cheat sheet (although it was challenging fun to identify the samples in #1 without the initial help). With inclusion of a video link for creating a “butterfly” book, the cheat sheet also recalls Hiebert’s bustling business in lectures and workshops as well as tempts a collector to raid the collection with a ham-handed attempt.

The first paper in the curation comes from the Fujimori family business. According to its website, 6th generation Minoru Fujimori took over in 1945. In 1970, he was designated an “Intangible Cultural Property of Tokushima” in recognition of his skills. In 1976, Awagami washi was designated as a “Traditional Craft Industry”. In 1986, Fujimori-san was further honored as Master Craftsman and awarded the “Sixth Class Order of Merit, Sacred Treasure” by the Emperor.

Naturally the flecks of onion skin show up differently on the two sides of the sample, and the density almost completely disguises the lines of the mesh. The way the color varies in the light at different angles accentuates the supple drape of the paper.

Awagami Onion Skin Paper, 48 gsm

Like Minoru Fujimori above, Iris Nevins is a cultural treasure. Specializing in the reproduction of early marbled papers, she has delved into its past prior to the advent of marbling machines during the Victorian era and creates her “own marbling colors using, where possible, the same pigments used during the period”. On what shelves and in what crusty containers do such pigments reside?

As of August 2021, her work is still being accessioned by the Paper Legacy Project, a permanent collection house in the Metropolitain Museum Of Art, in The Thomas J. Watson Library.

Iris Nevins Marbled Paper

Madeleine Durham’s paste paper is also part of the Watson Library Digital Collection. In her artist’s statement, she refers to samples “representative of my landscape artwork”. With the sample that follows, dunescapes and seascapes come to mind.

Madeleine Durham Paste Paper, 129 gsm

This green banana paper comes from a company of the same name based in Kosrae, Micronesia. Among its products is the Green Banana Paper Wallet. The pictures cannot do justice to the toughness and almost slick feel of this paper. A raincoat or wallet made from it would keep a person and valuables dry and safe.

Green Banana Paper, 180 gsm

Dó paper is a traditional Vietnamese hand-made paper dating back to the 3rd century BC. Made from the self-stripping bark of the Rhamnoneuron balansae tree, Dó paper appears to be headed toward the state of papyrus. Urbanization leading to scarcity of the tree, the narrow seasonality of the bark’s availability (between August and October) and incursion of industrial paper production pose sharp challenges to its survival. The sample below may become a rarity.

Vietnamese Dó Paper, 15 gsm

This piece of translucent unbleached abaca is best appreciated alongside Hiebert’s video “Making a sheet of abaca” (15 August 2020).

Translucent Unbleached Abaca, 75 gsm

Like Shibori, this paper below is thin or tissue washi that has been folded and dyed. The dark, irregular lines where the dye has accumulated in the folds create a sharp contrast with the translucence of the laid lines and chain lines imprinted by the mesh in the papermaking frame.

Itajameshi, 35 gsm

Manohir Upreti discusses lokta paper, “the King of Nepalese paper”, in the Geest van papier = Spirit of paper (2004), one of the Rijswijk Biennial volumes put together by Peter and Pat Gentenaar-Torley. Upreti’s sample and this one below from Hiebert’s curation demonstrate the dramatic patterns possible with this paper.

Nepalese Lokta Paper, 60 gsm

Tony Carlone‘s cattail paper reflects his artistic aim to source material “in a proper and sustainable manner”. His output includes sculptural pieces formed by spraying, pouring and casting processes, large-scale pulp paintings, and straightforward flat sheets for print processes. The cattail paper appears heavy but is actually light and supple.

Cattail Paper, medium weight

Nicholas Cladis is an American-born interdisciplinary artist who lives and works in Fukui Prefecture, Japan. An active researcher and practitioner of traditional and non-traditional papermaking processes, he makes the paper elements of his work in Echizen—an area with over 1,500 years of papermaking history—and is also an international liaison for the papermaking community there. The contrast of the Coral paper’s two sides invites standing a window and turning the sheet over and over against the light.

Coral Paper, 45 gsm

Patty paper, as in waxed paper for food patties, makes its way into Curated Paper Collection #2 for its properties of translucence, proportions suited to origami and challenge as a printing surface. While a butterfly book might make result in an interesting use of this paper, a White Ermine Moth book would respond to all three features.

Patty Paper, lightweight

Further Reading

Abecedaries I (in progress)“, Books On Books Collection, 31 March 2020.

The First Seven Books of the Rijswijk Paper Biennial“, Books On Books Collection. 10 October 2019.

Fred Siegenthaler“, Books On Books Collection. 10 January 2021.

Baker, Cathleen, and Frank Brannon. 2009. The Paste Papers of Louise Lawrence Foster. Whittier, North Carolina: SpeakEasy Press.

Hunter, Dard. 1978. Papermaking: The History and Technique of an Ancient Craft, 2nd ed. New York: Dover. Republication of the second, revised and enlarged 1947 edition.

Hiebert, Helen. 2012. The papermaker’s companion: the ultimate guide to making and using handmade paper. North Adams, MA: Storey Publishing.

Kurlansky, Mark. 2017. Paper: paging through history. New York, NY: W.W. Norton.

Müller, Lothar. 2016. White magic: the age of paper. Cambridge, UK: Polity Press.

Ta, Ren. 8 April 2019. “Dó paper”. Green Course-Hub. Accessed 10 July 2021.

Books On Books Collection – Michael Snow

Cover to Cover (1975)
Michael Snow
Cloth on board, sewn and casebound. H230 x W180 mm. 310 unnumbered pages. Published by Nova Scotia College of Art and Design. Unnumbered edition of 300. Acquired from Mast Books, 10 December 2020. Photos of the work: Books On Books Collection.

After a long search since first sight of it in 2016 at Washington, D.C.’s now defunct Corcoran Gallery library, the original hardback edition of Michael Snow’s Cover to Cover (1975) finally joins the Books On Books Collection. Thanks to Philip Zimmermann, more readers/viewers have the chance to experience Cover to Cover — if only through the screen — than the original’s 300 copies and Primary Information’s 1000 facsimile paperback copies will allow.

