GBW 100^th Anniversary Exhibition Catalog Bind-O-Rama

Eric C. Alstrom, Okemos, MI, USA.

Sewn-boards binding with tightback black kangaroo leather spine and corners. Claire Maziarczyk pastepapers with red goatskin on covers and across spine. Cut outs in cover reveal images of book details on endpapers. Title stamped in blind. Grey Hahnemühle Ingres endsheets and black moriki hinges. Acrylic-dyed top edge. Bound September 2007. 28 x 21.5 x 1cm.

Eric Alstrom has been involved with the book arts since 1989. He studied under James Craven and also at the Bessenberg Bindery in Ann Arbor, Michigan. He has taken workshops from many bookbinders and artists, including Daniel Kelm, Barb Korbel, Sid Neff, Jr. and Sylvie Rennie. Eric is head of conservation at Michigan State University Libraries and teaches binding and book arts workshops. For further information, please visit Eric Alstrom | BookWorks.

Whitney Baker, Lawrence, KS, USA.

Sewn boards binding, chartreuse endpapers, chartreuse sailcloth spine dyed with acrylics, paste paper sides made by binder. 27 x 21. 5 x 1.7 cm.

Preprogram work/study at the University of Iowa Center for the Book. MLIS in library science with advanced certificate in library and archives conservation, University of Texas at Austin. Advanced internship at the Library of Congress under Tom Albro.

Sherry Barber, Frisco, TX, USA.

Full goatskin over boards with leather onlays, backpared. Leather headbands and Japanese paper endhseets. 21.6 cm x 28.6 cm x 1.7 cm.

Since 2000, I have studied with several binders including Pam Leutz, David Lawrence, Catherine Burkhard, Priscilla Spitler, Monique Lallier, and Jan Sabota. I am currently teaching bookbinding at the Craft Guild of Dallas.

Pamela Barrios , Orem UT, USA.

Sewn-board Binding: red spine leather follows the shape of the signatures, the spine is concave when the boards are open; sides are brown "bier" paper (made from the green waste of hops); cut-out letters over decorative paper. 27.7 cm x 22.3 cm x 1.6 cm.

Trained in conservation at the NY Botanical Gardens and the New York Public Library (where she received full time intensive training in fine binding and conservation from Elaine Reidy Schlefer). Has attended numerous workshops and intensives, including Hugo Peller, Tini Miura and Deborah Evetts in fine binding, and Abigail Quant and Bernard Middleton in conservation. For 17 years has been a Rare Book Conservator at the Harold B. Lee Library at Brigham Young University.

Elizabeth Bittner, Syracuse, NY, USA.

Boards are covered in decorative long fiber tissue with a collage of decorative paper scraps in the center of each board. Some scraps are paste papers of my own design while other scraps are paste papers from other artists or printed decorative paper. The stations closest to the head and tail were sewn using the caterpillar pattern. The sewing in the center is the Celtic weave. Both patterns are from Keith Smith's Non-Adhesive Binding vol. 3. The remaining four stations were sewn using a two needle Coptic pattern. Sewing for all stations was done using dyed linen thread. 29 x 22 x 2.25 cm.

Graduate student in the book and paper conservation program at the University of Texas, Austin. Currently interning in the Conservation Lab of the Special Collections Research Center, Syracuse University Library.

Amy Borezo, Orange, MA, USA.

Flat-back Case version of Gary Frost's Sewn Boards Binding (with offset spine). Biscuit Nigerian goatskin with blind embossing on spine. Covers in birch veneer with leather onlay. Sewn on linen tapes. Hahnemühle Bugra Bütten Lilac endpapers. 22 x 28 x 1.5 cm.

MFA in Painting/Printmaking from the Rhode Island School of Design. Bookbinding study with Daniel Kelm and Barry Spence.

Lyndsey Carney, Normal, IL, USA.

Coptic Binding with exposed spine sewing; Sewing done with dyed wax linen thread, with each signature wrapped in decorative paper to better display sewing. End papers done with decorative papers, as well. Boards covered in Canapetta Book Cloth, with inlays and build-ups to display images from catalog. Images from catalog and title printed on stretched cotton cloth. Circa 28 x 22 x 1.5 cm.

Currently working as a Specialist, in the Conservation Lab at Illinois State University, studying under Soline d’Haussy, Conservator at ISU.

