venerdì, giugno 25, 2010
lunedì, giugno 14, 2010
the principles and practice of handmade papermaking and paper covered bookbinding with Jacques Brejoux and Christopher Clarkson
Hand Made Cover Paper Workshop with Christopher Clarkson and Jacques Brejoux at Moulin Du Verger Paper Mill, France: " Hand Made Cover Paper Workshop with Christopher Clarkson and Jacques Brejoux at Moulin Du Verger Paper Mill, France. /"
Handmade paper and paper covered bookbinding workshop
France
13-17 Sept 2010
For the fourth year, Conservation By Design Limited (CXD), is
delighted to be organising and supporting the workshop in France on
the principles and practice of handmade papermaking and paper
covered bookbinding with Jacques Brejoux and Christopher Clarkson
Industry's two leading scholars and craftsmen, will host a five day
residential workshop at the 16th Century Moulin Du Verger Paper Mill
in Puymoyen, located in the Charente (Cognac) region of France.
The workshop will look at the particular qualities required of
handmade cover papers based on 16th and 17th Century exemplars.
Using 19th and 20th Century linen rags and Jacques' reproduction
medieval wooden Stampers specifically built for this purpose, it
will allow for direct comparisons to be made with Hollander beaten
fibres.
Christopher Clarkson will use Jacques' cover papers to demonstrate
the technical qualities required in a handmade paper for use in
period rebinding. His teaching will concentrate on limp paper
binding construction of the Renaissance, a passion of his since the
1960s.
Conservators and bookbinding professionals will be able to benefit
from this rare interchange of shared knowledge and experience; to
develop a joint understanding of the requirements of Western style
papers in the rebinding of period books and archival material and
stay in the beautiful Charente countryside. The group size is likely
to be a maximum of eight people and will be conducted in English.
Previous experience is necessary
The 5 day workshop delegate fee is Euro 1005.00.
(Plus gite accommodation at cost)
To download an application form and find out more information
For further information or specific questions please contact
Denise Troughton
+44 1234 831 201 (evenings and weekends)
+44 7817 518 250 (mobile)
Fax: 44 1234 852 334
d.troughton212 [at] btinternet__com
Handmade paper and paper covered bookbinding workshop
France
13-17 Sept 2010
For the fourth year, Conservation By Design Limited (CXD), is
delighted to be organising and supporting the workshop in France on
the principles and practice of handmade papermaking and paper
covered bookbinding with Jacques Brejoux and Christopher Clarkson
Industry's two leading scholars and craftsmen, will host a five day
residential workshop at the 16th Century Moulin Du Verger Paper Mill
in Puymoyen, located in the Charente (Cognac) region of France.
The workshop will look at the particular qualities required of
handmade cover papers based on 16th and 17th Century exemplars.
Using 19th and 20th Century linen rags and Jacques' reproduction
medieval wooden Stampers specifically built for this purpose, it
will allow for direct comparisons to be made with Hollander beaten
fibres.
Christopher Clarkson will use Jacques' cover papers to demonstrate
the technical qualities required in a handmade paper for use in
period rebinding. His teaching will concentrate on limp paper
binding construction of the Renaissance, a passion of his since the
1960s.
Conservators and bookbinding professionals will be able to benefit
from this rare interchange of shared knowledge and experience; to
develop a joint understanding of the requirements of Western style
papers in the rebinding of period books and archival material and
stay in the beautiful Charente countryside. The group size is likely
to be a maximum of eight people and will be conducted in English.
Previous experience is necessary
The 5 day workshop delegate fee is Euro 1005.00.
(Plus gite accommodation at cost)
To download an application form and find out more information
For further information or specific questions please contact
Denise Troughton
+44 1234 831 201 (evenings and weekends)
+44 7817 518 250 (mobile)
Fax: 44 1234 852 334
d.troughton212 [at] btinternet__com
venerdì, giugno 11, 2010
New Approaches to Book and Paper Conservation-Restoration - alesido@gmail.com
New Approaches to Book and Paper Conservation-Restoration
In May 2011, there will be a start-up conference "NEW APPROACHES TO BOOK AND PAPER CONSERVATION-RESTORATION"
Call for papers:
The program committee welcomes original contributions on the following example topics:
* Needs for research in everyday conservator´s work
* Needs for research in everyday librarian/archivist´s work
* Suggestions for improvement of European-wide research effort in the field of book and paper conservation
* Gaps between research results and their application in everyday practice of conservators.
Paper submission
Authors are invited to submit papers: preferably abstracts of about 2 pages in a 12-point font. All paper submissions will be handled electronically. Authors should email their abstract to ercbookpaper@gmail.com. The deadline for submissions is 1st July 2010.
Panel Submission
Ideas of panels are solicited to examine innovative, controversial, or otherwise provocative issues of interest.
Process of Selection
The program committee will evaluate papers and suggested panels based on quality and relevance.
A preprint will be made, therefore a deadline is set on 31st of December 2010 for handing in the final papers.
