Guild of Book Workers Newsletter 126
Special Issue: Focus on Study Opportunities in New
- The Society of Bookbinders 1999 Silver
- The North Bennet Street School (Boston,
- The Garage Annex School (Easthampton,
- Saltwinds Yankee Barn (Kingston, MA)
- The Silver Maple Bindery (Northampton,
Newsletter editor Margaret Johnson has hit upon a
brilliant way to get a break from the editor's chores, which
she has shouldered for years on end. Once per year, a
Chapter President will be asked to guest-edit an issue of
the Newsletter. In addition to giving Margaret a
well-deserved break, this will provide each Chapter with an
opportunity to enlighten the rest of us about Chapter
activities and the interests of the Chapter's members.
When Margaret suggested to me that I guest-edit the
Newsletter, I immediately thought that I could easily
dragoon a few New England Chapter members into contributing
articles. But what to ask them to write about?
I have always felt lucky to live in New England, where
there is such a wide array of study opportunities in
bookbinding and the book arts. I decided that this issue of
the Newsletter would focus on the varity of training
available in the New England area. This issue of the
Newsletter will showcase the unique offerings of The North
Bennet Street School, the Garage Annex School, Saltwinds
Yankee Barn, and Bill Streeter's Silver Maple Bindery, to
better acquaint Guild members nationwide with all this quiet
corner of the country has to offer. Study Opportunities in
New England begins on page 10
As an added treat, this issue also contains a review of
Bill Streeter's splendid new book on copy presses, Before
Photocopying: The Art and History of Mechanical Copying
1780-1938, complete with a few illustrations to give you an
idea of the richness of his book. Bill is one of the great
characters of the New England Chapter, having trained many
of our members during his long career. You will find the
review of this splendid new book beginning on page 7.
I hope you enjoy this quick look at New England.
Jim Reid-Cunningham, Guest Editor
The Search Is Over And Our Plea Answered!
Alicia Bailey, in Lake City, Colorado, member of the
Rocky Mountain Chapter, has accepted nomination for
Treasurer in the October election. Alicia is a Book Artist,
a Design and Edition Binder and a Collector. Her Artist
Book, Fat Days: A Story, was on view at the San Francisco
Public Library in September as part of the Rocky Mountain
chapter-sponsored exhibition Westward Bound. We look forward
to meeting her and working with her.
We are grateful to all those who offered their services
and thank them for the offer. We will, undoubtedly, find
other useful services in need of a volunteer.
The Lone Star Chapter's Second Members' Exhibition
of John Muir's Heaven on Earth Opening on July 17th.
The director of the BRIT (Botanical Research Institute of
Texas), Dr. S.H. Sohmer, welcomed the crowd of about 100
guests attending the exhibit opening reception and made a
brief presentation of the mission of the institute and its
holdings: countless botanical specimens from around the
The Lone Star Chapter members exhibiting bindings include
members from Texas and other states, as well as members
residing in France and the Czech Republic. Elements of
nature have been worked into many of the bindings, though
there was a wide variety of techniques used, from historic
wooden board binding structures to contemporary design
bindings. A number of different materials were incorporated
into the bindings including paper, wood, vellum, precious
stones and fossils. The exhibit can be accessed online
through the Exhibit link on the GBW homepage.
The 140+ page text was letterpress printed in Austin by
LSC Co-President, Randolph Bertin, proprietor of Press
Intermezzo, and features wood-engraved illustrations by
Charles Jones, artist and art professor at Stephen F. Austin
University in Nacogdoches, Texas. A lettered edition of the
book was created at an intensive four-day edition workshop
led by LSC treasurer-secretary, Priscilla Spitler at her
Hands on Bookbinding studio in Smithville, Texas. The
quarter-leather, case-bound books were completed in Harmatan
'British Museum' brown goatskin and a warm red Japanese
cloth and Bughra endpapers, housed in a slipcase covered in
an earthy green Japanese cloth. The limited edition books
are available for sale for $175 each. A hand-sewn pamphlet
style color catalog is also available for $10. Contact
Priscilla Spitler, Hands on Bookbinding, P.O. Box 578,
Smithville, TX 78957, (512)231-5960, firstname.lastname@example.org,
for both the catalog and the limited edition book. Proceeds
fund the traveling exhibit.
The exhibit closed at the BRIT on August 27 and moved to
Houston's Museum of Printing History where it was displayed
September 11-October 11. It then moves to Austin's
University of Texas campus where it will be housed in the
Perry-Casteñeda Library from November 22 - December
All in all it was a very good opening and is a wonderful
show! (Heaven on Earth can also be accessed at:
The Delaware Valley Chapter has revived itself.
Chairperson Denise Carbone says, in their newsletter
Pressing Matter, 'one last plea for officers proved
successful' and they are looking forward to fall activities.
The new officers: Alice Austin and Patty Hammarstadt,
Programs; Paula Zyats, Reporter at Large; Maria G. Pisano
and Erin Vigneau Dimick, Editors; Nancy Brandt, Secretary.
Jennifer Woods continues as Treasurer.
NEWS OF GBW MEMBERS
Jack Fitterer, bookbinder and, according to a
local Hudson Valley newspaper, 'book alchemist, who works
magic on damaged books', has also worked wonders for the
Guild. He has been finding services and suppliers to
advertise in the Newsletter for several years now, which has
helped immensely with Newsletter expenses and getting word
to members of services and suppliers. Jack lives in
Hillsdale, N.Y., along a country road, with a cat, two
goats, two roosters and several hens. He worked in the
university print shop while majoring in psychology at
Rutgers, tried lettering and calligraphy before studying
with a printer where he began moving into bookbinding He
subsequently studied bookbinding with Peter Geraty in
Easthampton, Mass. He now restores and repairs books for
collectors and book dealers and some institutions.
Gary Frost has accepted the position of
Conservator for the University of Iowa Libraries in Iowa
City recently vacated by Pamela Spitzmueller.
A reception was held October 8 for Annie Tremmel
Wilcox, author of the recently published A Degree of
Mastery: A Journey Through Book Arts Apprenticeship, a
book about her experience as an apprentice to William
Anthony. It was held at Tim Barrett and Jodie Plummert's
home in Iowa city.