Carol Ceraldi, Syracuse, NY, USA.

Case binding; cream Roma endpapers; sewn link-stitch on 3 linen tapes; white linen thread; rust goat skin stuck-on endband and head and tail decoration; boards covered in Nepalese Lokta with inlaid jute thread grid; leather double layer onlays; title borrowed from original soft cover. 28 x 22 x 1.5 cm.

Trained in design at the Cooper Union, bookbinding study with Dorina Parmenter and Peter Verheyen, as well as with Daniel Kelm at the Garage Annex School in Easthampton, MA..

Leigh Craven, Dorchester, MA, USA.

Case binding; sides covered in original pastepaper with Japanese silk spine. 28 x 22 x 1.5 cm.

Leigh Craven has a BFA in printmaking from Cornell University and a MFA in printmaking from the Rhode Island School of Design, and studies bookbinding with Peter Verheyen. She has taught at LeMoyne College in Syracuse, New York, is currently teaching in the Department of Art at Bridgewater State College in Massachusetts, and has been a visiting professor at various other institutions. Her work has been exhibited widely in group and solo exhibitions earning her numerous honors and awards.

Soline d’Haussy. Normal, IL, USA.

Gary Frost’s sewn board binding structure with leather spine. Covers are constructed of 20 point board covered in “Comanche Sunset” fabric. Endsheets are made of green Canson Paper. Label is printed on Canson paper as well. 28 x 22 x 1.9 cm.

Internship in General and Special Collections Conservation under Whitney Baker, Conservator, KU Libraries. Workshops with Jim Canary, Gary Frost, and John Tonkin. Currently working at Milner Library, Illinois State University as Conservator.

Mary Drabik, Shoreview, Minnesota USA.

Wire Edge binding using Daniel Kelm's technique and a drop back spine I learned from Jill Jevne. The book has a cloth cover with insets using Claire Maziarczyk's paste paper. This paper was also used to anchor the wire sewn into each signature. 28.7 x 22 x 2.5 cm.

As a member of the Minnesota Center for Book Arts, I have been privileged to take a variety of bookbinding classes from resident and visiting teachers. Jana Pullman and Jody Williams have been especially helpful. I have also taken bookbinding workshops at Split Rock, Haystack, and Paper and Book Intensive. I'm currently taking a longer term course of study through the Canadian Bookbinders and Book Artists Guild..

Jane Bortnick Griffith, Kensington, MD, USA.

French technique laced-in binding. Covered in black French Chagreen goatskin. Reverse leather onlays and silver tooling. Handsewn double silk endbands. Handpainted japanese paper endpapers. 28.5 x 22 x 1.7 cm.

Studied with Jacqueline Liekens in Brussels, Belgium, 2006. Classes with Monique Lallier and Daniel Kelm, 2007. Previously took courses and workshops at Smithsonian Institution, New York Center for Book Arts, and Pyramid Atlantic.

Dolores Guffey, Eureka, CA, USA.

Faux leather covers made from Kraft paper impregnated with shoe polish; hand marbled end papers by D. Guffey; Double Needle Coptic Binding with wax linen thread; covers have windows cut out to reveal images on the first and last pages of the catalog; a photocopy of one of the books from catalog was mounted on the front cover. 28 x 21.5 x 1.5 cm.

Member of the North Redwoods Book Arts Guild

Mark S. Hall, Austin, Texas USA.

Quarter leather case binding with Harmatan goat leather along spine and fore-edge; sides covered in hand-marbled paper by Catherine Levine, contrasting blue calf leather headband, burnished graphite top edge, text block sewn link-stitch with endpapers in light green by Hahnemuehle. Title stamped in gold leaf on spine. 28.7 x 22 x 1.6 cm.

I have been binding books and studying printing as a hobby since March, 2007. I've taken 2 classes at the Craft Guild of Dallas. My first binding instruction was taught by Jim Croft earlier this year. I learned to do the case binding in a recent class from David Lawrence and the staff of the Craft Guild. I also studied at the Texas A&M University Book History Seminar this year where we bound pamphlets and other ephemeral items from the hand press period.

Karen Hanmer, Glenview, IL, USA.

