HAND PAPERMAKING

NEWSLETTER

Number 70, April 2005

Newsletter Editor: Tom Bannister. Columnists: John Bordley, Helen Hiebert, Peter Hopkins, Elaine Koretsky, Winifred Radolan, Pamela Wood.

Hand Papermaking Newsletter is published

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The deadline for the next newsletter (July 2005)

is May 15. Please direct all correspondenceto the

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comments on articles in Hand Papermaking

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Hand Papermaking is a 501(c)(3) non-profit

organization. Staff: Tom Bannister, Executive

Director; Mina Takahashi, Magazine Editor.

Board of Directors: Lynn Amlie, Martin

Antonetti, Cathleen A. Baker, Inge Bruggeman,

Gail Deery, Amanda Degener, Helen Hiebert,

Peter Hopkins, Barbara Lippman, David

Marshall, John Risseeuw, Lynn Sures, Marilyn

Sward, Mina Takahashi. Board of Advisors:

Timothy Barrett, Simon Blattner, Gregor R.

Campbell, Mindell Dubansky, Jane Farmer,

Helen C. Frederick, Elaine Koretsky, James Sitter,

Claire Van Vliet, James Yarnell. Co-founders:

Amanda Degener and Michael Durgin.

Dear Friends,

As many of you may already know by now, there was a terrific fire at Jionji, the zen

temple where I’ve been caretaker for more than 25 years. 15 or so years ago, I was given

permission by the head temple in Kyoto to construct a small zen practice hall adjacent

to the temple. This building, which I donated to the temple, has served as my paper and

print making studio. Both buildings were lost in the fire. The only salvageable items

were in the print/paper studio. All of those things are under cover at a friend’s farm, and

they will be looked over and decisions made about their condition. This will take time.

At the present moment, because I know so many people care and wish to help,

the most useful contribution would be donations of money. If you were here with me,

I would much rather receive your time and skills, which is what I have been receiving

from those who are near me. Kozo bark-off took place as planned on February 6th with

30 volunteers, and additional work took place on February 13th, at the Washi Taiken

Center (former paper testing station). The Taiken Center will serve as my workspace for

papermaking until a new studio can be built in a new location. If you were here with

us, we would take much comfort in our efforts together to realize new beginnings. Even

though you are not able to be here, your presence is with us as we work.

As a Jionji danka (parishoner/member), my most pressing needs are to support the

construction of a new temple. (Please understand that I was the caretaker of Jionji, and

it was not and is not my personal home or studio.) Again, at this time the most helpful

support would be purely monetary, and any amount would be greatly appreciated.

Donations can be sent to Tim Barrett in the form of checks payable to him (1302 Ginter

Ave., Iowa City, IA 52240). Tim will be keeping a record of contributions, and updating

me on a regular basis.

Thanks so much for your thoughts and prayers,

Richard Flavin

(Note: Currently working with Richard is Paul Denhoed, an ex-student of Lynn Amlie’s and Tim Barrett’s who

recently completed a Japanese Mobusho Fellowship researching papermaking in Japan. See his letter on page 2.)

Hand Papermaking’s 7th annual Online Auction will take place April 25-30.

See page 9 for an enticing line up of goods in all price ranges. Photos and complete

descriptions of each item can be found at <www.handpapermaking.org>.

Supported by generous donations from our friends, Hand Papermaking’s

annual auction provides the organization with an important source of revenue.

Please join us before the gavel falls on Saturday, April 30. Thanks for your support!

UPCOMING IN THE SUMMER 2005 MAGAZINE

Focus on Contemporary Art in Hand Papermaking

~ Elizabeth Finch interviews NYC artist Amanda Guest ~

~ Reena Jana on traveling “Chuck Close Prints” exhibition and catalogue ~

~ Lauren Ross on Dario Robleto’s paper sculpture in exhibitions

at Inman Gallery/Houston, ACME/Los Angeles, and Galerie Praz-Delavallade, Paris ~

~ Marilyn Sward and Chuck Izui on Aiko Nakane (1908-2004) ~

~ Susan Hagen reviews Winifred Lutz’s recent exhibition at Gallery Joe, Philadelphia ~

~ Amanda Degener reviews Josep Asunción’s “The Complete Book of Papermaking” ~

~ Dominique Nahas reviews recent paper artwork in New York City galleries ~

~ Paper Samples: Japanese katazome decorated paper (in honor of Aiko Nakane)

and paper artwork tip-in by Amanda Guest ~

Dear Readers,

I would like to add to what Richard

has written by offering my own words of

thanks for the words, thoughts, prayers and

contributions that have been received directly,

as well as those received emotionally,

intangibly. Every day since the fire has been

a lesson in the meaning of generosity.

In the last 9 months (since I arrived at

Jionji) my two main priorities have been to

support Richard in his papermaking and

other activities, as well as to move forward

with my own research. These continue to be

my priorities, though the latter will likely

need to be put on the back burner for the

immediate future. When the time eventually

comes for me to renew those efforts in

earnest, what will be required is time, effort

and financial resources. The people around

me have already graciously offered their

time and energy to help re-enter data which

was lost but for which a hard copy remains.

The research that must be re-created can

only be re-created by me re-visiting papermaking

sites across the country, re-acquiring

samples, teaching materials, and reference

items. All of these are only available here in

Japan. Unfortunately, this leaves me in the

awkward position of asking for financial

contributions towards that end. Anything

you can spare will be gratefully accepted,

truly appreciated, and carefully directed.

These can be sent care of Tim Barrett (see

address above).

Please rest assured we are all facing,

and moving, forward; thanks dearly for all

of your love and support.

Paul Denhoed

ALONG THE PAPER ROAD...

This regular feature offers paper musings from

Elaine Koretsky--renowned paper historian,

researcher, and traveler. In this installment,

Elaine describes how Asian papers have been

employed for a variety of non-writing purposes

over the years.

I have been reflecting upon the great

inventions of the Chinese centuries ago, of

which paper is one of the most important.

When the Chinese invented paper more

than 2,000 years ago, it soon was recognized

as a superior writing surface. But paper also

played another vital role, which may well

have preceded its use in writing. This role,

which marked the beginning of the development

of industrial papers, should not be

overlooked or minimized. The Chinese explored

many raw materials and developed

techniques to produce paper designed for

special purposes. From early times, in China

and in the other Asian countries to which

papermaking spread in the first millennium,

paper was used in a myriad of ways--among

them, insulation, wrappings, umbrellas,

lanterns, clothing, linings, gold beating,

and filters. Papermakers figured out how

to produce paper that would fulfill the

purpose for which the paper was made. This

meant knowledge and experimentation

with fibers and their processing, cooking

and beating techniques, additives, sheet formation,

and drying methods. All of this lies

in the history of the development of modern

industrial paper.

