Showing posts with label paste paper. Show all posts
Showing posts with label paste paper. Show all posts

Thursday, March 15, 2018

Buntpapier | Decorated Papers

Finckh-Haelssig, Marianne. Die Herstellung von Buntpapier, Otto Maier Verlag Ravensburg, 1926.
Mal wieder ein kleiner, charmanter Zugang zum Thema Buntpapier. Drin sind Antleitungen für Kleister-Tunk-, Oel- und Schablonenpapier. Der Text beschreibt we man die Werkstoffe vorbereitet und die Muster erzielt. Auch dabei, die Herstellung von Stemplen aus Rüben. Hinten im Buch, aufgeklebte Muster von den verschiedenen Arten von Buntpapier, eine herkömmliche Praktika in deutschen Fachbüchern und Zeitschriften der Zeit.

Finckh-Haelssig, Marianne. Die Herstellung von Buntpapier, Otto Maier Verlag Ravensburg, 1926.
Another very charming little book on making decorated papers aimed at the hobbyist. Inside, an overview of and instructions for making pastepapers, stencils, and marbling with oil paints and more. Diagrams depict how to make patterns and tools, including making your own stamps from turnips and similar. At the back was a concertina with 8 panels of tipped on swatches of the different kinds of papers, a relatively common feature in German manuals and journals of the time.

Es gab auch verschiedene Umschläge. Hier das Beispiel von Simon Beattie.

There were also different wrappers. Here Simon Beattie's copy.

Auch im Buch, Werbung für ein Buch über Schriftschreiben und Zeichnen vom Otto Maier Verlag, sowie eine Musterkarte mit bunten Fäden.

Also found in the book, ephemera such as card of threads, and an advert for a calligraphy manual by the Otto Maier Verlag.

Sunday, November 29, 2015

More Paste Papers - Mehr Kleisterpapiere

Some more paste paper covered books from my collection, one by a "professional," the others by apprentices.

The first is on Buch und Bucheinband: Eine Festschrift für Hans Loubier, Verlag von Karl W. Hiersemann in Leipzig, 1923. The book (text and binding) was designed by Walter Tiemann. There is a description in a review (in German) in Das Werk, vol 11, 1924. Whether that is the case with this binding is not clear, but there is another just like it (see below). The binding is in quarter vellum with labels and gold tooling on spine.

Noch mehr Kleisterpapier bezogene Bücher aus meiner Sammlung, eins aus "Meisterhand," die Anderen vom Lehrlingen...

Das erste ist Buch und Bucheinband: Eine Festschrift für Hans Loubier, Verlag von Karl W. Hiersemann in Leipzig, 1923. Die Gestaltung von Text und Einband ist von Walter Tiemann. Eine Rezession aus Das Werk, Bd. 11, 1924 ist hier zu finden. Ob das auch für diesen gilt ist mir unklar, aber noch einer konnte bei einem Antiquar unten gefunden werden. Der Einband ist in halb-pergament mit Rückenschild und Vergoldung.

Buch und Bucheinband: Eine Festschrift für Hans Loubier, Verlag von Karl W. Hiersemann in Leipzig, 1923.

Verlagswerbung aus dem Archiv für Buchbinderei Vol. 24, 1924.
Advertisment for the book in Archiv für Buchbinderei Vol. 24, 1924.

Rezession aus Das Werk, Bd. 11, 1924

Here a dealer description for another copy. I did not get my copy from John Windle.

Hier der Inserat von einem Antiquar für noch ein Exemplar. Ich habe meins nicht von John Windle bezogen.

Antiquarian dealer notice from viaLibri

Next, an apprentice binding on Paul Adam's Lebenserinnerungen eines alten Kunstbuchbinders (Memoires of an old Craft Bookbinder) published by the Meister der Einbandkunst (MDE) in 1925. The book was published in further editions in 1929 and 1951. My copy is 223/300.

Als Nächstes, Lehrlingsarbeit an Paul Adams Lebenserinnerungen eines alten Kunstbuchbinders herausgegeben von den Meister der Einbandkunst (MDE) 1925. Das Buch wurde 1929 und 1951 in weiteren Auflagen herausgegeben. Mein Exemplar ist 223/300.

Paul Adam, Lebenserinnerungen eines alten Kunstbuchbinders, 1925

Below a detail of the title on the spine. You can see clearly how it was pieced together using pallets and gouges. This is the same technique that was used on both spine and front cover (with onlays) on my copy of the 1927 Meister der Einbandkunst Jahrbuch der Einbandkunst.

