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Welcome to the 2010 Bind-O-Rama
The Bonefolder's annual online exhibition.
The Bonefolder is pleased to present the 2010 Bind-O-Rama on
Pamela Leutz’s The Thread That Binds, published by Oak
Knoll book. The book was introduced in the Fall 2009 issue of this journal
with the chapter on Craig Jensen, and a review by Jeffrey S. Peachey was
published in the Spring 2010 issue. Interestingly, the call for entries
for this Bind-O-Rama also brought in 21 entries, including two from binders
interviewed in the book – Catherine Burkhard and Karen Hanmer. Other
binders interviewed are: Eleanore Ramsey, Tini Miura, Frank Lehmann, Monique
Lallier, Jan Sobota, Priscilla Spitler, Craig Jensen, Scott Kellar, Sol
Rebora, Timothy Ely, Jim Croft, Cris Clair Takacs, Don Rash, Daniel Kelm,
Peer Geraty, William Minter, Gabrielle Fox, Don Glaister, and Don Etherington.
Introduction by Pamela Leutz
The Thread That Binds began from my desire to find out about
the lives of some of the private practice bookbinders I had met at the
Guild of Book Workers Standards of Excellence meetings. I wanted to
find out what led them to book work, where they worked, where they learned,
what they enjoyed about their work, what they didn’t like, how
they made a living. I only planned to visit a few bookbinders and maybe
write an article for our bookbinding chapter’s newsletter. My
visits grew to include 21 interviews and delightfully morphed into the
book, The Thread That Binds. I had a fabulous time visiting
these bookbinders and hearing their stories.
I am thrilled that this book was chosen as the book to bind for the
Bind-O-Rama and for the upcoming Lone Star Chapter exhibition. I had
the pleasure to bind my edition in the presence of one of the people
I interviewed, Jan Sobota, in the Czech Republic. I chose to bind it
in Jan’s three-board binding style. I made it playful, a charming
characteristic I found in most of the bookbinders I interviewed.
Meredeth Beckett, Columbus, OH, USA.
Description: Bound on cords, which spill out from beneath the cloth
binding. The cloth was given to the binder by a fellow bookbinder, further
emphasizing the theme of connectedness.
In reading this book the binder was struck by "how similar the temperment
is within the bookbinding community."
Meredeth taught herself to bind books by reading other books, and now
runs a small bindery out of her apartment. She runs an online shop, squeezing
binding time in between a "real" job and sleeping.
Susan Bonthron, Guilford, VT, USA.
Description: Paste paper over boards, Elephant Hide inside covers and
endpapers (tipped in); Coptic binding over gold painted signature spines
using black linen thread; title foil-stamped on gold card stock and glued
onto recessed cover board.
In reading this book the binder was struck by "how similar the stories
of these binders are; how they came to binding; their love of books and
handwork and the diversity of the craft."
Susan Bonthron is the owner/operator of Otter Pond Bindery in Guilford,
Vermont. She has studied with Paulus Berensohn, Julie Chen, Daniel Kelm,
Claire Van Vliet, Hedi Kyle, Linda Lembke, at the Center for Book Arts
in NYC and the North Bennett Street School. Her work has appeared in galleries
from Canberra, Australia, to Brattleboro, Vermont, was selected for the
San Diego Book Arts Second and Third National Juried Shows (2008 and 2010),
and will be exhibited at the Brattleboro Museum and Art Center (November
2010). She teaches book arts at her Bindery and in residencies in the
US and abroad.
Patty Bruce, Boston, MA, USA.
Description: Cream colored leather fine design binding; three edge decorated;
Jan Sabota's triple board structure.
In reading this book the binder was struck by "how unique each binder
was and yet there truly is a common thread."
Patty Bruce is a resident of Boston, Massachusetts. She has an MSED
from the University of Southern California and a degree in graphic design.