When I was a student of paper chemistry

back in the 1970’s at the University of

Massachusetts, I was fascinated with the

subject “Design of Paper.” It was incredible

to realize the thought, the research,

the experiments that go into the making

of papers that are specifically designed for

hundreds of special purposes, from tea bags

to Formica©. So many factors are involved

in the design of these papers--the selection

of the trees or the non-woody fibers, their

initial preparation, the digestion of the raw

materials, the beating methods, the additives,

including how and when they are

added, sheet formation, drying--and then

their ultimate conversion processes. All of

this is firmly rooted in the past, although the

exact routing can be rather dim or controversial.

My own field research into the history

of paper, which has taken me to remote

areas throughout Asia for nearly a third of

a century, has enabled me to see what the

hand papermakers could create, using only

local materials.

Twenty years ago, I came upon a

remarkable collection of Chinese papers that

had been gathered by an American botanist,

Dr. Floyd McClure, who lived in China

from 1919 to 1941. He was fascinated with

the hand papermaking he found there and

wrote about it in technical journals. When I

acquired Dr. McClure’s treasure trove of

papers and his writings, all housed in 7

trunks, I eventually edited it all and the

result was published in 1986. The book contains

40 samples of different papers that Dr.

McClure collected, along with descriptions

of how they were made and their uses.

Sixty years after McClure began his

teaching in China, I started traveling there,

and I return annually for several weeks each

time. So my own paper collection and my

visits to dozens of the hand papermaking

villages now span more than 20 years.

The extraordinary thing is that many of

the papers that McClure found are still

being made in China. I put together a little

booklet of sample papers that I collected,

and it is interesting to compare the two sets

of samples and realize that in traditional

papermaking very little has changed in

more than 80 years, between 1919 and

2002. And this, despite China’s giant leap

industrially in the past half century.

Dr. McClure marveled at the uses of

handmade paper, produced by very simple

methods, and eminently suitable for the

purposes for which they were made. And

I discovered many more types of papers,

both in China and in other Asian countries.

To give examples: a very large percentage of

handmade papers is made from mulberry

fiber. The Chinese realized early the versatility

of this material, for instance, its insulating

properties. Sheets of mulberry paper are

used to insulate the roofs and the walls of

houses, and to cover windows (instead of

glass)--in fact, I bought many of my paper

samples in shops that sold building materials.

In 1993 I observed in Dunhuang, China,

paper pulp mixed with plaster to be used

in plastering walls. The addition of paper

kept the plaster from rubbing off. A thin

mulberry paper is used in clothing as an

interlining--the paper is light in weight, yet

tough, and is able to confine a large amount

of air in proportion to its weight. I have such

a jacket that I bought a few years ago in Guizhou

Province, China, and it is unbelievably

warm. The farmers use a type of mulberry

paper to protect chicken eggs from extremes

of temperature when they bring these eggs

to market. The farmers anticipate the eggs

will hatch enroute, and the paper, called Sha

chi, which combines lightness and softness

with strength and porosity, provides an

ideal blanket both for the hatching eggs and

the newly-hatched chicks. And Dr. McClure

mentions another mulberry paper, called

Hong kaan chi, which translates to “cocoon

stifling paper”, which is used by the silk

spinners, to keep cocoons warm.

The Chinese also realized that paper

is eminently suitable for filtration. Dr.

McClure gives examples of bamboo papers

that are used to filter water. Pik pong chi,

from Guangdong Province is one of them.

He mentions another bamboo paper used

for filtering in the making of opium. In

1993, when I was traveling along the Burma

Road from Mandalay in Burma to Kunming

in China, I found a group of papermakers

along the roadside making sheets of paper

from mulberry. Shortly after, our jeep pulled

in at a shed to fill up with petrol. This was

accomplished by pouring the petrol from

a bucket into the tank of the jeep through

a funnel. In the funnel was a cone-shaped

piece of the mulberry paper. Now this has

significance for our modern tea bag. Many

years ago I received a lot of help in my

fiber research from the Dexter Company,

located in the U.S. They were the firm that

developed the tea bag, and I was told by

their research department that initially they

tried mulberry fiber for tea bags--it had

sufficient porosity plus wet strength that

would enable the little tea bag to withstand

boiling water without disintegrating, yet

would let the tea essence come through.

Mulberry was a fine choice, but very

expensive, so they turned instead to abaca,

which also can produce a thin, strong paper

with amazing wet strength.

My sample of Formica© also harks back

to another mulberry paper of the Chinese,

also Sha chi, as above. When it is waterproofed,

it is called Yau chi. One method

of waterproofing is to coat the sheets of

mulberry paper with tung oil and press two

sheets tightly together while the oil is still

fresh. When dry, a two-ply sheet is the result.

The tung oil forms an impervious film

within the sheets, which is very effective in

shedding water. The paper is used for umbrellas,

raincoats, for waterproof wrappings,

boxes, etc. In Guizhou Province, China, I

saw handmade mulberry paper used as an

interlining to waterproof woven bamboo

hats. In Korea the paper is used in homes

for floor coverings. When I was there, I witnessed

the process of making and oiling the

paper in the village of Songwang-myon. To

waterproof paper for the wrapping of foods,

the Chinese use another method. They coat

the mulberry paper with a substance made

from unripe persimmons. The Japanese use

the same technique to make their waterproof

stencil papers. If we skip a few centuries

to Formica©, we see how such a material

could develop. Very simply stated, Formica©

is made of papers that are impregnated with

resin, creating a hard, waterproof surface.

To be continued in the July Newsletter.

BEGINNER TOPICS

Well-known author and teacher Helen Hiebert

offers helpful tips and guidance for newcomers

based on her popular books (see www.

enlightenedpapers.com). In this issue she talks

about setting up a papermaking studio.

If you get serious about papermaking

and decide to dedicate a space to it--whether

it be in your basement or garage, or in

a special place--here are a few tips I’ve

gathered over the years as I’ve visited other

studios and worked on setting up my own.

There are several steps in the papermaking

process, and you might choose to

do them all in one location, or, you may

prepare your fiber in one location and make

paper in another. In either case, make sure

your work area is free of electrical hazards.

If possible, install your outlets up off the

ground to prevent them from being exposed

to water. Keep extension cords well above

the floor and far away from faucets and

hoses. Always cook fiber in a well-ventilated

area. Beating can be done anywhere--just be

aware that the pounding or blending can be

noisy. Take the time to plan a layout for your

papermaking studio. There is a certain order

to the process and it is well worth it to set

up accordingly.

You do not need a very large work area

for the actual papermaking. You just need

access to water and a table and floor that

can get wet. One easy solution is to work

outdoors. Keeping your work area clean can

be tricky outside, especially if it is windy,

buggy, or sandy. “Stuff” tends to end up in

your pulp or your paper. You can reduce

this by covering your buckets and vats with

mesh or plastic when they are not in use.

If you want to work inside but are worried

about damaging your floor and table, cover

your table and the surrounding floor with

newspaper and/or plastic. Duct tape is

strong and waterproof and can be used for

securing plastic. Wherever I work, I line my

strainer or drain with a fine mesh or muslin

cloth to collect tiny fibers and prevent

clogging.

