EDITOR'S CORNER: Report from the Silver Jubilee Conference of the Society of Bookbinders (UK)
I recently attended the Silver Jubilee Conference of the Society of Bookbinders, held this July in Shropshire. Barbara Kretzmann, who attended with me has promised a report of the meeting's speakers and topics in a later issue.
Maureen Duke and Gabrielle Fox were amoung the demonstrators at the conference, and MAureen will be a presenter at the Chicago Seminar in October. Gabrielle is a co-Chair of the Midwest Chapter.
But I would like to mention the organization itself and the Trade Fair and the vendors who were displaying their wares. The Society of Bookbinders is an organization much like the Guild of Book Workers. We found the same warmth and friendliness and knowledge-sharing that we have always found at the Guild's Seminars. We even found some of the same suppliers &endash; Marc Lamb, of Harmatan, David Lanning, of Hewit's, and Rob Shepherd of Shepherd's Bookbinders, were familiar faces. The Lamb family, Malcolm, present President of SoB, his wife, Mary, and son Marc hosted the reception at the Ironbridge Museum one night. Rob Shepherd delivered the slide talk on 'The Great Omar' which he will be giving in Chicago at the Sunday Brunch after the Seminar in October. Don't miss it if you're there!
We hope we will be seeing more of the British suppliers coming to the States in the next few years. They certainly seem interested in doing so and they have attractive wares to show us. Several of them are also looking for distributors in this country &endash; John van Oosterom carries repair papers of high quality made at Ruscombe Mill and sold under the name of JvO.; Griffen Mill papers are well-known in this country. Several other suppliers, Fine Cut International and P and S Engraving, both makers of finishing tools and type; Homeward Bound, which sells used bookbinding equipment; F.J. Ratchford Ltd., which carries a wide range of bookcloths, as well as tools and supplies of all kinds; and Mossglade Ltd., 'the only U.K. owned bookcloth producer,' all expressed interest in entering the American market. I came back with lots of samples. (See Supplies, this issue, for addresses of these suppliers.)
JvO is experimenting with several interesting new lines. One is a replacement for those heavily coated endpapers found in 19c books &endash; those black, dark green, dark brown and yellow papers whose coating comes off on the fingers. Using a totally different method, they are making papers which look like the originals but have none of the drawbacks of the older papers. Another is a lumpy board made of hammered layers of paper that, covered with vellum, is essentially, the match of the originals.
Mossglade claims they can produce custom-made cloths to your specifications.
The Society of Bookbinders holds a conference every other year. In 2001, they will be meeting in Cambridgeshire and I hope to attend it. In the meantime, a number of the SoB members hope to come to Salt Lake City next year and go on to visit the West Coast, as a group of them visited the East Coast last year.
Elections
Ballots for the 1999-2000 Guild elections will be mailed out over the summer. Elections are scheduled to coincide with the Standards Seminar and Annual Meeting which will be held in Chicago, Illinois on October 30.
Officers to be elected this year, and the present officeholders who have agreed to stand for election again, are as follows:
If you wish to nominate a candidate for any position, please send to the Secretary or the President the name of your choice, accompanied by: 1) a biographical sketch of your nominee; 2) a statement of willingness to serve if elected; and 3) the signature endorsements of five other members in good standing who support your recommendation.
Louise Kuflik, Secretary
The New York Chapter is undergoing a number of changes and on July 1st they threw a party, along with their last chapter meeting for the season, to mark some of them. Nora Lockshin, who has filled the post of co-Chair of the New York Chapter since Solveig Schumann left for the birth of her twins, gave a talk to the group on her research into the work of Edith Diehl. Nora left for her new position at the University of Texas at Austin on July 3rd. The party was held to thank Solveig for all the work she did for the chapter, to say goodbye to Nora, and to welcome Alexis Hagadorn as the new co-Chair. Alexis, who will be working with Ursula Mitra on chapter business, is a conservator in the Columbia University Libraries.
In addition to the 25 individual bindings of the book in the exhibit, members of the Lone Star Chapter case-bound an edition of 26 copies for sale to raise funds for the exhibition. Priscilla Spitler led a 4-day edition workshop in her studio in Smithville, Texas. Copies of this special edition are available for sale from Priscilla Spitler (prispit@totalaccess.net).
