Pub Date : 2019-10-02DOI: 10.1080/18680860.2019.1748421
J. Smart, O. Clarkson, Siobhan Clarkson, E. Clarkson
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Pub Date : 2019-10-02DOI: 10.1080/18680860.2019.1743570
Nadine Dumain
With short, quick steps, Chris was moving a small group of students, closely following behind him. We needed to think, understand, make and watch/see, all at the same time; each one of us in our own little corner, working on our projects but all together around the same subject. He loved the excitement of the hive and threw lines to those clever enough to catch them. Every year he brought a surprise, a mystery to dig into. He seemed inexhaustible. Stuart Welch, who was already organising a workshop on limp bindings and paper as a covering material, was responsible for Chris showing up at our papermill, le Moulin de Verger, one day. Stuart’s workshop reconvened every year for eight years, welcoming professionals from all over the world. The aim was to connect users and a papermaker to try to find a solution to a specific problem. The collaboration between the papermaker Jacques Brejoux and myself had already resulted in the improvement of the quality of handmade paper and cardboard. I was convinced of the relevance of such an approach and very impressed by the arrival in my studio of this living icon that was Christopher Clarkson. The person I met then was a simple and generous man, able to adjust to all kinds of situations, as uncomfortable as they may be, as long as he could have ‘just a nice cup of tea’ twice a day. Could he be more British? My admiration only grew from there, faced with the strength and evidence of his arguments. At first a little off-balance from the seemingly disorganised side of this character who would set everything in motion at the same time, I was quickly seduced by the way he would leave everyone free to find their way. He would drop a few hints; show two or three techniques, book models as well as historic bindings; and off we went, jumping in at the deep end, like little paper boats thrown into the water. How do you fold paper? It may sound rather basic but once you have folded paper with Chris, everything becomes different. You discover a breath, an ease, a control and a power that you did not have before. He did not care how you got there, only counted the result and understanding the goal to be achieved. From one year to another, he would modify his tools to obtain the desired fold. He was always on the lookout for innovations, new tips, different ways of doing things, giving free rein to imagination and creation. What a pleasure to observe and understand what seemed a small detail, absolutely unsuspected until he put his finger on it, only to discover a universe much more subtle and refined than what one could wrongly believe to have been mastered before. But he also knew how to shape his effects and create surprise with his sly and clever eye, right before our smug, sceptical or enchanted faces. What a satisfaction to see that the search for perfection is not only to be found in the stiffness of a perfectly executed decoration, but maybe more in the harmonious choice of materials and the ability to make disparat
克里斯的脚步又短又快，带动了紧跟在他身后的一小群学生。我们需要同时思考、理解、制作和观看;我们每个人都在自己的小角落里，做着自己的项目，但都围绕着同一个主题。他喜欢蜂箱里的兴奋，并把绳子扔给那些聪明的人，让他们抓住它们。每年他都会带来一个惊喜，一个谜。他似乎是取之不尽的。斯图尔特·韦尔奇(Stuart Welch)已经在组织一个关于软皮装订和纸张作为封面材料的研讨会，他负责让克里斯有一天出现在我们的造纸厂——维尔杰磨坊(le Moulin de Verger)。斯图亚特的工作坊每年都会重新召开一次，持续了八年，欢迎来自世界各地的专业人士。其目的是将用户和造纸商联系起来，试图找到解决特定问题的方法。我和造纸匠Jacques Brejoux的合作已经提高了手工纸和纸板的质量。我确信这种方法的相关性，克里斯托弗·克拉克森这个活生生的偶像来到我的工作室给我留下了深刻的印象。我当时遇到的那个人是一个简单而慷慨的人，能够适应各种各样的情况，不管这些情况有多不舒服，只要他每天能喝两次“一杯好茶”就行。他还能更像英国人吗?面对他有力的论据，我的钦佩之情从此与日俱增。起初，这个角色看似混乱的一面让我有点不平衡，他会同时推动一切，但我很快就被他让每个人自由找到自己的方式所吸引。他会给你一些暗示;展示两到三种技术，书籍模型以及历史装订;于是我们出发了，跳进深水区，就像被扔进水里的小纸船。你怎么折纸?这听起来可能很基本，但一旦你和克里斯一起折叠纸，一切都会变得不同。你发现了一种呼吸，一种放松，一种控制和一种力量，这是你以前没有的。他不关心你如何到达那里，只计算结果和理解要实现的目标。每年，他都会修改他的工具，以获得想要的折痕。他总是在寻找创新，新的技巧，不同的做事方式，让想象力和创造力自由发挥。观察和理解一个看似很小的细节，直到他伸手去摸，才发现一个比人们错误地认为已经掌握的更微妙、更精致的宇宙，这是一种多么愉快的事情啊。但他也知道如何塑造他的效果，用他狡猾而聪明的眼睛创造惊喜，就在我们沾沾自喜、怀疑或着迷的面孔面前。令人满意的是，对完美的追求不仅体现在完美执行的装饰的硬度上，而且可能更多地体现在材料的和谐选择和使不同组件和谐地协同工作的能力上，没有任何约束，力或粘合剂，最终目标是找到正确的运动和存在。Chris向我们展示的模型和技术一开始看起来很“明显”。它们似乎不太复杂，无法复制，比如简单而常规的缝纫。但很快就清楚地显示出，他的榜样是完美的，没有任何粘合剂，没有一个集合滑落，尽管多年的处理。他是靠什么魔法成功的?通过对他所做的事情的简单而深入的理解;通过非常精确地调整他对材料和工艺的感知和知识;通过对原材料质量的极端要求，他选择使用。这对他来说是一个关键问题，因为每种材料都有不同的可能性。今天，我们受到供应商目录或某些标准的制约，以至于我们无法想象，或者干脆忘记了其他品质的存在，或者曾经是可能的。我们花了很多时间试图克服市场上材料的弱点和它们的缺陷，这不一定是有意的。克里斯想要收回对原材料的控制:知道如何识别它们，明智地使用它们，并根据它们的特性决定它们的最佳用途。测试和选择!根据我们自己的要求发明我们自己的测试。掌握我们的材料和工具。学习如何正确选择工具，以及如何
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Pub Date : 2019-10-02DOI: 10.1080/18680860.2019.1745465
Lilian M. C. Randall
ABSTRACT The first of two topics addressed in this article is the monumental archive established by Christopher Clarkson during his consultancy from 1977 to 1979 in the Department of Manuscripts and Rare Books at the Walters Art Gallery in Baltimore, Maryland (renamed Walters Art Museum in 2000). His tenure at the Walters coincided with the launching of a catalogue of some 500 Western European manuscripts, for which funding was generously provided by the National Endowment for the Humanities. The two chief topics addressed below are Clarkson's organization of his codicological manuscript survey and the significance of an early thirteenth-century English glossed Gospel book still in its original monastic binding. As a scholarly resource, Christopher Clarkson's archive at the Walters marks an enduring contribution to his formidable legacy.