The language will be English.
Registration for the conference opens on 1stAugust 2010.
European Research Centre for Book and Paper Conservation-Restoration
Wienerstraße 2
3580 Horn
Austria
Tel: 0043(0)6505871877
e-mail: ercbookpaper@gmail.com
In May 2011, there will be a start-up conference "NEW APPROACHES TO BOOK AND PAPER CONSERVATION-RESTORATION"
Call for papers:
The program committee welcomes original contributions on the following example topics:
* Needs for research in everyday conservator´s work
* Needs for research in everyday librarian/archivist´s work
* Suggestions for improvement of European-wide research effort in the field of book and paper conservation
* Gaps between research results and their application in everyday practice of conservators.
Paper submission
Authors are invited to submit papers: preferably abstracts of about 2 pages in a 12-point font. All paper submissions will be handled electronically. Authors should email their abstract to ercbookpaper@gmail.com. The deadline for submissions is 1st July 2010.
Panel Submission
Ideas of panels are solicited to examine innovative, controversial, or otherwise provocative issues of interest.
Process of Selection
The program committee will evaluate papers and suggested panels based on quality and relevance.
A preprint will be made, therefore a deadline is set on 31st of December 2010 for handing in the final papers.
The language will be English.
Registration for the conference opens on 1stAugust 2010.
European Research Centre for Book and Paper Conservation-Restoration
Wienerstraße 2
3580 Horn
Austria
Tel: 0043(0)6505871877
e-mail: ercbookpaper@gmail.com
giovedì, giugno 03, 2010
IPCRA | Training | Upcoming Courses & Workshops | Montefiascone Project 2010
IPCRA | Training | Upcoming Courses & Workshops | Montefiascone Project 2010
Montefiascone Project - Summer 2010
Montefiascone is a small medieval walled city about 100 k (80 miles)north of Rome, on Lake Bolsena. Since 1988 conservators and others interested in books and their history have come together to work, to learn and to enjoy this special place. The summer 2010 programme is as follows:
Week 1: July 26th-30th
Medieval Pigments
Through illustrated lectures, participants will examine the story of colour in medieval times. The class will address the history, geography, chemistry and iconographic importance, and the actual techniques of colour manufacture, with special reference to manuscript painting. Using original recipes, participants will make and paint out the colours. No previous experience is necessary.
Tutor: Cheryl Porter
Week 2: August 2th-6th
Introduction to the Islamic Book Structure
This 5 day course will be based on constructing a model of the Islamic book, by following and comparing historical treatises; in particular that of Ibn Badis (11th century) and of Ibn Muhammed al-Sufyani (17th century). Participants will be provided with the basic text block and will then proceed to construct the past boards, sew the text block, construct the endbands and finally, cover the book in leather, before tooling (decorating the cover). The model will be put together using traditional materials and techniques. Participants will examine regional and historic variations in the techniques, the strengths and weaknesses of the structure, and discuss conservation issues. Participants will be required to bring some basic hand tools (a list will be provided following registration). All materials will be provided at nominal cost. No previous experience of bookbinding is necessary to do the class and curators and custodians of collections are welcome to apply.
Tutor: John Mumford
Week 3: August 9th-13th
The Biccherne of Siena
In Medieval Siena, the Comune commissioned artists to paint the book covers for various public records. These account books containing records of revenue and expenditure start in 1226. Bound in wood, they were initially distinguished one from the other by basic symbols or letters of the alphabet. However, in June 1257 (with Siena at its commercial peak) the administrators of the Biccherna (or Tax office) decided to pay a painter, Bartolomeo, to paint the cover of the latest account book, adding lustre to the functioning of the state, fetishising the books that stood for their actions and competence. Here begins a tradition that was to endure for nearly four centuries highlighting painters such as Duccio di Buoninsegno, Gilio di Pietro, Sano di Pietro, Lorenzo di Pietro, Dietisalvi di Speme, etc.
We plan to construct a medieval binding, using wooden covers, attached to the text block with split leather taws, carved and consolidated with hand-made nails, stained with mordent and coated with gesso, like the originals. Facsimiles of original cover designs will be supplied and also pigments (for egg tempera work), and Armenian bole and gold leaf. We will examine the calligraphy uniquely used on these covers.
Materials will be provided at nominal cost and participants will be sent a list of tools etc needed for the class.
Tutors: Jennifer Storey and Caroline Checkley Scott
Week 4: August 16th-20th
Paper Bindings of Montefiascone
Paper bindings had appeared in Italy and other parts of Europe by the late 15th century, and numerous examples dating from the 15th through to the 18th centuries can be found in the collections of the Barbarigo Seminary Library and the archives of the Benedictine Convent of St Peter, both located in Montefiascone. This course will provide a brief historical overview of European paper bindings, and give participants the opportunity to examine rare historical examples in Montefiascone collections. Three paper-covered binding models will be produced in the class. The first based on an Italian alla rustica binding, a laced case structure found on numerous printed books in the Seminary collection and made from a single folded sheet of paper; a second replicating a semi-limp, archival structure with a fore-edge flap and tie, found on an account book in the Benedictine convent; and a third using modern specifications for a paper case conservation binding. Emphasis will be placed on the structures and materials used for each of the bindings, but there will also be opportunities to embellish cover papers using traditional colored paste in spattered or block-printed patterns. Nicolas Barker will deliver an introductory lecture to provide historical context for the Montefiascone bindings and libraries.