Set your vat on a table surface at a

comfortable height. Place your couching

station right next to it, so that you do not

have to carry your wet mould and sheet of

paper very far. Keep additional felts nearby,

where you can grab them as you need them.

Work near your water supply to avoid

lugging heavy buckets of water back and

forth. A garden hose with a spray nozzle is a

papermaker’s best friend.

Plastic buckets of all sizes come in

handy in the transportation of water and

pulp. Extra pulp can be stored in a bucket

under the table for easy access when you

need to replenish the vat.

If you wish to remain dry when making

paper, wear a rubber apron and waterproof

shoes or boots.

Finally, it is very important to properly

care for your papermaking equipment to

assure that it will last for a long time. Paper

pulp sticks to everything and is easiest to

remove when still wet. Thoroughly clean

your mould and deckle and let them dry

out after use. Avoid spraying water through

the back side of the mould, because it could

force fiber deeper between the layers of

mesh. Store moulds and deckles flat to

prevent warping. Rinse your pellons or felts

to remove bits of pulp that might stick to

the next sheet couched onto them. Rinse out

buckets, vats, etc., so that the pulp residue

does not dry stuck to your equipment. Wait

until your buckets are dry before you stack

them together--they stick to each other

if stacked when wet and are practically

impossible to separate.

Portions excerpted from Papermaking with

Plants, © 1998, by Helen Hiebert with permission

from Storey Publishing. <www.storey.com>.

TEACHING HAND PAPERMAKING

Based in Philadelphia, Winifred Radolan operates

an itinerant teaching papermill, and has

taught papermaking to thousands of adults and

children. In this article, Winnie concludes her

account of a unique papermaking program for

elders and teens.

At the time of my last column I had

made initial plans and introductory visits

for a residency that provided art experiences

for intergenerational participants. Nearing

the conclusion of that same residency,

I can say that it has been a journey of

compromises, learning experiences, and

insights that will inform future adventures.

From the very first hour-long gathering

of ten nursing home residents and twentyfour

teenagers, I knew we were in for some

serious logistical challenges. I immediately

split the group in half and planned on

two separate interpretations of the theme,

“Coming of Age Yesterday, Coming of

Age Today.” Our sponsors agreed to

an additional five hour-long sessions to

accommodate our numbers. While this

relieved the time pressure, it only served

to dilute the continuity of our experience.

Towards the last few weeks of our project

we decided to cut back to the fourteen most

interested teens and seven seniors.

The papermaking and printmaking

components of our project were enthusiastically

participated in by teens and seniors

alike. I had small portable vats of pulp on a

cart that I could move around to the seniors

in wheelchairs. I had to explain and demonstrate

the process to each senior individually

after the group demo. The vats were shallow

(so seniors could reach in without too much

stretching) plastic storage containers big

enough to accommodate 7” x 10” moulds

and light enough for me to hold closer if

need be. Some of the seniors had the use of

one hand only, others could not really grip

the mould at all, so my hands “went along

for the ride” and guidance. Couching on a

blanket on the tables in front of them was

a collaborative effort as well. Excess water

was sponged away. Because our time together

was so short, I pressed and dried the

paper at home. For their printmaking, we

practiced making marks with a stylus, pen,

or pencil on Styrofoam plates. I explained

about names needing to be backwards and

in reverse. When their simple Styrofoam

plate drawings were ready for printing,

I rolled out the ink and they placed their

handmade papers on top of the inked plates,

rubbing with the heel of their hands (and

a little teenaged assistance). The resulting

prints of their drawings proved to be most

exciting--especially when their included text

read correctly and not backwards.

But it has been particularly difficult

to develop the text and images for their

handmade paper quilt and accordion

book. Teen-senior interviews that were

to have taken place in-between my visits

did not happen. Hour-long work sessions

dwindled to forty minutes when students

and/or seniors arrived late for a variety of

reasons. And it has taken weeks for us to

see any relationship developing between

our intergenerational partners. Teens have

needed constant encouragement to dialogue

with and assist the seniors.

Because this is part of a pilot program

involving a series of nursing home/school

partnerships with artists, there were many

unforeseen and unavoidable obstacles.

Fortunately, there will be a big de-briefing

meeting to offer suggestions of what did

and did not work for the next round of

programs. I have much to contribute. I am

coming away from the experience with the

strong conviction to enter future residencies

with clear and concrete parameters

concerning numbers of participants,

age groups, time frames, and realistic

expectations for outcomes. Although I am

certain that “the journey was the reward”

for teens and seniors working with me these

past few months, the next time around I’d

like to orchestrate smoother sailing!

ON-LINE

Pamela S. Wood of Arizona makes one-of-a-kind

books from her handmade papers. She explores

the internet seeking out notable paper-related

sites. In this issue, Pam describes a remarkable

papermaker’s journal.

Every year there are more and more

virtual paper roads to travel. As often is

the case with weary travelers, there is no

place like home! For this trip we venture

to Kentucky, here in the US. The site is

<www.ginpetty.com> produced by the

artist Virginia Petty, Gin for short. Since the

review of her book appeared in the Winter

2004 issue of Hand Papermaking magazine, I

had heard many references to this site, but

only now I actually sat down with plenty of

time for a leisurely visit.

The opening splash page is very

unassuming, but stick with it; despite the

simplicity there is an amazing amount to

be uncovered, especially in the first section,

“Papermaking Journal.” I know from my

own paper journey, a diary or journal is a

must. So much of what is being done with

fibers and plant materials is still uncharted

territory. As Virginia Petty explains, much of

what she read on the subject of papermaking

was dry; she likes paper wet and fun!

And the conversation with Gin is fun, as if

you were out on her porch with her having

coffee. It is so refreshing. As you work your

way through the months and years, she

includes photos which load easily, then lead

back to the narrative. The dialog documents

her artistic travels with each fiber. Included

are her thoughts on the problems she

encounters and how she solves them, the

weather she worked in, even the inquisitive

insects and other “helpers” who came along.

Her cat likes to assist, even eating some of

the pulp (See Howard Clark’s column in

the April 2000 issue of Hand Papermaking

Newsletter for more on this). Other times

she plays host to a myriad of night visiting

paper or fiber wannabes! This journal began

in 2001 and has been documented through

2004. The information she imparts is useful

for papermakers at all levels of expertise.

It is delicate, sensitive, and just plain down

to earth.

In addition to being a papermaker,

Gin makes books with the paper, quite

lovely specimens. Another section of the site

shows her basket making, and whittling.

The whittling has been with her since childhood

when her father taught her the art.

When you have the chance to go to this

site, take along a cup of something hot, get

cozy, and prepare to enjoy the exploration of

papermaking. Y’all come back now, hear?

PAPER HISTORY

Peter Hopkins is a media relations consultant

specializing in environmentally responsible

papermaking and the history of papermaking.

In this issue, Peter shares an intriguing story of

railroads, strikers, and watermarks.