Limp calf vellum binding (Pam Barrios’ 3 piece technique), folios from catalog alternate with folios of laser prints on translucent paper. Binding gives Guild of Book Workers Exhibition Chair’s view of Guild 100th Anniversary exhibition ­- the show is viewed through a veil of paperwork: shipping forms, invoices, press releases, condition reports, etc. 29 x 22 x 2.5 cm. Collection of Peter D. Verheyen.

Studied with Scott Kellar, Monique Lallier, Priscilla Spitler; 365/24/7 technical support by Peter Verheyen. She is currently Exhibitions Chair with the Guild of Book Workers, was a juror for the 100th anniversary exhibition, and is represented in the contemporary part of the exhibition with a binding.

Forrest Jackson, Dallas, TX USA .

This hollowback binding of The Guild of Book Workers 100th Anniversary Exhibition is sewn on three frayed linen cords. The spine is quarter leather bound in the skin of a copperhead snake that was shot and tanned by the binder in August 2007. (I love snakes, but couldn’t suffer this venomous one to live on my land.) The book also features top-edge gilding, leather headbands and Lokta Momi paper covered boards and endsheets. 28.7 x 21.8 x 1.5 cm.

I started bookbinding at the Craft Guild of Dallas in 1997. Since then, I have pursued fine binding, conservation and restoration. I’ve also taught beginning restoration classes at the Craft Guild and the Edgemere Retirement Community. Currently, I slowly practice this Old World trade for entertainment purposes only. More examples of my work can be seen at Rosedale Rare Books. Favorite instructors: Sally Key, Jim Croft, Pamela Leutz and David Lawrence.

Peggy Johnston, Des Moines, IA, USA.

Description of design: Covers are 1/8 inch thick plexiglass. The plexiglass was masked, then sand-blasted to create windows allowing the images on the front and back pages of the catalog to be viewed through the cover. The blasting material gave the plastic a rusty tint which reflects the color of the book’s pages. The binding is Coptic, sewn with linen thread on six needles. The label is letterpress printed on dyed goat skin. 28 x 21.5 x 2 cm.

Peggy graduated from the University of Wyoming with a double degree in art and education. Since then she has continued her studies in painting, printing and the book arts by taking classes and workshops whenever possible. She is represented in the contemporary part of the exhibition with a book work.

Ashley M. Kanaley and Shalini Patel

Half-bound case binding: Sewn on three rami tapes; pastepaper stuck-on endband; case covered in pulled and crinkled pastepapers at spine and corners and comb-made pattern on sides. Forwarding by Shalini Patel with case made by Ashley M Kanaley. Technical support and encouragement provided by Peter D. Verheyen, David Stokoe, and Elizabeth Bittner. 28 x 22 x 1.5 cm.

Ashley and Shalini are both work-study students in the Conservation Lab of the Special Collections Research Center, Syracuse University Library. When not working in the lab, both are printmaking majors (junior and senior respectively) in the School of Art and Design at Syracuse University. Shalini completed the "book arts" course last fall and currently working on an independent study in advanced book arts topics, both with Peter Verheyen.

Monique Lallier, Greensboro, NC, USA.

New Oriental binding with buffalo leather over multi-layered boards. Onlays of goat skin leather and in “lacunose” technique. Blind tooled title. Mokuba end papers. 28 x 22 x 1.5 cm.

Trained in French technique binding in Montreal with Simone B. Roy, Hedwin Heim in Ascona and Hugo Peller in Solothurn. Also trained in gold tooling in Paris with Roger Arnoult. Participated in numerous exhibition all over the world and was chair of the Standards Committee of Excellence of the Guild of Book Workers from 1988 to 2000. Is currently Director of the American Academy of Bookbinding in Telluride CO and Ann Arbor MI. She is represented in both the retrospective and contemporary parts of the 100th anniversary exhibition.

Charlene Matthews, Hollywood, CA, USA.

Bound September 2007. I had a copy already, but bought another set of loose sheets to bind. I decided to interweave both copies, same pages together, as through the years, I can see many of our lives interweaving together. It was a great experience, I was able to see and think about each book as I wove another into it, and I realized how I had not paid much attention to my peer’s bindings as much as I should have. The cover was hard. I did about 5 different bindings before I came up with this one. How this one developed was through pure frustration and depression. After weaving the books, I realized how they all looked alike, they were all different, but the same. I wanted to make a cover, delicate for the preciousness of the books inside, and I also wanted to destroy them all.