Tutors: Maria Fredericks and Nicolas Barker (Joan Weir assisting)
The cost of the classes is: £445 GBP ($640 USD, €500 EUR) per week and includes all tuition (which is in English) and (most) materials. The Montefiascone Project is a not-for-profit organization, and all extra monies are used to finance the cataloguing and the conservation and preservation of the collection. For further information or to register for one week or more, please contact Cheryl Porter: chezzaporter@yahoo.com . Go to ‘How to Sign Up’ to download the application form.
Montefiascone Project - Summer 2010
Montefiascone is a small medieval walled city about 100 k (80 miles)north of Rome, on Lake Bolsena. Since 1988 conservators and others interested in books and their history have come together to work, to learn and to enjoy this special place. The summer 2010 programme is as follows:
Week 1: July 26th-30th
Medieval Pigments
Through illustrated lectures, participants will examine the story of colour in medieval times. The class will address the history, geography, chemistry and iconographic importance, and the actual techniques of colour manufacture, with special reference to manuscript painting. Using original recipes, participants will make and paint out the colours. No previous experience is necessary.
Tutor: Cheryl Porter
Week 2: August 2th-6th
Introduction to the Islamic Book Structure
This 5 day course will be based on constructing a model of the Islamic book, by following and comparing historical treatises; in particular that of Ibn Badis (11th century) and of Ibn Muhammed al-Sufyani (17th century). Participants will be provided with the basic text block and will then proceed to construct the past boards, sew the text block, construct the endbands and finally, cover the book in leather, before tooling (decorating the cover). The model will be put together using traditional materials and techniques. Participants will examine regional and historic variations in the techniques, the strengths and weaknesses of the structure, and discuss conservation issues. Participants will be required to bring some basic hand tools (a list will be provided following registration). All materials will be provided at nominal cost. No previous experience of bookbinding is necessary to do the class and curators and custodians of collections are welcome to apply.
Tutor: John Mumford
Week 3: August 9th-13th
The Biccherne of Siena
In Medieval Siena, the Comune commissioned artists to paint the book covers for various public records. These account books containing records of revenue and expenditure start in 1226. Bound in wood, they were initially distinguished one from the other by basic symbols or letters of the alphabet. However, in June 1257 (with Siena at its commercial peak) the administrators of the Biccherna (or Tax office) decided to pay a painter, Bartolomeo, to paint the cover of the latest account book, adding lustre to the functioning of the state, fetishising the books that stood for their actions and competence. Here begins a tradition that was to endure for nearly four centuries highlighting painters such as Duccio di Buoninsegno, Gilio di Pietro, Sano di Pietro, Lorenzo di Pietro, Dietisalvi di Speme, etc.
We plan to construct a medieval binding, using wooden covers, attached to the text block with split leather taws, carved and consolidated with hand-made nails, stained with mordent and coated with gesso, like the originals. Facsimiles of original cover designs will be supplied and also pigments (for egg tempera work), and Armenian bole and gold leaf. We will examine the calligraphy uniquely used on these covers.
Materials will be provided at nominal cost and participants will be sent a list of tools etc needed for the class.
Tutors: Jennifer Storey and Caroline Checkley Scott
Week 4: August 16th-20th
Paper Bindings of Montefiascone
Paper bindings had appeared in Italy and other parts of Europe by the late 15th century, and numerous examples dating from the 15th through to the 18th centuries can be found in the collections of the Barbarigo Seminary Library and the archives of the Benedictine Convent of St Peter, both located in Montefiascone. This course will provide a brief historical overview of European paper bindings, and give participants the opportunity to examine rare historical examples in Montefiascone collections. Three paper-covered binding models will be produced in the class. The first based on an Italian alla rustica binding, a laced case structure found on numerous printed books in the Seminary collection and made from a single folded sheet of paper; a second replicating a semi-limp, archival structure with a fore-edge flap and tie, found on an account book in the Benedictine convent; and a third using modern specifications for a paper case conservation binding. Emphasis will be placed on the structures and materials used for each of the bindings, but there will also be opportunities to embellish cover papers using traditional colored paste in spattered or block-printed patterns. Nicolas Barker will deliver an introductory lecture to provide historical context for the Montefiascone bindings and libraries.