Sherelyn Ogden is the new Head of Conservation at
the Minnesota Historical Society. She has twenty-five years
experience as a practicing conservator, having received her
M.A. from the Graduate Library School of the University of
Chicago and training in library and archives conservation at
the Newberry Library. Sherelyn was Director of Book
Conservation at the Northeast Document Conservation Center
for seventeen years and was, most recently, Director of
Field Services at the Upper Midwest Conservation
Association. 'Preservation of Library and Archival
Materials', edited by Sherelyn Ogden, is now available in a
new third edition and is online at NEDCC (www.nedcc.org).
The paper copy will be ready sometime during the summer.
Jean Buescher is one of six people in the
'Handmade Paper' category invited to exhibit at this year's
Philadelphia Museum of Art Craft Show. She will be showing
and selling limited edition letterpress printed books
published under her Bloodroot Press imprint, as well as
blank journals and albums. The show will be held at the
Pennsylvania Convention Center, Exhibit Hall 'D', 12th &
Arch Sts., November 11 - 14, 1999.
Marilyn J. Skinner, 1926-1999
Metalsmith and bookbinder Marilyn Jenkins Skinner, a
longtime member of the Guild died Sunday, June 27, 1999 in
her home in Fort Wayne, Indiana.
A native of Big Rapids, Michigan, Marilyn hand-bound the
Quayle Family Bible used by U.S. Supreme Court Justice
Sandra Day O'Connor for the inauguration of V.P. Dan Quayle
in 1989. She also made a silver communion chalice that sits
in the Washington Cathedral in Washington, DC. She taught
English literature in the Dearborn, Mich. schools. She was
active in the Junior League, the Women's Committee of the
Fort Wayne Philharmonic and the United Way.
She is survived by her husband, Harry W., three sons, a
sister, 11 grandchildren and two step-grandchildren.
Jean Stephenson, who met Marilyn at the Iowa Standards
Seminar in 1986 writes: 'Debilitated by several strokes, she
dropped her membership in recent years - But in her heyday
was great fun to be with. Very bright and funny - she had
studied with Bill Anthony in his Chicago teaching days and
had commissioned work from him.'
A memorial service was held for her in Fort Wayne in
June. Preferred memorials are to:
Community Harvest Food Bank
999 East Tillman Rd.
Fort Wayne, IN 46816 (219)447-3696
Parkview Home Health & Hospice
2270 Lake Avenue, Suite 200
Fort Wayne, IN 46805 (219)447-9911
The Society of Bookbinders 1999 Silver Jubilee
Margaret Johnson and I recently attended The Society of
Bookbinders' Silver Jubilee Conference in England. It was
held July 1-4, 1999, in a rural setting at the University of
Wolverhampton, Priorslee Campus, Telford, Shropshire.
Most participants arrived in time on Thursday, the 1st,
to take one of several tours to nearby libraries. We chose
the Ironbridge Museum Library, wishing to see something of
the interesting Ironbridge Gorge and Bridge while we were
there. It is the first cast iron bridge in the world, built
over the Severn in 1779 by John Wilkinson and Abraham Darby.
The library, however, has only existed for the past 30
years, after a trust established the preservation of many
sites and monuments in and around the Ironbridge Gorge. Many
museums, all of which grew out of the vast coal and iron
industries formerly there, now surround the Ironbridge.
The large trade fair was open by the time we returned to
the campus, involving some 23 vendors, as well as the
Society of Bookbinders 25th Anniversary Year Bookbinding
Competition. The catalog of this judged competition gives
descriptions (no illustrations) of forty bindings bound in
four different categories: Fine Binding, Restored/Conserved
Binding, The Complete Book, and Cased Binding. In addition,
everyone attending the conference received a copy in sheets
of A Shropshire Lad, a limited edition of 300 copies,
designed and set by David Wishart at The Hayloft Press and
printed by The Heron Press. We were encouraged to bring our
bindings of this book to the conference to be exhibited
there and many of us did so.
After our communal dinner, Gavin Rookledge gave a
slide/lecture on "One Pair of Hands: Gavin's Approach to
Bookbinding." Rookledge seems a somewhat unorthodox
practioner of the book arts, who has been making ever larger
blank books, and extending his sculptural leather work to
yacht interiors, but who has nevertheless been quite
successful in his bookmaking endeavors.
The next two days were arranged with two speakers in the
mornings followed by a wide choice of talks/ demonstrations
in the afternoons. Friday morning David Pearson, Librarian
of The Wellcome Institute, led off with a scholarly paper on
"The Development of English Bookbinding Styles: 1450-1800."
Having studied and published extensively on the history of
books with particular reference to bookbinding, his talk
focused on the practical application of identification of
bookbindings. His handout on the progression of decorative
styles for English leather-covered bindings, intended merely
as a rough guide to the plainer styles of bindings, will
nevertheless prove extremely useful for anyone interested in
pursuing this topic, as will his guide to the literature.
After an hour coffee/tea break, with plenty of time to visit
the trade fair, Susan Bradbury, Editorial Director and
Deputy Managing Director of The Folio Society, gave us an
interesting capsule slide summary of the past 50 years of
The Folio Society, an institution which has provided steady
work for so many talented artists and illustrators.
Friday afternoon I heard Barbara Luff, Senior Conservator
at the Wellcome Institute, talk on the "Preservation and
Conservation of Special Collections on the History of
Medicine." The Wellcome Institute houses well over a
half-million 15th - 20th c. Western and Oriental books and
mss. and over 600 incunabula. She took us through entire
treatments of several different types of damaged books,
including a William Morris Kelmscott with paper damage, an
Italian ms. with insect damage, a Persian illustrated ms.
with water damage to the brittle, hand polished paper, and
talked of various techniques they used to deal with these
I then attended three demonstrations: Michael Gibbs from
Griffen Mill on "Tissue making and Paper Infil Techniques,"
who showed us how to easily (and inexpensively) make our own
tissue paper for book repairs; Victoria Hall, who showed us
how she makes her 3-dimensional paste papers; and Anne Muir,
who demonstrated different marbling techniques and then
encouraged everyone present to have a go at it.
Buses were lined up to transport us to an outdoor
reception at The Museum of Iron, and to return us in time
for dinner before the evening talk by Rob Shepherd on "The
Great Omar." Although it long had been thought that most of
the archives belonging to the Sangorski &
Sutcliffe firm had been lost, Shepherd (whose firm,
Shepherds, now owns Sangorski & Sutcliffe) has
discovered some that are intact, including letters, glass
negatives, pattern books, and photographs from the early
days. John Stonehouse gave the commission to create the
Omar and told the firm that the greater the price, the
better he would be pleased! In addition to all the
semi-precious stones adorning this Omar, it's been estimated
that it took 100 sq. mi. of gold leaf! Rob Shepherd has much
more of this fascinating tale to tell, and perhaps soon will
be writing it up himself to share with all of us.
