The Fourth DeGolyer
Triennial
Exhibition and Award for American Bookbinding
at Bridwell Library
2
June - 21 July, 2006 |
|
About the Triennial |
Introduction |
Helen Warren DeGolyer |
Previous Winners |
Exhibit Catalog |
|
|
|
Winner: The 2006 Helen Warren DeGolyer Award for
American Bookbinding |
James Tapley
Sarasota,
Florida |
|
James Tapley attributes his greatest professional
influence to Christopher Clarkson, and writes that he “was fortunate also to
know and learn from the last generation of American binders including
Gerhard Gerhrlach, Carolyn Horton, Arno Werner, and Laura Young.” Tapley
runs a small one-man shop where production ranges from design binding to
book and paper conservation to small editions. |
|
Proposal for Ficciones
 |
Head gilt before
sewing on tapes, forwarded as a concave spine binding, tab and slot board
attachment. Spine covered in full goatskin with inlaid goatskin title.
Boards of eggshell lacquer panels joined with forged patinated brass
“lines”, goatskin doublures tooled in gilt, completing the drawings. The
boards feature portraits of Borges as a young and middle-aged man. Borges
said the first “other” world he knew was his family garden as a child. The
flyleaves of inlaid goatskin feature this garden. They will be first viewed
through the gates and paths of the covers, the portraits revealed only as
the boards are opened.
Enlarged View
Return to Contents
|
James Tapley -- Sample Binding
C. P. Cavafy. Collected Poems. Translated by Edmund Keeley and Phillip
Sherrard, edited by George Savidis. Princeton, New Jersey: Princeton
University Press, 1975.
Sewn on tapes and forwarded as a Brockman Concave Spine Binding, tab and
slot board attachment. Head gilt and colored. Covered in two colors of
goatskin, title inlaid on spine, boards tooled in gilt and foil, back inlaid
with eggshell lacquer and front panels joined by a forged brass panel.
Japanese handmade paper doublures.
Detail
Return to
Contents
|
 |
|
Winner: The 2006 Jury Prize for Design |
Esther Kibby
Dallas,
Texas |
|
Esther Kibby received a Master of Fine Arts degree
in photography from Texas Woman’s University. Since 2001 she has worked with
bookbinding structures and has been a member of the Craft Guild of Dallas
since 2005. Currently, she is an instructor in basic bookbinding techniques
and graphic design in the Bachelor of Fine Arts curriculum at the Art
Institute of Dallas. |
|
Proposal for Ficciones
 |
Full leather
binding in burgundy kangaroo skin using the French joint technique. Figures
made of onlaid indigo goatskin with acrylic ink and hand-dyed calfskin with
a crackle finish. Double headbands of blue and gold leather. The title and
author would be blind tooled. Flames are stippled acrylic ink. Marbled end
sheets by Catherine Levine.
The design
represents the story “The Circular Ruins.” A mystic dreams another human
into being only to realize the nature of his own being. The brown crackled
human form represents the illusion of reality. The blue figure symbolizes
the ethereal nature of dreams. The circular corona represents the
destruction of the illusion. The book would be housed in a linen covered
clamshell case.
Enlarged View
Return to Contents
|
Esther Kibby -- Sample Binding
Wilhelm Ruland. Legends of the Rhine. With Illustrations from
Paintings by Celebrated Artists. Cologne: Verlag Von Hoursh and Bechstedt,
1906.
Full calf-leather binding hand-dyed by the binder, with leather onlays, gold
foil stamping and pearlescent acrylic paint. The cover scene illustrates the
Lorelei legend. Leather joint construction with marbled paper by Catherine
Levine. Hollow back spine and leather headbands. End sheets are gampi paper
made by the binder.
Return to
Contents
|
 |
|
Winner: The 2006 Jury Prize for Binding |
|
David John Lawrence |
|
David Lawrence has been a member of the
Craft Guild of Dallas since 1998, and has studied with Pamela Leutz and
Sally Key. He has also studied in the Czech Republic with Jan and Jarmila
Sobota. Lawrence is a member of the Society of Bookbinders in the United
Kingdom; the Society of Czech Bookbinders; and the Guild of Book Workers. In
2004 he won the Ladislav Hodny the Elder Award for Aesthetically Most
Beautiful Binding, 11th Triennial for Artistic Bookbinding, Czech Republic;
and in 2001 received an award from the Society of Bookbinders. Lawrence
currently serve as a volunteer instructor at the Craft Guild of Dallas.
