Posts filed under 'bookmaking processes'
By Sean Richards
Byzantium Studios
When you think of conservation and preservation, you may think of the environment. But for rare book collectors, conservation and preservation are the key to maintaining—and sometimes even increasing—the value of your prized investments.
Preservation Prevents Further Damage
Although conservation and preservation may sound like they refer to the same thing, the two terms differ significantly. When a book is preserved, it is simply protected from further damage. When someone wants a book preserved, I’ll often build a box to protect the book from the sun, air, and other environmental factors that can cause deterioration. A preservationist’s priority is the same as a doctor’s: do no harm. Preservation alone doesn’t alter the book in any way.
Conservation, however, requires a little more on chemistry to stabilize a book’s condition. A conservationist might, for instance, work on deacidifying a rare book, or use pigment dyes instead of chemical dyes to color materials used in repair. Conservationists may also alter the structure of the book to protect it from further damage over the long term.
What about Restoration?
Now if you want to return a book to its former glory, you want restoration. Restoring a book means using original materials and historic techniques to make the book look like it did when it was new—even if that was 200 years ago. Not all restorationists are familiar with conservation or preservation, so it’s important to choose someone who is not only familiar with period binding methods, but also understands how to protect your investment in the future.
A period binding should preserve the bibliographical value and integrity of the book.
Does restoring, preserving, or conserving a book improve its value? That all depends on the book, and the kind of work you have done. Regardless of whether you’re looking for conservation or restoration, you’ll want to choose a book binder who is proficient in both modern techniques and those that were used during the time period and in the geographical provenance of your book. The methods used to create, say, a 15th-century exposed board binding are very different from the ones used to create an ornate Victorian binding.
Factors to Consider
Any changes to the condition of an antiquarian book can significantly impact its value. That’s why it’s critical to consider all your options before commissioning preservation, conservation, or restoration work. Before you do either, think about these factors:
- What is the book’s value as-is?
- How will the book be used?
- Will you resell the book?
Once you’ve invested in conserving and restoring your collection, it makes sense to preserve them as well. Many collectors opt for a multi-pronged approach to maintaining their collection; they may ask me to restore or rebind a book—and to create a box to protect it.
If you have questions about preserving, restoring, or conserving your rare book collection, feel free to contact me via byzantium@sbcglobal.net or 405-329-6947.
September 21st, 2011
By Bruce Levy
During my tenure at the Harry Ransom Humanities Center (HRHC), I encountered countless texts from all over the world. Despite the variety of printed texts, most books are built with relatively standard techniques. That’s why I was surprised to uncover an unusual technique when I restored a two-volume set of Speculum Naturale, by Vincent de Beauvaise.
Printed around 1481 and bound in approximately 1493, these two volumes came from an anonymous bindery, which has been designated K-118. Books are matched to the bindery based on the particular tools used. In this case, the structure of the books was just as unique as the tools used to make them.
A cutaway model illustrates the structure of a book with a K-118 binding
Even though the covers of the books were very deteriorated, the book’s binding remained relatively sound. The books opened all the way to the spine, from the first to the last pages. They were rounded, unbacked, and swell-less. The binding style struck me as an excellent choice for both conservation rebinding and restoration of original bindings.
In these books, the vellum spine lining was extended and flaps attached to the board to strengthen the board-to-text attachment. The flaps were cut into three tabs. The outer two attached to the outside of the board, but the middle one passed inside and attached to the inner board surface.
Meanwhile, the books had no shoulder or any of the usual page flexion you’d find with a traditional rounded and backed structure, or even with the minimally shouldered hard board structure.
So what does all this mean for a collector of rare books? You may want to consider a K-118 style binding, rather than a traditional binding structure under certain cicumstances. I built a few book models with K-118 bindings, and found them particularly advantageous for a few different kinds of books:
- A volume, that due to large size and weight, puts undue stress on the text block and binding upon opening
- Illuminated and decorated manuscripts (particularly on vellum/parchment)
- Modern fine press books that require visualization of the entire spread of pages, down to the gutter edges.
- Volumes with stiff or brittle pages, like those made of card stock
- Older books that are frequently used, such as reference books
- Books of photographs that, due to original intent, should remain in bound format
Even modern fine bindings can be done using the K-118 technique. To learn more about the structure, read the entire article from the HRHC or contact me at levybooks@gmail.com
Bruce Levy, owner of Levy Books, has been a book conservator since 1980. He joins us as a guest blogger every few months.
August 10th, 2011
Perhaps you’ve seen them in museums or in a display in exhibitions. Usually made in limited quantities, fine press books elevate publishing to an art form. They are highly sought after by art lovers and book collectors alike.
A Quick History of Fine Press
By the turn of the twentieth century, bookmaking had become both inexpensive and common. Offset printing meant that books could be manufactured in bulk, and most publishers had abandoned hand binding, opting instead for cheap adhesive or staples.
Enter William Morris, an Englishman who sought to recapture the beauty of handmade books. Morris really wanted to recapture the golden age of bookmaking. One of the first books he created was the Kelmscott Chaucer. Others soon emulated his work, and soon fine presses began popping up both in Britain and in the US.
