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  • Clarkson - Limp Vellum Binding PDF

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    Clarkson - Limp Vellum Binding PDF

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    Christopher Clarkson Limp Vellum Binding and its potential as a conservation type structure for the rebinding of early printed books ‘A bresk with nineteenth and ewentieth century rebinding attitudes and practices Incoduction to the Reprint vit Abarct 1 tomoduction and Historical Background 1 Technical Innovations in Brief 5 Materials 18 Summary and Conchsions 19 Appendix: Basic Terminology 22 Fi ube inh sn pied with memory of Nicholas Hadgraft (1955-2004) one of my St ines (1987 co 1985) a he Book Conserion Workshop Wes Dean College Susex, England who became 3 lose end Introduction to the Reprint ‘Some thirty years have pasie since che rcoM 4th Triennial Meeting in Venice at which I presented a paper on limp vellum binding. I ‘mentioned that i was based on my research in Florence and my teaching there for some years atthe Biblioteca Nazionale Centrale a Firenze (BNC) after the 1966 flood." The firs edition was print- cd letterpress by Michael Gullick and published under his imprine, ‘The Red Gull Pres, in 1982 in an edition of 200 copies. Those ‘bound at the press had an unsupported sewing based upon a nine- teenth-century Japanese multi-quire sewing technique that has no chhain-stch and therefore has avery close, but relaxed opening. The ‘quie-folds touch back-to-back without the thread-width space Dbeeween quires that occurs when sewn with a chain-sitch, Michael reflected the subject ofthe book by covering tina limp paper bind ing style that did not rearict the book’ opening.” ‘Of course, at Florence we were ako involved with other binding ‘types, mainly stf-board ones, but imp and semi-timp vellum and paper bindings were of particular interest to me. There were wom Serf early Renaisance examples from Taly in the sce which ‘appeared to hive stood up tothe damage of time and flood patic= ‘larly well. Unfortunately, atthe time, we could not develop the paper bindings for our rebinding work as we could not find or get ‘manufactured a similar strong and durable ‘cover paper’ stock. Not ‘unt the ro8or when Timothy Barrett had returned from Japan and sec up in the USA was a suitable paper stock developed, Many ofthe cesential principles of non-adhesive construction described inthis book ean be used with Tim's cover paper, its substantia fibre length and interweave making it unique? 1 was encoun and ele by Athony Cas, Baran Cai, Roger Powe sua many of he cr sao the te “The clophon ofthe 198 book ot eroded in hs pin nN ed et an in Bo ner pe me on [My Venice paper and this book were based upon my unpublished report which nov stands in my suady it consists of a wooden box conining two volumes of textand one volume of captions describ- ing the enclosed one thousand or so photographs There are also six short émm films ilustrating binding techniques and conservation procedutes, and samples of vellum skins processed to different specifications by Dr R Reed of Leeds University The fifty skins wed ‘were from two species of animal, Abyssinian hair-sheep and javanese g0at, which were of similar age, size and weight. bench tested each skin to ases their different qualities a potential covering skins (et ‘out in an appendix) and swatches were included inthe report Ie was fom this kind of research that in Florence we were able to decide "upon the type of skin and the particule processing for both alum ‘awed and parchment skins The bax alo contains model and sam- plers for instruction. The particular qualities of the cover material ‘used is crucial to creating a succesful binding bu, unfortunatly the ‘material qualities required cannot be described with text ofl as they can only be understood by handling the swatches. As I mention on page 7 ofthis book, I have not entered into a lengthy discussion ofthe techniques developed during my research 4 I have covered those up to 1970 ina film. Tiled ‘Limp Vellum ‘Binding by C. Clarkson’ this lengthy film was made over two week- ends by Roger Hill in Roger Powell’ studio at Froxfeld, England. ‘There {rebound some of a group of forty-two small books saved fiom the Florence flood in limp and semi-limp vellum bindings. and the film was an ideal means of recording my techniques. Roger Powell and Roger Hill generously gave of their time and some ‘money to help me purchase and develop the film stock, Although the book and film can standalone in the film I eer to

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