Unten ein Detail von dem Titel, zusammen gesetzt aus Linien und Bogen. Dies ist die selbe Technik die bei meinem Exemplar vom Jahrbuch der Einbandkunst, herausgegeben von den Meister der Einbandkunst, 1927.

Title detail from Paul Adam, Lebenserinnerungen eines alten Kunstbuchbinders, 1925
Click to enlarge

You can see another binding on this text, this one by W. Collin student Maria Lühr in the Sammlung Max Hettler in Stuttgart, Germany.

Man kann einen anderen Einband an diesem Text, diesmal gebunden von der W. Collin Schülerin Maria Lühr in der Sammlung Max Hettler in Stuttgart finden.

Der Buchbinderlehrling
Volume 14, 1940 - 1941; Volume 15, 1941 - 1942; Volume 16, 1942 - 1943.

I have many more apprentice bindings using paste papers (see above), most in my collection of Der Buchbinderlehrling to which I dedicated a post here last summer.

Ich habe noch viele weitere Lehrlingseinbände mit Kleisterpapier eingebunden in meiner Sammlung (siehe oben) vom Buchbinderlehrling über die im letzten Jahr geschrieben habe.

Tuesday, November 24, 2015

Paste paper sample books in the United States

Paste papers, Kleisterpapiere in German, are one of the oldest forms of decorated papers. They were "developed" in German-speaking areas during the late 16th century, and used to cover books and as endsheets. Among the most famous are the Herrenhuter papers made by members of the Moravian Church, most often by women in "Single Sister" houses.  When this group emigrated from Moravia to North America they settled largely in Pennsylvania during the 1740s,where they were active in printing, binding, and making these papers. Their archives in the United States are in Bethlehem, PA.

Even in Germany they fell out of favor, were considered old-fashioned by the time the 19th century ended. However, with austerity measures during the First World War, paper bindings and the papers that decorated them came back, with many innovations in manufacture and aesthetics. Among them were paste papers. This was something Ernst Collin viewed as one of the few benefits of austerity and touched on in some of his articles.

Paste papers are made by mixing pigments (dry, tempera, acrylic, ...) into a paste made from flour, starches of other kinds, or more modern materials such as methylcellulose. Patterns can be made by brush strokes, pulling, stamps, rollers, any combination of these, and more. They have become very popular and there are numerous tutorials online. I have gathered many of these at the Book Arts Web.

More recently, they were "reintroduced" by German immigrant binders who passed the skills and love of the papers to their apprentices, most actively in New England where Arno Werner taught and mentored many. Below from his obituary in the New York Times dated 8/5/1995.
Arno Werner was born in Mylau, Saxony, one of 10 children of a weaver. He was apprenticed to a bookbinder at 13 and did the customary stint as a journeyman moving around Europe. He came to New York in 1925 with $25 and his tools in a cigar box.

For years he shuttled between jobs in this country and in Germany until he was persuaded to train with the famous master binder Ignatz Wiemeler in Leipzig, a center of publishing and antiquarian book dealers. He returned to the United States when war broke out in 1939 and set up his own bindery in Pittsfield, Mass., in 1942. He maintained it until 1977, when he moved the workshop to Hadlyme.
Fritz Wiese's Sonderarbeiten des Buchbinders (1948) bound by Arno Werner

From David Bourbeau's introductory essay in Katran Press' Pastepapers of the Pioneer Valley,
 Also in the latter half of the century, Arno Werner, a German-born and -trained master bookbinder, bound books for some the major antiquarian dealers, collectors, libraries, and printing masters of the day including the Cummington Press in the 1950s and Gehenna Press in the 1960s and 1970s. Arno had started making decorative papers in Pittsfield during the Second World War when European Products were difficult to come by... ... These he produced in the style of the Bauhaus movement that influenced most of his work. A Leonard Baskin and his Gehenna Press attracted and inspired a new generation of designer-printers, Arno Werner trained a new generation of studio bookbinders, Many of his students in turn have taught the art to others.

As mentioned by Bourbeau, these papers were made by and for private press books giving them a distinctive elegance, and their manufacture and use have spread across the United States. With this, some makers and presses have also issued elegant sample books of their papers, most with recipes and other tips. All-in-all, real treats for lovers of these decorated papers. A small selection of samples from this books in my collection can be found below:

Morris, Henry. Roller-Printed Paste Papers for Bookbinding. North Hills, PA: Bird & Bull Press, 1975

Overall view of Roller-Printed Paste Papers with bird and bull pattern

Title Page
Samples. The one at left is the Bird & Bull "trademark."