There is a long and rich history

associated with watermarks. They identify

the particular grade produced, and well

as conveying as sense of pride by the

papermaker. Sometimes, watermarks can

convey other information as well. There’s a

wonderful old story that’s been circulating

for more than a century about a very specific

message carried by watermarks.

This case had its roots in the American

Railway Union strike of June 28, 1894,

under the leadership of Eugene V. Debs.

The purpose of the strike was to show support

for a walkout of the workforce of the

Pullman Company on the issue of wages

and working conditions, which had been

adversely affected by the panic of 1893. The

men involved in the strike had good cause,

as wages had been cut from between 25 and

40 percent, while the salaries of Pullman

officials and managers remained stable.

On the other side of the battle, of

course, was the management of the railroads

involved in the dispute, which was represented

by the General Managers’ Association.

All railroads having Chicago terminals

were members of this organization.

The usual violence ensued, which

increased to large proportions, eventually

leading to the sending of federal troops

by President Grover Cleveland and the

imposition of martial law. Debs was placed

on trial for conspiracy, and the strike

collapsed on August 2. Debs was defended

at trial by the great Clarence Darrow, and

the end result was that the case was quietly

dropped in 1896. The union was disbanded

the following year.

Following the strike, the GMA refused

to allow strikers to return to their old jobs,

and instituted one of the most effective

black-balling systems in railroad history:

“The Crane with the Broken Neck.”

Ex-strikers drifted to other parts of

the country in search of employment.

However, they found they could not get a

job without a letter of reference from their

previous employer--the General Mangers’

Association--something they refused to

do. However, one ex-striker forced his old

employer to issue such a letter by means

of a successful lawsuit, which required all

GMA railroads to issue letters upon request.

So everybody who wanted a lettr got one,

which noted that he had left the service of

the railroad by his own accord.

So why were some hired and some

rejected? Seems it had less to do with

qualifications and more to do with past

union activity. But how was the employer to

know? The message was in the paper itself.

Among the suppliers of paper to many

of the large railroads in the late 1800s was

the Crane Bros. mill in Westfield, Massachuse

tts. One of their most popular papers was

Japanese Linen, which featured distinctive

watermarks of a Crane. One watermark

showed the Crane with its head elevated;

the other with its head pointed to the

ground--The Crane with the Broken Neck.

As the story goes, the referring railroad

would write a letter of reference for former

employees using the Broken Neck Crane

paper if they had been actively involved

in union activities. The message was clear

to the prospective employer: Don’t hire

this troublemaker. Those with references

written on Crane paper with the watermark

of the head elevated were accepted for

employment.

The watermark system was evidently

short-lived, as word spread quickly about

the employment screening technique. It

is said that those who had letters with

the Broken Neck Crane had to destroy

the letters, hence leaving them without a

reference and without employment, so it

did live on, even after the evidence of union

activity was destroyed.

PAPER SCIENCE 101

John Bordley is F. B. Williams Professor and

Chair of the Chemistry department at Sewanee:

The University of the South. In this second

installment, John explains bonding within and

between molecules, laying the foundation for

future columns explaining papermaking science

and chemistry to those non-scientists among us.

The first chapter appeared in the last issue

of this publication. Its name could have

been: Charges--Likes Repel, Opposites Attract.

This chapter carries on with that fundamental

theme.

Most of the volume of an atom is due

to the space occupied by the electrons; the

484 words:

Chapter 2: Bonding Within and Between Molecules

The fi rst chapter appeared in the last issue of this publication. Its name could have been: Charges—Opposites Attract. [Insert Figure 1]

This chapter carries on with that fundamental theme.

Most of the volume of an atom is due to the space occupied by the electrons; the protons and neutrons nucleus are very tightly compacted in the nucleus. In a typical atom, the nucleus is only about 1/size of the whole atom. Although the orbiting, negatively charged electrons

ery tightly compacted in the nucleus. In

a typical atom, the nucleus is only about

1/10,000th the size of the whole atom.

Although the orbiting, negatively charged

electrons repel each other and stay as

far from each other as possible, they are

attracted to the positively charged nucleus.

An oxygen atom has eight protons in the

nucleus and, to be neutral, eight electrons.

The symbol for this species is O.

Oxygen does not exist in nature as

oxygen atoms! Rather two oxygen atoms

form an oxygen molecule. The chemical formula

O2 indeed suggests that two O atoms

have combined. In forming this molecule,

the electrons from one oxygen atom are

attracted to the positively charged nucleus

of another atom; the electrons on the second

atom are also attracted to the nucleus of the

first atom.

In the resulting molecule of diatomic oxygen,

some of the electrons are shared by the

two nuclei in what is called a covalent bond.

These shared, or bonding electrons, are attracted

equally to the two identical oxygen

nuclei. When the arrangement of the electrons

is homogeneous and symmetrical, as

in O2, there is an entirely even distribution

of the negative charge of the electrons.

An uneven distribution of electrons

in a molecule results when the nuclei that

are sharing a covalently bonded pair of

electrons are not the same. Such a molecule

is said to be polar, with one end slightly

negative and the other end slightly positive.

A good example is a bond between

atoms of carbon and oxygen. Since there

are two more protons in the nucleus of the

oxygen atom than in the carbon nucleus,

the electrons are attracted more to the

oxygen nucleus than to the carbon nucleus.

Although the overall molecule is neutral, the

O end of the bond winds up with a slight

negative charge and the C end winds up

with a slight positive charge.

This type of covalent bonding is said to

be within the molecule. This intramolecular

bonding is very strong, i.e., it takes a lot of

energy to break the covalent bond within

the molecule. But what happens when two

polar molecules come near each other? The

negative end of one molecule is attracted to

the positive end of another molecule. This

kind of attraction between molecules is called

intermolecular bonding. Intermolecular

bonds between small covalent molecules

are only 1-5% as strong as the intramolecular

covalent bonds. But the attractions are

significant and give properties to the bulk

substances that are not present in non-polar

substances.

Next time: a look at the special properties

of water.

Listings for specific workshops and

other events in the following categories

are offered free of charge on a

space-available basis. The deadline for

the July Newsletter is May 15.

Contact each facility directly for

additional information or a full schedule.

CLASSES AND WORKSHOPS

Amagansett Applied Arts, 11 Indian Wells

Hwy., PO Box 1336, Amagansett, NY 11930,

(631) 267-2787, <www.a3arts.org>. Papermaking

classes taught by Sue Gosin on the

eastern end of Long Island.

Paper Nest and Egg Sculpture, April 9-10.

Make your own nature-inspired bird’s nest

using handmade natural fiber papers; fill it

with eggs molded from colorful papers.

Spring Botanical Note Cards, May 14-15.

Create beautiful cards incorporating spring

flowers, foliage and handmade papers of

your own design.

Arrowmont School of Arts and Crafts, Box

567, Gatlinburg, TN 37738, (865) 436-5860,

<www.arrowmont.org>. Classes and workshops

in a variety of disciplines.

