DOCSLIB.ORG

Review (Abridged) of Bogle, Sophia S.W. Book Restoration Unveiled: an Essential Guide for Bibliophiles. [N.P.]: First Editions Press, 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Review (Abridged) of Bogle, Sophia S.W. Book Restoration Unveiled: an Essential Guide for Bibliophiles. [N.P.]: First Editions Press, 2019 Syracuse University From the SelectedWorks of Peter D Verheyen June, 2019 Review (Abridged) of Bogle, Sophia S.W. Book Restoration Unveiled: An Essential Guide for Bibliophiles. [n.p.]: First Editions Press, 2019. Peter D Verheyen This work is licensed under a Creative Commons CC_BY-NC-SA International License. Available at: https://works.bepress.com/peter_verheyen/54/ BOOK REVIEW by Peter D. Verheyen Book Restoration Unveiled - An Essential Guide for Bibliophiles <' ~ Sophia S. w Bogle I.... -::-,·::.. :-;:v->~~-.•;,-/..-ic·-<-.· -.. ,<:-/s-'.'7-.-·::-.)-_;.;~-':-"li-/}-~.\..... ~\-,,:~-;t-,\t-\'.?,.....,~~~j--.;t'.--;.;·-j~-}l: .....}-l-f.J ~ u 0 (Ashland, OR: First Editions Press, 2019) :::0 (D o' 5: In Book Restoration Unveiled, Sophia S.W Bogle Book Restoration (D r6 sets out "to provide the tools to spot restorations so ~ that everyone can make more informed decisions s'-I when buying or selling books." The second reason was CJ UnvedJ c% p.J her realization that "instead of a simple list of clear "D 8 0 0 terminology, [there] was a distressing lack of agreement ~ ~ (") (D and even confusion about the most basic of book repair 0 () 8 ~ If ......__ (D terms." She writes, "this book [is] a bridge between the Iv :::0 /,8'~.4' 0 ....... world of collecting, buying, and selling books, and that <..O-< (D ......__ '-I of book repair, restoration, and conservation." In the ~ 0 (D case of the latter, she describes some of the minutiae ::: ~- 8" ~ 0 (") of the book such as structure, and treatments, good ;;,;- p.J ~ :::0 as well as bad. But, "this is not a 'how-to' manual." (D u ~ (D Rather, it is a "guide to help you understand the world S; o' of restoration, to recognize restorations, and to choose §.. § 0 0.... ~ p.J the right professional to do those restorations." C ,..,. The eight chapters of the book work a reader, ~ bibliophile, antiquarian, restorer, etc., through a logical ~ 0.... progression. Readers are provided with a history of & ~ the book, collecting, and repair, and conversations 0 "u between the involved parties as to whether a book is ::J"' ,,vorth treating, or not. It is these conversations that are f<' ~ one of the books strong points as they make clear that ::J"' the decisions about whether to treat a book can be very [ complex and that context is very important. literature that "lifts the veil" on books, the As the book moves from collecting and selling repair trades including restoration and conservation, related considerations, Bogle describes the structure and bookselling in a way that is very clear and of the book, the materials and techniques used, how understandable. It pragmatically explains the nuances, problems (and previous treatments) can be identified, provides many examples of why something might be and how they might be treated, or perhaps left as is treated, or not, and provides much needed context. with the book simply rehoused. These sections are Fears of effusive "every book is sacred" were quickly very well illustrated, including numerous case studies put to rest as the author systematically worked her way for a particular book, v11ith options tailored to a through the process, greatly enhancing it with interviews particular context. There are also tips to help you avoid and case studies that are not often found in books of inadvertently buying books that have been "touched by this nature. Some of these topics could quickly become the dark side," for example, those employing deceptive contentious in discussions ben,veen the practitioners, practices to increase perceived value. but the author handles this deftly by providing context, Appendices provide links to many of the resources caveats, and options, making this a book that collectors, mentioned in the book: bookselling portals, educational practitioners, and sellers should have in their reference opportunities, individual book sellers, book restorers, collections. commercial binders, conservation labs that accept ,,vork from the public, professional associations, and vendors Peter D. Verlzryen is a bookbinde1; conseruat01; and librarian based in for tools and archival supplies. Also included, a well­ ,$yracuse) }lew 1ork. He lzas exhibited wide0~ and translated Ernst CoLLin )s Pressbengel as The Bone Folder in various editions. He maintains the done glossary of terms and bibliography, and color Book Arts \Veb and Book_Arts-L listserv) blogs on his PressbengeL plates that could not