|
|
Past Exhibits/Lectures
COMPANIONABLE BOOKS: A CENTURY OF PUBLISHERS BINDINGS, 1820-1920
 |
On Display: September 17, 2007-March 1, 2008
Suzzallo/Allen Library, Room 102 and Special Collections Lobby
In this exhibit the range of bindings produced by publishers from the period 1820-1920 show the changes of style, materials, production and purpose. In Suzzallo 102, the largest element of the exhibit, the display is arranged by artistic style, heavily focused on known designers. The display case on the first floor of Allen Library features the work of two important women designers of the late 19th C., Sarah Wyman Whitman and Margaret Armstrong. The display cases in the Special Collections lobby [basement of Allen Library] show a chronology of bindings, illustrating the overlap of styles over time.
 |
Elements of publishers’ bindings of the period featured in Suzzallo 102 are early cloth and grain patterns; ribbon embossed, printed and stripped cloth; Rococo revival; leather; Neo-classical/Greek revival/Renaissance revival/Empire style; Gothic and Medieval revival; the influence of the Orient and Japan; Egyptian revival; Eastlake style; Arts & Crafts and Art Nouveau; lettering on bindings; pictorial themes; Poster style and the work of specific binding designers.
Included in the Special Collections cases are examples of bindings of papier mache, heat stamped wood, patent stereograph, striped cloth, crepe paper, designers such as H. Granville Fell, Will Bradley and Dante G. Rossetti and lots of gold. This part of the exhibit is designed to highlight the chronological changes in the field in the one hundred years that the exhibition covers.
All materials shown are from the Special Collection Division except for a few items on loan from generous private collectors. The bindings speak for themselves so there are few individual captions. A checklist is provided at each exhibit site for the materials shown there. The checklist chronicles the source of the books—noting the donor or the gift fund which was used to purchase the book. Almost none of these books were acquired for their bindings. The content was the reason for their acquisition, irregardless of source, and historic binding was an added attraction. Over half of the books on exhibit were purchased from funds from the Hilen 19th century American Literature Endowment and reflect the history of American writing. The donor was especially interested in having the Libraries acquire multiple copies of the same title to show the various ways that publishers tempted readers.
 |
While it might not be obvious why a scholar would be interested in publishers’ bindings, trends in publishing can be an essential part of the study of the history of the book, literacy, publishing and marketing trends & the decorative arts. Andrew Hilen, in supporting this Collection, understood this importance long before it became a popular area of scholarship. Often 19th century books are undated or simply record the copyright date. Many such books are misidentified by collectors, dealers and libraries & are given publishing dates much earlier than the actual date of the book.
So why would imprint date and binding matter? As so many 19th century books are undated on the title page, if a scholar is studying the changes in a particular text over time it is important to have as many clues to set a chronology for the text as possible. If binding style is going to be a significant help to the scholar, that researcher needs access both to reference books on the topic as well as examples of the topic. Pictures of bindings either in print or on the web, no matter how well produced, cannot provide the tactile elements or the ability to closely observe the cloth grain, quality of the decoration and the relationship of the text to the cover design. Almost none of the current books or databases actually give more than a title for content access. Scholars depend on physical evidence, such as inscriptions, bookplates, decorated paper & bindings to establish publisher’s intent, marketing trends, as well as all the decorative arts elements.
 |
The University of Washington Libraries is not alone in an interest in publishers’ bindings. A number of important academic institutions are doing research, developing databases, scanning covers and providing web access to resources. The University of Alabama and the University of Wisconsin currently have an excellent start to a national database, Publishers’ Bindings Online, 1815-1830: The Art of the Book. Examples of other national resources are the University of Rochester’s Beauty of Commerce: Publishers’ Bindings, 1830-1910 and the work of conservators Andrea Krupp and Jennifer Rosner on their Catalogue of Nineteenth-century Bookcloth Grains drawn from their Database of Nineteenth-century Cloth Bindings at the Library Company of Philadelphia. Currently Special Collections is working on a project to create a nationally accessible database for its rich collection of publishers’ binding.
