Upcoming Events In June

If you are in the New England area, consider attending the Book Arts Supply Market.

Book Arts Supply Market
June 7th, 2009
12:30-4:30
Arlington Center for the Arts
41 Foster Street
Arlington, MA

I will be there with a full range of tools for sale, including the infamous bargain box, which is quite full right now.

I also have prototypes of some new tools I am working on, for example, a portable, collapsible sewing frame that only weighs 1 lb, 12.4 oz (804 grams) including 5 Al sewing keys.  It is 11 3/8″ (290 mm) between the uprights and packs flat at only 1 1/8″ (30 mm).  Rubber feet keep it from sliding around on the workbench.

portable sewing frame

Also I have a reproduction of the boxed set of knives I made for Abraham Karastovsky, which I wrote about earlier and were featured in the book “Homicide in Hardcover.”

ak knives

Please stop by and say hello!

 

*******

 

I will be presenting the following talk in NYC on Sunday, June 21 at 3:00.  Please feel free to repost and contact me if there are any questions.  I also have a half sheet flyer I can email anyone who would like to post it.  I envision this talk as a type of outreach, since it contains information about book history and conservation.    It should be a lot of fun.

 

THE UNIVERSITY OF TRASH PRESENTS:

THE OBSOLETE MAN AND THE OBSOLETE BOOK?

 Sunday, June 21 at 3:00 pm at SculptureCenter in Long Island City, NYC.

 The Free Skool at the University of Trash announce an Jeffrey S.  Peachey’s presentation titled “The Obsolete Man and the Obsolete Book?” The University of Trash is an experiment in alternative architecture, urbanism, and pedagogy taking place in SculptureCenter’s main space. Throughout the summer there will be a mix of workshops, screenings, and presentations focusing on grass roots, self-organized urbanism, DIY architecture and the evolving aesthetics and politics of public space.

Peachey will screen an original Twilight Zone, “The Obsolete Man”, present a short lecture, then lead a discussion based on some of the issues it raises. Peachey is the owner of a New York City-based studio for the conservation of books.  Because of his experience in examining and treating a wide variety of historic book structures, he is especially interested in how humans have interacted with the physical form of the book over the past 1,600 years, the importance of non-texual information and how the book has acquired such symbolic power.  The images of books in this episode form a locus for a variety of issues—authority, freedom, history, truth, the state, individuality, identity and conformity—that are explored in a classic Serlingesque manner.

 “I am nothing more than a reminder to you that you cannot destroy truth by burning pages.” Romney Wordsworth (Burgess Meredith) declares when the Chancellor (Fritz Weaver) pronounces him obsolete, and then condemns him to death.  Wordsworth, a secret librarian, lives in a room not only surrounded by books, but virtually built out them.  Considering aspects of book conservation, Peachey will deliver a short lecture touching on some of the ideas explored in the film, looking at how books are displayed in Wordsworth’s apartment, commenting on the various book structures portrayed and linking these to themes presented in the episode. Models of several historic book structures will available for handling. Then some more general observations on the value of non-textual elements of books will be made, along with the challenges of conserving these elements.

 This will be followed by an open discussion.  Possible topics include questions about the supposed death of the codex; the importance of non-textual elements in books; books as physical expressions of authority; books as moving, portable hand held sculpture; books as democratic instruments; the display of books as externalized knowledge; hand interaction in reading; and most importantly, how closely is our culture inexorably linked with the history of the book.

 This event is free, and there is a $5 suggested donation to the museum.

 Jeff Peachey:

https://jeffpeachey.wordpress.com/

 SculptureCenter:

http://www.sculpture-center.org/

The University of Trash:

http://www.universityoftrash.org/

 Attendees are encouraged to preview the entire Twilight Zone episode at:

http://www.imdb.com/video/cbs/vi759562265/

 info@universityoftrash.org

bookshevles

18th Century French Reading

Robert Darnton’s wonderful book, The Great Cat Massacre and Other Episodes in French Cultural History, is fascinating reading for anyone interested in the history of books.  In one section, he speculates on how people actually read a book in the 18th century.  Darnton is aware of the difficulties of moving from the what to the how of reading, but courageously proceeds.  He notes that “Books as physical objects were very different in the eighteenth century from what they are today, and their readers perceived them differently.”  Substitute “in various time periods” for “in the eighteenth century” and this statement is a concise raison d’etre for book conservation.

The following extended quotation is from the chapter titled “Readers Respond to Rousseau.”

“This typographical consciousness has disappeared now that books are mass-produced for a mass audience.  In the eighteenth century they were made by hand.  Every sheet of paper was produced individually by an elaborate procedure and differed from every other sheet in the same volume.  Every letter, word, and line was composed according to an art that gave the artisan a chance to express his individuality.  Books themselves were individuals, each copy possessing its own character.  The reader of the Old Regime approached them with care, for he paid attention to the stuff of literature as well as its message.  He would finger the paper in order to gauge its weight, translucence, and elasticity (a whole vocabulary existed to describe the esthetic qualities of paper, which usually represented at least half the manufacturing cost of a book before the nineteenth century.)  He would study the design of the type, examine the spacing, check the register, evaluate the layout, and scrutinize the evenness of the printing.  He would sample a book the way we might taste a glass of wine; for he looked at the impressions on the paper, not merely across them to their meaning.  And once he possessed himself fully of a book, in all its physicality, he would settle down to read it.” (pp. 223-224)

1532 Press

german-press1

 

This is a detail from the 12 brothers foundation, a link is listed in the post below.  A few thoughts about the press pictured in the portrait of Hans Landaver, dated 1532.  Foote identifies this as a small standing press.  I think it is a German style press that is lying on it’s side– often these are used to clean spines or tie up when covering. It would make little sense to press a book like this once the bosses and corners were attached- more likely it is holding the book for purposes of illustration.  Especially when viewed from this angle, it is uncannily similar to a sewing frame– in fact the edge of the bench almost mimics a top crossbar. This press is puzzling, and I can’t figure out how it would function.  I assume the squarish nuts that form the ends of the screws would be used to tighten this press, but the smaller circles on them seem to indicate they don’t move along the thread.  Possibly the wood is directly threaded? Maybe they function to keep the threads from pulling through, and both pieces of wood are drilled for clearance, and a nut would be attached from the other side?  The thread angle is roughly 45 degrees, which would be unusable, but it is a fairly common artistic convention for the time.

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