Versailles
This archival, hand-sewn journal/sketchbook is made from 120 gsm, Arches Arches 100% cotton rag archival paper from France, sewn with Irish linen thread in the linked stitch pattern that dates back at least to the Ancient Copts. It allows the book to lay open easily to any page.
This book’s endbands are brown and yellow cotton, and its bookmark is grosgrain ribbon. Its spine is covered split French goatskin, and its boards are wrapped in a paper that was hand-marbled by Regina and Daniel St. John at Chena River Marblers in Amherst, MA.
Treasure binding began with monks in the 6th Century who would encrust volumes with jewels. During the Renaissance, there was a resurgence in treasure binding. This is a contemporary revival of the treasure binding in which a lucky charm has been embedded in the cover of this book.
The talisman in this book is an 1881 French art school award for drawing. It’s obverse reads: “Ecole Mun de Dessin/1ere Division/Ornement d’apres la Bosse/2e Prix/R. Leroux/1881.” Abraham Bosse was a 17th Century French printmaker, the son of a tailor, his work is meticulous and notable for his careful detailing of his subjects’ garments. Details do matter.
This book is approximately 6.5 x 10” with a few more than 150 blank pages.
This archival, hand-sewn journal/sketchbook is made from 120 gsm, Arches Arches 100% cotton rag archival paper from France, sewn with Irish linen thread in the linked stitch pattern that dates back at least to the Ancient Copts. It allows the book to lay open easily to any page.
This book’s endbands are brown and yellow cotton, and its bookmark is grosgrain ribbon. Its spine is covered split French goatskin, and its boards are wrapped in a paper that was hand-marbled by Regina and Daniel St. John at Chena River Marblers in Amherst, MA.
Treasure binding began with monks in the 6th Century who would encrust volumes with jewels. During the Renaissance, there was a resurgence in treasure binding. This is a contemporary revival of the treasure binding in which a lucky charm has been embedded in the cover of this book.
The talisman in this book is an 1881 French art school award for drawing. It’s obverse reads: “Ecole Mun de Dessin/1ere Division/Ornement d’apres la Bosse/2e Prix/R. Leroux/1881.” Abraham Bosse was a 17th Century French printmaker, the son of a tailor, his work is meticulous and notable for his careful detailing of his subjects’ garments. Details do matter.
This book is approximately 6.5 x 10” with a few more than 150 blank pages.
This archival, hand-sewn journal/sketchbook is made from 120 gsm, Arches Arches 100% cotton rag archival paper from France, sewn with Irish linen thread in the linked stitch pattern that dates back at least to the Ancient Copts. It allows the book to lay open easily to any page.
This book’s endbands are brown and yellow cotton, and its bookmark is grosgrain ribbon. Its spine is covered split French goatskin, and its boards are wrapped in a paper that was hand-marbled by Regina and Daniel St. John at Chena River Marblers in Amherst, MA.
Treasure binding began with monks in the 6th Century who would encrust volumes with jewels. During the Renaissance, there was a resurgence in treasure binding. This is a contemporary revival of the treasure binding in which a lucky charm has been embedded in the cover of this book.
The talisman in this book is an 1881 French art school award for drawing. It’s obverse reads: “Ecole Mun de Dessin/1ere Division/Ornement d’apres la Bosse/2e Prix/R. Leroux/1881.” Abraham Bosse was a 17th Century French printmaker, the son of a tailor, his work is meticulous and notable for his careful detailing of his subjects’ garments. Details do matter.
This book is approximately 6.5 x 10” with a few more than 150 blank pages.