be included in-line due to book Prqject) and jJubLislzed The Bonefolder e-journal. production processes. Book Restoration Unveiled fills a niche in the Editor's note: Sophia S. T!I( Bogle is a long-time GBW member/ Guild or Book \1\'o rke rs June 20 l 9 Numbe r 24-4 l l NEWSLETTER & ADVERTISING INFORMATION EDITORIAL COMMITTEE DEADLINE DATES EDITOR Lang Ingalls FOR UPCOMING NEWSLETTER PUBLICATIONS BOOK ARTS CORRESPONDENT Brea Black July 8 (due to holiday) for August 2019 issue No. 245 CALLIGRAPHY CORRESPONDENT Beth Lee September 6 for October 2019 issue No. 246 CONSERVATION CORRESPONDENT Malina Belcheva Noveniber 1 for December 2019 issue No. 24 7 FINE BI NDING CORRESPONDENT Jodee Fenton FINE PRINT CORRESPONDENT Pamela Wood Janumy 1 0 (du e to holid0J1) for Februaiy 2020 issue No. 248 MARBLING CORRESPONDENT Iris Nevins March 6 for April 2020 issue No.249 PAPER CORRESPONDENT Janet Lee Afay 1 for June 2020 issue No. 250 PROOF READING Dana Kull John Mac Krell ADVERTISMENT INFORMATION As always, the Editor welcomes articles submitted by anyone in the membership for consideration. Contact the Editor, AD SIZE COST PER ISSUE Lang Ingalls ([email protected]). 1/8 Page (3½"w x 2¼"h) $40 Any and all items for publication should be sent to: Lang Ingalls ([email protected]) 1/4 Page (3½"w x 4½"h) $75 Authors of articles and other contributions accepted for l /2 Page/vert (3½"w x 9½"h) $140 publication in the Guild of Book\i\Torkers Newsletter assign to the GBW Newsletter the right to publish their work in l /2 Page/ horiz (7 ½"w x 4½"h) $140 both print and electronic form, and to archive it and make 1 it permanently retrievable electronically. Authors retain Full Page (7½"w x 9 N'h) $265 copyright and may republish their work in any way they wish. For inclusion in the 'August 2019' newsletter, please request guidelines prior to deadline at: Advertisements and views expressed in articles should not be [email protected] construed as endorsements by the Guild of BookWorkers. Billing is handled by GBW Treasurer, Laura Free Newsletter replacements to members will only be Bedford ([email protected]), and allowed for issues within one year of publication date. occurs every tvvo issues unless otherwise arranged. After this timeframe (pending availability), newsletters may be purchased through the vvebsite. For availability GB\I\T solicits advertisements but reserves the right not to accept an advertiser's order. Advertisement of back issues, contact the Guild's Treasurer (treasurer@ must warrant that ads are legal, truthful, not guildofbookworkers.org). For purchase of back issues, visit fraudulent, do not violate copyright, and are not the 'Store' at the Guild's website. defamatory, and that all permission to quote and use likenesses and trademarks must have been obtained. Advertisers must indemnify GBW www.guildofbookworkers.org against any claims or actions that should arise. Guild of Book Workers June 2019 Number 244 23 .
Load more

Recommended publications
  • Book Self-Publishing Best Practices
    Montana Tech Library Digital Commons @ Montana Tech Graduate Theses & Non-Theses Student Scholarship Fall 2019 Book Self-Publishing Best Practices Erica Jansma Follow this and additional works at: https://digitalcommons.mtech.edu/grad_rsch Part of the Communication Commons Book Self-Publishing Best Practices by Erica Jansma A project submitted in partial fulfillment of the requirements for the degree of M.S. Technical Communication Montana Tech 2019 ii Abstract I have taken a manuscript through the book publishing process to produce a camera-ready print book and e-book. This includes copyediting, designing layout templates, laying out the document in InDesign, and producing an index. My research is focused on the best practices and standards for publishing. Lessons learned from my research and experience include layout best practices, particularly linespacing and alignment guidelines, as well as the limitations and capabilities of InDesign, particularly its endnote functionality. Based on the results of this project, I can recommend self-publishers to understand the software and distribution platforms prior to publishing a book to ensure the required specifications are met to avoid complications later in the process. This document provides details on many of the software, distribution, and design options available for self-publishers to consider. Keywords: self-publishing, publishing, books, ebooks, book design, layout iii Dedication I dedicate this project to both of my grandmothers. I grew up watching you work hard, sacrifice, trust, and love with everything you have; it was beautiful; you are beautiful; and I hope I can model your example with a fraction of your grace and fruitfulness. Thank you for loving me so well.