Amaranth Borsuk describes the work and experience of it in The Book (2018), as do Martha Langford in Michael Snow (2014), Marian Macken in Binding Spaces (2017) and Zimmermann in his comments for the exhibition “Book Show: Fifty Years of Photographic Books, 1968–2018” (for all, see links below). Like Chinese Whispers by Telfer Stokes and Helen Douglas and Theme and Permutation by Marlene MacCallum, Michael Snow’s Cover to Cover has that effect — of evoking an urge to articulate what is going on and how the bookwork is re-imagining visual narrative, how it is making us look, and how it makes us think about our interaction with our environs and the structure of the book.

The already existing commentary about Cover to Cover sets a high hurdle for worthwhile additional words. One thing going on in the book, though, seems to have gone unremarked. Some critics have asserted that, other than its title on the spine, the book has no text. There is text, however. It occurs within what I would call the preliminaries, and they show us how to read the book.

Front cover and its endpaper

On the front cover, we see a door from the inside. Then, on its pastedown endpaper, the author outside the door with his back to us. On turning page “1” of the preliminaries, we see in small type a copyright assertion and the Library of Congress catalogue number appear vertically along the gutter of pages “2-3” (a tiny clue as to what is going on).

Pages “2-3”

Over pages “4” through “14” from the same alternating viewpoints, the author reaches for the door handle, the door is seen opening from the inside, and the artist is seen walking through the door (from the outside) and into the room (from the inside). But who is recording these views?

Pages “10-11”

Over pages “15” through “24”, two photographers appear. Facing us, they are bent over their cameras — first the one outside (clean shaven and wearing a short-sleeved shirt) behind the author, then the one inside (bearded and wearing shorts) in front of the author. As the author moves out of the frame, we see that the photographer inside is holding a piece of paper in his right hand. All of this occurs through the same alternating viewpoints. At page “21”, the corner of that paper descends into the frame of the inside photographer’s view of the outside photographer, and after the next switch in viewpoint that confirms what the inside photographer is doing, we see a completely white page “23”, presumably the blank sheet that is blocking the inside photographer’s camera aperture. Page “24” is the outside photographer’s view of the inside photographer whose face and camera are blocked by the piece of paper.

Pages “16-17”, pages “20-21” and pages “24-25”

Over pages “25” (from the inside photographer’s viewpoint) and “26” (from the outside photographer’s), something strange happens with that piece of paper. Fingers and thumbs holding it appear on the left and right: we are looking at photos of the piece paper as it is being held between the photographers. What’s more, on the outside photographer’s side of the paper is the developed photo he just took of the inside photographer with his face and camera hidden by the sheet of paper. We are looking at images of images. But what is on the other side of that photo paper? — a blank with fingers holding it, which is what page “27” will show us from the inside photographer’s perspective. But whose fingers are they?

Pages “26-27”

From page “25” through page “38”, we see images of this piece of paper being manipulated by one pair of hands. The thumbs appear on the verso (the view from the outside photographer’s perspective), the fingers on the recto (the view seen by the inside photographer). By page “34”, it is upside down. By page “37”, we can see that the photo paper is being fed into a manual typewriter. But does the pair of hands belong to one of the photographers? Or a typist — the author?

For both pages “42” and “43”, the perspective is that of a typist advancing the paper and typing the title page. On both pages, we can see the ribbon holder in the same position. Pages “44-45” return to alternating perspectives, page “44” showing the photo paper descending into the roller. Page “45” presents itself as the full text of the book’s title page, curling away from the typist and revealing the inside photographer on the other side of the typewriter. Page “46” shows the upside-down view of the title page as it moves toward the inside photographer and reveals the outside photographer on the other side of the typewriter. Not only are we seeing images of images, we are witnessing the making of the book’s preliminaries.

From page “48” through page “54”, the photographers alternate views of blank paper advancing through the typewriter. By pages “55” and “56”, the typewriter has moved out of the frame. Look carefully at page “56”, however, and you can see the impression of the typewriter’s rubber holders on the paper. As a book’s preliminaries come to a close, there is often a blank page or two before the start of the book, which in this case is page “57”, showing a record player.

Zimmermann notes that, at somewhere near the book’s midpoint, the images turn upside down, and that readers who then happen to “flip the book over and start paging from the back soon realize that they are looking at images of images produced by the two-sided system, and indeed the very book that they are holding in their hands”. He notes this as another mind-bender added to the puzzlement of the two-sided system with which the book begins. Yet the prelims foretold us that the upside-downness, back-to-frontness and self-reflexivity of images of images were on their way. Without doubt, Cover to Cover is an iconic work of book art.

Further Reading

Borsuk, Amaranth. The Book (Cambridge, MA: MIT Press, 2018).

Langford, Martha. Michael Snow: Life & Work (Toronto: Art Canada Institute, 2014).

Macken, Marian. Binding Space: The Book as Spatial Practice (London: Taylor and Francis, 2017).

Michelson, Annette, and Kenneth White. Michael Snow (Cambridge, MA: MIT Press, 2019).

Zimmermann, Philip. “Book Show: Fifty Years of Photographic Books, 1968–2018“, Spaceheater Editions Blog, 3 February 2019. Accessed 16 December 2020.

But as the scene “progresses,” an action is not completed within the spread, but loops back in the next one, so that the minimal “progress” extracted from reading left to right is systematically stalled each time a page is turned, and the verso page recapitulates the photographic event printed on the recto side from the opposite angle. This is the disorienting part: to be denied “progress” as one turns the page seems oddly like flashback, which it patently is not; it might be called “extreme simultaneity.” Two versions of the same thing (two sides of the story) are happening at the same time. Zimmerman.

Books On Books Collection – Mandy Brannan

30 St Mary Axe is a skyscraper in London's mai...

30 St Mary Axe is a skyscraper in London’s main financial district. Designed by Sir Norman Foster architectural studio, built in 2001-2003. (Photo credit: Wikipedia)

London’s 30 St Mary Axe is referred to as “the Gherkin,” which a glimpse of the building on the skyline proves unmistakably appropriate.  Mandy Brannan’s bookwork homage to the Gherkin is as architecturally intricate as the building’s cladding, and somehow more satisfying, perhaps because it’s less pickled.