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Pub Date : 2019-10-02DOI: 10.1080/18680860.2019.1748384
M. Foot
ABSTRACT Recipes for edge gilding and gold tooling on bookbindings can be found in medieval alchemical, chemical, technical and medical manuscript tracts from the late fifteenth century onwards. Sixteenth-century printed books dealing with medicinal and “curious” subjects, with secrets and mysteries, as well as seventeenth and eighteenth century bookbinding manuals, include recipes for making gold leaf or gold paint and pigments and explain how to apply these to leather and parchment bindings. This article concentrates on descriptions of edge gilding and gold tooling in West European sources, dating from the late fifteenth to the late seventeenth centuries.
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Pub Date : 2019-10-02DOI: 10.1080/18680860.2019.1743559
R. DeStefano, A. Campagnolo
Christopher Clarkson, to whom the essays in this book are dedicated, was a giant in the field of book conservation and book history. His innate artistic talent and craftsmanship were without equal. He lived a life dedicated to the book, specializing in the period of the early codex to the Renaissance. This publication is an emphatic reflection of the great regard in which Chris was held by the conservation community and beyond. In Europe and the United States, his influence will forever be marked by the many innovative approaches and techniques he passed on to his fellow conservators and historians. Chris inspired many in the field with his teachings and approach. As young students, we both attended the European School for Conservators-Restorers of Book Materials in Spoleto, Italy, where Chris taught numerous courses on historical bookbinding structures and conservation. He was deeply vested in the founding of the school and influential in its teaching structure. Chris strongly opposed the practice of blindly applying a procedure or creating a facsimile of a historical book structure – he believed that a deep understanding of each individual book as an artefact in its historical context was fundamental to any conservation intervention. His broad understanding of the book as a threedimensional object, along with his affinity for its historical context and the challenges that original materials and structures posed, left a remarkable impression on us. His dedication to the craft, the ease with which he could execute complex procedures, his profound knowledge of the history of the book, and his openness to investigate new treatment approaches was inspirational. Chris, ultimately, provided instruction and training to two generations of students. Even in later years when, much to his dismay, he was unable to take on students in his private studio in Oxford, he was always available for calls and emails to talk through treatment challenges. In this special volume, we collect a series of original papers and recollections honouring Chris. Jedert Vodopivec Tomažič kindly agreed to include Chris’s last unpublished article and provided an interview with Chris by the National Radio of Slovenia from 24th November, 2008. Claudia Benvestito, Claire Dekle and Gwenanne Edwards, Hanka Gerhold, Cedric Lelièvre, Elodie Lévêque and Claire Chahin investigate historical materials and techniques for conservation work, as well as conservation designs developed early on by Chris. The contributions by Jacques Brejoux, the Clarkson Family, Nataša Golob, Nadine Dumain and Stuart Welch reflect the personal connection they had to him. Nicole Gilroy, Marinita Stiglitz and Robert Minte, Assunta Di Febo, Lilian Randall, Abigail Quandt, Jedert Vodopivec Tomažič recount the influence Chris had in their respective institutions. Silvia Pugliese, Georgios Boudalis, Nicholas Pickwoad, Nancy Turner, Mirjam Foot and Jiří Vnouček delve deeply into aspects of book history, reflecting their
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Pub Date : 2019-10-02DOI: 10.1080/18680860.2019.1743543
Stuart M. Welch
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Pub Date : 2019-10-02DOI: 10.1080/18680860.2019.1748967
H. Gerhold
ABSTRACT By developing a modular book support system for the safe handling of open books being consulted in library reading rooms Christopher Clarkson created for the first time an awareness for the necessary support of open books. He thus contributed crucial, pioneering work for the development of conservation book supports. With Clarkson's pioneering work as the starting point, the author, together with Michaela Brand, book conservator at the German Historical Museum in Berlin, researched in a multiyear project the construction of book supports for open books in exhibitions. The project was published in 2019 as a handbook on conservation book supports and supplies information about their construction, function, manufacture, and use. The large variety of conservation book supports that has been developed since Clarkson's first idea makes clear that a single book support model cannot fulfil all the requirements that arise over time and in different places for conservation book supports. Over the years countless different, functional book support models have been developed that today are available for every exhibition design and every budget. A book support is optimal when it fulfils the essential, identified requirements of its uses.