    [Show full text]
  • A/V Material Resources Webinars, Videos Connecting to Collections
    A/V Material Resources Webinars, Videos Connecting to Collections – Caring for Audiovisual material https://www.connectingtocollections.org/av/ CCAHA – A Race Against Time: Preserving AV Media https://ccaha.org/sites/default/files/attachments/2018- 07/A%20Race%20Against%20Time%20Summary.pdf ALCTS – Moving Image Preservation 101 https://www.youtube.com/watch?v=rb77uztb_IU Leaflets / Quick Reference Library of Congress https://www.loc.gov/preservation/care/record.html https://www.loc.gov/preservation/about/faqs/audio.html Video Format Id Guide Sarah Stauderman & Paul Messier https://cool.culturalheritage.org/videopreservation/vid_id/ Texas Commission on the Arts- Videotape Identification and Assessment Guide https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf Film Care https://filmcare.org/ mini Disc http://www.minidisc.org/index.php In depth reference NEDCC - Fundamentals of AV Preservation Texbook https://www.nedcc.org/fundamentals-of-av-preservation-textbook/chapter1-care-and- handling-of-audiovisual-collections National Film and Sound Archive of Australia https://www.nfsa.gov.au/preservation/guide/handbook Washington State Film Preservation Manual https://www.lib.washington.edu/specialcollections/collections/film-preservation-manual/ National Film Preservation Foundation – guide to film preservation https://www.filmpreservation.org/preservation-basics/the-film-preservation-guide http://www.folkstreams.net/vafp/guide.php The State of Recorded Sound Preservation in the United States http://www.clir.org/wp-content/uploads/sites/6/pub148.pdf
    [Show full text]
  • New Traveling Exhibition from the Guild of Book Workers with 50 New Book Artists' Work Form Across the Country
    New Traveling Exhibition from the Guild of Book Workers with 50 New Book Artists’ Work form Across the Country May 24, 2021 Contact Person: Jeanne Goodman Contact Email: [email protected] The Guild of Book Workers traveling exhibition will travel from June 2021 to September 2022. The opening and close dates for “Wild/LIFE” should be confirmed with each venue before travel and to check local public health precautions in place due to COVID-19. EXHIBITION “Wild/LIFE: Guild of Book Workers Triannual Exhibition”, June 2021 to September 2022 DESCRIPTION This exhibition features approximately 50 works by members of the Guild of Book Workers, an book artists organization that promotes interest in and awareness of the tradition of the book and paper arts by maintaining high standards of workmanship, hosting educational opportunities, and sponsoring exhibits. Members were invited to interpret the theme of “wildlife” in any way they wish, be it literal or abstract, humorous or serious. In a biological sense, wildlife describes the myriad of creatures sharing this planet, interacting and adapting, all connected to each other and their environment. "Wild" also describes an untamable essence that survives despite the constraints of society and culture. As craftspeople, knowledge of materials and keen observation of how they behave (and often how they refuse to comply) is an integral part of the practice of book making, and a reminder of how traditional bookbinding materials originate in nature. The exhibition opens at the American Bookbinders Museum in San Francisco, CA in June 2021, and will continue to travel to five additional venues across the country, closing in the fall of 2022.