Philip Smith led off Saturday morning with "The Complete
Bookbinding," a philosophical discourse covering bookbinding
as a reflection of man's universal condition, but Smith
fears few bookbinders have the skills to design, forward,
and finish, the necessary components of making a "complete"
book. He believes it takes the combination of the Designer
(intellect), the Artist (imagination, intuition, emotion),
and the Craftsman (motor functions) to produce a Creative
Maker of books. Marianne Tidcombe was the second speaker,
adding new information to her book on "Women Bookbinders"
from the period between the 1880's and the first World War,
stressing that many of the styles employed by some of the
women from this period were innovative and less conservative
than what the men of the period were producing.
In the afternoon I watched first Simon Haigh demonstrate
leather paring and then Stuart Brockman demonstrate (in one
hr.) the complete covering of a forwarded book in full
leather. Both were very skilful practioners. These two had
detailed handouts on leather paring, tools, knife
sharpening, the Brockman paring machine, preparation for
covering, boards, leather, adhesives, and the covering
procedure, something I wish all demonstrators would provide.
Gabrielle Fox, co-chair of our GBW Mid-West chapter, gave a
slide lecture on her miniature books and afterwards invited
the audience up to handle them.
There were, in addition, several other lectures/
demonstrations that I couldn't attend: Barry McKay talking
about the Literature of Marbling to 1870, Howard Milrose on
Blocking with Foil, Christopher Rowlatt on Acrylic Marbling
and Edge Marbling, Terry Buckley on Marbling a Calf Skin,
Maureen Duke on Cased Bindings, and Donna Santorini on The
Soho Papers. After the Society's business meeting, and a
final trip to the vendors' tables, it was time for the
banquet. Instead of our usual auction, prizes were handed
out. The judges awarded silver trophies and checks to the
exhibition winners, and the vendors also contributed prizes.
I'm happy to say that Margaret Johnson won £50 of
cloth/paper of her choice from F. J. Ratchford Limited!
(Margaret has encouraged several of these vendors to attend
our Guild meetings in the future.)
Gabrielle Fox and Dale Dippre, from Colonial
Williamsburg, brought the total of Americans attending this
Shropshire conference to four. The British binders were most
hospitable and welcoming hosts and would like to see even
more participation from their US neighbors at future
conferences. One of theirs, Maureen Duke, will be
demonstrating at our next Guild meeting in Chicago, so the
collaboration between our two societies is already well
Barbara E. Kretzmann,
NEW ENGLAND STUDY OPPORTUNITIES
The North Bennet Street School
The North Bennet Street School established a full-time
bookbinding program in 1986. Since then the course has been
the only full-time bench bookbinding program in North
America. Classes meet in Bostons North End 30 hours a
week from September through the end of June. Six students
are admitted each year.
The North Bennet Street School was established in 1885,
and currently has programs in bookbinding, furniture making,
piano technology, jewelry making, carpentry and preservation
carpentry, locksmithing and violin making. There are
approximately150 students at the school, and the average age
of the students is around 31 years old. Financial aid is
available to qualified students.
The students receive a certificate in bookbinding. The
aim of the program is to provide a foundation upon which the
graduates can pursue book repair and conservation, fine
binding, edition work or books as works of art. Over a third
of class time is open for students to pursue their own
interests. However, since the majority of graduates choose
to work in book repair and conservation the curriculum is a
bit slanted towards that direction and all students are
expected to finish several cloth and leather repairs,
including paper repair, before they graduate.
The first year students learn basic bookbinding
techniques which include: tool use and modification;
non-adhesive bindings; cloth and leather bindings of various
styles; the production of limited editions, and an
introduction to book repair and conservation. First year
students will make approximately 20 different binding
structures. These projects enable the students to develop
the skills, techniques and philosophy necessary to excel in
this field. Conservation and repair projects include repair
of cloth and paper bindings, paper repair, making boxes and
enclosures, and documentation. Towards the end of the first
year leather bindings are introduced.
The second year curriculum provides a comprehensive
overview of 18th, 19th and 20th century leather bindings,
decorative tooling and finishing, and rebacking and repair
of leather bindings. Second year students will make
approximately 15 full or half-leather bindings from the
English, German and Northern European bookbinding
traditions. They will conserve at least three leather
bindings and will have the opportunity to repair several
more if they wish to emphasize repair and conservation.
Being in New England provides the opportunity for
numerous field trips to conservation labs and binderies. On
average the class will take twelve trips over the two years
of the course. The visits include the North East Document
Conservation Center, Harcourt Bindery, Boston Athanaeum,
several Harvard University conservation facilities, Acme
Bindery and Boston College.
In addition the class has several guest lecturers during
the year. Last year we had Adam Larsson, a binder and book
conservator from Sweden, speak on crossed structure
bindings; Mark Esser, the former insructor of the
bookbinding program, demonstrated edge gilding; and Gregor
Trinkaus-Randall spoke on developing a disaster recovery
plan. All three will return next year to speak on different
Current graduates work at several Harvard Libraries, the
Boston Athenaeum, the Pierpont Morgan Library,The Huntington
Library, Library of Congress, as well as at other
institutions across the United States.
Mark Andersson heads the Bookbinding program and is an
alumnus of the school. After completing the program in 1992
he worked at the University of Washington and built private
conservation practice with institutional and private clients
across the United States. In 1996 he received a Fulbright
Grant for the study of Scandinavian bookbinding and European
conservation practices at the Carolina Rediviva Library in
Uppsala, Sweden. He has been teaching at the school since
In addition to the full time bookbinding course, the
school also offers five day workshops. These courses include
non-adhesive binding, case binding, introduction to leather
bookbinding, book repair as well as other aspects of
bookbinding. The workshops are offered on Saturdays during
the school year, and on weekdays during the summer.
For more information, including a list of assigned class
projects in the full-time program, please contact the
admissions officer at the school at email@example.com
or write Mark Andersson at: North Bennet Street School, 39
N. Bennet Street, Boston, MA 02113. He can be emailed at
The Garage Annex School
Daniel E. Kelm
The name that I've chosen for my studio, the Wide Awake
Garage, reveals quite a bit about me and the work that I do.
