If the idea of spending a month at the Cary Graphic Arts Collection of Rochester Institute of Technology — home to the incomparable Bernard C. Middleton Collection of Books on Bookbinding — quickens your pulse and makes your hands sweat, first you should wash your hands before even thinking about handling these rare materials.
Then, you should find out more about a fellowship opportunity during this upcoming roundtable discussion. I’ll briefly discuss Edward Walker’s The Art of Book-Binding…, 1850.
Each summer, the Cary Graphic Arts Collection hosts a scholar for a one-month summer research fellowship. Join us to learn more about this unique research opportunity as applications are due on January 15th. Curator Steven Galbraith will provide information and join former Cary Fellows Dori Griffin, Jeff Peachey, Shani Avni, and Robert Gordon-Fogelson for a casual discussion, who will share some of their experiences and exciting discoveries.
Here is another gem from the Smithsonian Graphic Arts Model Collection, a very early — though not the first — guillotine for books or paper. Unfortunately, a fire destroyed the US Patent Office in 1836, so this model is the only remaining record. Visually, it looks much more like the neck cutting variety rather than ones for book or paper cutting. The massive blade operates by gravity rather than a lever or flywheel; again, like the non-book styles. Similar to all the early guillotines is that the blade operates straight up and down.
It’s always a dangerous game to cite the earliest book you have seen that contains this or that evidence, since it often gets superseded. Nevertheless, the earliest book I have seen that contains incontrovertible guillotine marks (thanks to a very damaged blade) is this Harper’s publisher’s cloth binding from 1834 of “The Works of Mrs. Sherwood”. The machine had a clamp and operated straight up and down. The curvature to the marks resulted from tightly clamping and distorting the unbeaten bookblock when cutting, a feature which the patent model above lacks, and when it is released it springs back into its resting shape.
For spines and headcaps in full leather binding and when rebacking, several tools are usually used. Some binders like to use a straight English knife and modified spokeshave or razor blade paring machine for this. Others like to use a straight English style and a round French or Swiss knife to accomplish this. But the M2 hybrid can do the job of all of these, and many like the simplicity and economy of using one knife.
I’ve been honing my video skills in preparation for more online workshops. Lots of new gear and tech: computer, lights, Vimeo plus, Zoom pro, wireless earbuds, GoPro, and iMovie. Oy!
Many thanks to Jeff Altepeter, Head of Bookbinding at North Bennett Street School, Karen Hanmer, Bookbinder and Book Artist, Henry Hebert, Conservator for Duke University Special Collections, and Andrew Huot, Owner of Big River Bindery, for sharing practical pedagogical advice about teaching online!