Tutors: Maria Fredericks and Nicolas Barker (Joan Weir assisting)
The cost of the classes is: £445 GBP ($640 USD, €500 EUR) per week and includes all tuition (which is in English) and (most) materials. The Montefiascone Project is a not-for-profit organization, and all extra monies are used to finance the cataloguing and the conservation and preservation of the collection. For further information or to register for one week or more, please contact Cheryl Porter: chezzaporter@yahoo.com . Go to ‘How to Sign Up’ to download the application form.
Preservation and Conservation Section Satellite Meeting | IFLA Website
Preservation and Conservation Section Satellite Meeting | IFLA Website
Date:
16 August, 2010 09:00 - 18 August, 2010 17:00
Location:
Uppsala (Sweden)
Description:
New techniques for old documents - Scientific examination methods in the service of preservation and book history
Dates: 16-18 August 2010
Location: Uppsala, Sweden
Website: http://www.ub.uu.se/en/Just-now/Conferences-and-seminars/2010/IFLA-2010-Satellite-meeting/
Contact person: Per Cullhed, per.cullhed@ub.uu.se
Sponsors: IFLA's Preservation and Conservation and Rare Books and Manuscripts Sections
Co-sponsors: Uppsala university library and Riksbankens jubileumsfond
IFLA Preservation and Conservation Section and The Rare Books and Manuscripts section will hold a satellite meeting in conjunction to the IFLA World Library and Information Conference 2010. The satellite conference will take place on August 16-18, 2010 (visits on the 16th) at Uppsala University, Uppsala, Sweden.
The theme for the satellite conference is: ”New techniques for old documents. Scientific examination methods in the service of preservation and book history".
Within this theme we welcome papers on scientific techniques such as DNA, infrared spectroscopy, imaging techniques and micro x-ray fluorescence. All these techniques may be used in conservation treatments and material bibliographic issues such as the determination of animals for leathers, provenance through DNA-analysis, measuring paper strength, examination of pigments and inks for palimpsests and other documents, and ICR - (Intelligent Character recognition) for the recognition of hand-written text.
Date:
16 August, 2010 09:00 - 18 August, 2010 17:00
Location:
Uppsala (Sweden)
Description:
New techniques for old documents - Scientific examination methods in the service of preservation and book history
Dates: 16-18 August 2010
Location: Uppsala, Sweden
Website: http://www.ub.uu.se/en/Just-now/Conferences-and-seminars/2010/IFLA-2010-Satellite-meeting/
Contact person: Per Cullhed, per.cullhed@ub.uu.se
Sponsors: IFLA's Preservation and Conservation and Rare Books and Manuscripts Sections
Co-sponsors: Uppsala university library and Riksbankens jubileumsfond
IFLA Preservation and Conservation Section and The Rare Books and Manuscripts section will hold a satellite meeting in conjunction to the IFLA World Library and Information Conference 2010. The satellite conference will take place on August 16-18, 2010 (visits on the 16th) at Uppsala University, Uppsala, Sweden.
The theme for the satellite conference is: ”New techniques for old documents. Scientific examination methods in the service of preservation and book history".
Within this theme we welcome papers on scientific techniques such as DNA, infrared spectroscopy, imaging techniques and micro x-ray fluorescence. All these techniques may be used in conservation treatments and material bibliographic issues such as the determination of animals for leathers, provenance through DNA-analysis, measuring paper strength, examination of pigments and inks for palimpsests and other documents, and ICR - (Intelligent Character recognition) for the recognition of hand-written text.
lunedì, maggio 31, 2010
Restauratori pubblici di beni librari e archivistici, una prima analisi quantitativa
Ecco il power point del mio ultimo intervento fatto a Spoleto
domenica, maggio 30, 2010
Announcement � Guild of Book Workers New York Chapter
Announcement � Guild of Book Workers New York Chapter
The Nag Hammadi Codices – Single Quire Bindings
A workshop with Julia Miller
June 18-19 (9:30am – 5:30pm)
At the Gladys Brooks Book and Paper Conservation Laboratory, The New
York Academy of Medicine
To register, please call Rachel Lapkin at 718-817-8754 or email
rlapkin@nybg.org
Workshop Fee: $215.00 (GBW members)/ $250 (non-members)
Materials Fee: $40.00
The materials fee covers: leather for the cover and attachments (ties
and wrapping band, tackets, spine lining, stays), leather for the
attachment sampler (offcuts from the larger skins purchased for cover
leather), papyrus, paper for the text block, handout packet,
miscellaneous (paste, creme wax, foam core for punching, cardstock for
templates and attachment samplers, etc.).
Class description
The class begins with an in-depth presentation on the history of the Nag
Hammadi codices, their importance to the history of the codex, and the
structural differences found among the eleven surviving covers. We will
look at images and models of early book structures; the goal of this
segment of the workshop is to give participants a clear understanding of
the impact of Coptic binding on the subsequent history of the book.
Handouts on the NHC including a reading list will also support our
discussion.
The primary bench goal of the class is to produce a model of one of the
Nag Hammdi codices, Codex VI; the model will be less than full size.