As a young boy, the garage was my playhouse. There I found
the tools and material to create the stuff of my fantasies:
rocket ships and hovercraft from recycled two-by-fours,
interplanetary fuel and fireworks from household chemicals.
The sense of being wide awake also came to me when I was
young. A casual glance at the sunlight reflecting off the
garage's powdery blue paint one summery Sunday afternoon
struck deep to my heart the feeling of being truly alive and
connected within the world.
These seminal experiences came together when my mother
gave me two photographs of my grandfather taken in the early
1920s. On the back Mom had written in a young girl's hand
the name of Grandpa's business: the Wide-A-Wake Garage. I
loved my grandfather, and decided to name the studio in his
honor. This I did out of respect, admiration, and gratitude
to one who had gone before me.
Historical connection has always been important to me -
it tempts and teases our minds with a kind of speculation
that our bodies know not to doubt.
The Garage Annex School was founded in 1991 as a direct
result of these same principles operating in my studio. The
Wide Awake Garage and Garage Annex School are places where
playfulness, invention, creativity, exploration, awareness,
and connection are nurtured. Classes combine
conceptualization with hand skills. Development of
problem-solving skills is often the focus. Class
descriptions clearly indicate whether students should expect
to produce models or finished books during the course of a
workshop. For example, next summer I will offer a five-day
leather intensive in which each participant will finish a
full-leather binding with hand sewn endbands and leather
joints. In a folder technique workshop that I taught
recently, however, we made models with exposed parts showing
the progression of layering used to build up a cloth covered
folder with magnetic closure.
Our faculty presents workshops covering a wide range of
styles and structures. I teach traditional techniques such
as gold tooling and leather onlay as well as offering
workshops on innovative structures of my own invention, e.g.
wire-edge hinging and metal binding. I've been asked to
teach an ongoing class on chemistry for book artists, which
will of course be informed by the sensibility of my
newly-founded branch of chemistry: Poetic Chemistry. Our
instructors, who are themselves expert at their chosen
specialties, include Peter Geraty, Suzanne Moore, Linda
Lembke, and Mark Tomlinson. Recently Peter taught classes in
restoration as well as vellum binding. Suzanne taught a
workshop on layering color. This fall she will teach an
in-depth exploration of book design. Linda designs her
classes so that students leave with a beautifully packaged
set of models of cut, folded and, sometimes, sewn
structures. Her workshops are particularly popular with
school teachers. Mark taught students how to dye vellum, and
use that material for limp binding. Next spring he will
offer a new workshop called, World Beat Bookbinding. Peter
will teach edge gilding next season. Other plans include
workshops exploring (1) metal binding, (2) coloring metal
with various methods such as patination, and (3) thin metal
The 1000-square-foot production studio for the Wide Awake
Garage serves as classroom for the Garage Annex School. This
facility includes a central bench for instructor
demonstration, ample bench space for each participant
(usually limited to twelve students), well-maintained
equipment, a small kitchen area, a beautiful view of the
Holyoke Range, and air conditioning when needed.
The Garage Annex School provides a wide range of
educational opportunities in the book arts. Internships,
weekend workshops, and longer intensives are offered year
round. In addition, artists and publishers come to the
Garage for a negotiated period of time in order to gain the
support of our personnel and access to our facilities. A
popular arrangement is to have two or three hours of
consultation and instruction in the morning, then use the
Garage facilities for the remainder of the day to work on
production of your project. You may wish to do the entire
production yourself, or if your time is limited you may want
the help of our crew.
Individuals or groups are invited to request instruction
on general techniques, or techniques specific to the
requirements of proposed projects.
Daniel E. Kelm The Wide Awake Garage Garage Annex School
One Cottage Street #5 Room 5-4 Easthampton, MA 01027. tel:
413-527-8044; fax: 413-529-0071; Foliotrope@aol.com
Saltwinds Yankee Barn
In the beginning, there was just my old barn, built in
1809: Hay in loft; hoof-worn floors; trap doors; cellar
piggery. Then transition: Copper wiring; plastic plumbing;
fibergalss insulation; fire-proof sheetrock; an artist's
haven dream tiptoeing true; artists exhibits; group
meetings, art shows.
In the midst papermakers Nancy and Alan Young fly in from
Albuquerque to conduct the first Saltwinds Yankee Barn
Workshop in sheet forming, pulp painting, 3-D paper casting.
Then many other small group workshops of 2 and 4 days
centering, mostly, on the book arts. Things happen!
In thank you letters to me people mention the quiet
ambiance of the barn structure, the cama-raderie, good
fellowship and encouragement they feel. Each person giving
their best, sharing, delighting in the accomplishments of
all. Often I am thanked (you guessed it) for the hearty
lunch provided as well as the a.m. coffee and muffin -
source of traditional bonding in all tribes - and, actually,
a real time saver. Rest time is often taken on the shaded
upstairs balcony, on the sunnyside deck, or under the maple
trees. There's a delightful town park, waterfall, and an
ancient mossy cemetary to meander through (great sources of
imagery) as well as short walks to coffee shop, town
library, historic churches and, downhill, Kingston village,
once part of Plymouth.
Time passes. A bath and kitchen are installed. Small-book
officianado Ed Hutchins gives his popular editioning
workshop. Then writing sessions, book bindings, book
1998: Pat Baldwin of Bisbee, AZ carries editioning to the
commercial level. Central heating is added. Then comes
surface embellishment, imaging and sequence, non-adhesive
binding, image transfer, and other art related
1999: Marilyn Hatch's paste paper: Jody Alexander's
copper/wood/tile book covers; copier imaging with Kitty
Winslow; paste paper accordions and calligraphy with Jan
Owen; beaded bindings with Mimi Schaer; marbling on
paper/cloth with Galen Berry (Galen will return June,
Along the way a group of local artists help me found The
New Art Forum which continues to meet, hold special exhibits
and classes in the Yankee Barn. For example,in July the
group travels to the lighthouse on the barrier beach cliff
to paint and sketch. They also enthusiastically sponsor and
enjoy lectures, critiques, museum trips, visits to
artists studios and demos.
Book Explorations, an annual juried artist's book exhibit
is also held each spring in the Yankee Barn gallery.