(Irving, Texas) |
|
Proposal for Ficciones
 |
“Circular
labyrinths . . . labyrinths even more inextricable and heterogeneous.”
Fine binding in full yellow goatskin with onlays of dark, emerald, and lime
green goatskins. All edges colored to match yellow leather; double-core silk
headbands; blackened tooled title; decorative papers by Catherine Levine;
drop-spine box.
The design is
inspired by the tortuous text – ever looping on itself but never quite
returning to the identical coordinate. “I thought of a maze of mazes, of a
sinuous, ever growing maze which would take in both past and future and
would somehow involve the stars.”
Return to Contents
|
David Lawrence -- Sample Binding
Nicholas Shrady. Tilt: A Skewed History of the Tower of Pisa. First edition.
New York: Simon & Schuster, 2003.
Fine binding in full terra cotta goatskin sewn on raised cords and bands.
Plumb bob of turquoise, onyx, and moonstone set in sterling silver by Steven
Jay Coben; gold tooled line, blacked tooled arc and title; all edges
colored; embroidered silk headbands; decorative papers by Catherine Levine.
Detail
Return to
Contents
|
 |
|
Sylvia Alotta |
|
An industrial
designer, Sylvia Alotta was inspired to study
bookbinding after receiving two United States patents for a journal system.
She earned a Master of Fine Arts degree from Columbia College Chicago in
book and paper arts, and established The Sharpest Pencil Bindery and
Letterpress Studio working as designer. She continues to study fine design
binding under Scott Kellar, and has taught and exhibited nationally and
internationally. She is now an executive committee member of the Guild of
Book Workers. |
Proposal for Ficciones
 |
It is said that
the eyes are the window to a person’s soul. I have chosen Borges’ eyes from
the line drawing and bring them to the forefront as a focal point, but also
use them as a unifying element of the content and the cover. The “eyes”
would be cast and covered with leather, and then attached to the cover. The
stamped and foiled ambigram of his name on the back is symbolic of his
literary genius. It can be read upside down and right side up. Titles of the
short stories would be letterpressed on handmade paper in small and cramped
handwritten typeface similar to his actual handwriting.
Return to Contents
|
Sylvia Alotta -- Sample Binding
Jules Verne, Le Tour Du Monde En Quatre-Vingts Jours. Illustrated by De
Neuville and L. Bennett, printed by Jean-Francois Manier, Chambon-sur-Lignon
(Haute-Loire). St Rémy-lès-Chevreuse, France: Biennales Mondiales de la
Reliure D’Art, 2004.
Full leather, chocolate goatskin, in a traditional laced-on boards binding.
Paste paper ends. Sewn headbands, blind tooling. Leather onlays. Pocket
watch with altered face showing authors’ name and time at which Fogg arrives
at club attached to cover and back boards. Fore edge painted black and
waxed.
Return to
Contents
|
 |
|
Sherrie Barber |
|
Barber was
introduced to bookbinding in 2000 through the craft world. She has taken
classes taught by Pamela Leutz, David Lawrence, Sally Key, and Catherine
Burkhard, and has participated in workshops presented by Jan Sobota, Monique
Lallier, and Priscilla Spitler. Barber has attended the last four Guild of
Book Workers Standards meetings. |
|
Proposal for Ficciones
 |
Full leather,
English style binding over laced-on boards in beige Harmatan Goatskin. End
sheets would be hand-marbled paper with a leather doublure. Hand-sewn silk
headbands in beige, brown and green to match the leather and end sheets. The
cover would be tooled in a labyrinth pattern representative of the story
lines followed in many of Borges’ stories. To read Ficciones is to enter the
labyrinth of his mind. The title would be tooled inside the labyrinth,
reading left to right on the front cover and reversed on the back.
