Dieu Donne Papermill The oldest papermill in the city, Dieu Donne has been a vital papermaking center since it moved to New York in 1976.1 The past year has been exciting for the non-profit Dieu Donne, which moved from an old studio, high above the pavements of Crosby Street in Soho, to a nearby storefront setting, on Broome Street. Mina Takahashi, the mill's executive director, says the move was necessitated by a lack of space in the old location and the desire to promote handmade paper as an art form. The staff and board of directors of the mill felt that it was important to establish a gallery devoted to papermaking and paper arts in New York. The new space includes a beautiful street-level gallery, outfitted with a huge window which draws the public in to view the paper art on display. Dieu Donne plans to hold eight to ten exhibits per year, a mixture of one-person and group shows, as well as site-specific installations. This summer the mill will put out a call for curated and single artist exhibitions in order to broaden the program. Located behind the gallery is a small store where unique works of art in paper are for sale. Dieu Donne is also interested in exploring the idea of editioning works in paper for the art market. These editions might consist of a series of pulp paintings with printed images, or a series of works with related formats and fibers. The staff has also stocked the store with a line of art papers, papers for conservation purposes, and papers for bookbinders, as well as publications concerning papermaking, papermaking kits, fibers, and pigments. Beyond the store lies the paper studio where Paul Wong, the mill's artistic director and master papermaker, works. The studio is large enough to allow production papermaking and artistic collaboration to take place simultaneously. The symbiotic relationship of papermaking and collaboration have been central to the development of papermaking at Dieu Donne. Takahashi explains that "all the exercises you have to do in paper production go back into what you do in artists' collaborations, and what you learn with artists--the mistakes you make and the crazy stuff you do--ends up going back into the paper production. So they talk to each other. That makes everything richer." Wong is an experienced collaborator who enables the artists he works with to pursue their own ideas. All of the works he collaborates on share an intense understanding of the material, yet each retains the vision of the collaborating artist.
Beyond the store lies the paper studio where Paul Wong, the mill's artistic director and master papermaker, works. The studio is large enough to allow production papermaking and artistic collaboration to take place simultaneously. The symbiotic relationship of papermaking and collaboration have been central to the development of papermaking at Dieu Donne. Takahashi explains that "all the exercises you have to do in paper production go back into what you do in artists' collaborations, and what you learn with artists--the mistakes you make and the crazy stuff you do--ends up going back into the paper production. So they talk to each other. That makes everything richer." Wong is an experienced collaborator who enables the artists he works with to pursue their own ideas. All of the works he collaborates on share an intense understanding of the material, yet each retains the vision of the collaborating artist. A loft above the store contains the office, where the mill's many projects (including a newsletter and an internship program) are overseen. The study center, which offers access to a slide registry, library, and archive of handmade paper art, is also located in the loft.
A loft above the store contains the office, where the mill's many projects (including a newsletter and an internship program) are overseen. The study center, which offers access to a slide registry, library, and archive of handmade paper art, is also located in the loft. Dieu Donne has an extensive educational program. Classes are given both on weekends and weekday evenings, some of them through the New School and the Center for Book Arts. Helen Hiebert directs an interesting facet of their program, Responsive Hands, in which she employs a traveling papermaking set-up and gives workshops for children in public and private schools throughout the city. These workshops range from two-hour demonstrations to a long-term interdisciplinary curriculum, designed in conjunction with the teachers in the participating school. Hiebert coordinated one project in two schools where students planted a garden of papermaking fibers in the spring and then set up a papermaking studio and made paper from the fibers they had grown.
Dieu Donne has an extensive educational program. Classes are given both on weekends and weekday evenings, some of them through the New School and the Center for Book Arts. Helen Hiebert directs an interesting facet of their program, Responsive Hands, in which she employs a traveling papermaking set-up and gives workshops for children in public and private schools throughout the city. These workshops range from two-hour demonstrations to a long-term interdisciplinary curriculum, designed in conjunction with the teachers in the participating school. Hiebert coordinated one project in two schools where students planted a garden of papermaking fibers in the spring and then set up a papermaking studio and made paper from the fibers they had grown. By providing a central forum for papermakers, artists, and the public, Dieu Donne's new space promises to spread the word about the exciting possibilities of paper as a medium of visual expression.