The interest for binding started slowly about a decade ago and has turned
into a full time passion. She trains at the American Academy of bookbinding
with Monique Lallier and takes workshops from Jan Sabota in the Czech
Republic. Printmaking has been included into her experiences to realize
the completed book. Her work has exhibited In the GBW "In Flight" Exhibition,
Helen Degolyer 2000, 2003, 2006, 2009, Chicago Public Library "One Book
Many Interpretations", "Book Power" at the Sandy Gallery in Oregon 2010,
as well as Chapter Exhibitions around the country. She currently works
full time binding books in her studio in South Boston.
Catherine Burkhard, Dallas, TX, USA.
Description: Sewn boards binding covered in a forest green goat skin
from Pergamena, using a green/gold/silver patterned Chiyogami for endsheets,
with front cover decoration; decoration includes cutout window featuring
a needle with green thread and title blind stamped vertically to left
of window; green used to signify growth which seemed to be the theme each
binder expressed in their process to become a bookbinder and be at their
professional status today.
In reading this book the binder was struck by "the many different steps
taken to learn and to acquire the necessary equipment."
Calligrapher for 32 years and bookbinder for 27 – both of which
began in elementary school days. Formal training in both began in Dallas,
along with many instructors elsewhere in US and England. Currently a binding
instructor in Dallas, TX studio along with taking in commission work from
the public in both fields. Serve the Guild of Book Workers as secretary
and the Lone Star Chapter as president.
Carol Ceraldi, Craftsbury, VT, USA.
Description: Cover material: cow hide; endsheets: 80# Mohawk Superfine
laser printed with scans of multiple images of the bookbinders; sewing
structure: sewn on 3 tapes, signatures sewn with the same 100% linen maroon
thread that appears in cover art; endbands of dark brown goatskin around
core; decoration of hand, sculpted in translucent Sculpy and baked, actual
needle and 100% linen thread; title, laser printed on walnut Bicchu Torinoko
Gampi and applied to wrap around fore edge of cover.
In reading this book the binder was struck by "the similarity of all
the stories of course…striving for excellence, love of the materials,
the struggle to earn a living from binding, the questions of valuing work
for sale as well as the many variations in the stories in the pathways
to the craft. The constant to me was the passion for the "making" the
danger that if one sits down at the bench, they will still be at the bench
engrossed in work in the early hours of the morning."
Trained in design at the Cooper Union, bookbinding study with Dorina
Parmenter and Peter Verheyen, as well as with Daniel Kelm at the Garage
Annex School in Easthampton, MA.
Rebecca Chamlee, Simi Valley, CA, USA.
Description: Text pack sewn on raised cords, full dark green Harmatan
leather tight back binding; cord embossed underlay; marble pastedown and
fly sheets by Pam Smith; hand sewn silk endbands; watercolor decoration
on head edge.
In reading this book the binder’s "fantasy was to bind this book
in leather and then read it which added richness to the experience."
Rebecca Chamlee is a book artist, graphic designer, letterpress printer
and bookbinder who operates Pie In The Sky Press, a private press in southern
California that specializes in limited edition artist books and fine press
books by selected poets. Chamlee is a professor of bookarts at Otis College
of Art and Design. She has exhibited her work around the country. Her
work is in the collections of Brown University; Brigham Young University;
William Andrews Clark Memorial Library; Savannah College of Art and Design;
Otis College of Art and Design; University of California at Riverside;
University of Utah and numerous private collectors.
Juliayn Coleman, San Francisco, CA, USA.
Description: Russell's Oasis goatskin; Chena River marbled papers; 23k
gold edge (gilded in the rough, before sewing), and gold tooling.
In reading this book the binder was struck by "the power of the human
voice to share experience."
Juliayn Coleman received a certificate in bookbinding and book conservation
from the North Bennet Street School in Boston, Massachusetts in 2003.