30 St Mary Axe: Cladding (2009)

30 St Mary Axe: Cladding (2009)
Mandy Brannan
Flagbook. H102 x W134 mm. Edition of 20, unnumbered. Acquired from the artist, 20 March 2019. Photo: Books On Books Collection

This work — 30 St Mary Axe: Diagrid (2009) — and 30 St. Mary Axe: Cladding (2009) are among several architecture-inspired works of book art that Brannan has created. The text in the one called Situated could have come straight from Pallasmaa, Bachelard or Merleau-Ponty:

Being situated is generally considered to be part of being embodied, but it is useful to consider each perspective individually. The situated perspective emphasizes that intelligent behaviour derives from the environment and the agent’s interactions with it.

Clearly we are not dealing with some mere mimetic piece of craftwork.

30 St Mary Axe: Diagrid (2009)

30 St Mary Axe: Diagrid (2009)
Mandy Brannan
Modified flagbook. H121 x W154 mm. Edition of 20, unnumbered. Acquired from the artist, 20 March 2019.
Photos: Books On Books Collection

Cladding uses a straightforward flagbook structure, but not only is it double-sided with the architectural photographs, it also places text on the inner side of the accordion support and a statement about the 5,500 panels of glass cladding on the Gherkin. The modification in Diagrid is the inward curving of the flags and their formation of the shape recalling the Gherkin. The wording on the reverse of the accordion is the definition of the architectural term diagrid: “a design element used for constructing large buildings with steel that creates triangular structures with diagonal support beams”.

In addition to the flagbook- and modified-flagbook arrangements of the photos, Brannan has enriched the substance of these works with her manipulation of her photograph of 30 St Mary Axe, reflecting a nearby building. Using several different methods, digital programs and then printer settings for digitally printing, she delivers an almost kaleidoscopic, reflective and self-reflexive effect in each work. In a sense, the work demonstrates the artist’s behavior — her choices of material, subject, text and technique in each work’s making — and how it derives from her environment and her interactions with it. By integration of text, image, color, structure and material, Brannan also situates the “Gherkin’s” architecture in our hands and gives us the opportunity to contemplate, appreciate and perhaps experience the sense of being situated and embodiment.

Further Reading

Architecture“, Bookmarking Book Art, 12 November 2018.

Bachelard, Gaston. The poetics of space (Boston: Beacon Press, 1994).

Hale, Jonathan A. Merleau-Ponty for architects (New York: Routledge, 2017.

Pallasmaa, Juhani. The eyes of the skin : architecture and the senses (Chichester: John Wiley, 2005).

Bookmarking Book Art – Alicia Martín

Alicia Martín’s series of installations called Biografías has been frequently noted across the Web — Designverb (2009), Crooked Brains (2010), SFCB Blog (2011), Huffington Post (2012), Inhabitat (2012), My Modern Met (2012, 2013), Arte Al Límite (2014), TiraBUZón (2014), El Cultural (2014, 2015) — but Nicola Mariani’s 2013 interview with Alicia Martín is the most useful entrée to this book artist and her work. The most telling insight from the artist elicited by Mariani is this:

Las intervenciones en la calle son de impacto visual, provocan curiosidad, sorpresa y la necesidad de llevársela en el móvil, en el iPad … y compartirla….  Son efímeras, por un tiempo asaltan al que va por la calle sin dejarle indiferente, la escultura “real” es la sensación que ha quedado en cada una de las personas y en la manera de recordarla, pensarla, contarla…. Una vez que se desmontan sólo queda en la memoria del que las ha vivido. Como cuando se lee un libro.

The interventions in the street have a visual impact, provoke curiosity, surprise and the need to capture it on smartphones, on iPads … and share it…. The installations are ephemeral, striking the passers-by in a brief moment allowing no indifference; the “real” sculpture is the feeling that remains in each of them, the way they remember it, think it, tell it…. Once the installations are dismantled, they remain only in the memory of those who have lived them. Like when you read a book

When I came to The Hague in June 2015, too many months passed before I visited Lidy Schoonens, owner of a bookshop devoted to book art, book arts and calligraphy, and one of the founder of the Leiden Book Arts Fair. In her shop on the fourth floor of the early 20th-century house on Johan van Oldenbarneveltlaan, I found myself sitting across from one of the orchestrators of Alicia Martín’s visit to construct her installation for the Paper Biennial 2012 at The Hague’s Meermanno Museum — an experience that put a “real” Martín sculpture in her memory. With her help, I was able to find these images of the installation.

Biografías (2012)

Alicia Martín

Photo: Courtesy of Lidy Schoonens

Biografías (2012)

Alicia Martín

Photos © Ed Jansen 2012.

Lidy described how the community quickly filled large dumpster bins with old books otherwise destined to be thrown away. Martín proceeded to manipulate and attach them to a wire frame, leaving their open pages to flutter and give sound to the cascade. By virtue of its here-today-gone-tomorrow status and its metaphoric metamorphosis of books into a torrent of now barely accessible information, Biografías reminds the viewer of the ephemerality of what appears to be permanent and urges “living” such moments of art to store the sight and sound in memory — or YouTube.

Biographías in Cordobá (2009).

In 2020, the Centro Galego de Arte Contemporánea in Santiago da Compostela has celebrated its Covid-19 reopening with another of Martín’s works — Biblioteca IX (1998) — in an exhibition entitled “Wonder Women: Women Artists in the CGAC Collection”. More of Martín’s work can be found on Mutual Art and in the series of exhibitions listed at Photography-Now.com.

Further Reading

Large-Scale Book Art Installations (updated)”, Bookmarking Book Art, 27 July 2018.

Books On Books Collection – Robin Price

as you continue (2012)

as you continue (2012)

Robin Price

Housed in acrylic tube, eight pages including letterpress printed colophon page, seven pages of USGS topographic maps inscribed with sumi ink by hand, bound with a small piece of Fabriano Tiziano green in Japanese side-stitch. H184 x W679.5 mm unfurled. Edition of approximately 65, of which this one is dated and initialed on 7 November 2012. Acquired from the artist, 25 March 2015. Photos: Books On Books Collection.

When as you continue first appeared, Jen Larson wrote of it in Multiple, Limited, Unique: Selections from the Permanent Collection of the Center for Book Arts (2011):

… this work serves as an elegant meditation and metaphor on the subject of life journeys — and orienting oneself in the midst of landscape or circumstance that can only be apprehended by survey and the will to move forward.

