The Center is a great resource — they have a decent-sized Letterpress studio with several proof presses, an equally well-resourced Bindery area, an exhibition space (illustrated here in a photo from their website), and enough space left over for a small shop selling hand-bound chapbooks, broadsides, and exhibition catalogues.

But the main purpose of my visit was to see The Collaged Accordion — an exhibition of Star Black’s large-scale accordion books that merge found texts & photographs and ephemera.

Star’s  collaged accordion books are intricately layered with a fine sense of texture and the individual properties of the found images and materials. They combine echoes of Joseph Cornell’s boxes with a sensibility for the subtler textures and possibilities of paper.

I wish I could have spent a lot longer at the Center, but unfortunately I had to fly back to the UK that same day and had far too much to do.

If you get the chance to go to New York then the Center is definitely worth visiting.

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Related Journal Entries

• Sunday November 8th, 2009 — Research in London
• Wednesday June 3rd, 2009 — Romilly Saumarez Smith
• Sunday May 3rd, 2009 — Research in New York
• Sunday January 17th, 2010 — Lino prints and woodcuts
• Monday December 21st, 2009 — Research on the Broadside or Broadsheet

The Morgan began as the private library of financier Pierpont Morgan housing his collection of illuminated, literary, and historical manuscripts, early printed books, and old master drawings and prints.

The main focus of my visit to this institution was to see—first-hand—a Gutenberg Bible (the Library owns three of them!) printed in 1455 by Johannes Gutenberg, the inventor of the printing press and movable type.

The visit was a fantastic mine of inspiration, from the wonderful library itself (illustrated here — photo by machbel, found on Flickr, licensed under Creative Commons, used with thanks), to the vast array of old books (including some great Books of Hours), the Gutenberg Bible itself, and a fantastic collection of artwork encompassing personal favourites such as Joseph Cornell, Egon Schiele, and Jim Dine, as well as preparatory sketches and drawings by old masters.

I left the galleries and went to the Library shop feeling very pleasantly overwhelmed, my head overflowing with ideas and inspiration for the Book of the Erinyes.

In the shop, in addition to a couple of postcards, I bought a copy of Miniature Books: 4,000 Years of Tiny Treasures — a wonderful, richly illustrated, book exploring the world of books that are less than 3 inches high.

I don’t actually have a huge interest in miniature books, but the bindings illustrated in this book are wonderful — I think the creators decided that they could have more fun with small books.

They range from traditional leather bindings to bindings made of mother-of-pearl (popular as a deluxe binding in the 19^th century), gold-thread on silk, tortoiseshell, copper, velvet, gold, silver filigree, palekh lacquer (a Russian folk craft), polycarbonate, and enamel. Some are plain, others gilt-tooled, embedded with emeralds, amethysts or pearls, embossed, embroidered, engraved, or decorated with tiny enamel portraits.

The wealth of creativity displayed in this book is amazing, and will certainly prove invaluable as inspiration for binding the Book of the Erinyes.

Related Journal Entries

• Sunday November 8th, 2009 — Research in London
• Sunday March 22nd, 2009 — Inspiration for Books As Art Objects
• Wednesday June 3rd, 2009 — Romilly Saumarez Smith
• Wednesday February 10th, 2010 — The Center for Book Arts in New York
• Saturday September 20th, 2008 — Book Bindings and Vine Leaves