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Tag Archives: clamshell

Books of the Week — Sara Langworthy

26 Monday Feb 2018

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blotters, Book Arts Program, Bulmer, Cave Paper, clamshell, College Book Arts Association Conference and Annual Meeting, cotton, Dante, drum leaf binding, Emilie Bach, flax, handmade paper, hemp, Iowa, J. Willard Marriott Library, Kitakata, Kozo Kiga, linoleum, Oxford, photopolymer plates, Salt Lake City, Sara Langworthy, sewing manual, sumi ink, tatting manuals, The University of Utah, UICB Papercase Natural, University of Iowa Center for the Book, Utah, Vandercook #4


Everything Speaks In Its Own Way
Sara Langworthy
2003
N7433.4 L355 E8 2003

Printed from photopolymer plates and linoleum on blotters using a Vandercook press. Drum leaf binding. Edition of twenty copies. Rare Books copy is no. 14, signed by the author/bookmaker.


New Patterns in Old Style
Sara Langworthy
Oxford, IA: Sara Langworthy, 2013
N7433.4 L355 N48 2013

From Sara Langworthy’s website: “[This] began as an investigation of two opposing definitions of the word ‘CLEAVE’…The book combines images and text printed from photopolymer plates with hand-brushed sumi ink painting…The text…was constructed from a series of random/chance exercises using [the words from the definitions]. The first signature sets the scene of the word ‘cleave’ fighting itself; a passionate joining with a violent separation. The second signature examines the results of the repeated joining and separating. The first signature is printed primarily in pale greys and greens; the second signature is equally monochromatic, but uses a pink/orange/yellow palette…The papers used are Kitakata, Kozo Kiga, University of Iowa Center for the Book handmade text sheets in a variety of fibers including hemp, flax and cotton, and overbeaten flax/cotton combination, and offcut left over from paper specially commissioned from Cave Paper…The book is sewn into a modified limp paper binding, cover paper is UICB Papercase Natural. The book is housed in a clamshell.”

From the colophon: “Text is digitally set in Dante and Bulmer, and printed…on Vandercook number 4.” The images originat[ed] from scanned leaves and tracing of plants. The text is assembled from two sources: the definition of the word ‘CLEAVE’ and instructional language found in tatting manuals. The title of this book is borrowed from a sewing manual of the same name by Emilie Bach.

Edition of twenty-four copies. Rare Books copy is no. 5, signed by the author/bookmaker.

This book was exhibited as part of the fifth annual College Book Arts Association Conference and Annual Meeting, January 2-4, 2014, Salt Lake City, Utah, hosted by the Book Arts Program, J. Willard Marriott Library, The University of Utah.

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Book of the Week — The Architextures 1-7: The Man of Music

13 Monday Feb 2017

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abaca, Anthropology, Belgium, bookbinding, brass, California, Cambridge, Carolee Campbell, clamshell, English, Felix Titling, Fuji Paper Mills Cooperative, Fulbright, Guatemala, history, Ian Robinson, initials, Japan, Jonathan Cape, Katie MacGregor, King's College, kyosei-shi, letterpress, London, London School of Economics, MacGregor/Vinzani, Maine, Meridien, Nathaniel Tarn, Ninja Press, Pablo Neruda, papermaking, Paris, poetry, Princeton University, Rutgers University, Sherman Oaks, Tokuschi-ma, United States, University of Chicago, Vandercook Universal I, Whiting, wood blocks, Yale University

PS3570-A635-A7-1999-cover

“Who are we that fled the thousand lives we did not lead in order to escape the very one life that we were destined for?”

The Architextures 1-7: The Man of Music
Nathaniel Tarn (b. 1928)
Sherman Oaks, CA: Ninja Press, 1999
PS3570 A635 A7 1999

Nathaniel Tarn was born in Paris and lived in Belgium until he was eleven. He studied history and English at King’s College, Cambridge. After returning to Paris he studied anthropology and received a Fulbright grant. He studied at Yale University and the University of Chicago and did his doctoral fieldwork in Guatemala. He then completed his graduate studies at the London School of Economics. Tarn published his first volume of poetry, Old Savage/Young City, in 1964. His next published work was a translation of Pablo Neruda’s The Heights of Macchu Pichhu, published by Jonathan Cape, in London. He joined Jonathan Cape as General Editor of its international series.

