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The Guild of Book Workers is beginning to work on it's next travelling
exhibition, which will be made up of fine bindings of Peter Thomas', "A
Collection of Paper Samples from Hand Papermills in the United States". This
book, which was reviewed quite favorably in the April issue of Bookways is a
sample book of handmade paper with statements by the various papermakers.
The exhibition, as yet untitled, will in all likelyhood be much smaller than
the last Guild show which was made up of 49 bindings and flat presswork lent
by the printers who printed the books. It will also visit a maximum of 3
sites. For those who don't know, the show was called FINE PRINTERS FINELY
BOUND, TOO, and it visited 8 sites during its two year run. Full color
catalogs are still available for $26.00 + s/h by writing to the Guild of
Book Workers at 521 5th Ave., New York, NY 10175.
As work begins on finding sites and donors several questions have come to
mind. THe last exhibition catalog cost about $35,000, with 1500 having been
printed. With the increasing difficulty in finding funds to pay for
exhibitions and catalogs I am looking about for "alternative" forms of
catalogs. Chicago Hand Bookbinders came up with a very neatly packaged set
of 4color postcards which were packaged along with a checklist in a
"matchbox". One idea was to print a poster with all the bindings and have a
simply printed checklist go along with it, or have the captions be part of
the poster. Then of course, there is the "normal" illustrated catalog with
either b/w or color. The postcard/poster variant could be produced for about
$5000.00+, a sum which is attainable. I would really love to here from the
Guild members on the list and those who might be interested in buying a
catalog what their feelings are as to format.
Another point which has been brought up again is the nature, theme, of
exhibitions. This is the second one with a set theme, and while bringing the
arts of papermaking, printing and binding together leaves out the marblers
or calligraphers (unless used on bindings), I'm not sure whether there is
anyone else who might have been left out. I had a long discussion with Nancy
Leavitt the other day, after receiving a letter from her, about that
subject. What it came down to is that unless members get actively involved
in the process there won't be any meaningful. substantive change in format.
There are plenty of sites who would pay to have an exhibit, and I'm sure
donors could be found as well. An exhibit does not have to cost $35,000+. If
there are other groups who would liek to have exhibits, I would be happy to
work with them on findings sites and coordinating the planning process. No
sense in reinventing the wheel everytime, eh? Feedback, especially
constructive feedback, is essential for a group to function.
On a different note, the Guild is holding it's first contested election (for
president) in decades, with the choice being between Karen Crisalli and
Paula Gourley. It is essential that everyone cast their ballot. The outcome
will determine the course and future of the group. Ballots were sent out to
the membership in the last Newsletter and are due on I believe the 22nd of
October. As we say in Chicago, vote early, vote often!
Right now I am also in the process of working on getting the GBW's library
catalog online, as well as the Newsletter and Study Opportunities List which
list those teaching the book arts state by state. Most of these things
should be on by the end of the month.
| Peter D. Verheyen, Rare Books Conservator, Cornell University Library |
| B-39 Olin Library, Ithaca, NY 14850 |
| <wk> 607/255-2484 Email: firstname.lastname@example.org <fax> 607/255-9346 |