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AUTUMN 2018 2 Introduction Find out More At esigner ookbinders d b contemporary book arts NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018 2 introduction Find out more at: www.designerbookbinders.org.uk NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018 Editorial Spring Spotlight 2018 It’s been a scorcher of a summer and I’ve enjoyed the Hello everyone, fine days and heat. It always makes the long, grey winter months more bearable. I believe this is goodbye. The Bookbinding Competition will soon be here and I hope that many of you have purchased a copy of It has been an amazing year and a bit with you. I’ve the Illustrated Man for entry. Don’t be put off by the learned so much! However, one of the things that word ‘competition’ – it’s a chance to show alongside this has really brought home to me is how much others and take part in a very worthwhile experience. I’m a conservator and really not a bookbinder. Exhibitions provide a valuable platform for working to a I feel that it’s really where my passion and my time scale and within set parameters. Have a go! You’ll skills lie.Additionally, this is the point in my career be glad you did. where I really need to be considering (and actually In closing, I’ll mention that the new digital version working on) my accreditation. That will likely take of the newsletter had mixed reactions. Be assured considerable time over the next two years. I don’t that we did not make this decision lightly, but it was think I would be able to manage both editing the necessitated by constraints on our budget. Some newsletter and working on my accreditation at the were unhappy not to have printed copies for various same time. I will still be taking bookbinding courses practical reasons, but they are able to request a black and I’m sure that you will see me around at events, and white copy from our secretary. Others loved it chatting away to everyone, as per usual! and wish to have all their future copies sent this way. We will continue to have digital copies in Winter and I hope you enjoy this newsletter. There are are some Summer and hard copies in Spring and Autumn for the wonderful articles from Spain and Germany, loads foreseeable future. It saves DB printing costs, postage of information on courses, a review of the recent and also trees. miniature bookbinding course, and information about a bookbinding residency. Happy binding, All the best and happy binding, Lori Talitha NEWSLETTER DEADLINES 2018 MEETING DATES WINTER ISSUE 1 November 2018 Fellows and Licentiates, Saturday 22 September 2018. SPRING ISSUE 1 February 2019 DBPL and Executive Committee, Saturday 10 November 2018. ON THE FRONT COVER Milan Kundera, La Plaisanterie. Ana Ruíz-Larrea binding Page 4-5 for more info. notices 3 Find out more at: www.designerbookbinders.org.uk NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018 Faith Honorary Fellowships Shannon It was with great pleasure that DB awarded Honorary Fellowships to Jeanette Koch and Stuart Southall at the DB AGM this year. 24 February 1938 Jeanette Koch 24 August 2018 Well known to many DB members and binders worldwide, Jeanette has been a pillar of Designer Bookbinders for many years. She has worked It is with great sadness that we have to report that tirelessly for the Society Faith Shannon died on August 24th, after a long illness. and sacrificed much of She had been in and out of hospital throughout the her time and energy summer, always hoping to get back to her bindery to organising exhibitions continue her work. both home & abroad. She has organised the past three hugely successful International Competitions, bringing Those of us who knew her or had the privilege of together binders from across the globe. Jeanette has being taught by her will remember her as an inspired sat on the Executive Committee for several terms and dedicated binder, always expecting the highest and has a depth of knowledge and enthusiasm for standards of herself and her students. She was an bookbinding which has enabled the Society to raise ambassador for bookbinding as well as a staunch its profile in many ways. She studied bookbinding supporter of Designer Bookbinders, and will be sadly with Romilly Saumarez Smith and is a longstanding missed by her friends, colleagues and family. Faith was participant in DB exhibitions. awarded an MBE in 1977 for services to bookbinding and was made an Honorary Fellow of Designer Stuart Southall Bookbinders in 2013. Stuart has been a longstanding supporter of Designer Bookbinders. He has consistently commissioned bindings from Fellows and Licentiates and for a long time never missed the opportunity to buy bindings from our exhibitions. Stuart always responds positively when approached to help sponsor projects and he generously supported the International Competitions. 