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 – More Manutius in Manchester and More to Come

Merchants of Print from Venice to Manchester,                                                          

Aldus Manutius, John Rylands Library, University of Manchester
Aldus Manutius, John Rylands Library, University of Manchester

29 January to 21 June 2015, John Rylands Library, University of Manchester, UK

‌This exhibition celebrates the legacy of Aldus Manutius (1449 – 1515), an Italian humanist scholar who founded the Aldine Press at Venice. His publishing legacy includes scholarly editions of classical authors, the introduction of italic type, and the development of books in small formats that were read much like modern paperbacks. The firm was continued after his death by his son and grandson until 1598.  John Rylands Library, University of Manchester website, accessed 17 May 2015

Back in February as I enjoyed Oxford’s recognition of the 500th anniversary of the death of Teobaldo Manucci, the Manchester exhibition was already running. Where the Oxford event focused on the more architectural motifs distinguishing early Venetian from Roman printing, the Manchester event dwelt more on the educational thrust, technical and business aspects of the Aldine legacy and provenance of the Manchester collection.

The Manchester focus on provenance wends its way back through the library’s donors dedicated to the cause of education (if not to impressing its practitioners with the importance of  the woolen industry’s contribution to it) to the Renaissance circle on which Manutius depended:

Giovanni Pico della Miradola, 1463-1494 Uffizi Gallery, Florence
Giovanni Pico della Mirandola, 1463-1494
Uffizi Gallery, Florence

In 1482 Manutius lived with Pico della Mirandola and served as tutor to his nephews, the sons of the Princess of Carpi. Like the later, beneficent Manchester merchants, Pico’s family contributed financially to the cause:  they funded the opening of the Aldine printing office in Venice in 1494. Of course, Pico made more than a patron’s financial contribution to the cause.  Along with Cardinal Bessarion, Marsilio Ficino, Leon Battista Alberti and Erasmus – all known intimately to Manutius –  Pico drove the revival of learning embodied in the output of the Aldines and numerous other printers (John Addington Symonds, Renaissance in Italy, Volume 2 (of 7): The Revival of Learning, John Murray, 1914).

Justus van Gent and Pedro Berruguete , Le Cardinal Bessarion (Les Hommes Illustres)
Cardinal Bessarion, Justus van Gent and Pedro Berruguete , (Les Hommes Illustres)

Marsilio Ficino, Duomo, Florence
Marsilio Ficino, Duomo, Florence

Leon Battista Alberti, Piazza degli Uffizi, Florence
Leon Battista Alberti, Piazza degli Uffizi, Florence

Desiderius Erasmus, 1523?, Hans Holbein the Younger
Desiderius Erasmus, 1523?, Hans Holbein the YoungerThe Manchester exhibition closes this month.

The next major Aldine event is the summer school hosted by The Catholic University in Siena (31 August – 3 September) and jointly organized by the Centro di ricerca europeo libro editoria biblioteca (CRELEB). Other events with dates still to be confirmed are planned in Brighton, Treviso, Milan and Arezzo.

More on Aldus Manutius at the University of Glasgow Library here.

Bookmark – Aldus Manutius, 6 February 1515 – 6 February 2015

Hypnerotomachia Poliphili, Venice: Aldine Press, 1499.
Hypnerotomachia Poliphili, Venice: Aldine Press, 1499. Hypnerotomachia Poliphili. Venice: Aldine Press, 1499.

Late afternoon before the long worn wooden benches in the Bodleian’s Convocation Hall, 500 years after the death of Aldus Manutius, Oren Margolis served his audience well, providing them with a richer appreciation of the “finest printed book of the entire Renaissance”* – the Hypnerotomachia Poliphili – and of its publisher Aldus Manutius.