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Pub Date : 2019-10-02DOI: 10.1080/18680860.2019.1746118
Silvia Pugliese
ABSTRACT Thanks to Christopher Clarkson’s pioneering work on limp parchment binding, this structure has become an object of study in the international community of book conservators. An Italian late-sixteenth-century variation is presented here, found in a consistent number of volumes ascribed to the same hand from the same Renaissance private library, now preserved in the Marciana National Library (Venice, Italy). The binding combines the qualities of parchment and those of cover paper, a strong yet flexible material that is inserted in the endleaf area and considerably reinforces the text block/cover attachment. This study discusses the binding’s manufacturing details, its innovative and refined structure, its non-adhesive features and tested durability, and its potential as a present-day conservation binding model.
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Pub Date : 2019-10-02DOI: 10.1080/18680860.2019.1743544
M. Zor
ABSTRACT The following interview with Christopher Clarkson was recorded during his visit to Ljubljana in 2008. Most of his time was spent leading a workshop in the National Archives of Slovenia, and he also delivered a public lecture in the Department for Art History at the Faculty of Arts, University of Ljubljana. I worked as a journalist in the cultural programme of the National Radio of Slovenia at that point and I invited him to be the guest of the programme Ars Humana, where the following interview with him—in Slovene translation—aired on 24th of November 2008. The audio file has been released by the Radio Slovenia for this publication (Zor and Clarkson, 2008).
以下是克里斯托弗•克拉克森2008年访问卢布尔雅那期间对他的采访。他的大部分时间都花在斯洛文尼亚国家档案馆的一个研讨会上，他还在卢布尔雅那大学艺术学院艺术史系发表了一次公开演讲。当时我是斯洛文尼亚国家广播电台文化节目的记者，我邀请他成为Ars Humana节目的嘉宾，该节目在2008年11月24日播出了以下对他的采访(斯洛文尼亚语翻译)。该音频文件由斯洛文尼亚广播电台发布(Zor and Clarkson, 2008)。
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Pub Date : 2019-10-02DOI: 10.1080/18680860.2019.1747884
N. Gilroy, M. Stiglitz, Robert Minte
ABSTRACT Christopher Clarkson was appointed Conservation Officer at the Bodleian Library, University of Oxford in 1979 just months after its Conservation section was created. He remained in this post for eight years, but his close relationship with the Bodleian was to continue throughout the rest of his life. It is impossible to overestimate Chris’s impact on the present-day Conservation and Collection Care section (C&CC) at the Bodleian, nor his influence on its individual members. This paper gives a preliminary overview of the innovations and achievements from his work at the Bodleian and tries to convey their legacy in our conservation work today.
{"title":"The Bodleian Library: Chris Clarkson and the Making of a Conservation Department","authors":"N. Gilroy, M. Stiglitz, Robert Minte","doi":"10.1080/18680860.2019.1747884","DOIUrl":"https://doi.org/10.1080/18680860.2019.1747884","url":null,"abstract":"ABSTRACT Christopher Clarkson was appointed Conservation Officer at the Bodleian Library, University of Oxford in 1979 just months after its Conservation section was created. He remained in this post for eight years, but his close relationship with the Bodleian was to continue throughout the rest of his life. It is impossible to overestimate Chris’s impact on the present-day Conservation and Collection Care section (C&CC) at the Bodleian, nor his influence on its individual members. This paper gives a preliminary overview of the innovations and achievements from his work at the Bodleian and tries to convey their legacy in our conservation work today.","PeriodicalId":16666,"journal":{"name":"Journal of Paper Conservation","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82584666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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