At the June 24th opening of the Boston Public Library's exhibition, 'Five Centuries of Bookbindings at the Boston Public Library: an exhibit of bookbinding from the collection of the Rare Book and Manuscript Departmentî, Stuart Walker, Head of Book Conservation discussed the books in the exhibit.
On July 31st, Christopher Clarkson gave a lecture in the Boston Public Library, sponsored by the Chapter, on Conservation of Early Books.
Patty Owen has taken on the editorship of the Chapter's newsletter and expanded it greatly to include a listing of many events and exhibitions, as well as a list of Useful Addresses.
Ursula Mitra has set up a private practice in Library and Archives Conservation after five years at the Frick Art Reference Library and one and a half years at NYU Bobst Library in New York City. She is a graduate from the Library and Archives Conservation Program at Columbia University. She can be reached at her Studio: 720 Monroe St., #e5-12, Hoboken NJ 07030, (201) 795-2261; ursula-and-nilo@att.net.
Nora Lockshin has moved to Austin, Texas to take a position at the University of Texas at Austin..
As of September 1, William H. Drendel, will be fully on board as the new Director of the Book and Paper Center at Columbia College in Chicago. On Labor Day the Center is moving into the historic, landmarked Ludington Building a few blocks south of their present premises. Bill says, "This white terra-cotta beauty was built in 1891 by William Le Baron Jenney (widely considered to be the father of the skyscraper), to house the American Book Company. Isn't it neat that it will see the return of the book? Anyway, we will go from 14,000 to 20,000 sq. ft. and it's really a a gorgeous space. You'll see it in October. I'm really excited and look forward to get it going."
A large public artwork, Alphastory, has been created by book artist Claire Jeanine Satin for the new branch of the Broward County Library system in Pembroke Pines, Florida. It was unveiled May 12th. The work is made up of a series of artworks, beginning with tile designs in walkways from the parking lot and various buildings, culminating in a large metal sculpture, with a quote from William Blake, suspended above the information desk in the library.
Jan and Jarmila Sobota have just finished their biggest event of the year: The III Seminar of the Society of Czech Bookbinders. Jarmila has described their meeting, which ran from a Wednesday through Sunday, although some participants remained until the following Thursday. An exhausting schedule included workshops, lectures, meetings and an exhibition. Evenings &endash; nights until 4 a.m. &endash; were spent in their cellar, "drinking wine and singing songs", one gathers.
Looking for Exhibit Sites for Guild Show in 2000 & 2001
Planning is proceeding nicely for our next traveling exhibit due to open at the Standards Seminar in fall of 2000 in Salt Lake City. The show will travel through 2001 and maybe into 2002.
Any sites in your area that would be interested? Library, museum, gallery! Please call me or e-mail me at b-lazarmetz@nwu.edu. Thanks, Barbara
The recently mailed out Index to the Journal, Vols. XXVII through XXXIII had been, in at least one copy, miscollated. So far we have not found any others but check your copy and let us know if there is a problem. Please contact Jean Stephenson or Karen Crisalli and a replacement copy will be sent. (Addresses on the Executive Committee List inside the front cover.) [Web ed. note: Please check your paper copy of the Newsletter for addresses.]
Center for Book Arts Moves
On August 1, the Center for Book Arts moved into its new home at 28 West 27th Street, New York, NY 10001. Their phone and email will remain the same: Ph: 212-460-9768; bookarts@bway.net. The exhibition scheduled earlier, 'Out West: The Artist's Book in California', Part 2, curated by Gloria Helfgott, showing work from Southern California binders, may be shown next spring at the Center. In the meantime, it is scheduled to open in San Francisco on September 13 at the San Francisco Center for the Book.
We reported earlier on Andrew Hoyem's Arion Press folio edition of the Bible, probably the last to be printed from metal type. Since then, St. John's University in Collegeville, Minnesota has announced their six-year project of the Saint John's Bible which is being handwritten and illuminated by the well-known British calligrapher Donald Jackson. The first volume, The Gospels and Acts of the Apostles, will be unveiled at Christmas 2000. The complete project of seven books will be finished in the year 2004. Both of these Bibles will use the New Revised Standard Version.
