Artist book of prints by four artists c. 1641, Fully bound in green parchment 343x504x53 (WHD)
BINDING The heavy parchment cover was damaged in several places, including a piece missing from the back-board and a frayed split down the spine. The cover was pasted onto the boards, and also either lined or placed on lined boards. The boards were warped and had heavy corner damage. Other than this they were fairly solid and reusable. TEXTBLOCK was packed sewn, though it was mostly broken. There was heavy paper damage with tears along the spine, the edges of the book and two loose leaves. The edges were brittle throughout the book . It was extremely dirty throughout. ADDITIONAL INFORMATION There were two heavily damaged and unusable green ties.
Mechanically cleaned throughout with a chemical sponge.
Pulled apart the sewing, keeping the back board and final section attached together as it was part of the last section.
Carried out paper repairs to the textblock and section folds using various appropriate Japanese tissue.
Consolidated corners of the boards, including recreating one using layered grey board. They were left uncovered.
Pressed the boards to flatten where possible, without humidification.
Attached new cords to the old cords by sewing and pasting them together.
Resewed the sections with packed sewing, using the back board as the primary section to sew from, as final section was still attached.
Cords were laced into the boards using the original method.
Spine backed with PaperNao K37.
Rebacked with parchment, toned with Selaset Dyes.
Created and attached a net pouch to preserve the green ties.
If you have a damaged book that you would like to discuss, please do get in touch.
David Barber’s Sketchbook
Flexible binding in full tan goatskin. Sewn landscape onto five cords and trimmed, with endbands in beige and green silk.
Paper was alternated between Surrey Cartridge and Windsor & Newton Sketching & Drawing Paper.
276×207 (WH), 15 sections, 3 bifolios per sections
David Barber’s Sketchbook was designed with specific requirements from the artist. The layout was landscape to allow the artist to draw across the double page spread, it was also imperative that the binding opened well when completed giving access to the gutter of the book. The texblock was created from two different types of paper alternating between each section, one more appropriate for watercolour, the other for drawing in ink.
The text block was sewn onto five cords, which were then laced into the boards. The boards are lined to allow for the pull of the leather on the front and the leather left plain for the artist to decorate. The endpapers were made from the Surrey Cartridge paper, again, designed for use from the artist.
For more examples of fine bindings and newly bound volumes, have a look at bookbinding. For more information on the Artist, have a look at his interview on Worthing Art.
Well I would be remiss if I did not mention the biggest news this week – that being the East Beach Studios winning Sunny Worthing Awards 2014 for Best Arts and Crafts Business! It was a great night, held at St Pauls in Worthing, with many of us hutters in attendance in our glad rags. Here is our official photo, taken by the fantastic Ed Watts:
Might I take this opportunity to remind everyone that tape is not for sticking books back together. That’s all.
The projects coming in have been a selection of spine removals, tape removal, rehousing, rebacking and a full fine binding for an author based locally, which is going to be a great project get going on – so good stuff all around!
These lifting tools have been made from old hacksaw blades and are extremely useful for getting under spine pieces, end papers and for tape removal.
I also finally managed to get my little pamphlet bindings folded and in the press, they’ll be ready for trimming and sewing next week – watch this space for completed ones!
Phew! Busy week – don’t mention the map, it’s my nemesis.
ingénue magazine is dedicated to promoting new and emerging creative talent, and, based around the South Downs and Coast, provides an informative basis to the local community on forthcoming events and exhibitions.
I was lucky enough to be selected as part of the most recent publication, the first of four this year. The section on The Book Hut, is aimed at providing information on workshops and classes in the local area, and was looking at the longstitch binding and marbling for children workshops that we have done at the hut.
The magazine also included a fantastic double-paged spread on the East Beach Studios as a collection with a little snippet on each of the huts, and some great night shots by Luke Casserly Photography.
This is a week for house work and painting at The Book Hut – the sign has had a fresh, and slightly more hut-coloured, coat of paint, and a logo. The crates have also been painted inside, I will be putting shelves in them for good book storage soon, as they are so adaptable!