Drawing our attention to the more sculptural qualities of Venetian Renaissance printed books over the Florentine and to the  evidence of the humanist agenda that drove Manutius, he led us to the page where Poliphilo (lover of all things, but in particular Polia, the ideal woman pursued to the end of the book) stands before a carving that foreshadows the Aldine Press device: a dolphin entwined around the shank of an anchor. The Aldine Press device was inspired by a similar image on an ancient Roman coin given by Pietro Bembo to Aldus, who wrongly associated it with Augustus and his proverb Festina lente (“Make haste slowly”) and adopted both for his printing and publishing business.

Erasmus praised Aldus, saying that he was “building a library which knows no walls save those of the world itself”.

For all of 2015, the world enjoyed a multitude of celebrations of the contribution of Aldus Manutius to publishing, printing and the book. After Gutenberg, Fust and Schoeffer, Aldus Manutius was perhaps the most important printer of the Renaissance. His portable books are still here, although locked away or displayed under glass, no longer so portable. Until now.

The Manutius Network 2015 provides a running list, links for some of which are provided below, including the online exhibition associated with Margolis’s talk.  See also below, added in May 2016, the belated exhibition “Aldo Manutius: The Renaissance in Venice” at the Gallerie dell’Accademia in Venice.

See the New York Times coverage here.

Aldo Manutius: The Renaissance in Venice http://www.mostraaldomanuzio.it/exhibition Exhibition poster containing detail of ‘Portrait of a Woman as Flora’ (c1520), by Bartolomeo Veneto © Eton College
Aldo Manutius: The Renaissance in Venice
Exhibition poster containing detail of ‘Portrait of a Woman as Flora’ (c1520), by Bartolomeo Veneto © Eton College

More from the University of Glasgow here.

From Crispin Elsted’s review of the Thames & Hudson facsimile edition of the Hypnerotomachia Poliphili. Parenthesis, December 2000, No. 5:

I once spent three hours in a library with a copy of the Aldine edition of Hypnerotomachia Poliphili, and I have never known a book take my breath away so consistently. Every page is a masterpiece: the dance of text with the more than 170 woodcuts; the firm, male stature of the typeface; the crisp spring of the impression; the elegant proportion of the page — all combine to an end in which the craft of printing and design carry the text into an atmosphere not of its own making. This new edition has the appearance of a fine actor in a part lately played by a great one. Here are the signs of the grace that greatness lent the commonplace five centuries ago; and in these signs, the commonplace finds here another advocate for its small claims to our time. 

*Alexander Lawson. The Anatomy of a Typeface. Jaffrey, NH: Godine, 1990.

Bookmarking Book Art – “I placed a jar in Tennessee,/ …”

cropped-bookartsHollie Berry has two brief posts on book art at Book Arts at The Open Press (BA@TOP), a supportive community of book artists in Chattanooga, Tennessee, for whom The Open Press provides access to printmaking, book arts, and letterpress classes, workshops and equipment. Her first post offers as examples of the breadth of book art: Dan EssigSandy WebsterBrian Dettmer and Maddy Rosenberg. A good start, if light on installation book artists (say Alicia Martín).

The Open Press is 225 miles from Elizabethton, TN, where Wallace Stevens wrote “Anecdote of the Jar” in 1918 and which is only 67 miles from Asheville Bookworks in West Asheville, NC, where Landon Godfrey hosts Vandercooked Poetry Nights dispatching listeners into the mountain air clutching poems printed on broadsheets from the resident Vandercook Press, on which the authority Paul Moxon lectured in March this year at The Open Press, 199 miles away by the backroads across the Appalachians.  …”And round it was, upon a hill.”

Bookmark – Bodoni’s Bicentennial

English: Comparative Bauer Bodoni versus Bodon...
English: Comparative Bauer Bodoni versus Bodoni Català: Comparativa Bauer Bodoni vs Bodoni (Photo credit: Wikipedia)

This year marks the 200th anniversary of the passing of a great contributor to the linked histories of the book and typography:  Giambattista Bodoni (1740-1813).  Bodoni among others such as Fournier and Didot established the “Modern” fonts, typefaces characterized by the extreme contrast of their thick and thin strokes, delicate and sharp serifs and a chilly sparkling engraving-like quality heightened by generous leading and made possible by improvements in 18th and 19th century typecasting and manufacture of ink and paper.  Bodoni planned and formed the royal printing house for the Duke of Parma in the Palazzo della Pilotta, where the Museo Bodoniano resides today.  Associated with Pope Sixtus V, Carlos III of Spain and the Duke of Parma, Bodoni became one of the most celebrated printers in Europe.