A third edition of the Bible, using the King James Version, is being produced by Barry Moser at his Pennyroyal Press. The large two-volume Bible will be called the Pennyroyal Caxton Bible when it is released in October. Moser has been working since 1996 on the 231 engravings which will be printed on paper made by a German company, in type modeled on a 16th c. form. It will be issued in an edition of 400, each costing $10,000, according to an article in The New York Times of May 26, 1999. A second, deluxe edition of 30 will be printed on handmade paper, bound in five volumes with additional prints and archival materials, costing more than twice the price of the larger edition. There will also be a trade edition published by Viking Studio at a more down-to-earth price. The project has been underwritten by Bruce Kovner, book collector and chairman of Caxton Company, an investment management company named for the printer William Caxton.
In 1987, a New York Chapter-sponsored workshop by Bernard Middleton on Leather Rebacking was held at the New York Botanical Garden bindery. As often happens during one of these sessions, the question of How Much to Charge for Binding Work came up. I did not keep a list of the attendees, so aside from myself, Margaret Johnson, I can only remember with certainty Don Rash, the late Pam Rash, and Tony Haverstick, all from Pennsylvania, and Andrew Supplee from New Hampshire. There were binders from Canada, Indiana, Massachusetts and New Jersey. If any reader remembers being there, I'd be happy to hear from them.
With characteristic energy, Pam Rash polled the members of the group for a list of their charges for various procedures, typed up and distributed the list to all. I ran across my copy recently. The charges varied greatly, and in comparison with today's prices, seem ridiculously low. The price for cloth case binding in Indiana was $13 &emdash; $18, $40 in Massachusetts. A full-leather binding ran from $60 Canadian to $125 &emdash; $500 at the Botanical Garden, depending on whether it was a case binding, a tight-back with raised bands, or a hollow tube (and how much decoration and sewing was needed). Clamshell boxes ran between $40 and $90; leather rebacking $35 to $75. An interesting and still useful timetable for various procedures had been drawn up at Yale in 1982 and a copy was added to the price listings. I include it here:
Looking at Paper: Evidence and Interpretation
A Report by Susan Martin & Elaine Schlefer, New York Academy of Medicine Library
"Looking at Paper: Evidence & Interpretation," a 4-day symposium devoted to the many facets of paper, was held in Toronto from May 13&emdash;16, 1999. The meeting was sponsored by three major conservation organizations: the Canadian Association for Conservation of Cultural Property, the Institute for Paper Conservation (UK) and the Book & Paper Group of the American Institute for Conservation.
The 3 days of talks all took place in the grand auditorium of the Royal Ontario Museum. Plans for the meeting began as a collaborative effort a few years ago and the organization and attention to detail really paid off. There were a total of 26 separate talks and the meeting ran like clockwork. Equally impressive was the fact that the slides, overhead projections, and sound system all worked flawlessly. The level of scholarship and preparation was impressive throughout: there was something to learn from every presentation. Another plus was the well-designed proceedings book, in which each abstract was followed by a blank page for note-taking. The book was beautifully bound in heavy hand-made cover stock and interleaved with Oriental papers.
Some talks focused on individual artists' use of paper (James McNeill Whistler, John Taylor Arms.) Other presentations addressed the manufacture of paper: (board making, development of papermaking machinery, papermaking technology through the centuries and in different countries.) There were a number of talks on watermarks, ranging from identification techniques in early Western papers through digital imaging techniques. One presentation on the popular two-tailed Siren-in-circle-with-star watermark revealed the 16th century source of Starbuck's logo. (Check it out.) Another group of talks focused on papermaking in various countries and on Eastern and
Western decorative papers. The conference ended with a fascinating talk on the forensic value of paper analysis, proving that this is not a dull or boring subject but one full of genuine cloak-and-dagger drama.
There was an opening reception on the roof-top terrace of the Royal Ontario Museum on Thursday evening, which was an opportunity to meet friends and colleagues. Also on Thursday evening, in connection with an exhibit at the Toronto Reference Library, Dard Hunter III gave a
fascinating slide lecture on his grandfather's life and work.
At the conclusion of the symposium, three workshops were held at the Art Gallery of Ontario: "Examining Western Paper," taught by Peter Bower; "Examining Oriental Paper," taught by Akinori Okawa; and "Digital Imaging of Watermarks," taught by Ian Christie-Miller. The workshops were presented three times each.
Guild member Betsy Palmer Eldridge generously hosted an outdoor picnic/reception in her lovely back garden one evening for all of the "book people" at the conference. About 25 of us enjoyed conversation and a delicious dinner under the trees; it was hard to believe that this tranquil leafy garden was only minutes from the center of Toronto! A special treat for those of us from the "lower 48" was the opportunity to enjoy a second Spring complete with tulips, daffodils, and all sorts of flowering trees.