Unfortunately there are few “fixed” categories for publishers’ book bindings and one can look at them by style, by material, by designer or by purpose. In this exhibition several “experts” are used as sources, pulling together elements that seemed the most useful. None of these terms are “set in stone” as the field is still in flux anticipating Sue Allen’s upcoming book to create the most authoritative voice.
Michael Sadleir says, “…the history of cloth binding, from 1840 until the reaction toward simplicity which came during the nineties, is the history of a movement from dignified utility to decoration for decoration’s sake.” This is true for all 19th century publishers’ bindings.
Exhibit co-curators from The Special Collections Division:
Sandra Kroupa, Book Arts & Rare Book Curator,
Kathryn Leonard, Library Materials Conservation Supervisor
A PASSION FOR WORD & IMAGE: BOOKS BY ENID MARK
On Exhibit: March 12-May 28, 2007
This exhibition celebrates the work of Philadelphia book artist
Enid Mark who reminds us that books can be innovative without
sacrificing tradition. Founded in 1986 by Mark, ELM Press
publishes finely crafted editions that feature hand-lithography,
letterpress printing, and archival hand binding in limited
editions from 25 to 55 copies.
In 1986 I purchased the first ELM Press book, The Bewildering
Thread, for the Book Arts Collection; now twenty-one years later
all eleven of Enid Mark’s limited edition books are part of
Collection. [The Bewildering Thread is on exhibit in the Special
Collections Lobby]. From the beginning Mark’s books were
distinguished by subtle colors and shapes, each book having a
unique character, blending text and image seamlessly. Mark’s
images dance across the page, expand to the edges and ignore the
normal boundaries of “illustrated” books.
Mark weights the selection and arrangement of the poems she uses
as heavily as she does her images. Her books reveal a thoughtful
and insightful reader who shares with us her vision of how a book
should be considered. Clearly Mark intends her work to be read
sequentially cover to cover. For that reason an exhibition,
however complete, cannot show all the openings of these books nor
can you get the desired experience of holding them, turning the
pages, seeing the images and texts without the separating element
of glass.
These books are not intended to be seen under glass. The only
time these books are not able to be touched, read, experienced is
now, when they are on exhibit. After the exhibit is over,
Mark’s books will again be available in the Book Arts Collection,
Special Collections Division. Please come and see them in
person. This exhibition is sited in three locations in the
Libraries: Suzzallo Room 102, Allen North Balcony and Special
Collections lobby and each site has different materials. Please
see all of them.
I am grateful to Enid Mark for the loan of various materials that
are shown throughout the exhibition including individual pages
from many of her books allowing more openings to be seen,
portraits of her collaborators, much of the preliminary
photography and drawings that were used in the creation of the
books and individual prints that are polymer plate intaglios or
lithographs.
Sandra Kroupa
Book Arts and Rare Book Curator
Special Collections Division
ARTIST STATEMENT
In a world geared to mass
production and computerization,
I seek to make limited
edition books
In an individual and
personal way.
I imagine the book as a continuous picture plane on which
word, image, sequence and structure all reinforce each
other. What interests me most is the relationship between
word and image. I plan no hierarchy of them. An artist’s
book is a unique form of visual disclosure. It must be
slowly savored. It should be held in the hand and carefully
considered. Only then are its contents fully revealed.
My early books were one-of-a-kind efforts that, like most
artists’ books, presented political, social and
autobiographical ideas. But an ongoing interest with
writing and literature, especially poetry, led me to
reconsider my direction. Involving myself with the literary
legacy of the book, initiating ideas, selecting and editing
material, and working with writers, offered a vigorous
context, a way for me to express myself beyond cliché. At
times I compile disparate texts that assume greater power
when gathered together in tandem with my imagery. Often I
am inspired by the stories of the myths. For instance, in
the book To Persephone (2000), nine 20th Century poets
recast the Homeric myth explaining the origins of the
seasons as the story of a young girl caught between her
lover and her mother. At other times my books are the result
of direct collaboration with poets, such as Precessional
(1998), a collection of poems by Eleanor Wilner, and The
Elements (2002), a poem sequence by Susan Stewart.
