Aimee Peake of Bison Books, Winnipeg (Canada) looks back at her week in sunny California, filled with impressions of books, bookseller encounters and exhibiting at the California International Antiquarian Book Fair.
Recognized as one of the world's largest and most prestigious exhibitions of antiquarian books, this eagerly anticipated bi-annual fair gives visitors the opportunity to see, learn about and purchase the finest in rare books, manuscripts, autographs, graphics, photographs and more.
At the Ordinary General Meeting on 4th February 2018 the presidents of ILAB’s national member associations voted for Sally Burdon (Australia) as new ILAB President. She succeeds Gonzalo F. Pontes who served as President from 2016 to 2018; and will be supported by ILAB Vice‐President Fabrizio Govi (Italy).
From February 9 - 11, 2018, Southern California hosts the
nation’s largest rare book exhibition as thousands of book lovers, booksellers, and scholars converge at the 51st California International Antiquarian Book Fair.
"Robert Sabuda is a man of many dimensions. In the author and illustrator's hands, children's stories unfold — and also tumble, pop, fly, rise up, spin and leap from the page. Sabuda is the modern master of a technique used to bring text to life since the 13th century. In the realm of pop-up books, Robert Sabuda stands out."
After the 40th ILAB Congress in Switzerland in September 2012 the antiquarian booksellers will look forward to meeting each other again in Paris in 2014. The 41st ILAB Congress will be one of many occasions where ILAB affiliates come together in France on invitation of the Syndicat National de la Librairie Ancienne et Moderne (SLAM) which will celebrate its centennial in 2014. The 14th Congress, for example, was also held in Paris, another exciting event in the history of the League.
Gold stamped peacock feather on blue cloth over beveled boards. It is a brilliant example of the engraver's art - both in the quality of technique used to execute it, and the illumination that emanates from the image. The extremely fine detailing in the stamping die makes the image shimmer as the book is held, with even slight movements causing one part or another to flash more brightly, and creates illusionistic dimensionality with flat gold stamping that made me touch it to see if it's embossed.
"Women have less bite and competence", are "prone to self-doubt" and "fear of losing their livelihood". Women have a different time management system and "cannot handle large sums of money". Women are part-time booksellers and specialise in children's books, they "have a rich partner in the background", or they work in the profession until "Mr. Right" comes along and marries them. Good old prejudices – they still exist ...
This year I finally tracked down a copy of Abraham Lincoln Gillespie's The Shaper, which is as far as I know is not only the first separately published work by the poet, but also the only work published in his lifetime. The Shaper was published by the Archangel Press, a press I know nothing about, but which published another one of my favorite books of visual poetry - Kenneth Lawrence Beaudoin's 6 Eye Poems. Today I got to put the two works, which are presented in a uniform format, side by side. Both are among the strangest, most overlooked works of visual poetry that I know of, and represent a little documented strand of visual poetry in the United States.
First, the basics: a print is a repeatable image made by a variety of processes, usually on paper or fabric (sometimes other materials like treated animal skin). Ink is transferred from the printing surface – usually a metal plate, woodblock or limestone block – by exerting pressure, usually by means of a press. The most widely practised traditional processes include woodcut and linocut, etching, engraving, lithography, and, in the 20th century, screenprinting. One person's idea of what constitutes a print is often very different to another's. For much of my specialist period, the 18th and 19th centuries – much of it pre-photography – printing was the only medium of mass visual communication. So the prints I sell can be illuminating 'primary sources' for our history.