The year 2012 marked the centennial of composer and artist John Cage’s birth. An aficionado of “chance”, Robin Price revisited this work that had begun in December 2010 when she discovered on the Crown Point Press’ Magical-Secrets website the quotation by Cage. Cage had made this remark to Kathan Brown in 1989 after the Crown Point Press’ building was condemned following an earthquake. By chance, it now seemed fitting as a centenary birthday wish to this artistic master of “the purposeful use of chance and randomness”. Also by purposeful chance, Price turned to a technique that seemed entirely fitting for the work, its history and her personal perspective. Price writes:

… I took up the project anew and practiced writing on several different occasions, feeling dissatisfied with various trials. Eventually I found my way to writing with my left (non-dominant) hand as the most authentic expression I could bring to the content, as visualization of struggle, fear, and acceptance of imperfection.

Counting on Chance (2010)

Counting on Chance: 25 Years of Artists’ Books by Robin Price, Publisher,(2010)

Robin Price

Perfect bound. H305 x W229 mm. Acquired from the artist, 25 March 2015. Photos: Books On Books Collection.

The very covers of the book were created by chance operations. Generated solely on press using three of the four process color printing plates from the book’s interior via “make-ready”, areas of image were built up on the paper by repeatedly passing the sheets through the press, and consistently rotating the sheets prior to their feeding through ensured variation among the covers within the edition.

In addition to the theme core to Price’s art, Counting on Chance embodies another aspect key to her work: choice and collaboration. Published in conjunction with the exhibition held at Wesleyan University’s Davison Art Center, the volume includes a brilliant essay by Betty Bright, interview by Suzy Taraba and a catalogue raisonné prepared by Rutherford Witthus. Like choosing the right colors, the right combination of fonts, the right layout, the right weight and opacity of paper, and the right structure, Price’s choice of collaborators (or their choice of her) in her work and publishing is an artistic practice itself.

The Anatomy Lesson (2004)

The Anatomy Lesson: Unveiling the Fasciculus Medicinae (2004)

Joyce Cutler-Shaw

Housed in a custom-made, engraved stainless steel box (H370 x W326 x D44 mm), concertina binding co-designed with Daniel E. Kelm and Joyce Cutler-Shaw, produced at The Wide Awake Garage; twelve signatures of handmade cotton text paper, the central ten signatures each made up of one sheet H356 x W514 mm and one sheet H356 x W500 mm glued to the 14 mm margin of the first sheet, for a total of 96 pages, each measuring H356 x W253 mm.
Binding of leather covered boards (a hologram embedded in front cover) with an open spine, taped and sewn into a reinforcing concertina structure: H361 X W259 mm.
The hologram, produced by DuPont Authentication Systems, features an early eighteenth-century brass lancet. Edition of 50, of which this is a binder’s copy. Acquired from the binder, Daniel E. Kelm, 15 October 2018.

Generating two double-page spreads, one for the Fasciculus Medicinae on the left and Cutler-Shaw on the right, the foldout pages extend to 1016 mm.

Responding to the 1993 Smithsonian challenge to book artists to create a work in response to a scientific or technical work in the Dibner Library, Joyce Cutler-Shaw approached Price for assistance in creating a unique book based on Shaw’s response to the Fasciculus Medicinae (1495), the first printed book with anatomical illustrations. A decade later, Price was convinced to issue this 50-copy edition. In Counting On Chance, Betty Bright recounts the story behind this brilliant collaboration. Detail and additional images about the work can be found here.

Further Reading

Counting on Chance: 25 Years of Artists’ Books by Robin Price, Publisher, exhibition catalog / catalogue raisonné. Wesleyan University Davison Art Center, 2010

Bright, Betty. No Longer Innocent: Book Art in America 1960-1980 (New York: Granary Books, 2005), pp. 249-50.

Bright, Betty. “Handwork and Hybrids: Contemporary Book Art,” in Extra/ordinary: Craft and Contemporary Art, edited by Maria Elena Buczek (Durham, NC: Duke University Press, 2010). Essay highlighting the work of Robin Price and Ken Campbell.

Bookmarking Book Art – Alicia Bailey and the Artists’ Book Cornucopia

For a decade, Alicia Bailey has played the role of Ceres to book artists and collectors, bringing them the Artists’ Book Cornucopia. And this has been in addition to creating her own bookworks, organizing other exhibitions and running Abecedarian Gallery and Raven Press. Artists’ Book Cornucopia X marks the tenth and last cornucopia but not the end of their impact.

Cornucopia implies abundance and variety, and Alicia Bailey has delivered both. A glance at the ten catalogues finds a consistently high level of participation — always at least thirty artists — and every catalogue has shown a “variety of varieties”. Consider these varieties:

Variety of structures: accordions, boxes, flag books, girdle books, pop-ups, miniatures, portfolios, scrolls, sculpted shapes, wallets, etc. The variations within each type would require a hunt through The Art of the Fold (Kyle and Warchol), Structure of the Visual Book (Smith) and Book Dynamics! (Hutchins) to identify them properly. In ABC X, all of the structures mentioned above are represented. Over the decade, the Artists’ Book Cornucopia have spilled out structural innovations such as Merike van Zanten’s A Soldier of the Second World War (ABC I), Pamela Paulsrud’s Touchstones (ABC II), Cathryn Miller’s Universe: Foundation Trilogy (ABC III), Louisa Boyd’s miniature Stardust (ABC IV), Susan Kapuscinski Gaylord’s Spirit Book #67 (ABC V), Candace Hicks’s Trees of a Feather (ABC VI), Karen Hardy’s Vellicate (ABC VII), Bryan Kring’s Shared Illusion (ABC VIII) and Josh Hockensmith’s After (ABC IX). The abundance of innovations makes a visit to the Abecedarian Gallery site for numerous second-guessings worthwhile.