Exquisite hand made books are sent in from all over the U.S.
and several foreign countries. (Next deadline: February 29,
2000 for the third annual exhibit, "The Story: Telling It My
This year The New Art Forum member art teachers and their
student exhibit both 2-D and 3-D art in a theme exhibit
"Variations",which is well received by their peers, the
press, and the surroundijng communities. An art haven
But there are questions for you: What kind of workshop
attract ? What collaboration intrigues? Which expert would
you like to learn from? Saltwinds Yankee Barn Workshop is
here to facilitate transitions from present creative levels
to those special to fulfilling goals/dreams. What type of
workshop would help YOU ? At present the following are
tentative future workshops: Life Drawing (both male and
female models); Tools For Writing Your Own Book; Exploring
The Medieval Book; The Arts and Hand Papermaking; Exotic
Paste Papers; Your Artist's Book - Idea to Edition; Water
Color for Beginners; Printmaking for Beginners. The
workshops are 2 or 4 concurrent days or, for local area
people, held on a weekly basis.
You are invited to send your comments, name and various
addresses (snail, e, fax, phone) for further information to
one of the addresses below. Send your resume and workshop
outline if you are interested in presenting. Thank you !
Lilias Cingolani Saltwinds Yankee Barn Workshop P. O. Box
52 Kingston, MA 02364; firstname.lastname@example.org
Bill Streeter and the Silver Maple Bindery
W.W. (Bill) Streeter runs the Silver Maple Bindery in
He also teaches a three-month, full time, one on one
course of instruction in hand bookbinding. An eight-part
syllabus is followed. The units include case binding,
binding in boards, sewn album, post bound album, clamshell
boxes, leather rebacking, cloth rebacking, and single sheet
sewn (dissertation) bindings.
Bill considers his three month program to be somewhat
akin to first grade in bookbinding. Bill counsels his
students to continue their life's training by taking
advantage of workshops and other training opportunities.
When interviewing prospective students - he's usually
booked two years in advance - Bill looks for candidates who
want to make a ninety degree turn in their lives. Someone
who wants to chuck what they're doing. Those who don't have
the fire in the belly for bookbinding should probably give
Bill a pass. Their loss though.
If you are lucky enough to become one of his students,
you'll almost certainly have a friend and a mentor for life.
Bill's a great and generous teacher. As an example of this
he usually manages to juggle his client's work so that when
- for example - the student is learning how to make a
clamshell box, Bill can build one right alongside. Besides
the projects, Bill teaches with many models and mockups. The
student learns about specific endpapers for example by
building several different types. These examples go into the
student's notebook for future reference.
All work and no play makes Jack a dull boy. Lest it sound
like the course is all nuts and bolts, with no opportunities
for flights of creativity, fear not. With all of the
projects to be made, Bill's program also includes sidebars
on handsewn endbands, leather inner hinges, decorative
onlays, and other gewgaws. Throughout the course of
instruction, the student is exposed to Bill's business
philosophy and gets to participate in the daily pulse of a
busy hand bindery and restoration shop. Listening to Bill
propose a solution to a client's problem is invaluable to a
student who plans to start her own bindery.
Bill has a lot to offer the student with such plans (and
some ready cash). He has all sorts of worthwhile connections
and can help a student separate the wheat from the chaff, so
to speak, when considering tools, equipment, materials, and
supplies. Most bookbinding training programs don't consider
bookbinding as a prospective business. That shortcoming can
make for rough sledding when the newly-minted binder decides
to hang out a shingle.
Bill's former students populate all walks of the
bookbinding world: some are world-class conservators; some
do edition binding, artist's books and boxes; while others
have settled into niches as general practitioners or
restoration specialists. Bill is one of the few binders who
are willing to restore old, hulking family bibles. In fact,
some area binders call him Bible Bill. Another one of his
specialties is old children's picture books with moving
parts, such as the famed Megendorfers. If you have a
particular interest you should let Bill know when you
interview with him. For more information give Bill a call at
(413) 584-2544 or drop him a note. He will send out a copy
of the syllabus and you can contact him to arrange an
interview at the bindery.
W.W. Streeter Silver Maple Bindery 78 Masonic St.
Northampton, MA 01060
Nancy Ruth Leavitt
After 15 years as publisher and editor of Letter Arts
Review, Karyn Lynn Gilman is selling the publication.
Under Gilman the magazine has evolved from Calligraphy
Idea Exchange to Calligraphy Review and finally
to Letter Arts Review (LAR). Gilman, with art
director Rick Cusick, have upheld the highest professional
standards in producing the magazine. It has been a voice of
and showcase for work of the lettering arts community. With
its full color printing and elegant format, today,
LAR rivals any national art publication. Devoting
ones life to such a lofty ideal has its price, and Gilman,
along with husband Richard, decided they could no longer
bear the financial burden of publishing this quarterly
It is fortunate that the publication has a new owner.
John Neal, Bookseller, of Greensboro, NC is known as a
supplier of calligraphic books and supplies. LAR will
continue with Gilman as editor and Cusick as art director.
The lettering arts community is grateful to have LAR
review continue. It has dazzled us with the best of work,
educated us with the history of our craft, shared technical
information, and provided us with a format to show and share
our work. We owe a great debt to Gilman and her staff for
making LAR such a stellar publication and to John
Neal for supporting its continuation. We wish them the best
in this transition.
Letter Arts Review
P.O. Box 9986
Greensboro, NC 27429
Karyn Lynn Gilman, editor
1302 Greenbriar Drive
Norman, OK 73072
405 321.8089; fax: 405 634.8914
Aluming is the part of the marbling process that most
marblers hate. It must be done, however, if the marbling
colors are to adhere to the paper. The only thing short of
hiring someone to do it for you, is to try and make the
process as simple as possible. Over the years I have
streamlined and fine tuned my aluming methods, and several
people have asked me to share them here.
From my start as a marbler over 21 years ago, I always
thought it a drag to have to stop and alum before I could
proceed with the "real" part of the work...the pattern
making and printing. It was always something to "get out of
the way", and I still look at it in the same way, so my
solution was to truly get it out of the way....at least
while doing the marbling.
When I first was trying to figure out the marbling
process, I read somewhere that it was impossible to marble
an alumed paper after it had sat for an hour or so. I
decided to find out for myself whether this was true or not.
What I found after many experiments was that it was indeed
true that a damp alumed paper could not be kept usable for
very long. Sometimes they only were effective for a half
hour (mainly in hot weather) and other times they were still
effective the next morning. Never much longer than that if
they were kept stacked and dampened.