Whatever the initial impetus, books published at The ELM
Press are planned so that all of their discrete elements co-
exist, but never illustrate, one another. Edition sizes
range from twenty-five to fifty numbered and signed copies,
plus artist proofs. Production is by collaboration with
craftspeople who consider each effort a special challenge to
their own artistic integrity.
Enid Mark
The ELM Press
Endless Path, Beginningless Journey: Art & Artists' Books by Jim Koss
On Exhibit: October 23, 2006 - February 28, 2007
Before the Door of God: 600 Years of Sacred Texts
On Exhibit: August 14-October 6, 2006
CAPTURING COLOR: THE DON GUYOT DECORATED PAPER COLLECTION
On Exhibit: July 17- August 25, 2006 with special event July 19th from 7-9pm
Exhibit is in Suzzallo Exhibition Room 102 and the Allen Library North Balcony; July 19 th event is in Maps/Special Collections Classroom (Suzzallo Library, Rm B89)
The exhibit focuses on the collection of decorated and decorative papers in the Book Arts Collection including the collection assembled by world-renowned paper marbler Don Guyot. Exhibited will be historical examples of decorated paper, marbled papers by Guyot and many of the most significant paper marblers and decorators in the world.
The exhibit event on July 19th from 7-9pm and will honor Don’s contributions to the field. Attending the event will be a number of Don’s friends, former students and colleagues. Beginning in the UW Maps/Special Collections classroom, Don will give a brief presentation and a panel will reflect on his extensive career. Amongst the attendees and panelists expected are Violet Wilson, Ingrid Weimann, Judith L. Johnson, Eileen Canning, Donald Glaister, and Jean Marie Seaton. Following the presentation, attendees are encouraged to follow Don and guests upstairs to view the exhibit.
The 64th Annual Western Books Exhibition
On Exhibit: June 12 - August 4, 2006
Special Collections
Allen Library South, Basement Lobby, University of Washington
The members of the Rounce & Coffin Club have chosen the best-designed books printed and published in the western United States in 2005. The exhibit showcases several outstanding examples of works produced by fine press printers and book artists using a wide variety of styles.
STITCHED WITH LOVE: Czech and Slovak Folk Dress From the Collection of Helen Cincebeaux, With Materials From the UW Libraries’ Collections
On Exhibit: May 1 - June 8, 2006
Special Collections
Allen Library South, Basement Lobby, University of Washington
|
 |
AN EXPLORATION OF THE LITERATURE OF LEWIS AND CLARK
On Exhibit: January - March, 2005
Special Collections
Allen Library South, Basement Lobby, University of Washington
|
 |
Seeing the BIG Picture:
Preservation of Panoramic Photographs
On Exhibit: October 1 - December 30, 2005
Special Collections
Allen Library South, Basement Lobby, University of Washington
The Photograph Collection of the UW Libraries' Special Collections Division includes dozens of panorama photographs pertaining to the Pacific Northwest. This exhibit is a first chance to view a selection of these, which include group portraits, as well as birdseye and landscape views. The history of panoramic photography is highlighted, as well as the recent project of the Libraries' curatorial and conservation staff to better house, store, and provide access to these unusual resources.
circuit riders for book arts: vamp & tramp
A lecture by Bill & Vicky Stewart 
Thursday, October 6, 2005, 7:00 PM
Maps/Special Collections Classroom
Suzzallo Library Basement, Room B69
University of Washington
Vicky and Bill Stewart, a corporate VP and a lapsed English teacher, ten years ago launched Vamp & Tramp, Booksellers, selling 20th-century literary and mystery first editions. They are based in Birmingham , Alabama . Today they travel the country for 11 months of the year representing over 100 contemporary fine presses and book artists. They claim serendipity as the sole agent of their change. They will present their case Thursday evening.
The Stewarts recently purchased long-time book arts book dealer Califia Books and now represent many of the major names in the field, including some of our own Book Arts Guild members. You can see some of their extensive stock at the Antiquarian Book Fair in Seattle , October 8-9, 2005 and at their website: http://www.vampandtramp.com.