4 from afar Find out more at: www.designerbookbinders.org.uk NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018 and competitions. It published the magazine Encuad- BOOKBINDING IN SPAIN ernación de arte, with the intention of encouraging and promoting the art of bookbinding among binders, Until the 20th century the greatest contribution by bibliophiles, antiquarian booksellers, students, col- Spain to the art of Bookbinding was the Mudéjar style lectors, and all other book lovers. One of these great binding or Hispano-Árabe, which flourished during the exhibitions was Raros y preciosos (Rare and beautiful) in period of the 13th to the 16th centuries. It merged the 1997, which introduced Spain to some leading Europe- great Islamic tradition with certain specific elements of an bookbinders such as Pierre-Lucien Martin, Monique western bindings of the time thanks to the coexistence Mathieu, Georges Leroux, Jean de Gonet, Sün Evrard, of Jewish, Christian and Muslim craftspeople. The Liliane Gérard, Edgar Claes, François Brindeau, Philip copies preserved in the main national libraries are real Smith and Daniel Knoderer. Unfortunately, AFEDA dis- masterpieces of unparalleled beauty. solved in 2012 and since then, no other associated ini- tiative has managed to achieve success in our country. Every art period has its own features and this is true for bookbinding as well. Today, the ways of understanding this art come from the beginning of the 20th century when it went through a transformation that ran paral- lel to the revolutionary rhythm of our contemporary culture. It has continued to evolve and grow during the 21st century. Until relatively recently, hand bookbinding in Spain has not had any special recognition; it was just another sec- tion in the world of books. Only a few isolated masters were able to go beyond common craftsmanship and create highly skilled artistic pieces for a market which has never been large compared to other European countries. Three pioneering bookbinders stand out: Emilio Brugalla (1901-1987) in Barcelona, José Galván (1905-1989) in Cádiz and Antolín Palomino (1909-1995) in Madrid. The first was also a prominent bookbinding Fina García Marruz, ¿De qué, silencio, eres tú silencio? Obradoiro Penumbra binding scholar. He published some essays of great importance both in our country and abroad. Surprisingly, Spain lacks an officially accredited centre to grant degrees as a professional bookbinder. Training From the 1980s this situation started to change. In this in bookbinding is supported by some local, munici- period, some bookbinders embraced external influenc- pal schools like the Imprenta Artesanal (Craft Printing es, especially from France. These are, among others, House) of the City Council of Madrid, the Escuela de Manuel Bueno, Ramón Gomez, and from the younger Artes y Oficios (Arts and Crafts School) of Barcelona, generation, Josep Cambras, Carlos Vera and José Luis etc., and above all in private schools run by profes- García Rubio. They all possess high levels of technical sional bookbinders, who, out of their usual working and artistic skill. hours, teach bookbinding classes. The most prestigious of these schools is run by Ana Ruiz-Larrea. She is a In 1986, the Biblioteca Nacional de España (National Spanish bookbinder who received her training in La Library of Spain) celebrated an important exhibition Cambre (Brussels). She opened her school Diseño y dedicated to Spanish design binding. It brought to- Encuadernación (Design and Bookbinding) in Madrid in gether the most outstanding bookbinders of the time, 1991. She joins the most up-to-date tendencies in fine which resulted in extensive exposure of this discipline binding with technical accuracy and contemporary aes- to a wider audience. The creation of an Association for thetic ideas. Today, she works and teaches in Paris, but the Development of Artistic Bookbinding (AFEDA), the she has left an important influence among her students. spread and growth of private schools and the organ- Some of them have carried on her legacy and have isation and programming of prizes and exhibitions of opened new schools with high-level training standards bookbinding helped to consolidate this phenomenon. like the one owned by the bookbinder Dolores Baldó in AFEDA was founded in 1992 in Madrid. It connected Madrid. Spanish bookbinders for the first time and reached An award for the Best Fine Binding was created in more than 700 affiliates. It carried out an extraordinary 1993 in order to promote the art of bookbinding. This task by organising exhibitions, lectures, workshops is a national level annual competition created by the from afar 5 Find out more at: www.designerbookbinders.org.uk NEWSLETTER OF DESIGNER BOOKBINDERS NO 183 AUTUMN 2018 Spanish Ministry of Culture and has a good reputation in the world of bookbinding in our country. It consists of binding a book by the award-winning author of the Cervantes Prize, the most important literary award in Spanish.
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