Codex VI is one of the most intact of the surviving covers as well as
being one of the most complicated in terms of structure. The cover and
attachments will be made with goatskin; the text block will be made with
a suitable paper but workshop participants will have a small supply of
papyrus to use for adding to the text block or using it for cover
linings. Participants will also receive copies of some pages of the
Coptic text of Codex VI to alter and add to their text block.
A second goal of the workshop is the completion of an attachment sampler
that represents the different attachment styles used on all of the
surviving covers; the sampler will be useful in future teaching and also
will assist participants if they decide to make some of the other
covers.
Other optional goals include making a sampler representing the three
different cover-to-text attachment styles observed among the NHC as well
as sketching or photographing the elements of the other covers from
reference materials provided by the instructor for future projects.
Julia Miller – bio
Julia is a bench-trained conservator and was senior conservator at the
University of Michigan conservation lab until she left that position in
1994. Since then she has been in private practice. She has also
concentrated on research on the early codex and the long history of the
codex. Key points in her professional career include:
-Guest curator for two exhibits on the history of the codex: Suave
Mechanicals: Early to Modern Binding Styles in 2003 and Elegant to
Eccentric: Bindings from the Main Room of the William L. Clements
Library in 2007.
-Receiving a Samuel H. Kress conservation publication fellowship in 2008
through FAIC that has enabled her to write a book on historical
bindings: Books Will Speak Plain: A handbook for identifying and
describing historical bindings. The book is in the final stages of
preparation and will be published by The Legacy Press in the fall of
2010.
-Two visits to Cairo, one week in 2007 to study the leather covers of
the Nag Hammadi Codices, and a second visit for two months in 2009 as
part of a Getty Foundation team to train and supervise Egyptian
conservators from the Coptic Museum and other institutions making an
item condition survey of the manuscript collection of the Coptic Museum.
-Recently receiving a fellowship to visit the Library Company in
Philadelphia for a month to do research on an early American binding
style known as a scaleboard binding.
-Teaching, with a concentration on early Coptic codices, in Ann Arbor
and around the U. S.; my teaching draws on my historical binding
research and although I teach early structures, I try to give my
workshop participants as much information as I can about how the early
structures have influenced and continue to influence the history of hand
bookbinding.
Please find directions to The New York Academy of Medicine here:
http://www.nyam.org/about/directions.shtml
The Nag Hammadi Codices – Single Quire Bindings
A workshop with Julia Miller
June 18-19 (9:30am – 5:30pm)
At the Gladys Brooks Book and Paper Conservation Laboratory, The New
York Academy of Medicine
To register, please call Rachel Lapkin at 718-817-8754 or email
rlapkin@nybg.org
Workshop Fee: $215.00 (GBW members)/ $250 (non-members)
Materials Fee: $40.00
The materials fee covers: leather for the cover and attachments (ties
and wrapping band, tackets, spine lining, stays), leather for the
attachment sampler (offcuts from the larger skins purchased for cover
leather), papyrus, paper for the text block, handout packet,
miscellaneous (paste, creme wax, foam core for punching, cardstock for
templates and attachment samplers, etc.).
Class description
The class begins with an in-depth presentation on the history of the Nag
Hammadi codices, their importance to the history of the codex, and the
structural differences found among the eleven surviving covers. We will
look at images and models of early book structures; the goal of this
segment of the workshop is to give participants a clear understanding of
the impact of Coptic binding on the subsequent history of the book.
Handouts on the NHC including a reading list will also support our
discussion.
The primary bench goal of the class is to produce a model of one of the
Nag Hammdi codices, Codex VI; the model will be less than full size.
Codex VI is one of the most intact of the surviving covers as well as
being one of the most complicated in terms of structure. The cover and
attachments will be made with goatskin; the text block will be made with
a suitable paper but workshop participants will have a small supply of
papyrus to use for adding to the text block or using it for cover
linings. Participants will also receive copies of some pages of the
Coptic text of Codex VI to alter and add to their text block.
A second goal of the workshop is the completion of an attachment sampler
that represents the different attachment styles used on all of the
surviving covers; the sampler will be useful in future teaching and also
will assist participants if they decide to make some of the other
covers.
Other optional goals include making a sampler representing the three
different cover-to-text attachment styles observed among the NHC as well
as sketching or photographing the elements of the other covers from
reference materials provided by the instructor for future projects.
Julia Miller – bio
Julia is a bench-trained conservator and was senior conservator at the
University of Michigan conservation lab until she left that position in
1994. Since then she has been in private practice. She has also
concentrated on research on the early codex and the long history of the
codex. Key points in her professional career include:
-Guest curator for two exhibits on the history of the codex: Suave
Mechanicals: Early to Modern Binding Styles in 2003 and Elegant to
Eccentric: Bindings from the Main Room of the William L. Clements
Library in 2007.
-Receiving a Samuel H. Kress conservation publication fellowship in 2008
through FAIC that has enabled her to write a book on historical
bindings: Books Will Speak Plain: A handbook for identifying and
describing historical bindings. The book is in the final stages of
preparation and will be published by The Legacy Press in the fall of
2010.