    [Show full text]
  • Collections Management Policy Fenimore Art Museum & the Farmers’ Museum
    Collections Management Policy Fenimore Art Museum & The Farmers’ Museum Approved by: The Farmers’ Museum Board of Directors, November 2019 Fenimore Art Museum Board of Trustees, November 2019 1 Table of Contents 1 Purpose ................................................................................................................................................ 3 2 Founding Documents ........................................................................................................................... 3 3 Scope, Use and Management of Collections .................................................................................... 4 4 Management of the Collections ........................................................................................................... 5 5 Authority and Responsibility ............................................................................................................... 5 6 Acquisition and Accessioning ............................................................................................................. 6 7 Deaccessioning and Disposal .............................................................................................................. 7 8 Loans ................................................................................................................................................... 9 9 Temporary Custody of Objects ......................................................................................................... 11 10 Staff and Museum Collections .........................................................................................................
    [Show full text]
  • Inheritance and Development of Ancient Buildings Culture Based on Digital Image Technology
    E3S Web of Conferences 179, 01011 (2020) https://doi.org/10.1051/e3sconf/202017901011 EWRE 2020 Inheritance and Development of Ancient Buildings Culture based on Digital Image Technology Jicong Wang1*, Min Li1, Jia Wang1, Xiaoqing Ma1 1Art College, Jiangxi University of Finance and Economics, Nanchang City, Jiangxi Province, 330013, China Abstract. Given the glorious achievements China boasts in the construction of ancient buildings, developing digital image technology for exploring the existing ancient buildings is of great significance, which cannot only analyse ancient civilization thoroughly, but also provide a reference for the field of modern architecture. It is efficient and accurate to collect information of ancient buildings by using modern digital image technology. However, it also has the drawbacks of having enormous sources which cannot be directly applied to image transmission. How to simplify the miscellaneous information resources and combine them with the ancient architectural culture is the key and difficult points of this study. In order to overcome the problem caused by incomplete information and lack of cultural concepts in ancient architecture construction, this paper explores the cultural connotation of ancient architecture from two aspects—material culture and intangible culture. When high-quality ancient architectural culture is demonstrated through modern digital image technology, ancient architectural culture is further promoted with the help of a variety of media platforms, so as to provide a reference for the inheritance and development of Chinese ancient architectural culture. possible for us to study it without contact, which meets the needs of the masses to understand the ancient architectural 1 Introduction culture. With the development and progress of the times, the economy, education, science and technology of human 2.2 Practical significance of digital image society have developed to an unprecedented level.
    [Show full text]
  • Tomorrow's Furniture Conservator
    May 2016 Vol. 41, No. 3 Inside From the Executive Director 2 Tomorrow’s Furniture AIC News 4 Conservator: Who Are You, FAIC News 5 Where Are You, and JAIC News 8 What Skills Will You Need? Part deux Health & Safety 8 People 13 by Tad Fallon and Mike Podmaniczky for Wooden Artifacts Group New Publications 13 Background In the March 2014 (Vol. 40, No. 2) issue of this newsletter, Stéphanie c o l u m n Worth Noting 14 Auffret astutely addressed the question posed above by summarizing the sponsored 2012 AIC conference roundtable discussion sponsored by the Wooden by WAG Conservation Training Programs 14 Artifacts Group. Much of the discussion revolved around the defini- Specialty Group Columns 16 tion of a furniture conservator, and conversely clarified that the concept of a furniture conservator is not easy to define. Taken as a broad survey, the answers were akin to the Network Columns 22 responses of the blind men asked about the elephant; upon comparing notes they learn they are in complete disagreement, as each one examined only one part of the large animal. Courses, Conferences, & Seminars 24 In fact, it sometimes seems that the only difference between an objects conservator and a furniture conservator is that the latter treats any object with feet. Indeed, as silly as it may sound, non-wood materials have always been considered under the purview of a furniture conservator (particularly if feet are involved). If the cover illustration of Conservation of Furniture (Rivers, Umney) Member Notes is turned upside down, it makes the point by literally turning four • Remember May is Emergency pieces of furniture into mixed media sculptures, some without any Preparedness Month! Start wood component.