My next round of experiments were with aluming a quantity
of papers and hanging them to dry before stacking. This
caused quite a bit of buckling, so I found I had to alum
several days ahead of my planned marbling session and stack
the papers under heavy weights to remove the buckling. I did
find, though, that these papers could be kept indefinitely
and would still be effective as long as the room they were
in was not excessively damp. The papers always marbled well
as long as the humidity stayed around 55% or less. Some
marblers feel they need high humidity to marble well (I am
not one of them, and actually fear too much humidity lest my
hard work aluming becomes innefective again!), and they can
just store the papers in another dryer room until ready to
I dated and set aside several small stack of alumed
paper....some even for several years, and if they were kept
dry they always worked well. Still, the buckling was an
annoying problem, so that was tackled next. Space does not
allow me to describe all the intermediate phases in trying
to conquer the buckling, so I will skip to what I am
My studio is equipped with drying lines, enough to hold
128 marbled sheets, or 256 alumed sheets. The lines are
strung across the room about 6 inches apart. These lines can
be held by nails or hooks in the walls. I prefer thin nylon
cord....it seems to never need replacing, though it does
stretch a bit at first and may need a few tightenings. For
the actual aluming (and I now use 1 tbs. aluminum sulphate
to 2 cups of hot water), I lay two boards next to each other
on the marbling/aluming table. Place a check mark on what is
to be the backs of the papers and alum only the front side
(the check mark helps later when you marble). A paper is
placed on each board and they are both alumed before
hanging. I then pick them up together, back sides facing and
alumed sides facing outward (just to prevent any blotting of
the alum onto the dry back of the other sheet and reducing
effectiveness) and hang them from the top corners together
with spring type clothes pins. Having the two papers hang
together creates a resistance and they buckle a lot
less....at least at the top! To prevent the lower edges from
curling, once there are four sets of two hanging (and they
should be placed one in front of the other, rather than side
by side on the line) I gather the bottoms together and clip
on two more clothes pins one on each bottom corner. This
eliminates nearly all buckling. What little remains flattens
out almost entirely in a few days under heavy boards, and
the papers are very easy to lay down when you marble.
This sounds like a lot of work, but once you get used to
the routine it should only take about an hour to alum 100
papers this way. Best of all, once you start your marbling
session you can focus solely on the creative aspects and
forget about the drudge work of aluming. This is a system
that really works well, and if you are too busy, it is a
task that can be given to someone else with minimal
Parchment & Leather
Exotica S/A carries goat and calfskin parchment and
bookbinding leather. Carlos Roberto Augusto, e-mail:
Mr. J. Harari: email@example.com.
US phone: Mr. Stoffel, 732-583-5913, or fax:
Barbara J. Rhodes and William W. Streeter. Before
Photocopying: The Art and History of Mechanical Copying
1780-1938. Oak Knoll Press, 310 Delaware Street, New
Castle, Delaware 19720 and Heraldry Bindery, 78 Masonic
Street, Northampton, Massachusetts 01060. 1999. 498 pp.
$75.00. ISBN 1-884718-61-2.
Reviewed by Liz Dube, Conservator, University of Notre
Book workers everywhere have adopted these cast-iron
relics of a rarely known, yet widely successful, historic
copying process. Many bookbinders, book artists and
conservators mistakenly refer to these presses as "book
presses" or "nipping presses", since they have become a
staple piece of equipment in their workshops. With this
book, Barbara Rhodes and William Streeter displace all myths
regarding copying presses, at last uncovering their long and
This book brings to life the array of mechanical copying
processes employed from 1780 to 1938. From the polygraph, a
17th century innovation in which multiple pens move in
tandem with the author's pen, creating multiple "copies",
the story works its way through numerous duplicating methods
that successively produced copies of higher quality and in
greater numbers, up to the development of electrostatic
photocopying in 1938. Each invention, building upon the
weaknesses of its predecessors, has its own unique and
engaging history that reveals the pressures of business life
and highlights the ingenuity of individuals. Rhodes's and
Streeter's investigation of patents, company literature, and
stationery journals, combined with a skillful examination of
the artifacts which remain - from the paper and ink of the
copies themselves to the copying presses we now use to bind
books - has illuminated a history that was much in danger of
being lost due to its workaday nature.
Much of the book focuses on the history of one specific
copying process - the letterpress copying process. With this
method, copies of documents are generated by pressing a
dampened sheet of thin tissue paper onto an original
document written in ink. The dye component of the ink is
solubilized and transferred to the moist tissue paper under
pressure delivered by a copying press, yielding a
mirror-image copy. The use of transparent tissue paper
allows the copy to be read through the back of the page.
The book is in two parts. The first section, Methods and
Materials, is written by Barbara Rhodes, Library Conservator
for the American Museum of National History in New York
City. Rhodes combines her expertise as a historian with her
sensitivities as a book and paper conservator in this
meticulous documentation of the complicated history of
mechanical copying processes. Several chapters are allocated
solely to letterpress copying methods and materials -
including inks, papers, bindings and equipment. Rhodes'
section ends, appropriately, with a chapter on the
preservation of letterpress copying materials.
The second section, History of the Letter Copying Press,
is written by William Streeter, a historian and bookbinder
from Northampton, Massachusetts. Upon discovering many years
ago that his new "nipping press" was in fact a copying
device that few knew anything about, Streeter heartily
embraced the research challenge it posed. Streeter's section
of the book thoroughly details all aspects of the copying
presses themselves, including their early development,
innovations and design changes over the years, and their
manufacturers. Hundreds of presses are documented and
illustrated - from the familiar styles (as in fig. 1), to
the less common innovations, such as the wringer and press
With its 498 pages of heavy calendared paper, I am
pleased that this book sports a hard cover and a sewn text
block. Despite its heft, the book remains accessible for
both reading and reference as it is extremely well written
and illustrated. Any confusion over a technical description
is quickly resolved by consulting the extensive glossary of
terms, or by referring to one of the over 1,200 accompanying
illustrations which include patents, advertisements, and
photographs of equipment.
This book appeals to a variety of book workers including
bookbinders, conservators, book historians and printers.
Bookbinders curious about the history of presses they own
can now learn how they were originally used and attempt to
isolate the date and place of their manufacture.
Conservators of archival collections, often faced with
caring for a confounding variety of documents produced by
copying processes, now have a tool to help them begin to
understand and identify these processes and materials -
useful information for generating more fully informed
Marianne Tidcombe, ed. Twenty Five Gold-tooled
Bookbindings. Oak Knoll Books, 310 Delaware Street, New
Castle, DE 19720. 1997. 74pp. ISBN: 1-884718-35-3.