The variety of material used by the artists overwhelms: beads and buttons (Ednie), cactus needles and jute (Reka), cement and glass (Bryant), ceramic and cardstock (Wolken), copper and redwood (Anstruther/Grasso), fishing line and wire (Johnston), fish-skin and mull (Klass), leather and “metal findings” (Melis), magnet and museum board (Burton), palladium and aluminum leaf (Bailey), ribbon and slide viewers (Grimm), silk and sinew (Alpers), thread and tyvek (Asato), window screen and wood (Fleming), zippers and fabric (Melhorn-Boe) and, of course, upcycled books (Anastasiou). Any appreciation of the ingenuity of materials selection and manipulation across the Artists’ Book Cornucopia requires a rewarding read of the descriptions provided in each of the catalogues.

Then there is the variety of techniques: blind deboss (Lawrence), calligraphy (Towers), chromogenic prints (Grimm), collograph (Dokudowicz), cyanotype (Biza), gelatine monoprinting (Powers-Torrey), intaglio (Larson), letterpress (Nakata), linocut (Knudson), photopolymer (Larson), risography (Powers-Torrey), silkscreen (Anastasiou) and woodcut (Lucas). Like the materials used, the techniques employed are almost too many to name, and of course, those named are used by more than the one artist mentioned.

And, of course, a riot of papers: abaca (Welch), Alabama kozo (Sico), Awagami Shin Inbe (Gorham), cotton-abaca (Lucas), Domestic Etch/Lana Laid/Masa/Niddegen (Powers-Torrey), Hahnemühle Ingres mouldmade pastel paper (Ednie), indigo flax (Johnston), Somerset (Moyer) and Thai Momi marbled paper (Towers), which of the varieties used are far too few to mention.

And varied carriers of colour: acrylic (Johnston), crayon and botanically dyed ink (Ednie), digital ink (Reka), gouache (Thrams), milk paint (Anstruther/Grasso), pencil (Fleming), pulp painting (Welch), Sumi and walnut inks (Towers), textile ink (Melhorn-Boe) and watercolour (Ednie,Thrams and Towers), again far more could be mentioned.

Likewise, the variety of shapes and direction is kaleidoscopic: zigzag, circular, globular, vertical, horizontal, square, cuboid and boustrophedon (left to right to left to right, etc.). And that is before any listing of the Platonic shapes in Sarah Bryant’s The Radiant Republic.

The wide variety of themes in ABC X echoes the same breadth across the previous nine catalogues. Here we have architecture (Bryant), botany and discovery (Gower), chronic illness (Wolken), the city (Dokudowicz), environment (Lowdermilk), industrial landscape (Burton), the literary (Bailey), pain (Reka), sexuality (Grimm), travel (Melis), wildlife (Thrams) and #MeToo (Ellis). The named representative artist is just a starting point for each theme, and the themes mentioned are only alphabetical, not exhaustive.

Perhaps the one varietal shortcoming of ABC I-X is that most of the artists participating hail from the US. When another nationality appears in one of the catalogues, it surprises. Over time, “vintners“ from the following countries have shown up: Argentina, Australia, Austria, Brazil, Canada, China, Egypt, France, Greece, Korea, Netherlands, Poland, UK and Venezuela.

The abundance and variety of Alicia Bailey’s Artists’ Book Cornucopia prove one premise and question another from Johanna Drucker’s The Century of Artists’ Books:

If all the elements or activities which contribute to artists’ books as a field are described what emerges is a space made by their intersection, one which is a zone of activity … There are many of these activities: fine printing, independent publishing, the craft tradition of book arts, conceptual art, painting and other traditional arts, politically motivated art activity and activist production, performance of both traditional and experimental varieties, concrete poetry, experimental music, computer and electronic arts, and last but not least, the tradition of the illustrated book, the livre d’artiste. The Century of the Artists’ Books (New York: Granary Books, 2004, new edition), p. 2.

ABC X and its nine sisters shout a resounding “Amen”, but the rich quality and originality of the works displayed whisper “‘the’ century?” At the close of the 21st century’s second decade, Ceres is smiling.

Further Reading, Listening and Viewing

Bailey, Alicia. “‘Narrative Threads’ uses book art to explore stories”, PostIndependent, 3 May 2018. Accessed 2 December 2019.

Bowen, Sara. “Artists, Books and Interviews #2: Alicia Bailey”, Book-Art-Object, 20 November 2011. Accessed 7 November 2019.

Dillard, Julia “Curator Alicia Bailey on the Intimacy of Artists’ Books and Everything You Didn’t Know about Book Arts”, Art Gym Denver, 23 October 2017. Accessed 7 November 2019.

Froyd, Susan. “#45: Alicia Bailey”, Westwood, 19 September 2013. Accessed 7 November 2019.

Isaacs, J. Susan. The Book: A Contemporary View (Wilmington, DE: Delaware Center for the Contemporary Arts, 2011), p. 15.

Leutz, Pamela. “This Time Is: Alicia Bailey”, The Guild of Bookworkers, 25 April 2018. Accessed 7 November 2018.

Wolfson, Zach. “Beyond the Gallery with Alicia Bailey”, Infusion5, 17 April 2014. Accessed 7 November 2019.

Bookmarking Book Art – Jukhee Kwon

The 20th century poet Ezra Pound espoused the view that the best way to understand and critique literature was by juxtaposition of works from different periods. Here is an attempt at that approach applied to the art of Jukhee Kwon and John Latham, but the critic might have better selected Kwon’s Libro Libero (2013) to make the point about “releasing … energy and celebrating freedom”. Kwon’s own thoughts about Libro Libero lead in a different direction though.

Libro Libero (2013)
Jukhee Kwon
Photo: Jonathan Greet

The work of Libro Libero was done with a Christian nun’s book. I am not so religious a person, but I understand that religion is about life. How we come and how we live and how we die. And every belief has a strong link with something invisible and oneself visible … (we live in the body) … you can say the connection between the soul and body. 

So I made the bookwork to be producer and receiver. Pages are coming out (producer) and the scrolled papers are below them (receiver). 
The shredded paper is falling and settling on the scrolled paper boat (it looks like a boat or if you will a bowl). The falling paper is fragile but in the boat or bowl it becomes solid and safe. 

Email to author, 26 September 2018, edited for brevity.

At the October Gallery in London in January 2019, I had the chance to see a similar bookwork. The difference drives home the use of the book as material — like clay or stone for sculpture, oils or watercolour for painting. But it is freighted, manifold material.