Fraser, James H. The Paste Papers of the Golden Hind Press. Fairleigh Dickinson University Library and Tideline Press, 1983. Edition of 70. This book has been partially digitized here. From the introduction:
Historical changes in the European process of spattering, combing, impressing or otherwise distributing colored paste on paper have been variations niore of design and color preference than of mechanics. To belabor the history or the technique, which is little more than a function of in1agination and deft fingers, would be redundant considering the writings of Albert Haemmerle or Rosamund Loring. [Loring's "notebook" is online]

The number of paste paper artisans since the close of the nineteenth century, where these two accounts leave us, has likely been greater than in all the previous centuries. Quite possibly there is quantitatively more paste paper being produced at the beginning of the 1980s than at any other time in history in the scores of countries in which, like the United States, a revival in the book arts is being experienced. Yet with this productivity there is perhaps little to be added to our understanding of this simplest of paper decorating procedures except to document and exhibit so1nething of their variety.

Title page
Example Four
Examples Nine and Ten

Bolton, Claire. Maziarczyk Paste Papers. Oxford: The Alembic Press, 1991. Edition of 175. 8vo. quarter cloth, paste paper over boards. 53 pages. Contains nineteen samples of Claire Maziarczyk's paste papers, and also describes how they are made. The text includes a history of paste papers and notes on the range of patterns used. quarter cloth, paste paper over boards.

In the introduction, Bolton gives an overview of the historical use of paste papers, also mentioning an article by Paul Adam, "Die Kleistermamorpapiere" in Archiv für Buchbinderei, v7, nr 12 1907-1908 (176-182). 

In the section on "markets," Bolton notes that "Maziarczyk papers today sell to two main groups, bookbinders and interior designers, and the colours and the patterns are chosen with these two groups very much in mind... Apart from book covers and endpapers Maziarczyk papers are regularly used by designers as backdrops for photographers."

Before retiring from making paste papers, Claire Maziarczyk presented widely in the United States and Canada often including tips for ergonomics to reduce repetitive stress injuries. Her website is here.

Title page
Sample from text describing process
Sample - Maziarczyk's papers often have an iridescent shine.
Sample - Maziarczyk's papers often have an iridescent shine.

Bookbinder Elissa Campbell wrote about a visit to Claire Maziarczyk in her blog, sharing many images of the Studio.

One of my absolutely favorite people in the book arts is Warwick Press' Carol Blinn whose work ranges from her whimsical Once Upon a Time books to the serious. Throughout, Carol makes use of paste papers, a technique she learned from Arno Werner and taught frequently. You can see some images from workshops on her website. On the subject of paste papers, wrote two small chapbooks, Decorative Paste Papers at Warwick Press (1991) and On Making Decorative Paste Papers (2005) in which she shared tips and tricks.

Carol Blinn's Arno Werner / One Man's Work
Blinn's chapbooks
Her magnum opus on the topic, however, is Serious Play: Decorated Paste Papers, as much a tribute to her path and experiences learning from and working with Arno Werner, as it is a sampler.

Blinn, Carol J. Serious Play: Decorated Paste Papers. Easthampton, MA: Warwick Press, 2006. Edition of 35.

From the prospectus:
This book is the most ambitious to date issued from Warwick Press. The text describes my introduction to paste papers and explores my friend-ship with bookbinder Arno Werner. My affection for Arno shines through the description of his showing me how to decorate with paste. Early photographs of Arno as well as reproductions of some of my papers used on Warwick Press projects are included. For many years I have wanted to document my papers. This book is the result of endless prodding to get the edition done before I become too feeble to life a paint brush. Serious Play is a unique gathering together of my writing and paste papers and it gives me great joy to present it to discerning collectors. I fell in love with the making of this book & I hope you will too.

35 copies; 64 pages; 7 by 9 ½ inches high; designed, typeset in Dante, and letterpress printed by Carol on Zerkall Book; 22 paste paper samples, with descriptions of how to make each one; stenciled title page; a calligraphed title by Sarah Roberts; 12 digitally reproduced illustrations; hand bound by Carol with paste-paper-over-board covers glued onto signatures bound using a four-needle Coptic sewing stitch, the spine of the book being exposed; wrapped in an orange paper wrapper with colored label; signed.

Title page
Sample with description below
Sample with description below
Sample with description below
Sample with description below
Another Easthampton binder with the same lineage back to Arno Werner, a neighbor of Carol Blinn's at One Cottage Street, is Sarah Creighton. A selection of her beautiful papers can be found on her website, papers she often used in her edition bindings and other creations. There are numerous others, too.

On the West Coast we find Marie Kelzer who produced a series of seven Paste Paper Pattern Books between 2002 – 2012. All of these contain recipes and tips and tricks regarding the techniques used to make the papers, this along with an average of 50 tipped in samples. Kelzer was introduced to the technique by Eleanor Ramsey, a binder in San Francisco, and also learned from Claire Maziarczyk.