Return to Contents
|
Sherrie Barber -- Sample Binding
Gospels and Act: The Saint John’s Bible. Handwritten and illuminated by
Donald Jackson. Collegeville, Minnesota: Liturgical Press, Saint John’s
Abbey, 2005.
Full blue goatskin over laced on boards. End papers and doublures of
Japanese chiyogami. Hand-sewn silk headbands. Leather onlay, hand tooled
verses with India ink, acrylic paints and gold foil stamping. The design
represents God’s word from creation to our specific instruction.
Return to
Contents
|
 |
|
Patty Bruce |
|
Patty Bruce has been involved in the book arts for
seven years. She has a degree in graphic design and a background in
metalsmithing. She continues to train and take classes at the Craft Guild of
Dallas under Sally Key and David Lawrence, with individual instruction from
Pamela Leutz. She has also participated in workshops led by Jan Sobota and
Gabrielle Fox, and attended the American Academy of Bookbinding in
Telluride, studying with Monique Lallier. (Dallas, Texas) |
|
Proposal for Ficciones
 |
My design
proposal for Jorge Luis Borges’ Ficciones would attempt to reflect
symbolically his literary references to life paths, growing mazes and the
garden of forking pathways. Since he is known for breaking new ground, I
would provide a raised pathway to symbolize his literary directions. It
would be divided to reflect his philosophical diversity and I would embed
faceted stones to emphasize the richness of his literary efforts. Clean
lines, raised onlays in similar earth tones of brown goatskin would encase
Ficciones. Black leather would offset the pathway for contrast of the
faceted color stones. Complimentary papers would be selected for the end
sheets and a clam shell box with matching lining would protect the case
binding.
Return to Contents
|
Patty Bruce -- Sample Binding
Edgar Allen Poe. Edgar Allen Poe: Selected Poems & Tales. Illustrated
by Mark Summers, introduction by Neil Gaiman. New York: Barnes & Noble,
2004.
Case binding with rust-orange goatskin leather. Multi-colored onlaid
leathers are incorporated on to the raised body of the raven designed by the
artist to wrap around the surface of the book. A faceted citrine is set as
the raven’s eye. A black bookcase box with matching colored felt lining and
portrait of Edgar Allen Poe accompany the book.
Return to
Contents
|
 |
|
Ana Cordeiro |
Starting with an
internship at the Center for Book Arts in New York in 2002,
Ana Cordeiro
quickly became involved with bookbinding and with the bookbinding community.
Her training includes classical book-binding classes taught by Barbara Mauriello, Susan Mills, Shanna Leino, Pamela Spitzmuller, among others. Also
trained in letterpress printing, Cordeiro has coordinated limited editions
productions of books and portfolios for the Center for Book Arts and
currently is binding the Center’s 30th anniversary edition of Hedi Kyle’s
design for Robert Bringhurst’s New World Suite Number 3.
(New York,
New York) |
|
Proposal for Ficciones
 |
Ficciones draws upon Borges’ imaginary library of references, full of
encyclopedias, dictionaries, and authors of doubtful taste, waiting to be
reviewed and quoted. The cover design represents a library of all the
stories yet to be told. The spines provide the design for the cover flap,
raised to suggest books which could be removed and read. The rounded spines
would be leather, with gold and blind-tooled cords and labels. An embossed
recessed labyrinth on mahogany or cherry red French Chagrin would weave from
the back cover to the front cover, enveloping the book and itself with flaps
in a folding box style. Within would be letterpress printed heavy watercolor
paper with the labyrinth pattern and the title. A slanted spine with a
slanted fore edge would suggest the frontal perspective of a bookshelf seen.
The design also suggests Borges’ hexagonal nightmares. An Islamic binding
structure allows for the cover flap, for the flat spine to be eventually
formed into a slant, and for the quasi-flat headband to be incorporated with
the bookshelf head and tail.
Return to Contents
|
Ana Cordeiro -- Sample Binding
William Shakespeare. Hamlet, Prince of Denmark. Edited by Deanne
Bean. Project Gutenberg etext number 1524. Salt Lake City: Project Gutenberg
Literary Archive Foundation, 1998.