Reviewed by Eric Alstrom, Collections Conservator,
First, let me say that I am not going to review the 25
outstanding bindings in this catalog. That would be
presumptuous of me and similar to the student judging his
master while the student still has much to learn. Yes, I
admit it, I am by no means a finisher. But I do believe you
can judge a finely bound book by its cover, and these
certainly fall into the highest rankings. Represented are
some of the big names in binding, such as Don Etherington,
Louise Genest, Tini Miura, and Frank Mowery (just to mention
the GBW members) as well as Bernard Middleton himself. For,
if you have not heard, these 25 bindings celebrate the
publication of Middleton's memoirs entitled Recollections.
If you haven't seen the catalog, it is well worth it to do
so and to marvel at how contemporary stuffy old full
leather, gold-tooled books can look.
Before you reach the bindings, though, there is an
Introduction and Preface by Marianne Tidcombe, who
co-curated the exhibition. This is followed by an article by
Mr. Middleton, Use of Gold In Bookbinding, in which he talks
about the history, methods, techniques and materials used in
traditional gold-tooling and edge gilding and includes
footnotes for those who wish to read further on the
In Ms. Tidcombe's essay, she says that a "book is a
traditional object, and the traditional covering materials,
leather and vellum, lend themselves perfectly to
gold-tooling." Then she goes on to state that "the use of
traditional techniques and materials does not mean that the
design must be traditional." This is quite true of the
bindings illustrated in this catalog.
Most of the designs are geometric in nature and are very
modern in the sense that they do not form traditional
patterns. Several use gold and leather onlays as a means to
create an illustration, such as books on a shelf, a binder
performing his ancient craft, or in Michael O'Brien's (from
New Zealand), "gold-tooled with dots" and a "raised design
[which] extends across both covers" is a portrait of
Mr. Middleton. The effect is a halftone newspaper
illustration blown up so that each point can be seen and is
truly amazing when you think of the time and planning which
went into it.
The full color illustrations of the bindings are clearly
reproduced on the heavy coated paper and each binder has a
short biography and a detailed description of his or her
work. For anyone who is interested in the current state of
leather gold-tooled and those who still practice this
ancient craft, this exhibition catalog is a good place to
The following publications are available for borrowing
from the Guild Library.
Vol. 22, #5, 1998
- 'Leaky Roofs': six answers to a query posted on the
Internet about a library's leaky roof and what to do
about it. Three replies deal with protecting the books
from moisture problems and three with the freezing of wet
- Description of the meeting held in St. Gall,
Switzerland, 100 years ago, 'The Mother of All
Vol. 22, #6, 1998
- Obituary of Frazer G. Poole, retired preservation
officer at the Library of Congress, 'a pioneer in the
field of library preservation', who died February 3,
Vol. 22, #7-8, 1998
- Translation of the Minutes of the St. Gall Conference
on Preservation and Repair of Old Manuscripts held in St.
Gall, Switzerland in September 1898.
Vol. 17, Nos. 3&4, Special Issue Just Type.
Quarterly Journal of the Pacific Center for Book
- 'Scotch Roman': what it is & how it got its name,
by James Mosley
- An interview with Fred Smeijers, author of
- Steven Lavoie's review of the exhibition in 1998 at
the San Francisco Public Library of the Typeface Designs
of Sumner Stone
- Web Typography an article by Darcy DiNucci, excerpted
from 'Elements of Web Design: The Designers Guide to a
New Medium', 2nd ed, Peachpit Press, 1998
- Alistair Johnston's review of Printing on the Iron
Handpress by Richard-Gabriel Rummonds, which he feels
will stand as the definitive manual on hand-press
- Johnston also reviews Benjamin Franklin: Experiments
& Observations on Electricity, 1751 as produced in
Palo Alto by The Warnock Library/Octavo, 1998, (a cd-rom
in a plastic jewel box. $25.) Thoughts on the usefulness,
advantages and disadvantages of this form of book
production, and especially the desirability of this form
of reading. The paper book wins.
Biblio magazine discontinued publication with the
April 1999 issue, Volume 4, No. 4. We note any items that
might be of interest to our members in the last few
Vol. 3, # 10, October 1998.
- Leah Brumer finds the tradition behind the typography
of Wilsted and Taylor, book designers in Oakland,
- William H. Scheuerle tells the tale of George Baxter
whose improved color printing competed with hand coloring
in the nineteenth century.
Vol. 4, # 1, January 1999.
- Leah Brumer looks at City Lights all-paperback
bookstore and publishing house in San Francisco, CA.
- Book Metropolis by Bob Hicks concentrates on Powell's
bookstore in Portland, OR.
Vol. 4, #2, February 1999
- Roy Meador writes about the Wine and Food Library in
Ann Arbor, Michigan, with some lovely photographs of
cookbooks and wine books through the centuries.
Vol. 4, No. 3, March 1999
- Nicholas Basbanes writes about the projected
'revival' of the Alexandrian Library at the mouth of the
Nile River. Money has been collected from UNESCO, the
Egyptian government and various other foreign countries
for the building of the Bibliotheca Alexandrina.
- An article by Carol Grossman on the 'Two Faces of the
Limited Editions Club'.
- The bookstore discussed in this issue is Front Street
Books with its two locations in Alpine and Marathon,
Texas, in the Big Bend area.
Vol. 4, No. 4, April 1999
- Nicholas Basbanes writes about the collection of
association copies held by Jay Fliegelman, professor of
English at Stanford University, who is writing a book
about his library to be entitled Signed, Inscribed, and
Annotated: American Dramas of Book Ownership
- Alice L. Tufel writes about the New York Public
Library's Berg Collection, one of the finest collections
of rare books and documents in the world, particularly
for the 18th, 19th and 20th centuries.
- Victoria, B.C. and its bookstores are the focus in
Binders' Guild Newsletter
Vol. XXII, No. 1, January 1999
- Jim Dorsey's summary of the operations of the
Etherington Conservation Center and Southeast Library
Bindery visited the day before the GBW Seminar in
Greensboro, NC in 1998.
- 'Pulling Sewing Through the Fold' by Tom Conroy.
Detailed instructions for disbinding a book to be
Canadian Bookbinders and Book Artists Guild
Vol. 16 # 3 Winter 1998.