Paste Paper Pattern Book, Volume VI

Sample with description below
Sample with description below. Note use of toy cars.
Sample with description below. Note use of pastry rollers.

Not from a sample book, here two papers by Don Rash Fine Bookbinder on books from his Boss Dog Press.

Fritz Eberhard's Three Lectures covered in original pastepaper
Click here to see how the pastepaper was made on the Boss Dog Press blog
Fritz Eberhardt's Rules for Bookbinders in a simple non-adhesive wrapper.

Below some links to pages in English and German about (historical) paste papers, all with lots of images:

So, head to your benches and make paste papers keeping in mind Henry Morris' "parting words."

Good Luck

More Paste Papers - Mehr Kleisterpapiere

 Some more paste paper covered books from my collection at the link above, one by a "professional," the others by apprentices.

Saturday, August 16, 2014

Der Buchbinderlehrling, 1927-43

Back in December of 2013, I received my first issue of Der Buchbinderlehrling (The Bookbinding Apprentice) a “journal” published between 1927 and 1943 for apprentices in Germany, Austria, and Switzerland as an insert in the Allgemeiner Anzeiger für Buchbindereien (AAB). The AAB was the German bookbinding trade publication late 19th century and most of the 20th century. A journal like this was a bridge to trade school that continued the overall education of the young apprentices because they were dropped from the university-bound track. Subjects included social studies, math, and science as they related to binding. This also included paper making, leather tanning and parchment making, cloth, and in-depth engineering of bookbinding machines...

Since December I have been able to collect all volumes of the publication (missing just one issue that I will get via interlibrary loan), in part thanks to the rather limited publication period. All bindings are different, some came from the same owner, one has a gilt top-edge, and one is as issued in pamphlet bindings. Taken in aggregate, these volumes portray the life of the apprentice, the changing economic situation, and the politicization of the crafts, all in chilling details with articles written by all the leading binders and educators of the time.

Im letzten Dezember bekam ich meinen ersten gebundenen Jahrgang vom Buchbinderlehrling ein beihelft zum Allgemeinen Anzeiger für Buchbindereien (AAB) das zwischen 1927 und 1943 für Lehrlinge in Deutschland, Österreich, und der Schweiz herausgegeben wurde. Eine Zeitschrift wie diese festigte den Lernstoff von Berufschule und Betrieb und diente der Weiterentwicklung der Lehrlinge. Themen waren Sozialkunde, Mathe (Fachrechnen) und Allgemeinbildung. sowie alles zur Buchbinderei.

Seit Dezember konnte ich alle Jahrgänge sammeln wobei nur ein Heft fehlt das ich per Fernleihe beziehen werde. Dies ist großenteils Dank der kurzen Dauer des Hefts. Alle Einbände sind anders, manche kamen vom gleichen Besitzer, eins ist ein Halbfranzband mit Goldschnitt, ein Anderes das Heft wie es im AAB kam, Gesehen als Ganzes zeigen diese Bände das leben eines Lehrlings sowie die Änderungen in Wirtschaft und Politik, manchmal erschütternd so, durch Aufsätze von den führenden Buchbindern und Fachlehrer.

Shelfie with all volumes together (1927 – 1943).
"Shelfie" mit allen Jahrgängen beisammen (1927 – 1943).

Quarter-vellum with vellum tips and laced through slips; quarter-cloth with pastepaper sides; stiffened paper binding with cloth spine

Halb-pergament mit verdeckten Pergamentecken und durchgezogenen Riemen; halb-Leinen mit Kleisterpapier auf den Deckeln; Steifbroschure mit Gewebe am Rücken.
Vol 1, 1927 - Vol 3, 1929.
1. Jahrgang, 1927 - 3. Jg., 1929.

Title page of first volume.
Titelblatt des ersten Jahrgangs.

Edition of 16,000 copies with first volume.
Auflage von 16,000 Stück angefangen mit dem ersten Jahrgang.

 Millimeter binding with vellum trim; quarter-leather with marbled paper sides and gilt top edge; quarter-leather binding with paper sides and calligraphed spine label.

Edelpappband mit Pergament; halb-Leder mit mamoriertem Papier und Goldschnitt; halb-Leder mit Papier und hand-beschrifteten Titelschild.

Vol 4, 1930; vol 5 - 7, 1931 - 1933; vol 8, 4/1934 - 3/1935 (Note change in publication from calendar year).
4. Jahrgang, 1930; 5 - 7 Jg., 1931 - 1933; 8. Jg., 4/1934 - 3/1935 (Erscheinungsänderung von Kalendarjahr).