In 1970, he immigrated to the United States, became a citizen, and taught as Visiting Professor of Romance Languages at Princeton University, and later, at Rutgers and other universities.

Of his poetry, Ian Robinson wrote in 1982, “Landscape, geography, and the history and culture of that landscape, that geography, of the societies living there now and that lived there once, all of the present in its present, are the key factors for Tarn.”

The Architextures 1-7 are the first seven from a collection of seventy prose poems.

The book was handset and letterpress printed on a Vandercook Universal I with Meridien type in six colors and 72pt Felix Titling for display and opening initials. Paper is dove-gray abaca, made by Katie MacGregor at the MacGregor/Vinzani papermaking studio in Whiting, Maine. Six-color wood blocks illustrate the text throughout.

PS3570-A635-A7-1999-Title

Ninja Press was begun in 1984 by Carolee Campbell, whose main publishing focus is contemporary poetry. Carolee began her book work as a photographer working with nineteenth and twentieth-century photographic processes. Binding her photograph sequences introduced her to bookbinding and experimental book structures. She then expanded her book work with letterpress printing. Bookmaking opened “the way into contemporary poetry — confronting it for the first time with a directness and penetration she seldom experienced as a reader.” (Ninja Press) All book work from Ninja Press is by Carolee Campbell.

Bound in torched and patinated thin brass boards, with a spine of brass and stainless steel hinges. Issued in a clamshell box covered in black kyosei-shi, a handmade paper from the Fuji Paper Mills Cooperative in Tokushi-ma, Japan. Edition of sixty-five numbered copies, signed by the poet and the bookmaker.

PS3570-A635-A7-1999-quote

PS3570-A635-A7-1999-Spread1

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Book of the week — Kuthan’s Menagerie Completed

18 Monday Apr 2016

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animals, anteater, booksellers, Canada, clamshell, colophon, debossed, endsheets, Felicity Reid, flamingo, folio, George Kuthan, Golden Hind laid paper, Heavenly Monkey, Japanese paper, landscape, linocuts, monkey, Nevermore Press, Paris, peacock, penguin, Perpetua, preface, racoon, Robert Reid, Simone Mynen, St. Armand handmade paper, Stephen Lunsford, title page, University of Prague, University of Utah, Vancouver, Vancouver Zoo, waste sheets, William Hoffer

“In the zoo we see, on a small scale, how different all animals are from each other…We have to live together whether we like it or not.”

NE1336-K87-A4-2003-Penguins

KUTHAN’S MENAGERIE COMPLETED
George Kuthan (1916-1966)
Vancouver: Heavenly Monkey, 2003

Descriptive text about six animals – a raccoon, flamingo, anteater, penguin, monkey and peacock – each representing a different part of the world and each viewed by the artist at the Vancouver Zoo. Illustrated with multi-color linocuts by George Kuthan. Kuthan studied art at the University of Prague and in Paris before he moved to Canada.

Kuthan’s Menagerie of Interesting Zoo Animals was first published in an edition of one hundred and thirty copies by Nevermore Press, a single private enterprise by Robert and Felicity Reid, in 1960. Sixty of these copies were bound in quarter leather and Japanese paper over boards. Kuthan and the binder both died soon after this first publication. The remaining sheets were left unbound and unsold. Vancouver booksellers Stephen Lunsford and William Hoffer bought the unbound copies from the original binder’s estate in the late 1980s.

Heavenly Monkey issued the remaining sheets within a sheet of yellow Japanese paper (which served as the endsheets for the bound edition). New content (a title-page, preface and colophon) was set by hand in 18 pt. Perpetua and printed on blank and waste sheets of the original Golden Hind laid paper. The whole is in an outer wrap of St. Armand handmade paper and housed in a custom clamshell box covered in red Japanese fabric, with printed debossed paper labels, designed and made by Simone Mynen. The work is comprised of sixteen sheets loose, printed landscape on one side and folded folio, plus three sheets of additional matter. Printer Robert Reid explained that the folded sheets helped solve two problems: the translucent quality of the paper and to add to the bulk of the book when bound. Edition of fifty copies. University of Utah copy is no. 7, signed by Robert Reid.

NE1336-K87-A4-2003-Monkeys

NE1336-K87-A4-2003-Raccoon

 

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