    [Show full text]
  • Introducticn Tc Ccnservoticn
    introducticntc ccnservoticn UNITED NATTONSEDUCATIONA],, SCIEIilIIFTC AND CULTIJRALOROANIZATTOII AN INIRODUCTION TO CONSERYATIOI{ OF CULTURAT PROPMTY by Berr:ar"d M. Feilden Director of the Internatlonal Centre for the Preservatlon and Restoratlon of Cultural Property, Rome Aprll, L979 (cc-ig/ws/ttt+) - CONTENTS Page Preface 2 Acknowledgements Introduction 3 Chapter* I Introductory Concepts 6 Chapter II Cultural Property - Agents of Deterioration and Loss . 11 Chapter III The Principles of Conservation 21 Chapter IV The Conservation of Movable Property - Museums and Conservation . 29 Chapter V The Conservation of Historic Buildings and Urban Conservation 36 Conclusions ............... kk Appendix 1 Component Materials of Cultural Property . kj Appendix 2 Access of Water 53 Appendix 3 Intergovernmental and Non-Governmental International Agencies for Conservation 55 Appendix k The Conservator/Restorer: A Definition of the Profession .................. 6? Glossary 71 Selected Bibliography , 71*. AUTHOR'S PREFACE Some may say that the attempt to Introduce the whole subject of Conservation of Cultural Propety Is too ambitious, but actually someone has to undertake this task and it fell to my lot as Director of the International Centre for the Study of the Preservation and Restoration of Cxiltural Property (ICCROM). An introduction to conservation such as this has difficulties in striking the right balance between all the disciplines involved. The writer is an architect and, therefore, a generalist having contact with both the arts and sciences. In such a rapidly developing field as conservation no written statement can be regarded as definite. This booklet should only be taken as a basis for further discussions. ACKNOWLEDGEMENTS In writing anything with such a wide scope as this booklet, any author needs help and constructive comments.
    [Show full text]
  • Archaeology Book Collection 2013
    Archaeology Book Collection 2013 The archaeology book collection is held on the upper floor of the Student Research Room (2M.25) and is arranged in alphabetical order. The journals in this collection are at the end of the document identified with the ‘author’ as ‘ZJ’. Use computer keys CTRL + F to search for a title/author. Abulafia, D. (2003). The Mediterranean in history. London, Thames & Hudson. Adkins, L. and R. Adkins (1989). Archaeological illustration. Cambridge, Cambridge University Press. Adkins, L. and R. A. Adkins (1982). A thesaurus of British archaeology. Newton Abbot, David & Charles. Adkins, R., et al. (2008). The handbook of British archaeology. London, Constable. Alcock, L. (1963). Celtic Archaeology and Art, University of Wales Press. Alcock, L. (1971). Arthur's Britain : history and archaeology, AD 367-634. London, Allen Lane. Alcock, L. (1973). Arthur's Britain: History and Archaeology AD 367-634. Harmondsworth, Penguin. Aldred, C. (1972). Akhenaten: Pharaoh of Egypt. London, Abacus; Sphere Books. Alimen, H. and A. H. Brodrick (1957). The prehistory of Africa. London, Hutchinson. Allan, J. P. (1984). Medieval and Post-Medieval Finds from Exeter 1971-1980. Exeter, Exeter City Council and the University of Exeter. Allen, D. F. (1980). The Coins of the Ancient Celts. Edinburgh, Edinburgh University Press. Allibone, T. E. and S. Royal (1970). The impact of the natural sciences on archaeology. A joint symposium of the Royal Society and the British Academy. Organized by a committee under the chairmanship of T. E. Allibone, F.R.S, London: published for the British Academy by Oxford University Press. Alves, F. and E.
    [Show full text]
  • Deaccessioning Done Right by Jennifer Holt, Curator, Will Rogers Memorial Museums, Claremore
    technical bulletin Deaccessioning done right by Jennifer Holt, Curator, Will Rogers Memorial Museums, Claremore Oklahoma Museums eaccessioning is the process used to ered; private sales can be problematic due to Association Dremove permanently an object from a transparency and accountability issues. The Technical Bulletin #47 museum’s collection or to document the rea- use of all proceeds should comply with the Published January sons for an involuntary removal of an object professional ethics and the law. from such a collection. The deaccession- 2009 ing process is used only when accessioned Procedures should be developed along with objects are at issue. Deaccessioning should policies. Deaccession check lists should not be viewed as a routine way to manage follow policy parameters. The registrar/col- indiscriminate collecting. The first rule is lection manager/curator should oversee the Back issues of techni- careful, focused collecting. process and maintain permanent records of cal bulletins published all deaccessions. by the Oklahoma There are a number of reasons why a mu- seum may be prompted to consider deacces- Problems may arise with the deaccession of Museums Associa- sioning. The condition of the object may be an object. The title to the object may be in- tion are available free so bad that it threatens other objects in the complete. Restrictions may have been placed to members. For a collection. A collection may contain unneces- on deaccessioning the object when donated. complete list of tech- sary duplicates. These dupes take resources Other issues that may appear include pri- nical bulletin topics, that could be used for new objects.