Dipping into Darkness (2013)
Jukhee Kwon
Photos: Books On Books

It brings paper, cloth or leather, and ink; it brings content. As in Libro Libero, Kwon turns another book into an active composite — the covers opened to spill out pages, cut and braided into ribbons, the last of which have been dipped into ink. Or, per the title, is it the covers opening, the pages unravelling and braiding, the ink of the words draining into a pool of darkness into which the ribbons are dipping? Rather than the lighter spiritual association suggested by the former’s title, shape and action, Dipping into Darkness implies a blacker interpretation. Or perhaps that is too Western a perspective. Is the breviary at the pinnacle of the work the result of the brush-like shape’s dipping into the ink of contemplation?

If the chance to view and contemplate Kwon’s art arises, take it.

Further Reading

Culture 24

October Gallery

Books On Books Collection – Claire Van Vliet

Woven and Interlocking Book Structures (2002)

Claire Van Vliet and Elizabeth Steiner, Woven and Interlocking Book Structures (Newark, Vermont: The Janus Press, 2002). Number 13 of two hundred copies signed by Claire Van Vliet. Four slipcases containing 16 book models are enclosed with the book in a cloth-covered clamshell box. The binding models are:
A — Aunt Sallie’s Lament; Aunt Sallie’s Lament without Flags; Aunt Sallie’s Lament non-adhesive version; Moeraki Boulders; Designating Duet. Papers used include Elephant Hide, Fabriano cover and Miliani Ingres, French’s recycled, Marblesmith, Bristol and Saunders laid.
B — Beauty in Use; Beauty in Use with text leaves; Deep in the Territory; Night Street. Papers used include Elephant Hide, French’s recycled, Bristol, Mohawk Superfine and Fabriano cover.
C — Gioia I; Gioia II; Sing Weaving; Compound Frame. Papers used include Elephant Hide, French’s recycled, Bristol, Mohawk Superfine, Linen Index, Neenah UV Columns and Marblesmith.
D — Bone Songs; A Landscape with Cows in It; Well-Heeled. Papers used include Elephant Hide, Mohawk Superfine, Arches laid, and Fabriano text and Miliani Ingres.

Tumbling Blocks for Pris and Bruce (1996)

Claire Van Vliet, Tumbling Blocks for Pris and Bruce (Newark, Vermont: The Janus Press, 1996). Number 134 of two hundred. Created from offcuts from Praise Basted In: A Friendship Quilt for Aunt Sallie (1995). Issued in a non-adhesive paper box; housed in a clear plastic box. Each leaf consists of two cut letters glued back to back; leaves folded and glued to permit book to open into a variety of shapes. “Pris and Bruce” are the Hubbards, Janus Press patrons.

Batterers (1996)

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Batterers (1996)

Denise Levertov, Kathryn Lipke Vigesaa and Claire Van Vliet

Slipcase: H307 x W387 x D73 mm; Tray: H296 x W380 x D61 mm; Accordion: H270 x W356 x D33 (closed), H270 x W1115 mm (open). Edition of 500, of which this is #5, signed. Acquired from Van Vliet via Vamp & Tramp, 17 July 2020.

What is remarkable about this sculptural book is its fusion of collaborators’ efforts, of art forms, and of text, materials, techniques and structures.

In the late 1980s, Claire Van Vliet and Kathryn Lipke (née Vigesaa) were seeking a collaborative project. After Van Vliet spotted Denise Levertov’s poem “Batterers” in the American Poetry Review (1990:6), they agreed that the poem, which enfolds our abuse of the earth within a metaphor of domestic abuse, was the appropriate text to join somehow with Lipke’s series of structural artworks called Earthskins.

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Earthskins (1988-96)

Kathryn Lipke (Vigesaa)

Installation views of the works created from paper pulp, clay and pigments; some reaching 69 feet in length. Photos: Courtesy of the artist.

When letterpress printers consider the reproduction of a short poem, the broadside is the most common art form adopted. Van Vliet’s adoption of it is anything but common. Instead, she has orchestrated a combination of structures and art forms. From the maroon-printed, brown linen slipcase slides a tray made of tamarack wood to which Lipke’s vacuum-formed panel of clay mixed with paper is fixed. As the black tray is lifted, layers of multi-folded paper attached to a backing appear.

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The top two layers are glued and sewn with multi-stranded red thread to the third and bottom layer, displaying the names of the author, work and Van Vliet’s press. The bottom layer is glued to a backing of three strong card panels tightly glued to two wood runners, sawn or routered into a slight U shape.

As the top layer is unfolded by pulling it apart, left and right, three tabs drop down to reveal Levertov’s poem.

Van Vliet’s combination of structures and forms offers multiple orders in which to read the poem, which pleased Levertov because she liked the poem in both the stanzaic orders of 1-2-3 and 1-3-2 (correspondence with Kathryn Lipke and Claire Van Vliet, 20 July 2020). In a book-like way, the covering tray slides from its slipcover, the cover is removed, and the accordion pages unfold to be read left panel first, right panel second and center panel third, emphasizing the embedded and central metaphor.

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Spread fully open, the structure assumes a single-sheet broadside form, and the “center” stanza moves from third to second in order. But there is a third order of reading, as it were. The broadside form “leans” into the art forms of print, painting and bas-relief sculpture. The text, images and design become a whole experience, an object to be taken in as a whole.

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Photos: Books On Books Collection.

Not only in form does Batterers “lean” into the form of painting: the imagery and colors arise from the technique of pulp painting, a technique defined by the work of Marius Péraudeau in the mid-twentieth century. Pat Gentenaar’s still life Water Dragon in this collection provides another example of the technique.

Top: cover image of Marius Péraudeau: Pulp Paper Paintings (Paris: Ernst Maget, 1991). Photo taken at British Library: Books On Books. Bottom: Water Dragon (n.d.) Pat Gentenaar-Torley. Photo: Books On Books Collection.

In pulp painting, the paper is the painting. Assisted by Katie MacGregor and Bernie Vinzani in their paper studio in Whiting, Maine, Van Vliet poured different colors of paper pulp into prepared forms to create three sheets of paper on which to print and then collage into the image that suggests dual images: that of a volcano and that of a woman reclining on her side or face down. The fusion of shapes, the fusion of color and fiber in pulp painting, and the fusion of clay and pulp in the covering bas-relief (which can also be used as a stand for the broadside) fuse with the poem’s words and metaphor. Once this artwork has been experienced, reading the poem printed in a traditional book can never be the same.