The 63rd Annual Western Books Exhibition
On Exhibit: June 13-August 20, 2005
Special Collections
Allen Library South, Basement Lobby, University of Washington
The Rounce and Coffin Club of Los Angeles, based at the Occidental College Library, annually selects the "best books of the year published in the western part of North America." The juried, travelling exhibition visits the University of Washington between June 13 and August 20, 2005. The exhibition features 32 distinguished examples of the art and craft of book design and printing. It encourages and rewards high standards of book design throughout the Western United States.
MODERN MARBLERS:
a contemporary revival world wide
On Exhibit: May 9-June 3, 2005
Special Collections
Allen Library South, Basement Lobby, University of Washington
"Modern marblers: a contemporary revival world wide" is an exhibition of the book Modern Marblers Tribute created by Jean Marie Seaton in an edition of two copies. The copy on display is the “emerald edition”. The book contains samples of and commentary on the work of sixty contemporary paper marblers and highlights four “masters” of the craft. Ms. Seaton is responsible for all the elements of Tribute, including beautifully calligraphed text, her own marbling and a magnificent box and binding. This exhibition celebrates her generous gift of the book to the Book Arts Collection in Special Collections. Tribute will be exhibited in Special Collections lobby exhibition area from May 9 - June 3.
“This work is dedicated to every marbler, present and future, whose artistic heart rises up to the magic in this marbling experience and in that artistry determines to infuse a passionate fire for this ancient and venerable medium to help it burn ever more brightly.”
Jean Marie Seaton
The Book Arts Collection has a long standing interest in the history and technique of paper decoration. As well as collecting historically significant research texts on the subject, the Collection contains samples of both historical and modern papers in full and partial sheets. There is a portion of the Collection that is focused on bookbindings and many fine examples of decorated papers are in use in these bindings. The work of modern artists is actively sought. The donation of Modern Marbler’s Tribute is a great addition to an already significant Collection.
PURE POPPYCOCK:
the paintings of Mr. Otis
On Exhibit: March 3- May 5, 2005
Special Collections Lobby, Allen Library South
University of Washington
In 1949, a bright artistic talent in the form of the mysterious Mr. Otis appeared on the Portland, Oregon art scene. Northwest author Stewart H. Holbrook, Mr. Otis' "discoverer," had become acquainted with the artist (a man of "shabby gentility" who "wore neither a beret nor a beard") when they shared quarters at the Press Club's Portland mansion in the 1930s. Rejected for employment by the WPA, Mr. Otis spent the lean years of the Depression bartering paintings for food. The artist and the author continued their acquaintance throughout the 1930s and 1940s, and Holbrook offered Mr. Otis studio space in his own workshop.
In 1949, Mr. Otis was thrilled to see one of his paintings, "Fido Can Set Up!" in the Portland Oregonian. He had submitted it to the paper's Salon Arts Independent. As Holbrook put it, "the dam had broken, the Otis cup ranneth over." Before long, Mr. Otis' works were displayed in the homes and offices of prominent personalities such as publisher Bennett Cerf and historian Bernard De Voto. Although the Portland Art Museum refused Mr. Otis a one-man show, exhibits of his work sprang up all over town, and eventually, as far away as New York City -- much to the delight of art aficionados and eager collectors.
Stewart Holbrook provided further details of his friendship with the artist in the 1958 book Mr. Otis, which displayed twenty-four of Mr. Otis' greatest works and included an introduction by Holbrook. The author hailed Mr. Otis as the founding member of the Primitive-Moderne school of painting (Holbrook insisted that the "e" at the end of "Moderne" was "imperative," as "it makes the word foreign, hence fashionable"). Holbrook frequently made appearances on behalf of the somewhat reserved Mr. Otis, who was often busy with work.
Populated by wild-eyed patriarchs, populist leaders, and a lively cast of historical figures, the paintings displayed here are a testament to the unique vision of the marvelous and mysterious Mr. Otis.