-Two visits to Cairo, one week in 2007 to study the leather covers of
the Nag Hammadi Codices, and a second visit for two months in 2009 as
part of a Getty Foundation team to train and supervise Egyptian
conservators from the Coptic Museum and other institutions making an
item condition survey of the manuscript collection of the Coptic Museum.
-Recently receiving a fellowship to visit the Library Company in
Philadelphia for a month to do research on an early American binding
style known as a scaleboard binding.
-Teaching, with a concentration on early Coptic codices, in Ann Arbor
and around the U. S.; my teaching draws on my historical binding
research and although I teach early structures, I try to give my
workshop participants as much information as I can about how the early
structures have influenced and continue to influence the history of hand
bookbinding.
Please find directions to The New York Academy of Medicine here:
http://www.nyam.org/about/directions.shtml
Ligatus Summer School
Ligatus Summer School
Ligatus Summer School 2010
in Wolfenbüttel 2010
Apply online by clicking here.
Herzog August Bibliothek, Wolfenbuttel (Germany)
2-6 and 9-13 August 2010.
The 5th Ligatus Summer School, following the success of the courses in Volos, Patmos and Thessaloniki, is to be held this year in collaboration with the Herzog August Bibliothek in Wolfenbüttel, near Braunschweig, in northern Germany. This is an exciting new venture for us, and the opportunity to use books from this magnificent collection in our courses, will make this year’s summer school a memorable experience.
About the course:
Read more
tutor profiles
in Wolfenbüttel 2010
Prof. Nicholas Pickwoad trained with Roger Powell and ran his own workshop from 1977 to 1989. He has been Advisor on Book Conservation to the National Trust of Great Britain from 1978, and was editor of volumes 8-13 or The Paper Conservator. He taught book conservation at Columbia University Library School in New York from 1989 to 1992 and was Chief Conservator in the Harvard University Library from 1992 to 1995. He is now project leader of the Saint Catherine's Library Conservation Project based at the University of the Arts, London/Camberwell College of Arts.
Read more
Ligatus Summer School 2010
in Wolfenbüttel 2010
Apply online by clicking here.
Herzog August Bibliothek, Wolfenbuttel (Germany)
2-6 and 9-13 August 2010.
The 5th Ligatus Summer School, following the success of the courses in Volos, Patmos and Thessaloniki, is to be held this year in collaboration with the Herzog August Bibliothek in Wolfenbüttel, near Braunschweig, in northern Germany. This is an exciting new venture for us, and the opportunity to use books from this magnificent collection in our courses, will make this year’s summer school a memorable experience.
About the course:
Read more
tutor profiles
in Wolfenbüttel 2010
Prof. Nicholas Pickwoad trained with Roger Powell and ran his own workshop from 1977 to 1989. He has been Advisor on Book Conservation to the National Trust of Great Britain from 1978, and was editor of volumes 8-13 or The Paper Conservator. He taught book conservation at Columbia University Library School in New York from 1989 to 1992 and was Chief Conservator in the Harvard University Library from 1992 to 1995. He is now project leader of the Saint Catherine's Library Conservation Project based at the University of the Arts, London/Camberwell College of Arts.
Read more
sabato, maggio 29, 2010
Scuole San Carlo � C.F.P. Gabriele Capello � Tecnico Collaboratore per il Restauro dei Beni Culturali – Materiale Cartaceo e Libri
clicca sul link per leggere oltre Scuole San Carlo � C.F.P. Gabriele Capello � Tecnico Collaboratore per il Restauro dei Beni Culturali – Materiale Cartaceo e Libri: "Tecnico Collaboratore per il Restauro dei Beni Culturali – Materiale Cartaceo e Libri"
mercoledì, maggio 26, 2010
domenica, maggio 23, 2010
venerdì, maggio 21, 2010
Rare Shelburne Museum Circus Posters Conserved at NEDCC
The Circus Comes to NEDCC!
NEDCC treats a collection of rare circus posters for Shelburne Museum, in
Shelburne, Vermont
THE DISCOVERY
Removal of old exterior siding during a home renovation in Colchester, Vermont, revealed five vivid circus posters pasted onto the boards beneath the siding. The posters were mounted
on the house when a circus came to town in 1883, and they remained hidden, protected from light and weather, for the next 108 years.
The posters were donated to Shelburne Museum and conservators quickly realized that the safest and most efficient way to salvage the posters was to remove the boards from the house with the posters still attached. The boards, each with their fragmented section of poster, went into storage at the Museum, awaiting funding to have them professionally conserved.
That opportunity arrived in 2010, when the Northeast Document Conservation Center (NEDCC) treated posters from the collection at the Center’s Andover, Massachusetts, facility.