Green chagrin leather over boards with raised profile and ear motif, with
various tan leather inlays; two raised bands; top and bottom edges speckled.
Return to
Contents
|
 |
Gabrielle Fox
Cincinnati,
Ohio |
|
Gabrielle Fox was born in
Cincinnati, Ohio, and received a Bachelor of Arts degree in English
Literature and Writing from the University of Cincinnati. She later studied
bookbinding in England at the Guildford College of Technology receiving a
diploma in Fine Binding and Conservation, and since has worked and taught in
the United Kingdom and in the United States. She is author of The Essential
Guide to Making Handmade Books. |
|
Proposal for Ficciones
 |
Full dark
brown goatskin with insets of parchment manuscripts, and onlays of native
dyed goatskin with blind and gold tooling. Full leather endpapers produced
using the same techniques would complement the front and bottom boards. The
endbands would be of embroidered silk. Sewn on linen tapes with linen thread
and the boards laced-on.
Ficciones challenges perceptions of reality. Life’s priorities and
choices are presented in the maze of freedom and bondage. Doors, windows,
corners, writing and nature stood out in my mind. The design is a
combination of those elements influenced by the etchings in this edition.
Return to Contents
|
Gabrielle Fox -- Sample Binding
Wendell Berry. Sabbaths 2002. Wood Engravings by Wesley Bates.
Monterey, Kentucky: Larkspur Press, 2004.
Full dark green and alum-tawed goatskin dyed with gold and palladium leaf
and colored foil tooling. The center page is endpapers laminated together
with foil tooling. Head colored and gilded center pleat in the binding and
the center page. Sewn with colored silk.
Return to
Contents
|
 |
Wilfredo A. Geigel
Santurce,
Puerto Rico |
|
A trial lawyer by profession,
Wilfredo Geigel took up bookbinding as a serious hobby seven
years ago, taking classes in San Juan, Puerto Rico. Shortly after, he joined
the Guild of Book Workers, discovering the American Academy of Bookbinding
in Telluride, Colorado, and enrolled in the diploma program in fine
bookbinding, studying under Frank Mowery, Eleanor Ramsey, Tini Miura, and
Monique Lallier. Geigel also studied under Edwin Heym at the Centro del bel
Ubro in Aseona, Switzerland, and pursued courses in book conservation with
Don Etherington. Geigel has written and lectured on the art of bookbinding.
|
|
Proposal for Ficciones
 |
Full
leather binding in the French technique, with a leather onlay extending from
the top corner of the rear cover over the spine and widening towards the top
corner of the front cover. The inside covers would be finished in a grey
leather edge-to-edge doublure and the first and last flyleaf in grey moiré
cloth. The headbands would be sewn on with three-color silk threads and the
top edge finished in graffiti. “Borges” would be tooled on the spine and
Ficciones on the white leather onlay in individual letters in ascending
sizes.
Return to Contents
|
Wilfredo Geigel -- Sample Binding
Emilio Brugalla. Tres ensayos sobre el arte de la encuadernacion.
Madrid: Ollero & Ramos, Editores, 2000.
Full leather binding in the French technique with three strips of onlaid
leather in different colors and lengths and an inlaid disc of lapis lazuli
on the upper right corner of the front cover. Edge-to-edge grey leather
doublures with the first and last flyleaf in a red moiré cloth. Sewn
headbands in three color silk threads and the top edge finished in grafitti
with tooled disc painted red. Author’s name, Brugalla, gold tooled on the
spine.
Return to
Contents
|
 |
Karen Hanmer
Glenview,
Illinois |
|
Karen Hanmer began making
artists’ books in 1997 presenting playful vignettes derived from personal
and cultural memory. In 2002 she began fine binding for the Guild of Book
Workers Midwest’s Stone Eye Exhibition. Hanmer has studied with Scott Kellar
and other notable book artists, and currently serves as Exhibitions Chair
for Chicago Hand Bookbinders. |
|
Proposal for Ficciones
 |
My design
is inspired by the theme of duality woven through Ficciones, and by Borges’
later reminiscence of childhood, “I used to stop for a long time in front of
the tiger’s cage to see him pacing back and forth. I liked his natural
beauty, his black stripes and his golden stripes. And now that I am blind,
one single color remains for me, and it is precisely the color of the tiger,
the color yellow.”