Though fine press took a dip in the 1930’s (considered too expensive for the Depression), the industry has enjoyed a resurgence and continues to thrive.
Characteristics of Fine Press Books
Fine press books are generally made in very small numbers, using high quality materials. Paper is often handmade, and the bindings are done by hand as well. Fine press books showcase not only illustrations, but also ornate fonts and other decorative touches. Different techniques such as painting or woodblocks may be used to create the illustrations.
Books are printed using the letterpress technique. This method was introduced by Gutenberg, who first used it to print the now-famous Gutenberg Bible. The printer places movable type into a bed and locks it. Then ink is rolled over the type, and the page is either rolled or pressed against the inked surface. The raised letters leave imprints on the page.
Usually the author, illustrator, and printer collaborate very closely on every aspect of a fine press book. Although a good number of fine press books are actually about the art of fine press, virtually any book can be published via a fine press.
Some fine press books go beyond mere literature and present wonderful pieces of art. For instance, the WunderCabinet, from Heavenly Monkey [hyperlink to Heavenly Monkey web-site], is not only a book, but also a lovely and whimsical “cabinet” that holds a variety of beautiful objects.
Collecting Fine Press Books
As with any type of book collecting, collect what you like and buy the best you can afford. Some collectors suffer a bit of sticker shock when they venture into fine press. But remember that all these books are made by hand out of the finest materials. The craftsmanship is what gives fine press books their extraordinary value.
- You may want to focus your collection around one author, such as Charles van Sandwyk or Harold Pinter.
- Consider collecting a specific genre, like poetry or even books about book making.
- Choose a specific style or technique you love, and look for fine press books that use that technique.
What attracts you to fine press books? And if you could own an edition of any fine press book, what would you choose?
July 27th, 2011
This week we are happy to welcome Bruce Levy, a renowned book conservator. Since 1980, Bruce has worked with high-end rare book dealers, collectors, and institutions throughout the United States.
Q: Tell us a little about what a book conservator does.
A: A book conservator is someone who works to preserve and/or repair damaged books, usually rare books. I work with rare book dealers, collectors, and academic institutions. Our goal, stated loosely, is always to return the book as close to the original state as possible. In some cases (especially early books) original structural elements may be as important as the text itself. Written, and sometimes photo-documentation are always included with treatment to allow future conservators, curators, and owners to be able to make subsequent treatment decisions from a point of knowledge of past treatments.
Q: What are some of the most common repairs you’re asked to make?
A: Most damage is caused by mishandling. Treatment can address the binding, the text block and sometimes both. The spine or tail of the book might need repair, the joints and hinges might be weak or broken, or the boards (the covers) may be detached completely. Corners also take a beating and may need some TLC. Text block treatments can be as minor as torn leaf repairs or as major as complete text washing, deacidification, repair and re-sewing. Binding repair can be as simple as japanese paper repairs of small splits of binding material, and repair and consolidation of exposed, delaminating board corners, or be as extensive as complete binding restoration, retaining all possible original material.
Q: How do you decide which materials to use when you restore a book?
A: I always strive to match the new material to the old as closely as possible. Granted, wear and aging sometimes make it impossible to achieve a perfect match, but the repairs should be as unobtrusive as possible. A skilled craftsman should be able to provide adequately strong, appropriate and often virtually invisible repairs that are sympathetic to the original “book as object.”
Q: Do you ever tell someone that a book is not worth repairing?
A: In some cases, the cost of restoration might exceed the value of the book, so a dealer might not be interested in doing that, but private collectors and institutions may have other motives and criteria for preserving their books. University libraries, for instance, may have pieces that simply cannot be replaced, so proper conservation is critical. “Intrinsic value” varies significantly with the owner, institution, collector, or dealer, so it’s important for the conservator and client to understand and communicate clearly so the proper treatment options are presented and decided on.
Q: What do you wish people knew about caring for rare books?
A: It’s all about proper handling and climate control. Although collectors might not be able to use book preservation technologies like dew point calculators or specialized HVAC systems, they can be sure to store their books in a cool, dry place, away from sun exposure. And handling your rare books gently will certainly extend the life of their spines, joints, and bindings.
Bruce will be blogging with us quarterly. Check back soon for insights on book preservation, advances in conservation, and more. Visit him at Biblio.com or reach him via email at levybooks@email.com.
June 8th, 2011
Before taking to the skies, a pilot learns the inner workings of an airplane. Rare book collectors should do the same with books; it’s important to understand how a book is put together so it’s easier to recognize the signs of fine craftsmanship, to spot reproductions, and to assess the value of potential additions to your collection. Here are the basics of book assembly.
Modern Book Construction 101
Before a binding or cover is ever added to the book, the individual pages, or leaves, must be attached to one another. There are two methods for leaf attachment: sewn and adhesive.