Postprints are expected to be available for purchase by the end of the year. For anyone interested in paper, this publication will definitely be worthwhile.
Following is a List of the Presentations.
No. 10: Paper Basis Weight/Grammage
From the earliest days of papermaking in Europe, the 'Basis Weight' of paper for various grades has been measured by the weight in pounds of a given number of sheets of a given dimension, which is called a 'Ream,' ('rame' in French; 'Ries' in German; 'resma' in Spanish, from 'rizmah' &emdash; a bundle of paper - in Arabic). 1
Each grade of paper had its own name, end-uses and ream size, such as the following examples used in England: 2
Other countries had their own ream names and sizes.
The number of sheets in a ream also varied according to the grade and was normally 480 or 500 sheets. The 480 number is equivalent to twenty quires of twenty-four sheets each. 1,3
The ream size of modern art papers is 22" x 30" &endash; 500 sheets.
In recent times, with the more widespread adoption of the metric system (more correctly known as the 'S.I., or 'systeme internationale'), except for certain fine art and handmade papers, 'Basis Weight' has been replaced by 'grammage' as the unit of measurement of the weight per unit area of paper.
Grammage is simply the weight in grams of one square meter of paper, and is expressed as 'grams per square meter', or 'gsm'.
To convert to grammage in grams per square meter from Basis Weight in pounds per ream of 22"x30" &endash; 500 sheets, multiply by 2.1305. Each ream size has its specific conversion factor.
References:
Just out, by Diane Maurer-Mathison, is The Ultimate Marbling Handbook, a guide to basic and advanced techniques for marbling paper and fabric. The book is published by Watson-Guptil Crafts, and is also available directly from Diane for $24.95 plus $4 s&h. PA residents should add sales tax. All copies purchased directly from her will be autographed. The address for ordering: Diane Maurer-Mathison, P.O. Box 78, Spring Mills, PA 16875.
This wonderful full-color, 144 page book covers Suminagashi, oil marbling, watercolor marbling, fabric marbling, and includes a 'Gallery of Contemporary Marbling,' which is quite a spectacular show of marbled art pieces. This is a must-have for everyone interested in marbling.
Ebooks
What are ebooks? Electronic texts readable through a variety of forms:
Everybook (www.everybook.net); Rocket ebook (www.rocket-ebook.com); and Softbook (www.softbook.com) are the major companies for device specific ebooks. Each requires its own hand held reader. The curious things is that they all resemble in form what we know as "book", but tout the advantages of electronics. There are "pages" that turn, instead of scroll; 2 pages (screens) instead of one; and a leather cover. The biggest advantages are the weight (22 ounce to 2.9 pounds) and the amount of information that can be stored (1500 to 50,000 pages), although one company lists a number of environmental benefits. The costs for the devices average from $300 &emdash; 500. Each provide for searching the texts, making margin notes, highlighting text, and keeping your place.
Then there is the issue of how one actually gets the book. Softbook and Everybook apparently can be plugged into a phone line to connect directly into their systems. Rocket ebooks are purchased through Internet vendors such as barnesandnoble.com.
Octavo Corporation (www.octavo.com) has a different goal than to ween people away from the paper/board/cloth/leather/ink item we call books. They are trying to preserve books, manuscripts, and antiquarian printed materials with extremely high quality digital tools onto CD-ROM, readable with Adobe Acrobat. They work with important library collections to keep a record of the original item and make these rare volumes affordable (prices range from $ 20 &emdash; 75). The end product is not just the text, but a complete, very high quality image of the binding, fly leaves, type, and paper, as well as the original text. They really do seem to try, as far as an electronic media can, to keep the "feel" of the original. Some of the titles that are available are: Nicolaus Copernicus: De Revolutionibus Orbium Cœlestrium, Libri VI (1543), Benjamin Franklin's Experiments and Observations on Electricity (1751), and Giambattista Bodoni's Manuale Tipografico (1818). The CDs can be ordered directly from Octavo.
Questions, comments, suggestions to alapidow@opal.tufts.edu
BookMakers International have recently moved into their new, and greatly expanded, quarters. Their new address and contacts are:
BookMakers International
6701B Lafayette Avenue
Riverdale, MD 20737
p:301 927-7787 f: 301 927-7715
bookmakers@aol.com
As the capital costs of setting up such a facility in the UK are very high, they are going to move the Mill to the Island of St. Kitts in the Caribbean &endash; where the costs are very much lower and the tourist industry is growing at a fast rate.