- Lisa Melhorn-Boe recounts her summer vacation making
books at the Book Arts Jamboree in Cairo, NY. Lisa
learned pop-up structures and made extraordinary books
from ordinary materials. She highly recommended the Book
Arts Jamboree, which will be offered again this coming
- The North American Friends of St. Brides Printing
Library in London issue an invitation to join them in
defending 'the definitive source of typographic
information'. You may contact Terry Belanger at the
University of Virginia Book Arts Press, tel. (804)
- Richard Miller favorably reviews Printing on the Iron
Handpress by Richard-Gabriel Rummonds.
Vol. 17, No.1, Spring 1999
- 'An Essay on Designer Bookbinding' by Richard Landon
is reprinted from the catalogue for the Michael Wilcox
retrospective.held in Toronto, Ontario, in December
- 'Onward and downward: how binders coped with the
printing press before 1800', part one of a two-part
article by Nicholas Pickwoad. It is reprinted from A
Millennium of the Book: Production, Design &
Illustration in Manuscript and Print 900-1900, edited by
Robin Myers & Michael Harris, published by St. Paul's
Bibliographies, Winchester, and Oak Knoll Press,
Designer Bookbinders Newsletter
No. 104, Autumn 1998.
- Anthony Dowd looks at the history and fluctuating
fortunes of the Gregynog Press, in South Wales. Gregynog
Press produces limited editions of fine books, some of
which are available in sheets.
No. 106, Spring 1999
- A report on the 1998 Bookbinding Competition, held
this year in the new British Library for the first time.
The set book was The Jubilee Years 1887-1897 published by
the Folio Society in 1996. Photographs of three of the
books in the exhibition are shown: Stephen Conway's
winning binding of Shakespeare Poems and Sonnets in dark
brown goatskin with recessed panels inset with painted
paper; and two of the set book, Nesta Davie's second
prize winner in grey silk and black goatskin with hand
and machine embroidery and Jeanette Koch's in dyed
goatskin with painted calf crumpled inlays.
Morocco Bound: Journal of the Australian Craft
Vol. 20, No. 1, March 1999
- Jennifer Storey's report on the 'First International
Exhibition of Fine Bindings in Italy' in October 1998.
(see report in the Society of Bookbinders Newsletter,
April 1999, below).
- Report on the Artists Books and Multiples Fair in
Brisbane, Sept. 1998.
- Part I of The Endpaper Story: Single Folded Leaf by
Keith Turnbull, retired Head Teacher of Bookbinding,
Sydney Technical College.
- N.S.W. Guild of Craft Bookbinders' Newsletter is
included with each issue.
The New Bookbinder: Journal of Designer
Vol. 18, 1998.
- Bernard Middleton recalls a lifetime in bookbinding.
This is a very entertaining and candid personal account
loosely based on his Recollections.
- Janos Szirmai gives an excellent condensation of the
history of bookbinding structures and how they relate,
and have been misapplied to book restoration. Szirmai has
recently written a book entitled The Archeology of
Medieval Bookbinding which is expected to be released in
- Frederick Bearman reveals developments in Mediaeval
binding techniques in the context of textile chemise
- Dorothy A. Harrop gives the second part of her
account of The Keatley Trust Collection of twentieth
century British fine bindings.
- There are also descriptions of members' recent work,
and Evangelia Tzanatatou surveys contemporary bindings in
Paper Conservation News: Newsletter of the Institute of
Number 88, December 1998.
- Kiyoshi Imai describes continuing preservation
efforts at the national archives in Vietnam.
- Philip A. Sykas provides insights into the properties
and manufacture of linen thread in Sourcing Linen
- The conservation of wallpaper at the former home of
Paul McCartney obviously delighted Graeme Storey.
The Paper Conservator: Journal of the Institute for Paper
Vol. 22, 1998.
- This issue of the Paper Conservator is dedicated to
art made with pastels and other wax based drawing media.
The history, production, framing and care of English
pastel portraits in the eighteenth century. Analysis and
conservation of pastel and chalk materials. The effects
of water treatments on paper with pastels, powder
pigment. Also included is an analysis of water based
Printing History: Journal of the American Printing
Vol. XVIII, No. 2, 1998, (36)
- Michael Peich gives a fascinating account of
California poet and printer William Everson. Through
necessity Everson moved into publishing and printing his
own verse, eventually becoming a fine printer.
- Robert D. Harlan describes the 'Origins of San
Francisco Fine Printing Traditions and the characters who
made it happen.'
- Mark Twain was backing the wrong horse according the
to the article on his investment in the commercial
development of The Paige Compositor, by Corban Goble.
Twain's folly is in part ascribed to his experience of
typesetting as a youth.
Vol. XIX, No. 1, (37)
- 'Starling Burgess, No type Designer: A Rebuttal of
Some Allegations and Suppositions Made by Mike Parker in
his Article 'Starling Burgess, Type Designer?', by Harold
Berliner, Nicolas Barker, Jim Rimmer, and John
- 'A Face by Any Other Name is Still My Face: A Tale of
Type Piracy' by David Pankow
- Book review by G. Thomas Tanselle of Bookcloth
1823-1980 by William Tomlinson and Richard Masters.
The Society of Bookbinders Newsletter
- Alan Parker reports on the new British Library and
National Preservation Office.
- John Lewis describes a Prisoner of War Book which he
- Mark Cochram visits the Biblioteca Wittockiana in
This list is compiled by Sid Huttner and includes
catalogs received by him which include books of interest to
GBW members. Catalog number, address, phone number and
Internet address (when stated in the catalog) are
Califia Books Summer 1999 (100 pages). 20
Hawthorne Street, San Francisco, CA 94105. 415-284-0314.
press and artists' books.
Frances Wakeman Books 44 (500 items). 2 Manor Way,
Kidlington, Oxford OX5 2BD, UK. 011-44-01865-378316.
The Book Arts, with sections on bookbinding and marbling,
papermaking, printing et al.
Oak Knoll Books 211 (751 items). 310 Delaware
Street, New Castle, DE 19720. 302-328-7232. firstname.lastname@example.org.
Books about books (with lots of book arts books). Oakknoll's
"Recently Published Books About Books" (List m553, 597
items) is also available.
Priscilla Juvelis Summer Miscellany List 99-2 (186
items). 1166 Massachusetts Avenue, Cambridge MA 02138,
Includes many recent artists' and press books. B&W
html file compiled by Eric
GBW Site Stats
visitors since January 1995.
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