YET ANOTHER DISCOVERY
It soon became evident that several other advertising posters from a competing circus of
the same time period were pasted underneath
the visible posters. Conservation treatment revealed the hidden images one section at a time, and NEDCC conservator Bucky Weaver was the first to glimpse the images that had been doubly hidden since 1883.
Read more . . .
NEDCC treats a collection of rare circus posters for Shelburne Museum, in
Shelburne, Vermont
THE DISCOVERY
Removal of old exterior siding during a home renovation in Colchester, Vermont, revealed five vivid circus posters pasted onto the boards beneath the siding. The posters were mounted
on the house when a circus came to town in 1883, and they remained hidden, protected from light and weather, for the next 108 years.
The posters were donated to Shelburne Museum and conservators quickly realized that the safest and most efficient way to salvage the posters was to remove the boards from the house with the posters still attached. The boards, each with their fragmented section of poster, went into storage at the Museum, awaiting funding to have them professionally conserved.
That opportunity arrived in 2010, when the Northeast Document Conservation Center (NEDCC) treated posters from the collection at the Center’s Andover, Massachusetts, facility.
YET ANOTHER DISCOVERY
It soon became evident that several other advertising posters from a competing circus of
the same time period were pasted underneath
the visible posters. Conservation treatment revealed the hidden images one section at a time, and NEDCC conservator Bucky Weaver was the first to glimpse the images that had been doubly hidden since 1883.
Read more . . .
domenica, maggio 16, 2010
ICPAL - Istituto centrale per il restauro e la conservazione del patrimonio archivistico e librario
ICPAL - Istituto centrale per il restauro e la conservazione del patrimonio archivistico e librario
La formazione del restauratore: da Spoleto uno sguardo al futuro
Spoleto, 27.05.2010 - 28.05.2010
L’Istituto, in collaborazione con la Direzione Regionale per i Beni Culturali e Paesaggistici dell’Umbria, la Regione Umbria, il Comune di Spoleto, la Fondazione per la conservazione e il restauro del libro e il CISAM, organizza - nei giorni 27 e 28 maggio 2010 - un convegno a Spoleto dal titolo “La formazione del restauratore: da Spoleto uno sguardo al futuro”.
Il tema del convegno, l’iter formativo del restauratore di beni librari e documentari, verrà affrontato ripercorrendo esperienze passate e correnti, attraverso le problematiche legate alla figura professionale così come è stata delineata dalle recenti novità normative. Si partirà dai principi e dalle strategie operative messe a punto nell’ambito della Scuola Europea di Conservazione e Restauro del Libro di Spoleto (attiva dal 1992) quale progetto pilota e soprattutto attraverso il contributo di coloro che vi si sono dedicati con passione perseguendo l’obiettivo di dare concretezza ad una figura professionale innovativa, dotata di competenze scientifiche e tecniche di alto livello.
I risultati di questo impegno verranno ‘letti’ attraverso le esperienze lavorative degli ex-allievi, ai quali è riservato uno specifico spazio all’interno del programma.
Verranno inoltre messe a confronto altre realtà formative in Italia e all’estero, in vista dell’avvio delle Scuole di Alta Formazione.
Tra gli obiettivi della manifestazione vi è anche quello di stimolare una riflessione sul futuro della Scuola ospitata nella magnifica Rocca Albornoziana della cittadina a cui viene unanimemente riconosciuta una vocazione per il restauro.
L’iniziativa verrà dedicata alla memoria di Maria Clara Di Franco, primo Direttore scientifico della Scuola spoletina nonché autorevole promotore del successo del progetto, testimoniato dai riconoscimenti ottenuti in Italia e all’estero.
La formazione del restauratore: da Spoleto uno sguardo al futuro
Spoleto, 27.05.2010 - 28.05.2010
L’Istituto, in collaborazione con la Direzione Regionale per i Beni Culturali e Paesaggistici dell’Umbria, la Regione Umbria, il Comune di Spoleto, la Fondazione per la conservazione e il restauro del libro e il CISAM, organizza - nei giorni 27 e 28 maggio 2010 - un convegno a Spoleto dal titolo “La formazione del restauratore: da Spoleto uno sguardo al futuro”.
Il tema del convegno, l’iter formativo del restauratore di beni librari e documentari, verrà affrontato ripercorrendo esperienze passate e correnti, attraverso le problematiche legate alla figura professionale così come è stata delineata dalle recenti novità normative. Si partirà dai principi e dalle strategie operative messe a punto nell’ambito della Scuola Europea di Conservazione e Restauro del Libro di Spoleto (attiva dal 1992) quale progetto pilota e soprattutto attraverso il contributo di coloro che vi si sono dedicati con passione perseguendo l’obiettivo di dare concretezza ad una figura professionale innovativa, dotata di competenze scientifiche e tecniche di alto livello.
I risultati di questo impegno verranno ‘letti’ attraverso le esperienze lavorative degli ex-allievi, ai quali è riservato uno specifico spazio all’interno del programma.
Verranno inoltre messe a confronto altre realtà formative in Italia e all’estero, in vista dell’avvio delle Scuole di Alta Formazione.