Translucent Casting in Handmade Paper,

June 19-25, with Amanda Degener. Using

techniques developed by sculptor Winifred

Lutz, focus on making paper using simple,

direct, non-plaster molds made with inexpensive

materials.

The Banff Centre, Box 1020, Banff, Alberta,

T1L 1H5, Canada, <www.banffcentre.

ca>, (800) 565-9989 or contact <wendy_

tokaryk@banffcentre.ca> for registration.

Only Hemp, August 17-21, with Lynn Sures.

Explore this versatile medium, which can be

colored, formed into sheets, sprayed, cast, or

used in pulp painting.

John C. Campbell Folk School, Route

1, Box 14A, Brasstown, NC 28902, (704)

837-2775, <www.folkschool.org>. Classes

in papermaking and other crafts in the

mountains of western North Carolina.

Papermaking - Western Style, May 1-7,

with Claudia Lee. Learn the basics of hand

papermaking in the Western tradition in this

hands-on, up-to-the-elbows class.

Paper Intensive, May 8-14, with Claudia Lee,

Joyce Sievers, Sharon Coogle and Nancy

Lawrence. Begin with cotton rag and abaca

pulp to make sheets, as well as decorative

papers with colored pulps and marbled

papers, and end with accordion books.

Silk Papermaking Weekend, June 10-12, with

Kathy Hays. Make silk “paper” that can be

embellished with surface techniques such as

stamping, painting, or machine etching.

Columbia College Chicago Center for Book

and Paper Arts, 1104 S. Wabash, Chicago, IL

60604, (312) 344-6630, <www.bookandpaper.

org>. Classes in papermaking and book arts.

Decorative Paper Surface Treatments, April 7-

8, with Nancy Vachon. Turn drab, everyday

papers into works of art.

Lovely Lace Paper, April 16-17, with Jamie

Thome. Create kozo and gampi lace papers

by spraying with a hose, using stencils, and

layering dyed and sprayed fibers.

Dieu Donné Papermill, 433 Broome Street,

New York, NY 10013-2622, (212) 226-0573,

<www.dieudonne.org>. Beginning and

advanced papermaking classes.

Haystack Mountain School of Crafts, PO

Box 518, Deer Isle, ME 04627, (207) 348-2306,

<www.haystack-mtn.org>. Workshops in

various disciplines, including papermaking.

The Creative Dance of Nagashizuki: Transforming

the Traditional into the Contemporary,

July 31-August 19, with Catherine

Nash. Use traditional Japanese papermaking

in exciting new two-dimensional and sculptural

ways exploring the journey from plant

to pulp to paper to art.

La Font du Ciel, La Chambary, Charrus,

F-07230 Saint André Lachamp, France,

<pfpfrerick@aol.com>, <www.frerick.de>.

Papermaking workshops at the east foothills

of the Cevennes taught by Helmut Frerick.

Introduction to Hand Papermaking as an Art

Form and Evolution of Handmade Books,

April 27-30 or September 4-7. After learning

traditional and experimental papermaking

techniques, continue sheetforming or move

on to bookbinding.

Paper and Space, May 29 – June 1 or September

9-12. Introduce yourself to three-dimensional

techniques.

Two- and Three-Dimensional Asian Papermaking,

June 3-7. Practice Japanese and

Nepalese methods with sugetas and swimming

moulds, plus Asian paper casting.

Paper from Wild and Cultivated Plants, June

9-12 or September 14-17. Walk through the

local fields and woods then use plants of

many types to create a variety of papers.

Vacuum Table and Pulp Spraying, June 14-16

or September 19-21. Create larger pieces using

these two working techniques.

Artistic Watermarks, June 19-22. Become

skilled at making a range of watermarks,

from traditional metal to experimental

shadow watermarks.

Magnolia Editions, 2527 Magnolia St.,

Oakland, CA 94607, (510) 839-5268, <www.

magnoliapaper.com>. Workshops in papermaking,

printmaking, and book arts.

Within and Between Molecules

appeared in the last

Minnesota Center for Book Arts, 1011

Washington Avenue South, Suite 100, Minneapolis,

MN 55415, (612) 215-2520, <www.

mnbookarts.org>. Classes at the Open Book

center for book and literary arts.

Japanese Papermaking and Decoration, May

2-23, Monday evenings, with Jana Pullman.

After learning the process and forming

many sheets, explore a variety of decorative

techniques.

Paper Circle, Box 117, Nelsonville, OH 45764,

(740) 753-3374, <papercircle@frognet.net>.

Oriental Papermaking, April 2, with

Susan Urano & Sara Gilfert.

Sewing on Paper, April 16, Lanna Galloway.

PapierWespe (PaperWasp), Aegidigasse

3/Hof, 1060 Wien, Austria, (0676) 77-33-

153, <papierwespe@chello.at>, <www.

papierwespe.at>. Workshops in English

and German taught by paper specialists in

downtown Vienna.

Papertextiles, May 6-8, with Christina Leitner.

Learn practical approaches to working

with paper threads.

Fold and Crumple, Cut and Tear, May 21-22,

with Veronika Kyral. Discover the potential

of manipulating paper, first with only your

fingers and then with various tools.

School for PaperWasps, July 11-22, with

Beatrix Mapalagama. Intensively focus on

the concepts of paper and gain insight into

current practical and theoretical standards

of papermaking and paper art.

Vegetable Papyrus, October 7-9, with Tanja

Boukal. Visit the Viennese main market to

purchase a selection of fruit and vegetables

for making colorful, transparent sheets,

lampshades, and bowls.

Peninsula Art School, Box 304, Fish Creek,

WI 54212, (920) 868-3455 <www.peninsulaartschool.

com>. Classes in papermaking

and other crafts for all ages, held in Door

County, Wisconsin.

Papermaking Basics, May 25 or June 20, with

Pat Ullom. Learn sheet forming, couching,

pressing, and drying in this hands-on

introduction.

Penland School, Penland, NC 28765, (828)

765-2359, <www.penland.org>. A full

program of craft workshops, including

papermaking and book arts.

Papermaking for Broadsides & Books, June

12-24, with Bernie Vinzani. Make edition

multiples for broadsides and books using

stencil and watermarking techniques.

Paper & Light, August 14-26, with Ann

Marie Kennedy. Investigate the material

nature of paper and the myriad ways in

which light and paper interact.

Peters Valley Craft Center, 19 Kuhn Road,

Layton, NJ 07851, (973) 948-5200, <www.pvcra

fts.org>. Workshops in a variety of craft,

including papermaking.

Basic Introduction to Hand Papermaking:

Sheets & Sculpture, May 21-22, with John

Currie. Learn the basics of hand papermaking

as well as an overview of its history.

Illuminated Sculpture, June 17-21, with Jennifer

Morrow Wilson. After instruction in

eastern papermaking techniques, construct

at least two table lamps.

Pyramid Atlantic, 8230 Georgia Avenue,

Silver Spring, MD 20912, (301) 608-9101,

<www.pyramidatlanticartcenter.org>. Workshops

in papermaking, printmaking, and

book arts.

