miércoles, 22 de febrero de 2012

Marbling, from endleaves to artwork.

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El Marmoleado: del papel de guardas a la obra de arte.
Antonio Vélez Celemín

17 x 24 cm. 376 pages.
384 illustrations, most of them in colours.
Hardback.
ISBN: 978-84-7895-264-9
Price: 40,00 Euros


Resume:

The work is divided in five parts.

The first one is dedicated to the history of marbling, from the first painting technique in the surface of water, the Japanese Suminagashi, studying the oriental marbling or Ebrû and the great epoch of the western one, when it was used almost obligatorily in any hardback, up to the actuality, in which it is used by an artists' fistful as his way of pictorial expression.

The second part is an interval, a visit to a French workshop of the great epoch of marbling, that is realized by means of the translation of the French text of the Encyclopedia accompanied by the two engravings that this work dedicates to this matter, but isolating them in many details and placing each one just when the text mentions the operation that is being doing.

The third part is a complete practical manual of the technique. There are described all the elements necessary to practice it. Perhaps the showiest section is a guide step by step to make 75 different, classic, modern, easy, complicated models. Also in this part is commented marbling in other supports, book-edges, wood, fabric …

The fourth part presents an endless number of varieties of marbling, but not as in the earlier guide, with the purpose to make them, but as a chronological exhibition, linking together every pattern to the epoch in which it was used. It is, somehow, a fashion show, which one was “in” in the XVIIIth century, which one in the XIXth. and so on.

Finally, the last part exhibits a series of techniques of decorated paper different from marbling. Since they all were used in the binding, like end leaves, there exists the tendency to use a generic name to designate all of them, this way every end leave which is not white is simply a decorated paper, or, I like this name very much, a nice paper. To characterize completely marbling, I had to add this part that will allow not confusing it with any other technique, which, sometimes, were even used to give to papers an aspect in imitation to a marble.

The set of illustrations of this book, circa 400, some realized by me personally, but many due to the collaboration of numerous artists, institutions and private collectors who allowed me to study and use its funds, make me consider this work to be a gift to the sight.

Antonio Vélez Celemín

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Some comments:

27022012// ...my new book arrived last saturday. I had great satisfaction in turning over page by page. I appreciate all the sections,the images are amazing. finally I can say I have a serious, really interesting book about the art of marbling in my library. It's an useful tool for the ones who already have experience with marbling but at the same time for the ones who start appreciating this art. RC


01032012/ /Your lovely book arrived in the mail today. The illustrations are beautiful, and I look forward to studying it further and including it in my marbling library. Thank you for your contribution to the literature of marbling. EE


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This is the index of my work,
translated into english as the book is only in spanish:

PROLOGUE

INTENTION AND CONTENT OF THIS BOOK

SOME TERMINOLOGICAL PRECISIONS

1. THE HISTORY OF MARBLING

1.1. THE FLOATING PAINTING. Suminagashi in Japan

1.2. THE ORIENTAL SPLENDOR. Ebrû in Persia, India and Turkey

1.2.1. The most ancient samples and the name Ebrû

1.2.2. The value of the word in the Islam and the Ebrû

1.2.3. The decorated papers in the Moslem world

1.2.4. The technique of Ebrû (marbling) in the East

1.2.5. Ebrû, support of calligraphy

1.2.6. An Indian genius

1.2.7. The first books on Ebrû

1.2.8. The Ebrû manufacturer: the ebrûccu

1.2.9. The floral Ebrû

1.2.10. The classic masters

1.2.11. Ebrû and art

1.3. EUROPE DISCOVERS MARBLING. Travelers, collectors, princes and scientists

1.3.1. The album amicorum

1.3.2. Germany and the “Fugger connection”

1.3.3. The sonnets of the Duke of Angoulême

1.3.4. Collectors and bibliophiles

1.3.5. The curiosity of the travelers and the scientific interest

1.4. THE CLASSIC EPOCH OF MARBLING IN EUROPE (1680-1789).

Bookbinders and paper decorators

1.4.1. Marbling and French binding

1.4.2. Marbling and the industry of decorated papers sets in Germany

1.4.3. The controversy on marbling in Holland

1.4.4. The beginnings of marbling in England

1.4.5. Marbling in Denmark, Sweden, Switzerland and Russia

1.4.6. Marbling in Italy

1.4.7. Marbling in Spain

1.5. BETWEEN THE REVOLUTION AND THE PROGRESS (1789-1885).

The decline of marbled paper

1.5.1. Annonay and Aschaffenburg: the big industries

of decorated papers of the continent

1.5.2. Marbling shelters in England

1.5.3. Marbling in America

1.5.4. Mechanical marbling

1.6. THE RENEWAL OF MARBLING (FROM 1885)

1.6.1. Josef Halfer

1.6.2. The halferian school of marbling

1.7. MARBLING IN THE XXTH CENTURY

1.7.1. The industrial manufacture, the new techniques and Cockerell

1.7.2. Study, collection and investigation

of marbling

1.7.3. The art of marbling

1.8. CONCLUSION


2. INTERVAL. A FRENCH WORKSHOP OF THE XVIIITH CENTURY. The Encyclopedia

or reasoned dictionary of the sciences, arts and offices

2.1. THE PAPER MARBLER

2.2. THE WORKSHOP OF THE PAPER MARBLER

2.3. THE PREPARATION OF THE BATH

2.4. THE PREPARATION OF THE COLORS

2.5. THE MANUFACTURE OF MARBLED PAPERS

2.6. THE MANUFACTURE OF THE PLACARD

2.7. THE MANUFACTURE OF THE PERSILLÉ

2.8. THE MANUFACTURE OF THE SMALL COMB

2.9. EDGES’ MARBLING

2.10. OF THE PASTE PAPERS

2.11. REMARKS ON THE WAY OF PREPARING THE MARBLED PAPERS

3. A PRACTICAL MANUAL OF MARBLING

3.1. DESCRIPTION OF THE PROCESS

3.2. EQUIPMENT AND NECESSARY MATERIAL

3.2.1. Relative to the bath

3.2.2. Relative to the paintings

3.2.3. Relative to the ox bile

3.2.4. relative to the paper

3.2.5. Necessary equipment for the formation of designs in the bath

3.3. THE IRISH MOSS

3.4. THE PAINTING

3.4.1. The way of preparing the painting

3.4.2. Suggested formulae for the dissolution of paintings

3.5. THE OX BILE

3.5.1. Effect of the ox bile as a surfactant

3.5.2. Effect of the ox bile as isolator

3.5.3. Effects of the ox bile in the fixation of the painting

3.6. THE GUM, THE PAINTINGS AND THE OX BILE: INTERRELATIONS

3.6.1. Factors that influence the dosage of the ox bile

3.6.2. Method for the dosage of the ox bile

3.6.3. The test of the colors

3.6.4. The tone

3.6.5. The saturation

3.6.6. Resume

3.7. SEQUENCE FOR THE ACHIEVEMENT OF A MARBLED DESIGN

3.8. HOW TO MAKE THE TRANSFERENCE OF THE PAINTING.

PREPARATION AND FINISHED OF THE PAPERS.

3.8.1. Ways of extending the papers on the bath

3.8.2. Treatments of preparation of the papers

3.8.3. Drying

3.8.4. Finishing treatments

3.9. ACHIEVEMENT OF MODELS. A GUIDE OF 75 DIFFERENT MODELS.

3.9.1. Stone models

3.9.2. Combed models

3.9.2.1. The basic combed models

3.9.2.2. Models of simple combs

3.9.2.3. Models of double Comb

3.9.2.4. Models of eights’ Comb

3.9.2.5. Models with swirls

3.9.3. Mixed models

3.9.3.1. “Weimann variations”

3.9.4. Folded Models

3.9.5. Double Marbling

3.10. MARBLING IN OTHERS SUPPORTS THAN PAPERS

3.10.1. Books’ edges

3.10.2. Other supports

3.10.2.1. Two-dimensional materials

3.10.2.2. Three-dimensional objects

4. THE WESTERN HISTORICAL VARIETIES OF MARBLING

4.1. THE FIRST EUROPEAN DESIGNS, XVIITH CENTURY

4.2. THE DESIGNS OF THE XVIIITH CENTURY

4.3. THE DESIGNS OF THE BEGINNING OF THE XIXTH CENTURY

4.3.1. French model, Stormont or Empire

4.3.2. Shell Model or French Shell

4.3.3. Tiger’s eye model or Sun

4.3.4. Schroetel model or Partridge' eye

4.4. THE ENGLISH VARIETIES OF THE XIXTH CENTURY

4.5. THE VARIETIES OF THE "NEW" HALFERIAN MARBLING

5. THE EUROPEAN TECNIQUES OF PAPER DECORATION UNTIL THE XIXTH CENTURY

5.1. THE MONOCHROME PAPERS

5.2. THE XILOGRAPHIC PAPERS

5.3. THE VELVETY PAPERS

5.4. THE BROCADE AND GILD PAPERS

5.5. THE PASTE PAPERS

5.6. THE SPLASHED PAPERS

5.7. WALLPAPER

5.8. THE MANUFACTURE OF DECORATED PAPERS IN SPAIN

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How to order.


1 comentario:

  1. Olá Antonio! Comprei teu livro através da Amazon. Parabéns pelo teu belíssimo trabalho e pela especial atenção tua em partilhar teus conhecimentos. Tentarei fazer o pente cujas informações tão detalhadas puseste no blog. Muito obrigada. Uma informação, caso queira baixar o livro de Woolnough. Encontrei na internet um site maravilhoso de livros antigos, patrocinado pela Universidade de Harvard, que gentilmente nos oferece essa edição. Não sei se este blog permitirá colocar um link, mas tentarei:
    http://virtuallibrary.cincinnatilibrary.org/virtuallibrary/vl_oldrare.aspx?ResID=2180
    Abraços e parabéns pelo belíssimo trabalho!
    Silvia

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