    [Show full text]
  • Collection Development Policy for the Conservation Collection, Available Upon Request
    Collection Development Policy Collections Information Center Statement for the Conservation 1200 Getty Center Drive, Suite 700 Los Angeles, CA 90049-1684 Collection in the Research Library at the Getty Research Institute This Collection Development Policy Statement for the Conservation Collection in the Research Library at the Getty Research Institute (GRI) articulates the precise scope and policy for cultural heritage conservation literature acquired and retained within the Research Library. What began as a modest collection supporting the program activities of the Getty Conservation Institute (GCI) has become a significant resource for conservation research throughout the world. Nearly thirty years of sustained growth in the Research Library’s holdings of conservation literature has prompted periodic assessments of the Conservation Collection, and the revision of this policy statement for its continued growth and development. This policy will be reviewed and updated as needed at least every three years by the GCI Collection Development Librarian, the Manager of GCI Research Resources, and Manager of Library Collection Development and Acquisitions. Purpose of the Policy Statement This Collection Development Policy Statement is designed to serve a range of purposes. The Policy is intended to: • define and clarify the collecting policies of the Collection • guide the Collection Development Librarian in coordinating the activities to select and acquire resources for the collection • justify budget appropriations and guide expenditures • delineate and evaluate existing strengths and weaknesses in the Collection • articulate and emphasize the Collection’s vital relationship to other research resources managed by the Research Library and the GCI This Policy Statement for the Conservation Collection documents its: I.
    [Show full text]
  • Collect Like a Curator with Liberty Hall Museum
    Collect like a Curator with Liberty Hall Museum What is a collection? A collection is group of objects usually brought together for their similar subject matter or purpose. That’s a fancy definition—but what does that mean? Let’s explore collections together! Where do collections come from? o Collections come from individuals who have a passion for certain objects, such as art, historic items, a sport’s team, etc. These individuals then go out and find examples of these objects and decide to group and store them together, making a collection. Many times these collections end up in a museum like Liberty Hall! What do museums do with collections? o Museums take on the responsibility for caring and preserving their collections, so visitors like you can enjoy them. The person primarily responsible for caring for a museum collection is a curator. What is a curator? o Museum curators are in charge of a collection of exhibits in a museum. Their job is to build up collections and develop ways in which objects, archives and artworks can be interpreted, through exhibitions, publications, events and audio-visual presentations. How do curators keep track of all the objects in a museum collection? o Curators keep track of a collection by making sure every object has a written record of information about that object. All of that information is then stored in a catalog or a database. o Curators will also assign each object a different number to help organize the objects. This number is called an accession number. Does Liberty Hall have any collections? o Yes indeed! In fact, Liberty Hall is a museum that is made up of collections.
    [Show full text]
  • Search the Full Text of Books and Discover New Ones
    Search the full text of books and discover new ones With Google Book Search, you can quickly search the full text of books, from the first word on the first page to the last word in the final chapter. Find the perfect books for your purposes or discover ones you never even knew existed. Book Search works like web search Try a search on Google Book Search (http://books.google.com) or on Google.com. When we find a book whose content contains a match for your search terms, we’ll link to it in your search results. Browse books online Clicking on a book result, you’ll be able to see everything from a few short excerpts to the entire book, depending on a few different factors. • Full view: If we’ve determined that a book is out of copyright or the publisher or rightsholder has given us permission, you’ll be able to page through the entire book from start to finish. • Limited preview: If the publisher or author has provided the book through the Google Books Partner Program, you’ll be able to preview sample pages – typically about 20% of the book. • Snippet view: If a book is under copyright and the publisher or author is not part of the Partner Program, you’ll find bibliographic about the book and a few snippets of text from the book, showing your search term in context. • No preview available: For books where we’re unable to show snippets, you’ll see only bibliographic information. Search within the book Once you a find a title of interest, you can search within the book.
    [Show full text]