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!

 

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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)

House Books of the Nuremberg 12 Brothers Foundation

Peter Zillig, who writes the insightful, wide ranging VUSCOR Books/ Paper/ Reused Objects/ Steampunk Blog, sent me a link to some early portraits of  German craftsmen, House books of the Nuremberg 12 Brothers Foundation.  (Here is a link to Zillig’s blog via Google translator, which isn’t very accurate). After analyzing the scene, Peter reflects on his own appetite for bookbinding tools, when realistically only a few are necessary. There are 9 bookbinders in all pictured, and their birth dates are from 1532-1762.  There images are fascinating, and worth spending some time with, below is one I found particularly interesting.  There are over 1400 portraits depicting many trades, including a beater of metal flakes, a chain mail maker, a capon feeder and a brazil wood masher.   These books were digitized in 2008.

Vasare Rastonis sent me the following explanation of the project: 

“The “House books of the Nuremberg 12 Brothers Foundation” Project is a study of the house books of Konrad Mendel, a wealthy merchant in the 14th century and Matthaus Landauer, a contractor of some sort in the 16th century. Konrad Mendel set up a foundation which provided food and housing for 12 poor people at a time in 1388. The books document the needy who were taken into Mendel’s, and later Landauer’s, care and taught a trade/craft. The Mendel books, in the early years, contained a portrait and the person’s birth date and name and in later years a brief biography was included.


The project is to document each book and page digitally including a photo and written description of each entry so that the crafts/trades practiced in Germany between the 15th and 19th centuries are accessible. The project partners are the Nuremberg Public Library, who possess the books, and the German National Museum, who seem to be the supporters of technological information… I am going to guess that this means that they promote the dissemination of technological developments, history and information.


In total they have documented 1430 portraits and have included information on the bindings. The website, as you noticed, has been set up in such a way that you can look at each book page by page or search by trade/profession, by a “brother’s” last name, work equipment, materials, finished products and EVEN medical condition!”

 


 

 

 

clasp-maker

 

 

 

This painting is of Nicasius Florer, dated 1614. Foot simply describes his as “…portrayed at age 77, seated at a table with a bound book to which he is attaching a clasp.  A folder, a hammer and a bowl and sponge are on the table.” (134)

 

The sharp eyes of Peter Zillig noticed a few additional items of interest, in paticular what he describes as a circular plough knife blade on the wall, a beating hammer used as a weight (btwn 5-8 kg.), a falzbein(bone folder) and a leimpottchen (pastepot?), and two hammers.  He also notes the text describes a “Beitel awl” stuck into the wall.  Keep in mind some of these terms came through Google translator so could be butchered.  


It is endlessly fascinating, contentious and complex to attempt to identify the tools portrayed in early illustrations of bookbinders, but here it goes. Florer is labeled a bookbinder, but it seems possible that he is a clasp maker, which I thought were different trades at this time.  Or perhaps he is just attaching the clasps onto the books. Note the beating hammer used as a weight, which makes me think that this was a binder, and the white, alum tawed straps awaiting their clasps. The shape of spines of these books shout out “Made in Germany”.  

 

In comparing this with Jost Amman’s binder’s shop of 1568, there seems to be very few tools in the workshop.  Of course, since this is a portrait, not a shop view, perhaps Florer chose his favorite tools to be pictured with.   And if this binder was attaching clasps to the exponential flood of books that occurred in  the early 17th Century, his strong looking arms may be an accurately portrayed.

 

The tools hanging up in the background appear to be wood carving chisels and a mallet in the center, though Zillig interprets this as a plough blade, which makes sense that this sharp tool would be stored out of the way and paring knives.  But if it is a plough blade the storage seems somewhat precarious.  Could the smaller tools at the other end be gravers, (Zillig calls them “gravierstichein”) which would support the hypothesis that this man was a clasp maker as well as a binder?  This storage shelf must have been built especially for these tools- the blades hang between two pieces of wood (or drilled out wood) and the handles keep them from falling through.  I use a similar method to store handsaws at the back of my woodworking bench.  If these are chisels, they were  possibly used for the shaping of the wood boards, or perhaps Zillig is right that these are paring knives.  The sharply angled fishtail chisel in the front could be used for edge paring with a forward motion, like modern German paring knives. The small press, resting against the wall is a fairly standard German style with nuts, rather than handles used to tighten it.  It also looks like some kind of wood board against the book in the press– used for adjusting the clasp tension?

 

The foreground is occupied by Florer, attaching a clasp to the leather straps and it looks like a small anvil underneath.  The tools he is using are possibly a handless brush in a paste pot (is this what Foote interpreted as a sponge?), but Zellig describes this is “Leimwasser”  on the left.  The German word leimen means to spread with glue. small unidentified pot (containing tacks or pins?), a chasing hammer (the shape of the handle is still in use today by silversmiths) some clasps (perhaps already completed by someone else?) , a riveting hammer, an awl and a bonefolder on the right. If it is a bonefolder, this is more evidence to support the claim this man is a bookbinder.  I’ve never seen a hang hole in a bone folder, however, it seems to be a Germanic tradition, Foot includes a plate from P.N. Sprengel in Kunste und Handwercke in Tabellen mit Kupfern that pictures one dating from 1778. (45)  Florer is most likely sitting on a three legged stool, similar to the one behind him and there is large chest at the back of the workshop.  The style of latch on the door is still in use today on primitive outbuildings in rural America.  And that is one big hat–fashion statement or  a symbol of social stature?

 

These are just a few preliminary observations, and I welcome corrections.  This site is a fantastic resource for anyone interested in the history of technology and trades.  The high quality, large image size make it easy to examine in detail tools from this time period.  The database is easy to search, and English subject terms are provided.  Some of the books that house these images appear to have been rebound and the original pages adhered to a new structure.  Perhaps these books were badly damaged, but it is doubly unfortunate since there is a chance that perhaps one of the craftsmen depicted could have also been the binder.

 

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Bockwitz, H.H., ‘Alte Bildnisse von Buchgewerblern und ihrer Hantierung’, Archiv fur Buchgewerbe und Gebrauchsgraphik, 75, heft 11, 1938, 419 (Abb.4), 420 (Abb. 5)

 

Foot, Mirjam M.  Bookbinders at Work: Their Roles and Methods.  The British Library and Oak Knoll Press: London and New Castle, 2006.

 

Sprengel P.N., Kunste und Handwercke in Tabellen mit Kupfern Berlin: 1778.