Bound in yellow goatskin, with backpared onlays of pale yellow and black,
the title stamped with custom die. Endsheets of Ingres Heavyweight tobacco,
leather joint. Sewn endbands of black and yellow silk.
Return to Contents
|
Karen Hanmer -- Sample Binding
H. T. Webster and Ed Zern. To Hell with Fishing or How to Tell Fish from
Fishermen. New York: D. Appleton-Century Company, 1945.
The design echoes a cartoon from the text. Full dark blue Harmatan goatskin,
backpared onlays of various blues and greens, and black foil tooling.
Marbled endsheets by Cris Takacs, leather joint. Sewn endbands of dark green
and dark blue silk. Acrylic sprinkled edges.
Return to
Contents
|
 |
C. L. Ingalls
Crested Butte, Colorado |
|
C. L. Ingalls began
binding at the tables of Arion Press, under P. Gotthold and L. Ehrlandson,
and was the handbinder at Taurus Bindery, learning from Tim James. Ingalls
studied design binding under Eleanor Ramsey, and then continued at the
American Academy of Bookbinding, studying under Tini Miura and Monique
Lallier. Currently, Ingalls operates a small letterpress print shop and
bindery, Eidolon Press. () |
Proposal for Ficciones
 |
My proposed
design reflects the specific idea of the warping of reality. Sieved through
simplicity, lines become representational. The cover depicts the warp with
“FICCIONES” and “BORGES” flanking it down the spine, all characters being
blind tooled. The front and back covers open to reveal a leather doublure
and flyleaf combination that cyclically continues the cover design. The back
doublure mimics the cover “warp” with dots that represent the points of
changing line direction, but inverted to hold continuity. Both the cover and
the interiors would be of safflower yellow morocco.
Return to Contents
|
C.L. Ingalls -- Sample Binding
Stefan Zweig. The Eyes of the Eternal Brother. Translated from the
German by Andreas Ruthenberg and illustrated by Ilse Bechert Nesbitt.
Austin: Press Intermezzo, 2003.
The binding reflects the style and techniques proposed for Ficciones
including a linear cover design, leather doublure and flyleaf, blind tooling
throughout, bound in the French technique. The design is the journey from
nothing to nothing on the cycle of life, a waltz with the “four stars of
virtue.”
Return to
Contents
|
 |
Forrest Jackson
Dallas, Texas |
|
Forrest Jackson started
bookbinding at the Craft Guild of Dallas in 1997 and since has pursued fine
binding, conservation, and restoration. He has taught beginning restoration
classes at the Craft Guild and the Edgemere Retirement Community. Jackson’s
work can be seen at Rosedale Rare Books inside the Jackson Armory in Snider
Plaza (University Park, Texas). |
Proposal for Ficciones
 |
My design
for Borges’ Ficciones is suggested by the mysterious encyclopedia
described in “Tlön, Uqbar, Orbis Tertius.” The volume number is a hint from
the infinite “Library of Babel.” English fine binding in full yellow
goatskin with recessed onlays of black, silver and blue leather. The
blind-tooled title and conservative decorations on the spine are evocative
of early twentieth-century encyclopedias. The platinum-tooled phrase “Orbis
Tertius” is complemented by three spheres. The hollow-back binding also
features sewn silk headbands and marbled endpapers by Catherine Levine.
Return to Contents
|
Forrest Jackson -- Sample Binding
Rodney Perkins and Forrest Jackson. Cosmic Suicide: the Tragedy and
Transcendence of Heaven’s Gate. Dallas, Texas: Pentaradial Press, 1997.
Full purple goatskin with black and silver leather onlays. Blind-tooled
title on spine. Platinum-tooled stars and Hale-Bopp Comet with UFOs on the
front board. In the recessed center is a glow-in-the-dark alien reminiscent
of that worshiped by the Heaven’s Gate suicide cult, painted by David F.
