1,720,986 research outputs found
001 - "Christopher Clarkson: Legacy and Influence of a Conservator": Nicholas Pickwoad
No full textProfessor Nicholas Pickwoad trained in bookbinding and book conservation with Roger Powell, and ran his own workshop from 1977 to 1989, and has been Adviser on book conservation to the National Trust since 1978. He was Chief Conservator in the Harvard University Library from 1992 to 1995 and remains project leader of the St Catherine’s Monastery Library Project, based at the University of the Arts London, where, until 2019, he was director of the Ligatus Research Centre, which is dedicated to the history of bookbinding. He also teaches courses in the UK, Europe and America on the history of European bookbinding in the era of the hand printing press, and has published widely on the subject. He also supervises PhD research into the history of bookbinding. Pickwoad,
Nicholas. ‘Clarkson Festschrift’. Journal of Paper Conservation 20, no. 1–4 (2 October 2019): 5–9. https://doi.org/10.1080/18680860.2019.1748418.
Clarkson's biography Pickwoad, Nicholas. ‘Italian Laced-Case Paper Bindings’. Journal of Paper Conservation 20, no. 1–4 (2 October 2019): 122–51. https://doi.org/10.1080/18680860.2019.1748416.
The history of Italian laced-case bindings with covers of cartonnage can be traced back to the early sixteenth century, but the so-called legatura alla rustica achieved its definitive form in the seventeenth century, from which time they became one of the most common types of retail binding in the Italian booktrade. This article looks at the development in Italy of this type of binding and the different features that can be found on them from the first decade of the sixteenth century to the end of the eighteenth, and examines the ways in which a very cheaply-made binding was cleverly designed to exploit the unique characteristics of textblocks made from hand-printed sheets of handmade paper and the extraordinary qualities of Italian cartonnage to allow very light-weight and rapidly executed bindings to be remarkably durable. The economy of their manufacture is evidenced through the way paper was used to make the endleaves and the production of the cartonnage covers in format-related sizes to reduce waste. The article ends with four appendices which contain detailed descriptions of 16 representative examples, a fifth appendix which lists different ways in which binders sought to reinforce the structures of these bindings and a final appendix listing the sizes of 25 covers made from whole sheets of cartonnage.This is part 2 of a series of 14 videos.
The whole series is also available on YouTube on the IADA channel as a playlist: https://www.youtube.com/playlist?list=PL6AzuQU54OVwQgOGGV6vrJPbt_NpgqZ1
Books for reading: commercial bindings in parchment and paper in the era of the handmade book
No full textThe essay describes an author-selected collection of plain bindings in parchment and paper and attempts to address the history of Spanish bindings in parchment in the early modern period.
It appears in a volume of essays published in both Spanish and English to accompany an exhibition featuring the book bindings from the Royal Collections of the Patrimonio Nacional held in the Royal Palace in Madrid from 17 May 2012 to 2 September 2012
Limp parchment bindings of the Sixteenth Century
No full textEssay in the catalogue of an exihibition of bookbindings belonging to the Patromonio Nacional. One section of the exhibition is to be selected and described by the author
The History of the False Raised Band
No full textThe use of material evidence found in the structures and materials of bookbindings has only recently begun to be recognised as a resource in the field of book history studies. This article exemplifies the possibilities inherent in a detailed examination of individual bookbindings and how their construction can inform our understanding of how the books were perceived by their original owners and where they fit into the general culture of book at different historical periodsIt is based on first-hand observations made by the author in many libraries in Europe and North America over 25 years and uses material not otherwise available. The paper on which this article is based was given at the 2004 Annual Book Trade History Conference in London. I have been invited to lecture on related book-binding research at many international forums including Rare Books Schools in London, Melbourne and Virginia; at the Annual Meeting of the Arbeitskreiseinbandforschung, (19-21 October 2006,) Bayerisch Staatsbibliothek, Munchen; in 'Research Projects on Historic Bookbindings', in Atti della Conferanza Internazionale: Scelte e Strategie per la Conservazione della Memoria, Dobbiaco 25-29 June 2002.
The body of research also relates to two other publications 'Bookbinding', in: The Cambridge History of the Book Volume V, 1695-1830, Cambridge: Cambridge University Press, and 'How Greek is Greek? Western European imitations of Greek-style bindings', published in the post-prints of the international symposium: The Book in Byzantium: Byzantine and post-Byzantine Bookbinding, Athens
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Salvage and Salvation: Bookbindings as Agents of Preservation
Get PDFAn exploration of the use of waste and recycled materials in the construction of bookbindings and how the bindings have preserved material that might otherwise have been lost
The Condition Survey of the Manuscripts in the Monastery of Saint Catherine on Mount Sinai
No full textThe condition survey carried out at Saint Catherine’s monastery is the largest and most detailed of its sort ever conducted, and was devised by the author. This article described the research process to a wider conservation audience, Attention was drawn to those features which distinguish the survey methodology from pre-existing models, such as in the value of drawing in not only recording information but also in leading the eye of the surveyor accurately into the structure of a book is discussed, the percentage system for recording the extent and severity of damage, a new concept in such surveys, a routine for making rapid photographic records of each book and the recording process conducted by regularly-changing pairs of conservators within teams of 6 to ensure the most consistent results possible. It explains how intensely practical measures are used to record historical and conservation information.
The survey has aroused international interest and has set a benchmark in the conduct of such surveys. Following its publication I have been invited to give a series of related lectures on the subject including 'Recording medieval bindings - The role of the conservation survey, with reference to work currently under way in the library of the monastery of St Catherine on Mount Sinai' in: Colloque Reliure, Paris: CNRS, 2004; the Gryphon Lecture on the History of the Book (27 March 2007) at the University of Toronto, and to present my research at the Seminar on the History of the Book, All Souls College Oxford, (9 March 2007)
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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