Tra gli obiettivi della manifestazione vi è anche quello di stimolare una riflessione sul futuro della Scuola ospitata nella magnifica Rocca Albornoziana della cittadina a cui viene unanimemente riconosciuta una vocazione per il restauro.
L’iniziativa verrà dedicata alla memoria di Maria Clara Di Franco, primo Direttore scientifico della Scuola spoletina nonché autorevole promotore del successo del progetto, testimoniato dai riconoscimenti ottenuti in Italia e all’estero.
giovedì, maggio 13, 2010
mercoledì, maggio 12, 2010
Flavio Marzo's manuscript highlight: Add. MS 11835 – Psalms, with Hymns - Digitised Manuscripts
Flavio Marzo's manuscript highlight: Add. MS 11835 – Psalms, with Hymns - Digitised Manuscripts
Flavio Marzo's manuscript highlight: Add. MS 11835 – Psalms, with Hymns
Paste down back board with mark from the original leather strap
This very interesting little book, containing the Psalms and most of the Divine Office, might be one of my favourite Greek manuscripts. While there are many ways of looking at such a manuscript, as an experienced conservator, the reason why I have chosen this manuscript is because of its physical features which are closely related to its history.
Fore edge with metal (brass) pin and clasp with leather strap
One obvious striking feature of this manuscript is its size: it measures a mere 93mm in length, 74mm in width, and 34mm in thickness – ideal to be carried around by a monk in his daily prayers. Today, the book is housed in a beautiful 20th century box manufactured in the shape of a western-style book, at the British Library. The manuscript itself, however, is still bound in its original Byzantine binding, displaying typical characteristics of this style – 'link-stitch' sewing, a back with no visible supports, wooden boards with the distinguishing V-shaped edges etc.
We know by looking at the writing that it was probably copied in the 13th century. A note on f.21v tells us that it must have belonged to the library of St. Catherine's Monastery in Sinai, Egypt, during the 17th and 18th centuries. The front and the back boards of the box bear the emblem of the Bibliotheca Butleriana, an important collection of which the manuscript was part of, before coming to the British Library.
Head of the manuscript with “V” shaped edges of the boards and head end band
It is, however, the small physical details that disclose many more information about its rich history. A simple stain on the inside back board, for example, is the mark left by a previous leather strap. The original leather strap broke and was replaced by another, the latter made of one double strip of leather, is split in two instead been split in three as it was originally and so one of the lacing holes in the front cover was therefore left empty after the repair. I am particularly excited by the potential for new discoveries and observations to be made once images of this manuscript and many others like it are made available online. Are there, for example, other surviving manuscripts that bear the marks of the same tools, used to decorate the leather cover and could therefore lead us to the workshop that produced this manuscript? Similar comparisons on the threads used for the end bands or the style of decoration of the brass clasp might help us to better understand the origins of this wonderful book.
Flavio Marzo
Flavio Marzo's manuscript highlight: Add. MS 11835 – Psalms, with Hymns
Paste down back board with mark from the original leather strap
This very interesting little book, containing the Psalms and most of the Divine Office, might be one of my favourite Greek manuscripts. While there are many ways of looking at such a manuscript, as an experienced conservator, the reason why I have chosen this manuscript is because of its physical features which are closely related to its history.
Fore edge with metal (brass) pin and clasp with leather strap
One obvious striking feature of this manuscript is its size: it measures a mere 93mm in length, 74mm in width, and 34mm in thickness – ideal to be carried around by a monk in his daily prayers. Today, the book is housed in a beautiful 20th century box manufactured in the shape of a western-style book, at the British Library. The manuscript itself, however, is still bound in its original Byzantine binding, displaying typical characteristics of this style – 'link-stitch' sewing, a back with no visible supports, wooden boards with the distinguishing V-shaped edges etc.
We know by looking at the writing that it was probably copied in the 13th century. A note on f.21v tells us that it must have belonged to the library of St. Catherine's Monastery in Sinai, Egypt, during the 17th and 18th centuries. The front and the back boards of the box bear the emblem of the Bibliotheca Butleriana, an important collection of which the manuscript was part of, before coming to the British Library.
Head of the manuscript with “V” shaped edges of the boards and head end band
It is, however, the small physical details that disclose many more information about its rich history. A simple stain on the inside back board, for example, is the mark left by a previous leather strap. The original leather strap broke and was replaced by another, the latter made of one double strip of leather, is split in two instead been split in three as it was originally and so one of the lacing holes in the front cover was therefore left empty after the repair. I am particularly excited by the potential for new discoveries and observations to be made once images of this manuscript and many others like it are made available online. Are there, for example, other surviving manuscripts that bear the marks of the same tools, used to decorate the leather cover and could therefore lead us to the workshop that produced this manuscript? Similar comparisons on the threads used for the end bands or the style of decoration of the brass clasp might help us to better understand the origins of this wonderful book.
Flavio Marzo
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