Conservation and bookbinding papers will be shipped back to the UK on a regular basis with papers being available through J. Hewit & Son, Shepherds Bookbinding and Falkiner Fine Papers. In the meantime: If you wish to place an order directly do so as soon as possible so that your paper can be dispatched in good time. The last making this year will be in the week beginning 20th September. The last date for dispatching orders will be 31st October. Griffen Mill, 1, Willowbrook, Albert Street, Bridgwater, Somerset ta6 7et, UK.
Tel/fax: 01749330117;
e-mail: griffen@globalnet.co.uk
P & S Engraving, (finishing tools, brass & steel type & dies) 38A Norway St., Portslade, East Sussex bn41 1ae; p/f: 01273 424801
Homeward Bound (used bookbinding equipment), Unit 9, Park Farm, Earsham, Bungay, Suffolk nr35 2aq; p: 01986 895777 (they can deliver in the U.S.)
Mossglade Ltd. ('only U.K. owned bookcloth producer'), Unit 22, Piccadilly Trading Estate, Giddings Road, Manchester m1 2np; p: 0161 274 4147; f: 0161 274 4070.
F.J. Ratchford Ltd. (bookcraft supplies, cloth, leather, small tools, etc.), Kennedy Way, Green Land Industrial Estate, Stockport, Cheshire sk4 2jx; p: 0161 480 8484; f: 0161 480 3679; e: # info@fjratchford.co.uk; Website: www.fjratchford.co.uk
JvO (handmade paper for conservation/restoration & bookbinding), 15 Newell Street, London e14 7hp; p: 0171 987 7464; f: 0171 987 9307; e: john@jvo-paper. demon.co.uk (John van Oosterom)
Richard Hendel. On Book Design. Yale University Press, P.O.
Box 209040, New Haven, CT 06520-9040. 1998. 224 pp. 110
illustrations. $30.00. ISBN 0-300-07570-7.
Reviewed by Jean Stephenson.
On Book Design is a fine book, illustrating perfectly by example the issues raised within. The linear jacket-cover design offers an immediate understanding of the relationship in the traditional proportion of type matter to the page. By his choice of type (Monotype Garamond) its size and linage (the space between lines) and the spacing between letters (side bearings) and words, Richard Hendel has produced a model book, a book that is easy to READ. He examines the process of book design with the confidence and amused wonder that only an old 'pro' could exhibit &endash; declaring in one sentence that he believes in "typographic celibacy &endash; no fooling around."
The tone of the book is spiced with self-deprecating humor. Numerous asides all point to one conclusion: there is no single way to design books. Quotations from other designers and past masters are set in smaller type (Meta) in generous margins (sidebars); these may confirm or contradict the author's ideas. It is a witty and appropriate use of the alphabet Meta for marginal descriptions. The basic text Garamond is a light face which works well enough in roman but is very condensed in italic form. One wonders why the italic was not expanded on the computer.
Richard Hendel is the associate director and design amd production manager at the University of North Carolina Press, Chapel Hill. His expressive way with words peppered with sly humor is a joy to read. Using a series of terms to describe what his book is NOT &endash; an instruction manual &endash; a book about fine printing &endash; a philosophy of design &endash; he backs into what it is: a hymn in praise of legibility. He has included a glossary of typesetting terms and a recommended list of reference books on design and typography for further reading.
So what's in it for binders you may ask. We who take books apart &endash; and put them back together &endash; are intimately concerned with the content. A binder may be inspired by a beautifully designed book &endash; or oblivious to it, take off in a flight of fancy or responsibly serve the author's intent. Richard Hendel's grounding observation that "book design is not a craft that allows for infinite, unfettered creativity" will undoubtedly provoke some binders. It's a controversy with a long history.
This is an exciting book for those who love beautiful books. Mel Kavin commisssioned 33 internationally known bookbinders to bind a miniature book with a text by Bernard Middleton, also published by Kavin. There is a foreword by Kavin, 'Miniature Binding Problems' by Middleton and a short history of the genre, 'On Small books' by Marianne Tidcombe.
Each binding then merits one opening. On the left there is a color photograph of the binder, background about him or her, and remarks about the binding. On the right the finished binding is photographed in full color, showing the book inside a chemise or slipcase or book box, then open, displaying both covers. All books are the same size &endash; 2 I" x 2 3/16". Both photography and printing are carefully done.