Sewing the pages together creates the strongest binding, but this method is also more expensive. With this method, multiple gatherings (called signatures) are sewn through the folds of the pages. Books bound this way usually open very well. Oversewing may also be done for children’s books and books that have a library binding.
On the other hand, if adhesive is used, it is applied directly to the pages, on the side where the binding will be placed. This is called the text block. Adhesive may be applied while the text block is closed, or while the pages are fanned out.
To hold the book to the spine and cover, books have joints and hinges. A joint attaches the spine to the cover on the exterior of the book. A hinge attaches the pages to the inside of the cover. Note that paperback books don’t need hinges or joints because the paper cover is attached directly to the pages.
Handling a book properly will extend the life of the joints and hinges. Check back soon for more insight on book preservation and restoration from some special guest bloggers!
June 1st, 2011
This week we introduce Sean E. Richards, of Byzantium Studios, Limited. Sean is a true craftsman who specializes in book restoration and conservation. He combines modern conservation methods with traditional techniques to deliver superior results.
Q: What sparked your love of rare books and book binding?
A: I grew up accompanying my parents on weekend “antiquing” trips. One Saturday I uncovered a 1790 copy of The Life and Opinions of Tristram Shandy, Gentleman. That same week, I received a catalog of rare books thanks to a mistake at the post office. From then on, I was hooked. I spent my days conducting “book autopsies,” taking apart books to see how they were assembled.
Q: Tell us a little about one of you favorite projects.
A: The University of Oklahoma invited me to restore a 1610 copy of Galileo Galilei’s Sidereus nuncius—signed by Galileo himself! The library shied away from discussing the books cost, classifying it only as “irreplaceable.” But it has since been valued at over $2 million. I worked on the book at a makeshift workshop in the library, over about two weeks. Even though I was confident in the quality and precision of my work, the project was extremely challenging and gained a lot of attention. It was invigorating to complete a project of such magnitude.
Q: When should a collector consider rebinding or restoring a book?
A: First it’s important to think about the potential value of the book. A $50 book probably doesn’t merit extensive restoration, since repairing the book probably won’t add significant value—or any at all. The exception is if the book has personal value.
Ultimately, restoring a book often enhances its value, makes it more usable, and ensures that you’ll be able to pass it down to future generations if desired. If any of these is a concern, then restoring or rebinding the book is the best choice.
Q: How does restoring or rebinding affect a book’s value?
A: That depends on the quality of the restoration or rebinding. A cheap library binding will most certainly decrease the value of a book. On the other hand, if the binding is totally missing, then replacing it with one close to the original will naturally add to the book’s value. A first-rate book preservationist can create an authentic looking replica binding and provide a record of all work done.
Q: What should rare book collectors look for when choosing someone to restore their books?
A: Book restoration really is an art form. Look for someone who can provide samples of work and references—after all, this person will be handling some of your most cherished investments. Ask about the materials and tools to be used. And remember that an exceptional restoration may cost more than the relative value of the book. But a first-rate job will more than pay for itself in the long run.
If you have other questions about book binding, preservation, or conservation, Sean welcomes your inquiries. Contact him via his website.
May 11th, 2011
It all began in 1769. John Granger published his Biographical History of England—without pictures. He did, however, include extra leaves in the book so that people could add their own illustrations. His readers took that cue, often pillaging other books for portraits to accompany the thumbnail biographies in Granger’s book.
Extra Illustration Gains Popularity
Over time, the practice expanded to other titles and came to be called “grangerization.” Books that have been grangerized may also be described as “extra illustrated.” Shakespeare’s works were commonly grangerized; people would add playbills, portraits of the actors or characters, or illustrated scenes from the plays.
The Bible is also a commonly grangerized book; owners may add family names, certificates of baptism, and other memorabilia. One famously grangerized Bible was originally three octavo volumes. After the addition of over 30,000 extra illustrations, the finished product was a whopping sixty folio volumes. The Bible now belongs to the Huntington Library collection.
Grangerized Books and Collecting
The act of extra illustration has drawn fire since its beginnings. While proponents defended it as “exquisite handicraft,” detractors argued that it was “breaking up a good book to make a worse one.”
At any rate, grangerizing has produced some incredibly artistic works. Rare book collectors have found extraordinary volumes that contain everything from variant title pages, watercolors, and etchings, to original drawings, manuscript pages, and mezzotints.
If you encounter a grangerized book, it’s important to consider a few factors. First is the quality of the original book—is it a fine volume or a cheap paperback? Next consider the extra illustrations, which may be rare and valuable unto themselves. Finally—and perhaps most importantly—consider your personal interest in the work and the extra illustrations.
Have you added any grangerized books to your collection? Where did you find them, and what is the most interesting extra illustration you’ve discovered?
Further Reading:
The New Yorker
Related Posts:
Book Collecting Basics: Can I Read My Rare Book?
Printmaking Processes: Screenprinting
May 4th, 2011
Hot metal typesetting (also called mechanical typesetting, hot lead typesetting, hot metal, and hot type) refers to 19th-century and early 20th century technologies for typesetting text in letterpress printing.
Continue Reading April 2nd, 2010