Calligraphy & Papermaking Watermark,

April 16-17, with Mary Ashton & Tamara

Stoneburner. Learn contemporary

approaches to making handmade paper

with watermarks.

Papermaking Open House, April 24, with

Mary Ashton. Work in the studio with other

paper enthusiasts.

Paste Papers, May 21-22, with Deena

Schnitman. Create designs that are uniquely

yours; also learn the history of paste papers.

Japanese Papermaking, May 21-22, with

Mary Ashton. Make beautiful translucent

paper with minimal equipment.

Rhode Island School of Design, 2 College

St., Providence, RI 02903, (800) 364-7473 ext.

2. Continuing education through the Summer

Institute of Graphic Design Studies.

The Robert C. Williams American Museum

of Papermaking, 500 10th Street NW,

Atlanta, GA 30332, (404) 894-7840, <www.

ipst.edu/amp>.

Paper From Plants, April 9, with Mona Waterhouse.

Design original handmade paper

using plants and plant inclusions.

Seastone Papers, PO Box 331, West Tisbury,

Martha’s Vineyard, MA 02575, (508) 693-

5786, <www.seastonepapers.com>. Workshops

in papermaking and book arts taught

by Sandy Bernat.

Sievers School of Fiber Arts, PO Box 100,

Washington Island, WI 54246, (920) 847-

2264, <sievers@itol.com>, <www.sieversschool.

com>. Summer workshops on an

island in Lake Michigan.

Paper Play, July 15-17, with Tom Grade.

Learn basic techniques such as molding,

casting, and embossing while making colorful

and fun items.

Paper: Varying Degrees, July 17-22, with Tom

Grade. Experiment with a broad spectrum

of techniques in a variety of fibers.

Snow Farm, The New England Craft

Program, 5 Clary Road, Williamsburg, MA

01096, (413) 268-3101, <www.snowfarm.

org>. Study in a pastoral setting near the

five-college communities of Amherst and

Northampton.

The Art of Papermaking, May 1-7, Sally Duback.

Create a variety of papers and small

sculptures using 100% rag pulp.

Paint and Plait: Woven Paper Vessels, June

24-26, with Jackie Abrams. Paint and create

basket materials on cotton watercolor paper,

then learn several basketry techniques.

Paper Batik: Color, Design and Embellishment,

September 3-5, with Billi Rothove.

Create surface and imagery on paper using

the traditional hot wax batik process.

Southwest School of Art & Craft, 300

Augusta, San Antonio, TX 78205, (210) 224-

1848, fax (210) 224-9337, <www.swschool.

org>. Classes and workshops including

papermaking, book arts, and printmaking.

Flower Paper, April 9, with Jo Etta Jupe.

Learn the magic of making your own handmade

paper with plant inclusions.

Pulp Painting, April 28-30, with Beck Whitehead.

Pulp Spraying Weekend, May 13-14, with

Beck Whitehead.

Women’s Studio Workshop, PO Box 489,

Rosendale, NY 12472, (914) 658-9133, <http://

wsworkshop.org>. Summer Arts Institute

includes workshops in papermaking, printmaking,

book arts, photography, and more.

Beneath the Surface, July 20-24, with Ann

Marie Kennedy. Investigate the surface

qualities of handmade paper.

Solutions for Papermaking: Lessons from

a Master, August 3-7, with Anne Q.

McKeown, Learn “beyond basic” techniques

that are specific to your work or ideas.

BIG PAPER -- little paper, August 12-14,

with Allyson Comstock. Learn fiber preparation,

beating, coloring, sheet forming and

drying, that will enable you to make large

and small sheets of paper.

Fibers From the Farm, August 20-21, with

Eugenie Barron. Transform natural fibers

grown on the ArtFarm at Women’s Studio

Workshop into a range of beautiful handmade

papers.

Interrupting the Process to Find A New One,

August 25-28, with Jocelyn Chateauvert.

Investigate the manipulation of handmade

paper sheets that have been pressed but not

dried.

Cross-Pollination: Mixing the Ancient Media

of Hand Papermaking and Encaustic Painting,

September 10-13, with Tana Kellner &

Laura Moriarty. Join WSW in collaboration

with R&F Handmade Paints to create contemporary

waxed paper works.

CONFERENCES & SPECIAL EVENTS

The Friends of Dard Hunter will meet in

Salt Lake City, Utah, October 20-23. The

Friends meet annually to enjoy speakers,

presentations, tours of local paper and

book arts facilities, a trade show, auction,

and banquet. Some scholarships will be

available to those with financial need. For

more information write to the Friends of

Dard Hunter, PO Box 773, Lake Oswego, OR

97034, or call (503) 699-8653 or visit <www.

friendsofdardhunter.org>.

IAPMA, the International Association of

Hand Papermakers and Paper Artists, will

hold its 2005 Congress at the Banff Centre in

Banff, Alberta, August 12-17. Enjoy workshops,

demonstrations, and presentations in

a beautiful setting. Non-members welcome.

For further information, contact Elizabeth

Crammond, telephone (416) 769-4886 or

<ecrammond@look.ca>.

The tenth annual Newport Paper Arts Festival

takes place April 22-24. This celebration

of paper arts and book arts takes place at

a breathtaking site overlooking the Pacific

Ocean. Workshops, lectures, and exhibits

on surface design, papermaking, printmaking,

and book arts are offered. Send SASE to

NPAF, PO Box 1315, Newport OR 97365 or

go to <www.coastarts.org> (click “NPAF”)

for registration and workshop information.

Beginning Papermaking, Marbling,

Vegetable Papyrus Making, and

Papermaking from Native Plants are among

the offerings at the 7th Biennial Focus

Conference sponsored by Oregon Book

Arts Guild, June 18-22. Evening programs,

a trade fair, and housing/meal plans are

offered. Call (503) 357-7263 or visit <www.

oregonbookartsguild.org>.

June 6-17 are the dates of the 2005 Paper

and Book Intensive taking place outside

Steamboat Springs, Colorado. See <www.

paperbookintensive.org> for complete

info. Paper & Book Intensive is a working

sabbatical for practitioners and serious

students in the book arts, papermaking,

and conservation.

The Geelong Forum is an annual event

held near Melbourne, Australia, sponsored

by The Australian Forum for Textile Arts

(TAFTA). Accommodation and meal programs

are available, and participants may

sell handmade items at the Heathen Bazaar.

Among the many classes offered is Japanese

Sheet Forming and Translucent Paper Casting

with Oriental Fibre taught by Catherine

Nash. The 2005 gathering is September 25

through October 1. Register before June 1.

For details, contact tafta@iinet.net.au or visit

< www.ggcreations.com.au/tafta/ >.