Her books have been shown at the Boston Architectural Center, Columbia
College, and the Chicago Public Library. She is a member of the Guild
of Book Workers (US) and Designer Bookbinders (UK). Recent clients include
the Field Museum of Natural History, the Chicago Symphony Orchestra, Blackpoint
Editions, and others. She currently resides in San Francisco, California.
Jane Elder, Dallas, TX, USA.
Description: Case binding in black, brown, and natural linen, with 22
inset stones representing each of the bookbinders in the volume, including
its editor; hand-sewn silk headbands; splatter-painted edge decoration,
and marbled endpapers by Katherine Levine.
In reading this book the binder was struck by "the enormous effort the
book’s editor, Pam Leutz, invested in capturing the experiences
of these artists. Binding a book is nothing compared with writing one."
I became interested in bookbinding when I began working as the Reference
Librarian of Bridwell Library in 2002. Since then I have taken classes
with Sally Key, David J. Lawrence, Pamela Leutz, and Priscilla Spitler.
Madelyn Garrett, South Jordan, UT, USA.
Description: Sewn on tapes and bound in UICB case paper; onlays of treated
copper, combined with repurposed copper recovered from an industrial furnace,
and connected by strands of dyed linen thread.
In reading this book the binder was struck by "the remarkable continuity
of purpose--a shared determination to preserve the book form."
Madelyn Garrett, bookmaker and art historian, has been making books
for over twenty-five years. She is most interested in the historical book,
and her work often references the books and book forms of the past.
Jane Bortnick Griffith, Kensington, MD, USA.
Description: Wire-edge binding; goatskin covers; snakeskin spine covering
and mosaic inlays; French hand marbled endsheets.
In reading this book the binder was struck by "The range of creative
expression and individuality combined with a common commitment to quality."
Studied with Jacqueline Liekens in Brussels; additional courses and
workshops with a variety of binders including Monique Lallier, Daniel
Kelm, and Helene Jolis.
Karen Hanmer, Glenview, IL, USA.
Description: Hybrid of crossed structure and limp vellum bindings; calf
vellum and goatskin-wrapped velum slips and Yapp edges; German primary
headband sewn with red linen thread; title stamped in gold foil; three
In reading this book the binder was struck by "the reminder that binding
is physical labor and the binder must take care of herself. I have since
made ergonomic improvements to my studio."
Karen Hanmer’s work layers text and image to intertwine cultural
and personal memory. The intimate scale and gestures of exploration employed
to travel through each piece evoke looking through an album, diary, or
the belongings of a loved one. The work is often playful in structure
or content, and may include social commentary. Hanmer’s work is
included in collections ranging from Tate Britain and the Library of Congress
to Syracuse University and Graceland. She won the 2009 DeGolyer Jury Prize
for Binding. Hanmer curated the Guild of Book Workers Marking Time exhibition,
and serves on the editorial board of The Bonefolder. She is online at
Barbara Adams Hebard, Melrose, MA, USA.
Description: Full brown goatskin binding finished in a 16th century
style; blind tooled rule and central panel divided into blind tooled lozenge
shaped compartments with English rose and Fleur-de-lis in blind (upper
board), diamond shape in blind (lower board); sewn over double cords (Perma-life
bi-folio endpapers sewn along); primary laced-in endbands and plaited
In reading this book the binder was struck by "the different paths people
take to get to bookbinding and the mentors they find along the way."
Barbara Adams Hebard, Conservator of the John J. Burns Library at Boston
College, is a graduate of the North Bennet Street School bookbinding program.
Ms. Hebard is a member of the Guild of Book Workers. She is a Professional
member of The American Institute for Conservation of Historic and Artistic
Works, a Fellow of The International Institute for Conservation of Historic
and Artistic Works, and Board Member of New England Conservation Association.
She is proud to be an Overseer of North Bennet Street School. She exhibits
her books nationally and internationally. Ms. Hebard also writes articles
on book related topics.