By providing a central forum for papermakers, artists, and the public, Dieu Donne's new space promises to spread the word about the exciting possibilities of paper as a medium of visual expression.
Carriage House Paper
Carriage House Paper Donna Koretsky always wondered how paper was made when she was a kid, and it turned out that her mother, Elaine, had the same interest. They started making paper together in 1974 in Brookline, Massachusetts, using plants from their garden. The following year the neighbors had a garage sale and the Koretskys bought the garage, the original Carriage House. They have moved twice since, but still keep the name Carriage House Paper.
Donna Koretsky always wondered how paper was made when she was a kid, and it turned out that her mother, Elaine, had the same interest. They started making paper together in 1974 in Brookline, Massachusetts, using plants from their garden. The following year the neighbors had a garage sale and the Koretskys bought the garage, the original Carriage House. They have moved twice since, but still keep the name Carriage House Paper. They were one of the early papermaking studios, working with the papermaking industry because they were not aware of any other papermakers. After they had finagled all the samples they could from the industry, they were forced to make their first purchases of fibers. This posed a problem because the suppliers would only sell in large quantities. When they bought their first bale of abaca pulp they started reselling it to other papermakers to help pay for it. Thus began their supply business. In 1977 their first catalogue was one sheet of paper with four items on it. Their most recent catalogue is nearly fifty pages long and full of a wide range of supplies for papermakers.
They were one of the early papermaking studios, working with the papermaking industry because they were not aware of any other papermakers. After they had finagled all the samples they could from the industry, they were forced to make their first purchases of fibers. This posed a problem because the suppliers would only sell in large quantities. When they bought their first bale of abaca pulp they started reselling it to other papermakers to help pay for it. Thus began their supply business. In 1977 their first catalogue was one sheet of paper with four items on it. Their most recent catalogue is nearly fifty pages long and full of a wide range of supplies for papermakers. The Koretskys have always provided technical assistance to papermakers who use their supplies. They use the products they sell in their own work, so they are able to give excellent advice on their use. Donna Korestsky believes that if you are going to make art you have to know your materials well, to get the effect you want. She has thoroughly researched the materials she uses and sells, and knows their capabilities.
The Koretskys have always provided technical assistance to papermakers who use their supplies. They use the products they sell in their own work, so they are able to give excellent advice on their use. Donna Korestsky believes that if you are going to make art you have to know your materials well, to get the effect you want. She has thoroughly researched the materials she uses and sells, and knows their capabilities. Among the fibers Carriage House imports and supplies are: abaca; Thai kozo, (much less expensive than Japanese kozo); gampi from the Philippines; as well as Japanese kozo, mitsumata, and gampi. The Koretskys are excited about a new fiber they are carrying, FoxFibre, an organically grown, naturally-colored cotton that grows in two colors, a reddish brown and celadon green.
Among the fibers Carriage House imports and supplies are: abaca; Thai kozo, (much less expensive than Japanese kozo); gampi from the Philippines; as well as Japanese kozo, mitsumata, and gampi. The Koretskys are excited about a new fiber they are carrying, FoxFibre, an organically grown, naturally-colored cotton that grows in two colors, a reddish brown and celadon green. While the original carriage house is now used as a research and resource center, Donna Koretsky recently moved the supply business and studio to Brooklyn, just across the Williamsburg Bridge from Manhattan, easily accessible by mass transit and with lots of parking. After the move, Kim Carr, a papermaker and printmaker, joined her as manager of Carriage House.
While the original carriage house is now used as a research and resource center, Donna Koretsky recently moved the supply business and studio to Brooklyn, just across the Williamsburg Bridge from Manhattan, easily accessible by mass transit and with lots of parking. After the move, Kim Carr, a papermaker and printmaker, joined her as manager of Carriage House. The new studio is large, of necessity. Koretsky chose the equipment in the studio because she likes to have the option of working large. A nineteen foot long press that can press paper up to four feet by eight feet dominates the space. Paper can be made on the press bed, by couching or spraying, then slid underneath the platen and pressed. Koretsky makes very large paper by pouring pulp into a deckle of any size, using a formation aid to get an even sheet. She is also interested in pulp spraying and has made use of this technique since Louis Lieberman gave a workshop at the studio in Brookline and pulp-sprayed into plaster molds. Two Hollander beaters supply the studio with pulp.