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Further Reading

The First Seven Books of the Rijswijk Paper Biennial“, Books On Books Collection, 10 October 2019.

Auburn, Luke. “Typographer and founder of Janus Press Claire Van Vliet to be presented with Goudy Award Nov. 2“, University News, Rochester Institute of Technology, 25 October 2017.

Craft in America, PBS Series, Claire Van Vliet (N.D.) Includes a short video with Kathleen Walkup (Mills College) 7 October 2009.

Library of Congress, The Janus Press, 19 October 2017.

Sullivan, James D. “A Poem Is a Material Object: Claire Van Vliet’s Artists Books and Denise Levertov’s “Batterers”“, Humanities, 2019, 8, 124; doi:10.3390/h8030124.

University of Wisconsin, Woven and Interlocking Book Structures, 9 November 2018.

Van Vliet, Claire. “Thoughts on Bookmaking by Claire Van Vliet of The Janus Press“, Poet’s House, 10 October 2019.

Bookmarking Book Art – The Colophon and the Left-over “i”

This tale comes from J. S. Kennard’s short 1901 tome on the colophon — that last page at the end of a manuscript or book. The colophon has served many purposes: giving the title of the work, identifying the scribe or printer, naming the place and date of completion or imprint, thanking and praising the patron, bragging, blaming, apologizing, entreating, praying and much more. Examples can be traced back to clay tablets and forward to websites.

Cuneiform tablet from the Library of Ashurbanipal, British Museum. Interesting that the colophon was added in ink after the clay had dried.
Colofon page of Rijksmuseum website

Its presence on websites may be one of those decried skeuomorphic hangovers from book publishing, but perhaps the colophon has an underlying value or purpose to serve in both the analogue and digital worlds. The late Bill Hill, who wrote the 1999 Microsoft white paper “The Magic of Reading” and was an early contributor to online typography, suggested making colophons a compulsory standard for website design and asked:

Why not introduce the venerable concept of the colophon to the Web? Could it be used to drive a new business model for fonts which would benefit the font industry, web developers and designers – and the people who visit their sites?[Sadly this page at the Bill Hill’s site is no longer available.]

Fanciful? Perhaps, but not much more fanciful than Erasmus’ proffered explanation of the word “colophon”. His expanded edition of Adagia printed by Manutius in 1508 includes this adage:

Colophonem addidit He added the colophon. This came to be used when the finishing touch is added to something, or when some addition is made without which a piece of business cannot be concluded. The origin of the adage is pointed out by Strabo in … his Geography, …

And here is Strabo from the Loeb Classical Library online:

As venerable a publishing custom as the colophon may be, it is more honoured in the breach than the observance. Book artists tend to be more observant, but not religiously so, and of course some works of book art might be disfigured by a colophon. Still, there are sound reasons why book artists should bother themselves with a colophon — even if it stands apart from the work. In her review of Book Artists and Artists Who Make Books (2017), India Johnson gives one of those sound reasons:

It’s probably impossible to include every detail of production in a colophon—but some give it their best stab, exhaustively listing everyone that took part in a project. More concise colophons recap only the most relevant details of making—perhaps those the primary creator feels will factor saliently into making meaning of the book.

The convention of the colophon in our field exposes an assumption that the meaning of an artwork is informed not only by the finished product, but by the specifics of artistic labor. Book Artists and Artists Who Make Books“, CBAA, 1 October 2018. Accessed 3 October 2018.

If craft does figure in a work’s meaning, then the more we can see how it figures, the greater our ability to appreciate and understand the work. For conveying insight — what materials and from what sources, what processes, what tools, who contributed, where and when the work occurred — the colophon stands ready. But where does it stand?

A contemporary of Kennard, A.W. Pollard declared that, to be a proper colophon, it had to appear at the conclusion or summit of the work. Artful as are some of the manuscripts and books that Kennard and Pollard cite, none push the envelope in the manner that works of contemporary book art do. Which brings us to another reason for book artists to consider the colophon: inspiration from history or tradition.

The last page of the codex may be a rightful spot for placing the codex, but what if the bookwork’s shape is challenging or musing about the shape of the book? Finishing touches might go anywhere. Think of Van Eyck’s self-portrait hidden in a reflection in The Arnolfini Portrait, or that of Vélazquez in Las Meninas.

Historians’ diligent cataloging of the “hands” of the scribes has enriched the self-identifications in colophons and connected those craftspersons with additional manuscripts. Book artists who use calligraphy or involve calligraphers should ponder the implications of this tool historians use to identify scribes by the style of their “hands”.

Late Medieval English Scribes (2011)
The Centre for Medieval Studies at the University of York

What potential, meaningful “tells” in a work’s colophon might the book artist or calligrapher leave to enrich the work — and provide insights for historians and connoisseurs poring over the finishing touch?

The colophon’s underlying value or purpose warrants book artists’ thinking about recording it offline and online, though this might be stretching the definition of the colophon. Our enjoyment of Kitty Maryatt’s 2018 reconstruction of La prose du Transsibérien et de la Petite Jehanne de France (1913) by Blaise Cendrars and Sonia Delaunay is certainly enhanced by the “colophonic” booklet she included with the work and the “About” page online.

Perhaps the story of the little “i” left over – the colophon – will prod the future historians of book art to examine bookworks and their artists’ websites for those finishing touches and stir artists to bestow that last finishing touch for the sake of the work’s soul if not their own.