Hanson.
Return to
Contents
|
 |
Jan Sobota
Loket, Czech Republic |
|
From 1954 to 1957, Jan Sobota studied at the
School for Applied Arts in Prague and apprenticed in the studios of Karel
Silinger in Pilzen and Emil Pertak in Prague. In 1969 he received the title
“Master of Applied Arts” in Czechoslovakia and eight years later the title
“Meister der Einbandkunst” in Germany. Sobota’s work has been shown at 160
exhibitions of four continents. He regularly lectures for bookbinders in the
United States and in Europe. He is the author of five professional
publications, and his work has been published in many international journals
and books. |
|
Proposal for Ficciones  |
Triple
cover board, Sobota’s binding structure. Leather-tooled double headbands.
Silver multi-metallic top edge. Boards covered in dark blue paper made of
leather-maché, light blue French calfbox, with the title in relief, gold
tooling and application, and batique suede pigskin. Brass plate on spine
engraved with the author’s name. Brass clasp on front edge engraved with the
author’s portrait. Edges covered with gold leather. Doublures of batique
suede pigskin. Fly leaves are light blue paper made of leather-mache.The design depicts the “fictitious” soul of the text and the illustrations, which the author also suggests in the title of the book.
Return to Contents
|
Jan Sobota -- Sample Binding
Jules Verne, Le Tour Du Monde En Quatre-Vingts Jours. Illustrated by
De Neuville and L. Bennett. Printed by Jean-Francois Manier
Chambon-sur-Lignon (Haute-Loire). St. Rémy-lès-Chevreuse, France: Biennales
Mondiales de la Reliure D’Art, 2004.
Sobota’s box binding structure with doubled boards and a middle opening.
Green, blue, and brown goatskin. Application of leather and colored Japanese
paper. Hand printing in blue. Gold tooling. Roughly-sewn headbands depict
ship ropes.
Return to
Contents
|
 |
Priscilla A. Spitler
Smithville, Texas |
|
Priscilla Spitler studied
printmaking at the California College of Arts and Crafts, earning a Bachelor
of Fine Arts degree in 1975, and bookbinding at the London College of
Printing, 1980–81. She was Edition Binder at the Palace Press, Museum of New
Mexico, moving to Texas in 1987 for a master class with James Brockman at
the Harry Ransom Center of the University of Texas. For eight years Spitler
worked at BookLab, Inc. in Austin, until she established her own Hands On
Bookbinding in Smithville, Texas. |
|
Proposal for Ficciones
 |
Mirrors and
towers recur in Borges’ Ficciones, and provide the inspiration for this
design. A profile of a phrenology head (mapping the mind) is seen in a
mirror that also reflects a burning tower from the back board. Dark blue
leather sets off the charted universe (Borges’ planet Tlon) and southern
hemisphere constellations. The tower (Babel/languages), modeled after a
Tarot card, dramatically burns at night as a man on a horse nears a fork in
the road. The volumes represent Borges’ unearthed books and labyrinths of
literature. All leather onlays, gold and blind tooling, some in painted
acrylics.
Return to Contents
|
Priscilla Spitler -- Sample Binding
Laura Wait. In the Garden. Steamboat Springs, Colorado: Akimbo Arts, 2005.
Special set of sheets presented by author to Spitler for design binding.
Full gold Chieftain goatskin, leather onlays, blind and gold tooling,
pochoir acrylics. Ancient fruit, fig and pomegranate represent the Garden of
Eden as a snake crosses the spine. On the back cover is an apple with one
bite taken, the goddess Eve as a statue. Four rivers run in opposite
directions. Pastepaper ends.
Return to
Contentss
|
 |
Anne Rita Taylor and Kevin Taylor
Houston, Texas |
|
Anne Rita Taylor began bookbinding in 1995 at Artists Bookworks Houston. She
has taught for nine years, currently at the Museum of Printing History.