The new studio is large, of necessity. Koretsky chose the equipment in the studio because she likes to have the option of working large. A nineteen foot long press that can press paper up to four feet by eight feet dominates the space. Paper can be made on the press bed, by couching or spraying, then slid underneath the platen and pressed. Koretsky makes very large paper by pouring pulp into a deckle of any size, using a formation aid to get an even sheet. She is also interested in pulp spraying and has made use of this technique since Louis Lieberman gave a workshop at the studio in Brookline and pulp-sprayed into plaster molds. Two Hollander beaters supply the studio with pulp. Individuals and groups can rent of these facilities. Carriage House also offers a series of workshops, ranging from a one-day introduction to papermaking to a two-week course covering papermaking in depth. With these teaching and papermaking facilities, and their wide range of supplies, Carriage House is a valuable resource for papermakers in New York.
Individuals and groups can rent of these facilities. Carriage House also offers a series of workshops, ranging from a one-day introduction to papermaking to a two-week course covering papermaking in depth. With these teaching and papermaking facilities, and their wide range of supplies, Carriage House is a valuable resource for papermakers in New York.
Dobbin Mill
Dobbin Mill Across the rear courtyard from Carriage House is Dobbin Mill and Dobbin Mill Books, both run by Robbin Ami Silverberg, who became interested in papermaking in the late 1970s after completing her undergraduate work. Unaware of the papermaking revival then taking root in the United States, she left for Vienna, where she lived for three years and taught herself the craft. She set up a papermill using whatever equipment she could devise and also learned bookbinding and book restoration.
Across the rear courtyard from Carriage House is Dobbin Mill and Dobbin Mill Books, both run by Robbin Ami Silverberg, who became interested in papermaking in the late 1970s after completing her undergraduate work. Unaware of the papermaking revival then taking root in the United States, she left for Vienna, where she lived for three years and taught herself the craft. She set up a papermill using whatever equipment she could devise and also learned bookbinding and book restoration. She returned to New York to learn more about papermaking, working briefly at Dieu Donne, then at RPM Studios. Silverberg attributes her real education in papermaking to a job as a teaching assistant at Haystack with Peggy Prentice and Ted Ramsey. "It was a real learning session for me because I had to keep the beaters running with Ted and keep the studio running; a real trial by fire." She decided she needed her own studio and in 1989 Silverberg opened Dobbin Mill.
She returned to New York to learn more about papermaking, working briefly at Dieu Donne, then at RPM Studios. Silverberg attributes her real education in papermaking to a job as a teaching assistant at Haystack with Peggy Prentice and Ted Ramsey. "It was a real learning session for me because I had to keep the beaters running with Ted and keep the studio running; a real trial by fire." She decided she needed her own studio and in 1989 Silverberg opened Dobbin Mill. Dobbin Mill is equipped with a David Reina Hollander beater, a 40" x 40" hydraulic press, and a Reina drying box. The mill has a full range of vats and moulds, a small vacuum table, an air compressor for pulp spraying, and facilities for both Eastern and Western papermaking.
Dobbin Mill is equipped with a David Reina Hollander beater, a 40" x 40" hydraulic press, and a Reina drying box. The mill has a full range of vats and moulds, a small vacuum table, an air compressor for pulp spraying, and facilities for both Eastern and Western papermaking. Silverberg loves to collaborate with other artists. In 1991 she set up Dobbin Books in a studio space adjacent to the papermill, with sculptor Louise McCagg and Hungarian artist Andras Borocz, to produce collaborative book projects. As Silverberg is the only papermaker and bookbinder of the three, she is involved in all collaborations. Projects have been done with artists in Austria, Hungary, and Japan, as well as with American artists, using sculpture, drawing, photography, Gobelin tapestry, and mixed media with letterpress printing, etching, papermaking, and bookbinding techniques.