A Prospect of Colophons

The Anatomy Lesson: Unveiling the Fasciculus Medicinae (2004)
Joyce Cutler-Shaw
The careful reader will notice that the edition number is missing. This instance of the work is one of the binder’s signed but unnumbered copies, having been acquired directly from Daniel E. Kelm.
The Ballad of the Self Same Thing (2019)
Lyn Dillin
Can this be the first rhyming colophon?
Finding Home (2016)
Louise Levergneux
This may not be the first bilingual colophon I have seen, but its being inside the top of the box enclosing the work makes it the first to occupy the physical summit a work.
Theme and Permutation (2012)
Marlene MacCallum
This double-page spread reveals process information about the work that adds to the reader/viewer’s appreciation of the themes and permutations occurring in the pages.
Mallarmé’s Coup d’État (2007)
Kitty Maryatt
The colophon’s nod to Iliazd sends the reader/viewer back to the start of this catalogue that is a bookwork in its own right.
La prose du Transsibérien Re-Creation (2019)
Kitty Maryatt
A “colophon within a colophon”. The booklet providing details about the original work and Maryatt’s re-creation has an accordion structure and collapses into its own tri-fold wallet, which fits within the cover of the main work, seen here in its acetate holder.
L is for Lettering (2011)
Cathryn Miller
This hilarious and touching abecedary parades as a marked work handed in for a course, a portrait of the artist within a contemplation of the past and future of typography and letterpress. This colophon embodies the finishing touch.
A’s Rosen War (2017)
Alan Caesar
This colophon continues the premised date with which this work of science fiction book art begins.

Further Reading

CREWS Project, “Learning about Cuneiform Tablets Behind the Scenes at the British Museum”, 14 June 2017, accessed 20 April 201. (See for an example of scribes’ skill in ink on clay.)

Richard Gameson. The Scribe Speaks? Colophons in Early English Manuscripts. Cambridge: Cambridge University Press, 2001. (See for the human interest: “I, Aelfric, wrote this book in the monastery of Bath”; “Pray for Wigbald”; “Just as the port is welcome to sailors, so is the final verse to scribes”.)

Bill Hill, “The Magic of Reading”, accessed 20 April 2019.

Joseph Spencer Kennard. Some early printers and their colophons. Philadelphia : G.W. Jacobs and Co., 1902. (Less academic but just as interesting and typographically more fun than Gameson.)

Alfred W. Pollard. An essay on colophons, with specimens and translations. Chicago: Caxton Club, 1905.

Alfred W. Pollard. Last words on the history of the title-page, with notes on some colophons and twenty-seven facsimiles of title-pages. London: J.C. Nimmo, 1891.

Ming-Sun Poon, “The Printer’s Colophon in Sung China, 960-1279”, The Library Quarterly,43:1 (January 1973). (See for the 34 calligraphic inscriptions and the colophon to the Diamond Sutra: “On the 15th of the 4th moon of the 9th year of Hsien-t’ung [May 11, 868], Wang Chiek on behalf of his two parents reverently made this for universal free distribution.”)

Christine Proust, “Reading Colophons from Mesopotamian Clay-Tablets Dealing with Mathematics”, NTM Zeitschrift für Geschichte der Wissenschaften, Technik und Medizin, 20:3 (September 2012). (Helpfully diagrammed black and white views of the difficult-to-see incisions in clay.)

Ding Wang, “A Buddhist Colophon from the 4th Century: Its Reading and Meaning”, Manuscript Cultures, 3 (2010). (Beautiful photos of the scroll scribed by Baoxian.)

David C. Weber, “Colophon: An Essay on its Derivation,” Book Collector 46 (Autumn 1997).

Bookmarking Book Art – Update: the John Jarrold Printing Museum Saved!

Last November, the post below appeared under the title “Saving the John Jarrold Printing Museum”. News has arrived that the museum will be renamed the “Norwich Printing Museum” and moved to St. Peter Parmentergate in King Street, Norwich. The Norwich Printing Museum’s volunteer supporters aim to open it in the summer 2020.

How fitting it would be if the organisers of the Leiden Book Arts Fair, held in St Pieterskirche, Leiden, every November, were to celebrate the event next year. The connections between The Netherlands and Norwich/Norfolk run deep. And, given that the great-great-grandson of John Folger who came to America from Norwich in 1635 and settled in Watertown, MA, was Benjamin Franklin, arguably America’s “uncle of printing”, how fitting it would be if the members of the New England chapter of the American Printing History Association played printer’s devil to the affair.

Congratulations to Jules Allen and the NPM volunteers and thanks to Caroline Jarrold for this outcome.

Posting from 8 November 2018:

Litho stone featuring the St James Mill building in Norwich. Image: JJPM
From Print Week, 26 September 2018

The John Jarrold Printing Museum in Norwich, England, is one of the few working print museums in the world. Here’s a selection of ten from among its hundreds of holdings: 

  • Star wheel etching press. Wood & Company, West Smithfield, London. 1858. No.1250. Donated by Midlands Art Centre, Birmingham, June 2010. 
  • Albion. Hopkinson & Cope, Finsbury. 1845. No. 1900. From Mr Gott of Watts & Rowe, King’s Lynn.
  • Albion. Hopkinson. Jonathan & Jeremiah Barrett, executors of R. W. Cope, Finswbury, London. 1840. No. 1273. From William Booth, Woodbridge.
  • Columbian. Probably George Clymer. c.1845. Was purchased new by Jarrold & Sons Ltd, and was their longest serving machine. (Lent to the Norwich School of Art for the Caxton Quincentenary).
  • Stanhope. 1825. Donated by Cambridge University Press. 
  • Side-lever lithographic hand press. Hughes & Kimber. ex Norwich College of Art & Design.
  • Top lever lithographic hand press. D. & J. Greig, Lothian Road, Edinburgh. c.1840. 24 x 17 in. Presented to John Jarrold Printing Museum, May 1999 by Geoffrey Dunn, 22 Henry Drive, Leigh on Sea, Essex, SS9 3QQ.
  • Ratcliff direct lithographic press. John Ratcliff & Sons Ltd, Wortley & Leeds. 1927. Double demy. Donated by Curwen Studios, London. Thought to be the only surviving example.
  • Furnival stop-cylinder. 1984. Double demy. Donated by H. Hawes, Elmswell.
  • Heidelberg one-revolution cylinder press, c.1950. Donated by Jarrold & Sons Ltd. Heidelberg. Schnellpressenfabrik A.G. Heidelberg, Germany.

The developers aiming to tear down the building that houses the John Jarrold Printing Museum have mooted keeping some of the older printing presses now there and using them as mood or accent pieces for the café to be built as part of their residential development plans. 

Anyone caring to comment can do so on the Norwich City Council planning site.