View of Palazzo della Pilotta. The rebuilt par...
View of Palazzo della Pilotta. (Photo credit: Wikipedia)

Although Bodoni’s fame in his lifetime was of a piece with that of the Romantic figures Chopin, Liszt, Byron, Goethe and Shelley, his output was Neoclassical with editions of Homer, Catullus, Virgil, Horace and the English poets Thomas Gray and James Thomson.  His two-volume Manuale Tipografico (1788, 1818) is a meticulous monument of typographic art with more than 14o sets of roman and italic typefaces, a wide selection of decorative designs and symbols and alphabets from the Greek, Hebrew, Russian, Arabic, Phoenician, Armenian, Coptic, and Tibetan languages.  The 1818 two-volume edition can be viewed online at the Bibiloteca Bodoni.

Portrait of Bodoni (c. 1805-1806), by Giuseppe...
Portrait of Bodoni (c. 1805-1806), by Giuseppe Lucatelli. Museo Glauco Lombardi. (Photo credit: Wikipedia)

This flowering of typography and design – reflective of the age and technical developments of book printing – prompts a thought toward the impact of today’s technology – screen display, ereaders, XML and HTML, cascading style sheets, etc. – not only on type and design but their purpose as well.

“The type and pages beg to be admired – that is looked at – which is well and good, except that looking and reading are quite different, actually contradictory, acts…. To look at things, we either disengage and let them flow by on their own or we stop them in their tracks.  To look we hold our breath or (in the worst of cases) pant.  To read we breathe.”  So say Warren Chappell and Robert Bringhurst in their critical comments on Bodoni and the Moderns. (A Short History of the Printed Word, pp. 173-74; 1970,1999.)

Perhaps we are still in the age of e-incunabula and have not reached the point where type and design on the screen beg to be admired.   The improvements delivered by Readmill and Readability have been welcome for their contribution to ease of reading.  It may be perverse to wish for developments that may interfere as Chappell and Bringhurst assert the Modern faces interfere with reading.  But that assumes that they are right in their hieratic statement “To read we breathe.”   Might it be as legitimate to assert “To read we click.  To read we link.  To read we dim or brighten.  To read we tilt from portrait to landscape causing the page to reflow.”?  

Will High Definition play the role that improved paper surfaces played to allow those thinner strokes and delicate serifs in the 18th and 19th centuries?  And if it does, what on-screen design, comparable to Bodoni’s increased leading, will perform the same heightening effect for new faces and design that beg to be admired?  

Bodoni Ornaments
Bodoni Ornaments (Photo credit: Bene*)

For more on the subject of Bodoni, see “Biblioteca Bodoni Launched on Bicentennial Anniversary of Giambattista Bodoni’s Death” by Yves Peters, The Font Feed, 11 December 2013.

Bookmark — Anniversary of the Book’s Freedom from Taxation

Louis-xii-roi-de-france
Louis XII, Roi de France, 1498-1515

In 1513, Louis XII of France issued an edict praising printing, exempting it from a large impost and removing a tax on books.  Louis declared that “the printer-booksellers … ought to be maintained in their privileges, liberties, franchises, exemptions, and immunities, in consideration of the great benefits which have been conferred upon our kingdom by means of the art and science of printing, the invention of which seems rather divine than human ….”  Two years later, Louis was dead, and the lot of books and printer-booksellers fell under the shadow of France’s so-called Father of Letters, François I, who issued an edict in 1535

 

Francis1-1
François I, Roi de France, 1515-1547  

 

banning the use of the printing press and permitted books and printers to be consigned to the flames for blasphemy.   (Richard Christie, Etienne Dolet: The Martyr of the Renaissance, 1508-1546, 1899. Pp. 330-31).    Which might be said to challenge the certainty of taxes while confirming that of death.