Silverberg loves to collaborate with other artists. In 1991 she set up Dobbin Books in a studio space adjacent to the papermill, with sculptor Louise McCagg and Hungarian artist Andras Borocz, to produce collaborative book projects. As Silverberg is the only papermaker and bookbinder of the three, she is involved in all collaborations. Projects have been done with artists in Austria, Hungary, and Japan, as well as with American artists, using sculpture, drawing, photography, Gobelin tapestry, and mixed media with letterpress printing, etching, papermaking, and bookbinding techniques. Dobbin Mill has a strong commitment to education. Silverberg gives workshops at the mill one weekend a month, and, less frequently, at other locations. She always works with an intern, but only one at a time, in order to give them quality attention. Among past interns, she has worked with a filmmaker and a poet, in addition to visual artists.
Dobbin Mill has a strong commitment to education. Silverberg gives workshops at the mill one weekend a month, and, less frequently, at other locations. She always works with an intern, but only one at a time, in order to give them quality attention. Among past interns, she has worked with a filmmaker and a poet, in addition to visual artists. It is unusual to have Dobbin Mill and Carriage House across the courtyard from each other: two papermills and an artist's book studio, all in one spot. Silverberg jokes about running across the courtyard to borrow a cup of sizing, but the creative possibilities are endless.
It is unusual to have Dobbin Mill and Carriage House across the courtyard from each other: two papermills and an artist's book studio, all in one spot. Silverberg jokes about running across the courtyard to borrow a cup of sizing, but the creative possibilities are endless.
Kate's Paperie
Kate's Paperie "This is truly the paper source," declares Craig Anczelowitz, director of Kate's Paperie. "We created a store for paper mavens, like ourselves." And so it is. In addition to selling paper, Kate's stocks everything "within the realm of good taste" that is made from paper. The store carries a tremendous selection of photo albums and journals, ranging from a recycled version to a handmade, Italian, ostrich-covered, handmade sheet one. One can find at Kate's: lampshades, stationery, presentation boxes, portfolios, envelopes, frames, and individual cards made by artists. The store also has a full printing department where they do custom printing on handmade paper, a book section on paper and book arts, pens, and a home furnishing department with beautiful paper plates and printed napkins. Even the ceiling of the store is made of paper.
"This is truly the paper source," declares Craig Anczelowitz, director of Kate's Paperie. "We created a store for paper mavens, like ourselves." And so it is. In addition to selling paper, Kate's stocks everything "within the realm of good taste" that is made from paper. The store carries a tremendous selection of photo albums and journals, ranging from a recycled version to a handmade, Italian, ostrich-covered, handmade sheet one. One can find at Kate's: lampshades, stationery, presentation boxes, portfolios, envelopes, frames, and individual cards made by artists. The store also has a full printing department where they do custom printing on handmade paper, a book section on paper and book arts, pens, and a home furnishing department with beautiful paper plates and printed napkins. Even the ceiling of the store is made of paper. Kate's was founded by Leonard Flax, of Flax Art & Design stores, and Joe Berraro, a direct result of their previous involvement in art supplies and paper. They opened the first store about eight years ago in a small space on 13th Street in Manhattan, near Parson's School of Design. In 1993 they opened a second, larger store in Soho, with seventy-three hundred square feet of retail space and an additional fifteen thousand square feet of storage.
Kate's was founded by Leonard Flax, of Flax Art & Design stores, and Joe Berraro, a direct result of their previous involvement in art supplies and paper. They opened the first store about eight years ago in a small space on 13th Street in Manhattan, near Parson's School of Design. In 1993 they opened a second, larger store in Soho, with seventy-three hundred square feet of retail space and an additional fifteen thousand square feet of storage. The new space is the largest paper specialty shop in the United States, with a selection of over 4,500 papers from all over the world, including Europe, Africa, Asia, and North America. There are sheets of every conceivable fiber and even some fibers once inconceivable for papermaking. They sell paper made with blueberries, sea shells, various kinds of grasses, metallic silver, and metal shavings (for a very textured sheet). The store carries complete lines of traditional art papers, like Rives and Arches, but they are known for their handmade and exotic papers.
The new space is the largest paper specialty shop in the United States, with a selection of over 4,500 papers from all over the world, including Europe, Africa, Asia, and North America. There are sheets of every conceivable fiber and even some fibers once inconceivable for papermaking. They sell paper made with blueberries, sea shells, various kinds of grasses, metallic silver, and metal shavings (for a very textured sheet). The store carries complete lines of traditional art papers, like Rives and Arches, but they are known for their handmade and exotic papers. Kate's buys handmade paper from individual artists who are producing just two or three different kinds of sheets, from mid-size mills, producing a dozen or two, and from large facilities, like the French mill, Richard de Bas. They carry paper from Dieu Donne, Carriage House, Rugg Road, and Barbara Logan Paperworks, among other American hand papermills.