The covers are covered in pinhole photographs of my bindery back porch. It is a panorama from a 25 minute exposure from a camera I call the Big Guy. One can just see the door entry. I thought that was appropriate, the entrance to a bindery. I have clouded it, as the clouds keep me aware. The holes represent lace, a delicate thing. Inside, the holes drilled through all the pages, suddenly become music sheets. A rough, but complete harmony. 28 x 22 x 1.5 cm.

Charlene Matthews is a full time bookbinder, working in restoration, box making, art fabrication and book arts. Her work can be found worldwide. She is also crazy about her oatmeal box pin-hole camera. She is represented in the contemporary part of the 100th anniversary exhibition.

Jana Pullman, Minneapolis, MN, USA.

Sewn on four linen tapes, green Moriki Japanese paper endpapers, green leather end bands. Covered in inlayed brown, terra cotta. orange, tan and green goat leather with blind and gold tooling. 28.5 cm x 22 cm x 1.5 cm.

Student of Jim Dast, University of Wisconsin-Madison and Bill Anthony, University of Iowa. MFA in printmaking with an emphasis in book arts and papermaking. Worked for libraries and institutions in book and paper conservation and now I am in private practice.

James Reid-Cunnngham, Cambridge, MA, USA.

Open joint binding; textblock trimmed unevenly; sewn with a long stitch through a Tyvek bonnet using linen thread colored with acrylic; vinyl tile boards lined with Zerkall Mouldmade 140 gm. paper; boards laced to the Tyvek using linen thread colored with acrylic paint. 29 x 24 x 1.6 cm.

Trained in bookbinding with Mark Esser at the North Bennet Street School in Boston. He is currently President of the Guild of Book Workers.

David Stokoe, Syracuse, NY, USA.

Half bound case binding, emulating 19th century English “Trade” style using fake raised cords. Sewn on 3 tapes, Gutenberg laid endpapers, original Cockerel style marbled side panels, University of Iowa PC4 paper molded & toned with acrylics. Blind tooled & computer generated label. 28 x 22 x 1.5 cm.

UK Society of Archivists apprenticeship trained; worked at College of Arts & Tech, Newcastle, UK;. 4 year Cert. in Bookbinding. Professional conservator since 1982 – Tyne & Wear County Record Office, UK; Manx National Heritage, Isle of Man, UK: Cumbria Archive Service, UK; Union Theological Seminary, Burke Library, NYC. & now at Syracuse University, NY.

Sharon Swanke, Bloomington, IL, USA.

Gary Frost's sewn board binding structure with Canapetta cloth spine. Covers are constructed of 20 point board covered in Batik fabric. Endsheets are of white Neekoosa vellum paper. Computer generated label. 28 x 22 x 1.9 cm.

Internship in Conservation and Preservation under Soline d'Haussy, Conservator, Milner Library, Illinois State University. MSLIS from University of Illinois.

Peter D. Verheyen, Syracuse, NY, USA.

Case binding; white Johanot endpapers; sewn link-stitch on 4 black vellum slips; slips and thread died black; burnished graphite top edge; pastepaper stuck-on endband; spine covered in dark grey oasis goat with cutouts for slips; boards covered in pastepaper with terracotta leather onlays on both boardsl title stamped in anthracite foil. 28 x 22 x 1.5 cm. Collection of Karen Hanmer.

Formal apprenticeship at the Buchbinderei Klein in Gelsenkirchen, Germany; internships at the Germanisches Nationalmusum in Nuremberg, Germany, and at the Folger Shakespeare Library with Frank Mowery; worked with Heinke Pensky-Adam and William Minter, and at the Yale , Cornell, and Syracuse university libraries. Past Exhibitions Chair for the Guild of Book Workers and represented with one work in the contemporary part of the 100th anniversary exhibition.

Pamela S. Wood, Tempe, AZ, USA.

Traditional covered boards (case binding), using bookcloth, created by the binder; inlaid die cut metal letters; doublure inlays of marbled paper by the binder. 28.5 x 22 x 1.2 cm.

.Studied with Joe D'Ambrosio, Hedi Kyle, Tom Conroy, Chela Metzger, Pam Barrios, Dolph Smith, Jodi Alexander. BFA in Printmaking, Kent State University.