 

 

 

 

 

 

 

Bookmark — Anniversary of The Imprint and Its Font

Gerard Meynell's The Imprint
Gerard Meynell’s The Imprint

The Imprint

This year is the centenary of Gerard Meynell’s trade periodical The Imprint, which was the scene of Stanley Morison’s first appearance in print. How appropriate then that Morison’s book A Tally of Types tells the story of the journal’s founding and, equally important, how the historic font called Imprint Old Face came into being. The font’s importance is that “the design had been originated for mechanical composition. … the first design, not copied or stolen from the typefounders, to establish itself as a standard book-face.”(p.21) Ironically, Meynell and his colleagues intended for the font to be freely available to the trade, but eventually it came into the ownership of Monotype Imaging, where it can be obtained today under the OpenType family.

As the world of print morphs into its digital incarnation, we see the same impetus behind the new generation of typographers, the ones born digital, but we see varying degrees of adherence to the “type wants to be free” movement.

Bookmarking the Objectification of the Book

The book as object is not new.  Think of Les Très Riches Heures du Duc de Berry.

©Photo. R.M.N. / R.-G. Ojéda
January

What might be remarkable — or book-markable — is whether the surge in objectifying the book through sumptuous illumination, miniaturization or the creation of book art occurs at definitive moments of shifting media.  One-off illuminated manuscripts preceded the invention of moveable type, but was there a definable surge of them in the decades either side of 1450?

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The Audubon double elephant folio books appeared in 1820 about the time of Frederick Koenig‘s invention of the steam-driven letterpress.

Are William Morris’s fine editions from Kelmscott Press in 1890 a datum in a surge of book objectification either side of Mergenthaler‘s invention of linotype in 1884?

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mergenthaler_linotype
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Either side of September 1999 (the release of the Open eBook Publication Structure 1.0), we have the Miniature Book Society, founded in 1983 and, in 2003,  Michael Hawley’s Bhutan:

A Visual Odyssey across the Last Himalayan Kingdomthe world’s largest book according to Guinness.

Last week, the New York Times ran an article about Neale Albert‘s collection of miniature books.  Is this popular interest in unreadable books and the surge in altered and sculpted books an anxious reflection of another shift in media?

Related articles

Bookmarking a Book Burning – II

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Untitled, Unknown student artist.

Ferris Jabr’s article “The Reading Brain in the Digital Age: The Science of Paper versus Screens” in Scientific American (April 11, 2013) revisits the themes raised in Maryanne Wolf’s Proust and the Squid mentioned in the previous posting.   Jabr highlights much insightful writing on the neuroscience of reading, on which more in a bit.  He begins, however, with a “haptic” anecdote that will resonate with parents and grandparents of children who are learning to read now or have learned in the last 3-5 years.

In a viral YouTube video from October 2011 a one-year-old girl sweeps her fingers across an iPad’s touchscreen, shuffling groups of icons. In the following scenes she appears to pinch, swipe and prod the pages of paper magazines as though they too were screens. When nothing happens, she pushes against her leg, confirming that her finger works just fine—or so a title card would have us believe.

Earlier the same year, I was lying in bed with an iPad reading Death and the Penguin by Andrey Kurkov.  As the story drew me in and admittedly as the hour grew late, I found myself repeatedly reaching into the upper right-hand corner of the screen with my left forefinger and thumb to pick up and “turn the page.”  I had not developed the habit of “sweeping” or “tapping” to move through the book.  These real-life mirror images of the haptic habits of a young soon-to-be reading brain and an old reading brain bring Wolf’s speculations alive.