A few of the outstanding bindings, each of which meets Middleton's challenges in different ways, follows.
British James Brockman (p.16) creates an unusual concave spine on the book, with both a concave and convex spine of the pull-off box. Black and white onlays over three shades of gold leaf on the covers suggest opened books, using both positve and negative finishing tools in the design.
Canadian Louise Genest (p.24) exhibits her skill by using linen, leather, bark cloth, wood, paper and marbled papers &endash; all in hues of sage green on a wide band on the covers. Above the band, in gold lettering, on the back cover is BERNARD, continuing to MIDDLETON on the front. Below the band is YOU CAN JUDGE A B, on the back, to OOK BY ITS COVER, on the front. The clam-shell box, chemise and book are beautifully coordinated.
Peter Geraty (p.26), from the U.S., has created his own finishing and gauffering tools. Gilt eggshell, a medium not mentioned by Middleton, decorates his green pebble-grained goatskin. The top edge is gauffered to resemble broken egg shell. He has randomly scattered the words of the title across the chemise.
Briton Trevor Jones (p.36) also used a wide selection of materials: natural calf, Indian buffalo calf, red and yellow goat skins, snake, reptile and salmon skins with interweaving lines in a surrealistic design with exposed sewing structure.
Reminiscent of William Morris is John Mitchell's work (p.42), also from England. His gold tooled design of intertwining leaves and flowers with colored onlays of some of the flowers blanket both front and back covers. His unusual wooden book box displays the book through a glass window.
From Japan, Tini Miura (p.44) radiates the enthusiasm she feels for Bernard Middleton and the "jewels of information" he has given to the book world. She created circles of colored leather onlays on black morocco repeated on the green doublures. The marbled papers covering the chemise and slipcase echo her theme.
Also from the U.S. is Eleanore Edwards Ramsey (p.56) who, with originality, uses a humorous rebus sounding out the title on the front cover. A wandering bee leaves his golden path on the back cover and ends up on the spine with MIDDLETON spelled vertically below it.
Jan Bohuslav Sobota (p.62), of the Czech Republic, created a tour de force in what appear to be seven spines, three each for the front and back covers, and a single one on the spine itself, each with a gold tooled word of the title. Each spine uses different colors of goatskin and different tooled designs. His clam shell box reveals a figure representing Middleton protecting his book.
But it is left to English Bernard Middleton (p.40) to create a binding which is elegant in its simplicity. He uses yellow goatskin with vertical mauve onlays. There are mauve goatskin doublures and flyleaves, the whole inside a black goatskin clam shell box. He has intricately tooled around the edge of the box.
Each book in this exquisite collection is a feast for the eyes. The one regret is that they can't be seen first hand. Mel Kavin has given to lovers of fine books a beautiful and stimulating gift, a cause for celebration.
(N.B. The 33 Designer bindings will be exhibited at the Rochester Institute of Technology conference BOOKBINDING 2000 in June 2000 honoring Bernard Middleton and the installation of his collection at RIT. It will be available for other venues after the conference.)
Books
Ticketed Bookbindings from Nineteenth-Century Britain by Willman Spawn and Thomas E. Kinsella, exhibition catalogue of the ticketed bindings in the Canady Library of Bryn Mawr College which includes 219 works in bindings by identified binders from the British Isles from late 18th to early 20th century. 1999. 8.5" x 11", 206 pp. Available from Oak Knoll Press, 310 Delaware St., New Castle, DE 19720. p: 302-328-7232; f: 328-7274; e: oakknoll@oakknoll.com ; Web: www.oakknoll.com . Hardcover: Order # 54990-X, $65 + s&h. Paperback: order# 54991-X, $45 + s&h. In sheets: order # 54992-X: $35 + s&h.
Heaven on Earth, essays by the naturalist John Muir. Printed letterpress on Hahnemühle Schiller with wood engraving illustrations by Charles Jones. 8G" x 6", 150 pages. Bound copies available as well, hand-sewn and covered with an acrylic painted cotton & flax paper wrapper. Price: $64 for sheets, $84 bound, plus $3 shipping ($8 outside N. America). Texas residents add 8% tax. Send a check with your order to: Randolph Bertin, Press Intermezzo, 2612 W. 49th St., Austin, TX 78731.
html file compiled by Eric Alstrom on