Researching the Road:
Travel & tourism in the Pacific Northwest
On Exhibit: Aug. 20 - Oct. 15, 2004
Special Collections Lobby, Allen Library South
University of Washington
During the 19th century people generally did not travel far from their homes and if they did it was usually by train. Roads tended to be paths into town from nearby farms and often it was not exactly clear where the road was located. In farming areas, the roads would veer off course to go around a farmer’s field or perhaps one day the farmer would decide to plow and plant a crop where the road ran. Or, the road might simply get too muddy to use. (A 19th century Kansas story relates that one day a man came upon a hat lying in a muddy road. When he picked up the hat there was a person underneath buried in the mud. When he asked if the person needed help the reply was, “well I don’t, but my horse does.”)
There were no cross-country roads, or even cross-state roads. Most roads were either left untended or barely tended by the local county governments who were in charge of them because they were not as important to the population as the railroad. By the end of the 19th century, however, various groups banded together to lobby for the improvement of roads. Farmers became concerned about the state of roads when in 1899, the post office declared that no rural deliveries would be made where the roads were unfit for travel. Bicyclists, such as, The League of American Wheelmen, along with early automobile enthusiasts also wanted better roads for their activities as did urban merchants and businessmen. The Good Roads movement, which was born from these various interests, was created to lobby for road improvement. During the early years of the 20th century, local town citizens held “good roads” work days to improve their roads. Road groups organized and put up signposts along dirt tracks to map out cross state roads to encourage travel through their towns.
The Good Roads movement, the increasing number of automobiles, and World War I brought a significant change in the public attitude toward roads. The Federal Highway Act was passed on July 11, 1916, to offer federal assistance in the construction of interstate and rural highways. As the automobile caught on, the idea of traveling more than just a few miles in it gave way to auto touring. As the roads improved, more and more people discovered the idea of traveling for recreation.
Interest in studying the roadside and tourism began during the later years of the 20th century. Researchers began examining the landscape and architecture of the roadside and the history of the roads themselves. Chester Liebs Main Street to Miracle Mile was one of the early books on the history of the roadside landscape. Organizations such as the Society for Commercial Archeology, and the Lincoln Highway Association, study various aspects of the road and the roadside and encourage the preservation and study of the roadside environment.
This exhibit presents a few of the various materials relating to tourism, roads and roadside architecture that are part of the Special Collections Division holdings. Some of the materials included are: guidebooks to architectural drawings, to maps, photographs, home movies, ephemera.
In Flight:
A Guild of Bookworkers traveling exhibit
On Exhibit: Mar. 22 - May 7, 2004
Special Collections Lobby, Allen Library South &
Suzzallo 102, 1st floor, Suzzallo Library
University of Washington
 Many events, nationwide, have celebrated the December 17, 2003, centennial of the Wright Brother's first flight, but none as unusual as the Guild of Book Worker's 2003-2005 Triennial exhibition featuring the theme: In Flight. Fifty-one book works, created by Guild members specifically for this juried show, will be on view from March 22 through May 7, 2004 at the Suzzallo/Allen Library co-sponsored by the Book Arts Guild, Wessel & Lieberman Booksellers and the Special Collections Division. The exhibition is split between Suzzallo 102 on the first floor of Suzzallo and the Special Collections lobby in the basement of the south wing of the Allen Library. Accompanying the exhibition is a display, "From the Heart", featuring the work of Bellingham artist Elsi Vassdal Ellis who is also in the traveling exhibition. That element of the exhibition can be seen in the display case in Allen first floor and in the Special Collections reference area.
Elsi Vassdal Ellis will speak about her work on Tuesday March 30, 2004 in Special Collections 7:00-9:00 PM. Her lecture, "Witness - Witness: Convergence of Ideas--Divergence of Form", will be an overview of how current research on identity and conflict as expressed through war and genocide was transformed into Elsi's books Icarus and Questions for a Terrorist. Both titles are included in the Guild of Book Workers exhibition.
Lillian Dabney, whose piece, Bessie Coleman/Dared to Dream, is also in the In Flight exhibition will be speaking about her work Tuesday May 4, 2004 in Special Collections 7:00-9:00 PM. Both lectures are Book Arts Guild monthly meetings but are free and open to the public.