Numerous studies cited by Jabr suggest different areas of the brain at work in screen reading vs print reading and connect that to poorer retention and comprehension in screen reading than print reading.   But one of the more recent ones (“Metacognitive regulation of text learning: On screen versus on paper,” by Ackerman and Goldsmith) shows that where readers

studied expository texts of 1000–1200 words in one of the two media and for each text […] provided metacognitive prediction-of-performance judgments with respect to a subsequent multiple-choice test[,] [u]nder fixed study time (Experiment 1), test performance did not differ between the two media, but when study time was self-regulated (Experiment 2) worse performance was observed on screen than on paper. The results suggest that the primary differences between the two study media are not cognitive but rather metacognitive—less accurate prediction of performance and more erratic study-time regulation on screen than on paper.

S0 the reading brain may not be rewiring itself, but print and screen do demand different strategies of reading and study.  Might the “haptic habits” of physically turning the page or recalling three dimensionally the place in the book and on the page where a sentence occurs (or pinching, swiping and prodding) be clues to how we learn to learn what we read?  What we may be seeing in the one-year old are the beginnings of the metacognitive cues that will raise the performance of tomorrow’s screen reading brains, and in Ackerman’s and Goldsmith’s subjects, the familiarity of today’s reading brains with the metacognitive cues so key to studying from print that the students print out the relevant ebook chapter.

As Jabr concludes,   “When it comes to intensively reading long pieces of plain text, paper and ink may still have the advantage. But text is not the only way to read.”

Which harks back to the conclusion of the previous post and  Jerome Bruner’s  apt observation of Vygotsky’s fondness for Bacon’s epigram, “Nec manus, nisi intellectus, sibi permissus, multum valent” (Neither hand nor intellect left each to itself is worth much)” (247).   Perhaps neither print nor digital left each to itself is sufficient.

Bookmarking Book Art — Emma Taylor, updated 20140205

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The fate of the book is becoming more and more critical as digital replacements ingrain themselves deeper into our society.  To me the possibility of the end of the book is a tragic one; I appreciate books as an object as much as I enjoy the stories and knowledge which they hold.  I predominantly work with antiquarian books as they often show evidence of their own personal story, perhaps through an inscription on the cover or a drawing on a page which adds a new layer of narrative.  The theme for each sculpture may be inspired by a number of things including the title, size, shape or cover of the book.  I work with wire, wadding and strips of book pages to create the impression of the sculpture emerging from within a book.

Emma Taylor, From Within a Book

Ironic that Emma Taylor’s site has its main life on Facebook, to which one must subscribe to read the great number of comments on her bookworks.  Her Tumblr site (see link above), however, displays many, if not all, of her sculptures, and in her posting of 29 March 2013, you can find an article from the Cambridge News covering her work as displayed in the local shop Plurabelle Books.

Of course, the bookwork above (made from Poor Folk in Spain by Jan and Cora Gordon, published by Bodley Head in 1922) represents what appears to be a store clerk taking down a book but could just as easily be a housekeeper dusting the bookshelves (after all the chapter in which it appears is named “Verdolay — Housekeeping”).  Why “of course”?  Small sculpted books created “from within a book.”  Tending and caring for the physical artifact by altering the physical artifact. (A touch more irony could have been had with the addition of a tiny computer, iPad or Kindle.)

One direction Ms Taylor’s craft may take to evolve further into art would be to recognize and reflect that the fate of the book and ebook are as likely intertwined and separate in many respects as have been those of the many forms the codex has taken — from incunabula to paperback, bookkeeping to fiction or reference to textbook.

Paratextual devices such as the manicule, footnote, running heads, etc., have their “analogues” in ereaders, ebooks and books-in-browsers such as navigational icons, hyperlinks, breadcrumb trails, etc.  Through the W3C’s open annotation specification, even marginalia may be finding a place in the so-called digital replacement to the printed book.  With the insights of Matthew Kirschenbaum and others into digital forensics, the digital replacement and its “perfect” copies may yet yield the “evidence of their own personal story.”  And if “social reading” takes deep root in the individual reading experience, the reader’s relationship to the author (and vice versa) could be enriched by the reader-to-reader relationship in ways hard to articulate.  Ways that will offer the book artist new opportunities to “make it new.”

Photographs and postcards of Emma Taylor’s work can be purchased at Etsy.

View the artist’s hands at work here. 5 February 2014