Edition of 6,000 copies with volume 7, 1933.
Auflage von 6,000 Stück ab dem 7. Jahrgang, 1933.

Volume 4, 1930 signed and bound by [apprentice] in 1931. This volume also has notes regarding missing inserts, like the page below with samples tipped on.
Der 4. Jahrgang, 1930 signiert und datiert vom [Lehrling] 1931.
Dieser Band hat auch Notizen zu fehlenden Beilagen wie die unten.

Also from volume 4, an example of the tipped-in inserts that could be found in almost all volumes.  I've been very lucky in that only a few seem to be missing. This one is for Japanese papers, including a wood veneer at bottom right.
Auch vom 4. Jahrgang, ein Beispiel der Beilagen die in fast jedem Jahrgang zu finden waren. Ich hatte großen Glück in daß ich fast alle anscheinend habe. Diese ist für japanische Papiere, inkl. ein Furnierholz.

Quarter-cloth with paper sides; loose as issued in wrappers and untrimmed.

Halb-Leinen mit Papier; broschiert und unbeschnitten im Papierumschlag.

Volume 9 - 10, 1935 - 1937; volume 11, 1937 - 1938.
9-10 Jahrgänge, 1935 - 1937; 11. Jg., 1937 - 1938.
Volume 9 - 10, 1935 - 1937, bound 1942 during the first year as an apprentice.
9-10 Jahrgänge, 1935 - 1937, gebunden 1942 während des ersten Lehrjahrs.

Illustrations from article about wrapper designs in volume 10, 1936 - 1937.
Abbildungen aus einen Aufsatz über Umschlagsentwürfe aus dem 10. Jg., 1936 - 1937.

Two millimeter bindings, one with pastepaper sides, the other with paper marbled using oil paints.

Zwei Edelpappbände, eins mit Kleisterpapier, das Andere mit Öltunkpapier.

Volume 12, 1938 - 1939; volume 13, 1939 - 1941.
12. Jahrgang, 1938 - 1939; 13. Jg., 1940 - 1941.

Volume 12, 1938 - 1939, was missing the first 4 pages... Interlibrary loan was able to provide those.
Beim 12. Jahrgang, 1938 - 1939, fehlten die ersten 4 Seiten... Die Fernleihabteilung konnte helfen.

Here perhaps the reason – Hitler's 50th Birthday.
Hier vielleicht der Grund – Hitlers 50. Geburtstag.

Three more millimeter bindings with pastepaper sides.
Noch drei Edelpappbände mit Kleisterpapier bezogen.

Volume 14, 1940 - 1941; Volume 15, 1941 - 1942; Volume 16, 1942 - 1943.
14. Jahrgang, 1939 - 1940; 15. Jg., 1941 - 1942; 16. Jg., 1942 - 1943.

All three volumes had the same owner's stamp. On the facing page announcement of the annual apprentice binding competition with the Buchbinderlehrling as the set book.
Alle 3 Jahrgänge hatten den selben Stempel vom Besitzer. Auf der Gegenseite, die Ankündigung des jahrlichen Lehrlingswettbewerb mit dem Buchbinderlehrling as Pflichtband.

Note 8/17/2014: The owner's stamp says "C. A. Brede, Hundestr. 11," and several of the other books have a dealer note with "C.A. Brede."

Notize 17.8.2014: Der Besitzerstempel gibt "C. A. Brede, Hundestr. 11" an, und einige der anderen Bände eine Notize vom Antiquar mit "C.A. Brede."
Brede, Carl-August, Wakenitzufer 14, Lübeck, Buchbindermeister
Haase, Albert, Hundestr. 11, Lübeck, Buchbindermeister, - Zum Füllhorn -, 1945 Bibliothekar (Worked for the/Arbeitete für die Stadtbibliothek Lübeck)

Math for bookbinders. On the facing page the familiar way of depicting how to place raised cords on the spines.
Fachrechnen für Buchbinder. Auf der Gegenseite Bündeeinteilung für Halbfranzbandrücken.

The Buchbinderlehrling ceased publication after volume 16, 1943. After the War, Das Falzbein appeared as the journal for apprentices.

Mit dem 16. Jahrgang, 1943 war mit dem Buchbinderlehrling schluß. Nach dem Krieg erschien Das Falzbein als die Fachzeitschrift für Lehrlinge.

Special thanks to the Antiquariat Peter Ibbetson from whom most of the volumes were acquired.

Ganz besonderen Dank an das Antiquariat Peter Ibbetson von dem die meisten Einbände stammen.