EXHIBITS & COMPETITIONS

Any student enrolled, in 2004 and/or 2005,

in a papermaking course taught by an

institution which offers Associate (2-year),

B(F)A, or M(F)A degrees in art, is eligible

to enter the 3rd National Collegiate

Handmade Paper Art Exhibition. Entry

must be primarily made of handmade

paper. If you are an eligible student, or if

you teach college-level papermaking, please

contact Lynn Sures at <Lynn@Lynnsures.

com> for an e-mail prospectus. The entry

deadline is April 15. The exhibition opens

December 8, 2005, at the American Museum

of Papermaking in Atlanta; and will open

June 30, 2006, at Columbia College Chicago

Center for Book & Paper Arts.

Papermaking in Ontario is an online exhibit

that traces the evolution of the paper industry

in Ontario, Canada, from the beginnings

to the present. View it at www.archives.

gov.on.ca/english/exhibits/paper/index.html

Unfolding, an installation of paper art by

Mona Waterhouse, continues until May 26

at The Robert C. Williams American Museum

of Papermaking, 500 10th Street NW,

Atlanta, GA 30332, (404) 894-7840, <www.

ipst.edu/amp>.

Collaboration as a Medium: 25 years of

Pyramid Atlantic, a major retrospective

exhibition, will be on view at the Edison

Gallery, Pepco Headquarters building in

Washington, DC until May 24. Curated by

Helen Frederick and Jane Farmer, more than

80 internationally recognized artists from

the U.S. and overseas will be part of this

exhibit, which will also feature a 100-page

catalog. For more information contact Pyramid

Atlantic, 8230 Georgia Avenue, Silver

Spring, MD 20912, (301) 608-9101, <www.

pyramidatlanticartcenter.org>.

The Crane Museum of Papermaking is

establishing an exhibit to celebrate its 75th

Anniversary beginning in June of 2005. The

exhibit will showcase the creativity of papermakers

and paper artists using recycled

United States currency as the central design

element. Artists wishing to create works for

the exhibit will receive a four-ounce supply

of shredded currency, which must appear as

a significant element of the work submitted.

To celebrate the historical roots of U.S.

currency paper, works submitted using

handmade paper or pulp formations are

welcomed, as are other artistic and decorative

techniques to showcase currency in its

21st century context. Selected works will

become the part of the Museum’s Permanent

Collection following the public exhibit.

Artwork must be received by May 1, 2005.

For an entry form contact Peter Hopkins,

Gargan Communication, (413) 684-4721,

<peteh@gargancommunication.com>

During the June 5-17 session at Haystack

Mountain School of Crafts, visiting paper

artist Kyoko Ibe will develop a temporary,

site-specific work that relates to Haystack’s

architecture and environment. For further

information visit <www.kyokoibe.com> or

call Haystack at (207) 348-2306.

The Intensive Spirit: Celebrating 22 Years

of the Paper and Book Intensive, a juried

international exhibition of book arts and

handmade paper constructions, will be

on exhibit April 29 through June 19 at the

Eleanor Bliss Center for the Arts, 1001 13th

Street in Steamboat Springs, Colorado.

Curated by Laura Wait, there is an opening

reception on April 29 from 5-7pm, and

a gallery talk April 30 from 9-10:30am.

For further information see <www.

steamboatspringsarts.com>.

TRAVEL

Join papermaker Lynn Sures and American

Museum of Papermaking Assistant Director

Teri Williams for a week of Fabriano

Papermaking and a rare “insider” Italian

adventure in the town of Fabriano. Begin

each day on site in the antique papermill

learning from Fabriano master papermakers

Roberto Rapanotti and Luigi Mecella,

using their watermarked molds and deckles.

Spend afternoons on excursions arranged by

the Fabriano museum to remarkable local

places of interest. For information on the

Fabriano museum, read Sures’s article “Living

Museums of Papermaking in Italy, Part 2”

in the Winter 2002 issue of Hand Papermaking,

and visit <www.museodellacarta.com>

and <www.lynnsures.com>. This trip will

take place during the week of celebration of

the medieval festival in Fabriano, offering

a glimpse of the city’s history and a Palio

competition. For more information, contact

Teri Williams at (404) 894-6663 or <teri.

williams@ipst.edu>.

Donna and Elaine Koretsky will lead a small

band of intrepid papermakers and paper

historians, who also are adventure seekers,

through Southwest China, focusing on

Yunnan and Guizhou Provinces. These are

relatively undeveloped areas of China, still

yielding a fascinating glimpse into the past

history of China. The group will see centuries-

old ways of working in papermaking,

textiles, architecture, and agriculture, using

methods that have not yet been altered

by the modern world. The group will also

enjoy the lively and colorful festivals of the

Miao, Dong, and Nakhi minority groups

who inhabit much of this area. Approximate

dates are April 20 to May 9, 2005. For details,

please contact Carriage House Studio

at (718) 599-7857; e-mail: <paperroad@aol.

com>; or write to Carriage House at 79

Guernsey Street, Brooklyn, NY 11222.

8 HAND PAPERMAKING NEWSLETTER

OPPORTUNITIES

The UICB Apprenticeship in Papermaking

(originally conceived by Lynn Amlie)

consists of a two-year, half-time position

available to individuals who have previously

demonstrated a strong interest in and

commitment to traditional papermaking

history and technique. The apprenticeship

pays $8/hour the first year and $10/hour the

second year. During the two years, the apprentice

is exposed to all aspects of Eastern

and Western paper production including,

fiber cultivation (kozo only), fiber selection,

fermentation, cooking, beating, washing

during beating, sheetforming, drying, sizing,

paper grading and related equipment

maintenance and use. Ongoing research

efforts are also components in the apprenticeship.

The apprentice will work directly

with Tim Barrett and first year apprentice

Marianne Kelsey. For additional information

and an application form, e-mail Tim Barrett,

Paper Specialist, University of Iowa Center

for the Book Research and Production Paper

Facility, at <timothy-barrett@uiowa.edu>.

Application and supportive materials are

due May 6, 2005; decision May 27, 2005.

Fellowship Grants at Women’s Studio

Workshop are designed to provide concentrated

work time in the printmaking,

silkscreen, hand papermaking, photography,

letterpress, and clay studios. Fellowships are

awarded through a jury process. Recipients

pay $200 per week, approximately one-fifth

the actual cost. To apply, send an application

form, resume, 6-10 slides, a letter of interest,

and SASE to WSW, Box 489, Rosendale, NY

12472. The deadline for Spring fellowships

(March - June) is November 1.

PUBLICATIONS

Cathleen A. Baker has been chosen as the

2005 Samuel H. Kress Conservation Publication

Fellow, which includes a $25,000

stipend for 18 months to prepare a manuscript

for a book titled: Nineteenth-Century

American Paper: Technologies, Materials,

Characteristics, and Conservation. This

fellowship is administered through the

American Institute for Conservation.

MISCELLANEOUS

The Society of Marbling is an international

organization dedicated to the promotion

and preservation of the art of marbling. For

information, contact Marie Palowoda, 2605

W. 19th Street Road, Greeley, CO 80634,

<marie-p@despammed.com>. Also available

is the International Directory of Marblers and

Resource Guide featuring 313 listings.