Roberta Lavadour, Pendleton, OR, USA.
Description: Bound in a Coptic stitch with wrapped board attachment
and Cave paper (seconds) covers; hooked endpapers; paper ribbon with silk
thread embroidery; hand croched ties; silver foil.
In reading this book the binder was struck by "being able to peek into
a variety of work styles."
Roberta Lavadour lives and works at the foothills of the Blue Mountains
of Eastern Oregon. Her work is fueled by her rampant curiosity and explores
everything from found objects and thrift store finds to personal family
history to current events. She’s been recognized with several awards
and received an Oregon Arts Commission, National Endowment for the Arts
Visual Artist Fellowship in 2001. Her work resides in public and private
collections, including the King St. Stephen Museum in Hungary and the
American Embassy collection in Azerbaijan. She publishes her artist’s
books and bindings under the Mission Creek Press imprint.
Pamela Leutz, Colorado Springs, CO, USA.
Description: Covered in black and red goatskin; endsheets of red goatskin;
three-board structure (Sobota style); endbands of yellow goatskin with
onlays; top-edge decorated with acrylic paints; middle cover boards are
steel; cut-outs in covers are filled with removable pieces with embedded
magnets that have each interviewee's name and picture on the bottom of
the piece. The pieces can be removed and used to play the "matching
In reading this book the binder was struck by "the divine memories I
have of interviewing each of these magnificent and talented bookbinders."
Pamela Leutz has been bookbinding since 1979. She studied at the Craft
Guild of Dallas, in Switzerland with master bookbinder, Hugo Peller, and
with Czech design binder, Jan Sobota. She has taught bookbinding classes
in Dallas and Colorado Springs. Her work has been exhibited in Texas,
Chicago, and the Czech Republic. She is the author of The Thread That
Binds: Interviews with Private Practice Bookbinders. She is online
Celine Lombardi, Boston, MA USA.
Description: Quarter-leather binding with handmade paper thread laminated
onto a backing tissue for the covering material; title is handwritten
in leather onlay; endpapers are paste papers made by the binder with detail
of leather onlay "thread" continuing from front cover across
both inside boards; leather hinges; text was sewn on cords and laced onto
boards in a tight joint, hollow back, French style binding; handsewn endbands.
This book was bound (through the quarter leather spine and leather hinges)
during a week of study with Monique Lallier. All the decorative work was
completed on my own and was of my own devising.
In reading this book the binder felt that "as a student, I appreciate
learning about the lineage of my craft."
I am currently a student at the North Bennet St School in Boston. I
began my first bookbinding classes at the Center for Book Arts in New
York and worked as an assistant to a bookbinder in Brooklyn for two years
before deciding to make this my career.
Anna Mavromatis, Houston, TX, USA.
Description: Covered in Rives BFK with monotype in rubber based ink;
endpapers are monotype used for cover scanned and reworked in Photoshop
to form a graphic pattern; printed with archival pigmented inks on Velin
Arches; sewn on tapes and bound in paper over boards; decor of ghost print
on Rives BFK pleated, folded and joined to form a sleeve band.
In reading this book the binder was struck by "the similarity not only
in the interest and dedication but also in the love for the craft I share
with the interviewees!."
My background in fashion design and illustration makes it natural for
me to create art based on "themes" that develop into "stories"; this
method of working, together with my interest in paper art structures formed
the path that brought me into the realm of Artists’ Books creation.
In my work I incorporate elements of printmaking using a vast array of
mediums, including digitally generated imagery. I apply these techniques
in the design and construction of one of a kind and small edition Artists'
Books. Degrees from London College of Fashion and in bookbinding from
Jana Pullman, Minneapolis, MN USA.
Description: Binding using the techniques from Jen Linsay's book, Fine
Bookbinding; bound in a light gray buffalo leather with the surface rubbed
across with a brown spirit dye to bring out the strong texture of the
leather; silk sewn endbands and edge to edge doublures; tooling and titling
was done in copper foil with dark brown and dark blue onlays.