Kevin Taylor, collaborating with Anne since 1997, learned paper marbling
from Galen Berry at the Oregon Book Arts. |
Proposal for Ficciones
 |
Harmatan
purple leather #29, marbled endpapers, endbands. Front board: embroidered
labyrinth of four-ply waxed golden yellow thread. Bottom board: embroidered
empty room; the labyrinth inspired by “The Garden of Forking Paths.” The
reading of Ficciones is a dreamlike experience; something like going down
pathways only to come out where the path began. The spine leather is sewn to
leather covered boards with overlapping “x” stitch for handmade book effect
to emphasize Borges’ love of books.
Return to Contents
|
Anne
Taylor and Kevin Taylor -- Sample Binding
Anne Taylor. Artist’s Journal, 2006.
Cased in two boards with Harmatan purple leather #29. Text paper is Arches
text wove. Marbled endpapers by Kevin Taylor. Flexible purple leather spine
colored with gold pigment paint and sewn with “x” stitching to leather
covers.
Return to
Contents
|
 |
Peter and Donna Thomas
Santa Cruz, California |
|
Book artists, papermakers, and letterpress printers,
Peter and Donna Thomas also illustrate,
illuminate, and bind their own books. They are founding members of the
Miniature Book Society and are active in book arts and papermaking
organizations. Since 1977, they have produced over 125 limited edition
books, 200 artists’ books, and recently wrote and illustrated More Making
Books by Hand for Quarry Books. |
Proposal for Ficciones
 |
In “The
Library of Babel,” Borges writes: “The universe (which others call the
Library) is composed of an indefinite, perhaps an infinite, number of
hexagonal galleries, with enormous ventilation shafts in the middle. . .” We
use this concept as inspiration for our proposal to bind Ficciones as a
hexagonal book structure. The binding would be similar to the example except
that silver rods would replace the wooden dowels, brass pipe would replace
the threaded steel tube, laminated Argentine hardwoods would replace the
redwood, and original paintings would replace the images of the Groves Press
cover.
Return to Contents
|
Peter and Donna Thomas -- Sample Binding
Jorge Luis Borges. Ficciones. Baltimore: Alfred A. Knopf, 1993.
Sewn onto wooden dowels. A threaded hollow steel rod connects two redwood
hexagons that function as lids or covers. The “book” has a hexagonal
slipcase with six panels featuring copies of the original book’s cover
attached to a redwood base.
Return to
Contents
|
 |
Pamela S. Wood
Tempe, Arizona |
|
After earning a Bachelor of Fine Arts degree in
printmaking Pamela Wood began bookbinding in
1995 studying with Joe D’Ambrosio. Her studies have continued in classes at
the San Francisco Center for Book Arts and University of Utah Book Arts
Program taught by Jody Alexander, Tom Conroy, and Hedi Kyle. She binds
one-of-a-kind and artist’s books. Her work is represented in private
collections and in the Rare Book Collection of the Phoenix Public Library.
Wood is a Member of the Guild of Book-workers. |
Proposal for Ficciones
 |
Binding sewn with linen cords and tapes. Text block
with mull attached to a three-piece cover using Canapetta eggshell bookcloth.
The two halves with contrasting color sides, Canapetta red and Canapetta
blue. Inlay accents of stylized labyrinths, etched and printed with gold ink
and attached to small inlaid squares. Cover and spine blocks printed with
gold. Endpapers of handmade paper to match the eggshell color of the
bookcloth. Colors were chosen based on the original text.
Return to Contents
|
Pamela Wood -- Sample Binding
James Lamar Weygand. The Weygand Tightwad Beater. Its Design &
Construction. Nappanee, Indiana: Private Press of the Indiana Kid, 1970.
With two inserts by the author, “A Day in the Life of a Papermaker” and
“Patterns.”
Clamshell box and cover, built in three pieces. Original hand-dyed bookcloth
by binder used inside box and quarter bind, elsewhere Cialux evergreen
cloth. Binding is traditional codex, with linen thread and tapes, endpapers
are deep green Hahnemuhle Ingres Antique. Weygand’s logos are inlaid. IK
White Laid, and Beater Patterns by Weygand.
Return to
Contents
|
 |
|
|
|
Top |
Other Online Exhibits |
Contact Special Collections |
Previous Exhibits |
Contents |
|
|