Kate's buys handmade paper from individual artists who are producing just two or three different kinds of sheets, from mid-size mills, producing a dozen or two, and from large facilities, like the French mill, Richard de Bas. They carry paper from Dieu Donne, Carriage House, Rugg Road, and Barbara Logan Paperworks, among other American hand papermills. Kate's has worked with Dieu Donne for the past eight years developing special papers for use in their in-house printing program. If a customer wants a unique paper for a wedding invitation or business card, Kate's works with Dieu Donne to duplicate or develop it. Anczelowitz has also taken his sales staff to Dieu Donne to acquaint them with the process of making handmade paper.
Kate's has worked with Dieu Donne for the past eight years developing special papers for use in their in-house printing program. If a customer wants a unique paper for a wedding invitation or business card, Kate's works with Dieu Donne to duplicate or develop it. Anczelowitz has also taken his sales staff to Dieu Donne to acquaint them with the process of making handmade paper. All of the papers are on display from floor to ceiling across a long wall; the paper samples are meant to be touched. Each paper has a card with a "printing success code" describing what kind of printing can be done on it. An artist might say: "I want to do a Polaroid transfer on here, then soak it in wax, and then print on it." Kate's paper specialists would then talk to the artist about what can or cannot be done with particular papers. In addition to the sales staff, Kate's has paper specialists with graduate degrees in printing and painting who are interested in papermaking and paper arts and assist customers in their choices.
All of the papers are on display from floor to ceiling across a long wall; the paper samples are meant to be touched. Each paper has a card with a "printing success code" describing what kind of printing can be done on it. An artist might say: "I want to do a Polaroid transfer on here, then soak it in wax, and then print on it." Kate's paper specialists would then talk to the artist about what can or cannot be done with particular papers. In addition to the sales staff, Kate's has paper specialists with graduate degrees in printing and painting who are interested in papermaking and paper arts and assist customers in their choices. The store ships paper all over the world but does not have a swatch book. People who request samples are sold a 5" x 7" piece with all the information about the sheet: the name of the paper; its size, price per sheet, and origin; whether it is acid free or not; and its printing success codes.
The store ships paper all over the world but does not have a swatch book. People who request samples are sold a 5" x 7" piece with all the information about the sheet: the name of the paper; its size, price per sheet, and origin; whether it is acid free or not; and its printing success codes. Their wide range of papers and paper-related objects, as well as their custom work and knowledgeable sales staff, truly make Kate's Paperie unique. If you have a tactile sense of paper and an affinity to handle fine paper products, this is the place to come.
Their wide range of papers and paper-related objects, as well as their custom work and knowledgeable sales staff, truly make Kate's Paperie unique. If you have a tactile sense of paper and an affinity to handle fine paper products, this is the place to come.
Dieu Donne, Carriage House, Dobbin Mill, and Kate's Paperie all have made and continue to make significant contributions to the community of New York papermakers. Dieu Donne has done much to promote paper as an artistic medium and to support artists and papermakers; Carriage House is important for its supplies and workshops; Dobbin Mill for collaborations; and Kate's Paperie for being a wonderful paper store. They all work together to make New York a creative and important papermaking center.
Dieu Donne, Carriage House, Dobbin Mill, and Kate's Paperie all have made and continue to make significant contributions to the community of New York papermakers. Dieu Donne has done much to promote paper as an artistic medium and to support artists and papermakers; Carriage House is important for its supplies and workshops; Dobbin Mill for collaborations; and Kate's Paperie for being a wonderful paper store. They all work together to make New York a creative and important papermaking center.
Endnote
Endnote 1. An article by Mindell Dubansky on the mill's first fifteen years appeared in Hand Papermaking in Volume 6 Number 2, Winter 1991.
1. An article by Mindell Dubansky on the mill's first fifteen years appeared in Hand Papermaking in Volume 6 Number 2, Winter 1991. </div>