In reading this book the binder was struck by "how we all struggle with
pricing our work."
Student of Jim Dast, University of Wisconsin-Madison, and Bill Anthony,
University of Iowa. MFA in printmaking with an emphasis in book arts and
papermaking. Worked for libraries and institutions in book and paper conservation
and now I am in private practice.
Samantha Quell, Buffalo, NY, USA.
Description: Quarter leather with paste paper covers; sewn on raised
cords; hand sewn end bands; speckled edge; visible hinge end sheets with
gray Roma paper.
I graduated from SUNY Oneonta in 2009, with a bachelor's degree in art/art
history and a minor in chemistry. An interest in conservation led me to
an eighteen month internship in the Book Conservation Lab at Syracuse
University Library, and a book binding course taught by Peter Verheyen.
I am currently living in Buffalo, NY. I am an intern at the Western New
York Book Arts Collaborative and starting my Master's in Library Science
at the University at Buffalo in January 2011. She is online at <http://samquell.blogspot.com/>.
Barbara Simler, Kamloops, BC, Canada.
Description: Limp leather binding with walnut brown cowhide and nut
brown cowhide strips; wrap-around strap closure; tackets and decorative
stitching sewn with Irish linen thread; Canson endpapers.
In reading this book the binder was struck by "the range of backgrounds
and education that the interviewees had."
Barbara Simler is originally from Woodland, Idaho. Her education in
book arts is mostly the result of her own investigations; more recently
she has also studied bookbinding with Jim Croft and Elsi Vassdal Ellis.
She owns and operates Moon Bindery,
a book arts studio in Kamloops, BC., Canada.
Christina Q. Thomas, Provo, UT, USA.
Description: English style, tight-back, single flexible binding; sewn
on raised linen cords; that are laced in and out of the boards and then
glued across the board surface to form the tree branch design; all edges
sprinkled in 3 colors of ink; green and yellow silk headbands hand sewn
on square, leather/vellum cores; bound in Nigerian goatskin with leather
onlays; paste paper of my own design glued in one continuous piece across
the joint to complete the decorative paste down and flyleaf; title stamped
in gold foil.
In reading this book the binder was struck by "the reassuring connections
I felt between myself and the binders interviewed as well as deeper connections
to the craft's past, present, and future."
First trained as a book repair technician while a BYU student from 2000-2004.
Later trained under Mark Andersson and Jeff Altepeter at the North Bennet
Street School. Completed conservation internships at the Boston Public
Library and the LDS Church History Library in Salt Lake City. Since early
2009, I have been working part-time as the assistant supervisor over repair
of circulating books in the Harold B. Lee Library at Brigham Young University
and part-time at home in my little attic bindery.
Peter D. Verheyen, Syracuse, NY, USA.
Description: Gebrochener Rücken (modified Bradel) binding; red Roma
endpapers; sewn link stitch on four reinforced leather tapes; dark red
and gray handsewn endbands; spine covered in gray leather with cutouts
for tapes; boards covered in reddish brown Pergamena deer vellum; titled
stamped in gold on front cover with leather onlays.
In reading this book the binder was struck by "by the tenaciousness
and dedication with which the binders pursued their dreams."
Formal apprenticeship at the Buchbinderei Klein in Gelsenkirchen, Germany;
internships at the Germanisches Nationalmusum in Nuremberg, Germany, and
at the Folger Shakespeare Library with Frank Mowery; worked with Heinke
Pensky-Adam and William Minter, and at the Yale and Cornell university
libraries. Currently head of Preservation and Conservation at Syracuse
University Library. Past Exhibitions and Publicity Chair for the Guild
of Book Workers, publisher of The Bonefolder, Book Arts Web,
and Book_Arts-L. His bindings are online here.
Bind-O-Rama Announcement Now Online!