The Workers of Suzzallo:
A Photographic Portrait
On Exhibit: Jan. 27 - Mar. 31, 2003
Special Collections
Allen Library South, Basement Lobby, University of Washington
The photographs in this exhibit are part of a project last year to document
the people who worked on the Suzzallo renovation. The participating
photographers were part of a group of photographers who work on the UW
campus and meet monthly to share their work. The Turner Construction
Company arranged for the consent of the workers and coordinated the visits
of the photographers inside the work area of Suzzallo so they were able to
document the workers on site.
The exhibit includes photographs of the workers and the Suzzallo site made
by Kari Berger, Loyd Heath, Deborah Hughes, Linda Moran, and Helen Vogel in 2002. It
also includes artifacts from the site such as a piece of the terracotta
masonry, marble, light switches, caution tape, safety glasses, paint brush,
and more. The workers also were asked questions about how they felt about
working on the project and their answers have been put with their
photographs.
Shapers of History:
The Daryl Brotman Gallery of American Political Figures
On Exhibit: Sept. 9 - Nov. 1, 2002
Special Collections
Allen Library South, Basement Lobby, University of Washington
The exhibition includes:
Photographs, letters and political ephemera from United States Presidential elections, 1932-1964.
Photographs of Presidents, Vice Presidents, Cabinet Members, Supreme Court
Justices, Senators and Governors.
Cartoons of Presidents by Daryl Brotman as a youthful collector of
materials relating to American history as well as cartoons he
later developed as a teacher.
HAIDA ARCHITECTURE:
Memory, Meaning and Power
On Exhibit: May 6 - June 23, 2002
Special Collections
Allen Library South, Basement Lobby, University of Washington
The exhibition includes:
19th and early 20th century photographs of Haida architecture from the Viola Garfield
Collection as well as works on Haida architecture as the representation or embodiment of social organization and
cosmology.
WE ARE ALL STRANGERS BOUND BY THE SAME SPIRITS*
An exhibit celebrating the diversity of Pacific Northwest Poets
On Exhibit: Jan. 15 - Apr. 30, 2002
Special Event: Reading and Reception, April 11th, 2002 at 7 p.m.
Special Collections
Allen Library South, Basement Lobby, University of Washington
photograph by Paul Dorpat
|
The exhibition includes:
Broadsides, limited edition books, photographs, original poetry drafts and
ephemeral material by 23 women and minority poets of the Pacific
Northwest. Poets featured in this exhibit include Jody Aliesan, Sherman
Alexie, Linda Bierds, Alan Chong Lau, Denise Levertov, Colleen McElroy,
Duane Niatum, and Eve Triem.
Special Event: Reading and Reception
Please join us on April 11th, 2002, at 7 p.m. for a reading and reception.
Poets participating in the reading include Jody Aliesan, Alan Chong Lau,
Madeline DeFrees, Colleen McElroy, Catherine Michaelis, Duane Niatum, Ann Spiers and Primus
St. John.
The reading will be held in the Manuscripts, Special Collections,
University Archives Division of the University of Washington Libraries,
located in Allen Library South. For more information, call 206-543-1929
or email us.
Exhibition curated by Lisa Scharnhorst, Special Collections
*Colleen McElroy
MIRRORS OF GIGANTIC SHADOWS:
An exhibition of rare and scarce materials related to Romanticism
On exhibit Aug. 13 - Dec. 3, 2001
Special Collections
Allen Library South, Basement Lobby, University of Washington
"Poets are the hierophants of an unapprehended inspiration; the mirrors
of the gigantic shadows which futurity casts upon the present."
~ From A Defence of Poetry by Percy Bysshe Shelley
|
The exhibition includes:
Examples of American literature 1760-1840 from the 19th Century Hilen
Americana Collection, featuring women writers
Limited edition facsimiles of William Blake's illuminated books created
by William Muir from the 1880-1930's
Images from the great period of Pacific Northwest exploration
Images from travel literature 1760-1840
Images from Mary W. Shelley's Frankenstein, or, The modern Prometheus
illustrated by Barry Moser. West Hatfield, Mass. : Pennyroyal, 1983,
c1984
Napoleonic caricatures
|
| |
Last modified: Monday April 07 2008
Contact Us
|
|