Hand Papermaking is pleased to announce

the availability of Selected Paper Artists,

2004, featuring 62 images of contemporary

artwork by 19 paper artists juried from the

Hand Papermaking Artist Registry. Two

versions of this collection are on sale now:

purchase a set of slides for $200 plus $10

postage, or purchase a CD-ROM for $35

postpaid. Both include a 48-page booklet

including image descriptions and artist

statements, plus an introduction and history

of the project. Juried from over 500 current

slides, this generous sampling of stunning

imagery demonstrates a wide variety of

techniques. These inspiring images make an

excellent classroom presentation. They are

the perfect solution for educators, publicists,

scholars, and curators looking for unique

talent. They present a helpful overview for

newcomers. They are an inspiration to anyone

interested in handmade paper art. To

place an order send $210 for the set of slides

or $35 for the CD-ROM to Hand Papermaking,

PO Box 77027, Washington, DC 20013.

Or call (800) 821-6604 or (301) 220-2393. Additional

information about Hand Papermaking’s

Artist Registry can be found at <www.

handpapermaking.org>.

CLASSIFIEDS

Classifieds in the Hand Papermaking Newsle

tter cost 75 cents per word, with no minimum.

Payment is due in advance of publication.

From the Friends of Dard Hunter:

PAPERMAKING MAGNETS. 49 break apart

word and watermark magnets. Each sheet

is 5.75” square with easy to separate pieces

rendered in back & white. $5 a sheet or 3

sheets for $12 - plus shipping & handling:

$5-$20 total; add $2, over $20 add $4. Checks

or money orders only in US Funds to: FDH,

PO Box 773, Lake Oswego, OR 97034. Phone:

503/699-8653

The DyeWorks: Your source for Natural

Dye Extracts and Earth Oxides. Excellent

Prices. <www.thedyeworks.com>

(303) 530-4777

Book Arts Classified offers free ads and

listings to subscribers. Send $16 for one year,

$30 for two years to: Page Two, Inc., PO Box

77167, Washington, DC 20013.

Agro World Bio-Fibers of Kakinada,

Andhra Pradesh, India can supply in bulk

Banana Fiber which is free from dirt and

pith at a very competitive price on monthly

basis. Will send sample. Reply to Shabbir at

<srl_core@yahoo.com>.

Fabriano Watermark Collection for Sale.

The private collection for sale consists of

more than 200 pieces of watermarked sheets

that have been produced in the famous

Italian paper mill “Cartiere Pietro Miliani

di Fabriano,” dating from the end of the

18th century until the 1960s. Their formats

range from 10x15 cm up to 50x70 cm, and

they depict portraits, company logos, coat

of arms, banknote designs and many more

symbols of various kinds. Among the

portraits appear, famous and infamous,

international politicians like Harry Truman,

T. Roosevelt, King Vittorio Emanuele,

Mussolini, Hitler. All pieces are in excellent

state of conservation. This rare and precious

watermark collection is looking for a new

home either in a paper related museum, or

in a private collection. Anyone who would

like to have more detailed information,

is asked to contact: Natan Kaaren, 63021

Amandola (AP), Villa Marnacchia 4, Italy.

E-mail: <kaaren@interfree.it>. Telephone and

fax: 0039-0736-848743.

SPECIAL THANKS

Hand Papermaking would like to thank the

following people who have made direct contributions

to our organization, in support of our

non-profit programs.

Patrons: David B. Marshall Jr. Underwriters:

Charles E. Morgan. Sponsors: Cathleen A.

Baker, Simon Blattner, Jane Farmer. Donors:

Grimanesa Amoros, Martin Antonetti,

Terry Boone, Kathy Crump, Karla Elling,

Helen Frederick, Lori B. Goodman,

Susan Gosin, Patricia Grass, Chuck Izui

of Aiko’s Art Materials, Lois James, Rick

Johnson, Lynn Kidder, Joyce Kierejczyk,

David Kimball, Elaine Koretsky, Mary

Lou Manor, Jesse Munn, Peter Newland &

Robyn Johnson, Nancy Norton Tomasko,

Lise Poulsen, Dianne L. Reeves, John L.

Risseeuw, Kimberly Schenck, Richard H.

Schimmelpfeng, Agnes Schlenke, Marilyn

Sward, Claire Van Vliet. Supporters: Shirah

Miriam (Mimi) Aumann, Lore Burger, Carla

A. Castellani, Chery Cratty, Joanne R. Davis,

Amanda Degener, Martha Duran, Walter

Feldman, Jean Freeburg, Peter Hopkins,

Lou Kaufman, Kristin Kavanagh, Patricia

L. O’Neal, Mary C. Schlosser, Thomas G.

Siciliano, Robbin Ami Silverberg, Peter

Sowiski, Lynn Sures, Carla J. Tenret, Pamela

S. Wood. Friends: Lois D. Augur, Valerie

Binder, Patricia Zobel Canaday, Nancy O.

Daley, Jennifer Davies, Mick Fredrickson,

Beverly Harrington, Susan Hersey, Charles

D. Kelly, Betty L. Kjelson, Shirley Lippy,

Edwin Martin, Paul Martin, Carol Morgan,

Allison Roscoe, Sally Rose, Beverly Sky,

Bonnie Stahlecker, Marie Sturken, Taiko

Suzuki, Betty Sweren, Stanton S. Unger.

And Hand Papermaking is especially grateful

to the Fifth Floor Foundation for its

generous grant in support of the magazine.

APRIL 2005 9

Join the fun!

Bid by e-mail, phone, or fax

Hand Papermaking’s 7th

Annual Auction

takes place April 25-30, 2005

Visit us at <www.handpapermaking.org>

for photos and more information on each

item, final day hourly deadlines, and

details on how to place a bid. Or call (301)

220-2393 to have this info mailed or faxed.

1. Signed Copy of Japanese Papermaking

Donated by author Timothy Barrett

2. Forced Air Paper Dryer

Donated by Peter Hopkins

3. Fabriano Watermarks

Donated by Dard Hunter III

4. Lacandon Maya Bark Cloth Beater

Donated by Jennie Frederick

5. Sheets of Lokta Paper

Donated by Nimpto Sherpa

6. Korean Papermaking Brush

Donated by Kathy Fitzgerald

7. Venezuelan Curawa Paper

Donated by Stacey Lynch Adnams

8. Master Crafted Sugeta

Donated by Kathy Crump

9. Limited-Edition Book on John DePol

Donated by author Cathleen A. Baker

10. Sheets of Chinese Xuan Paper

Donated by Nancy Norton Tomasko

11. Assorted Crane Stationery

Donated by Crane Paper Co.

12. German Marbling Book

Donated by Sid Berger

13. Illustrated Indian Treasure

Donated by Helen Goldberg

14. Fiber Assortment

Donated by Peter Hopkins

15. First Ten Years of Hand Papermaking

in a Custom Box

Donated by Clarita Woodworth

16. Lacandon Maya Bark Cloth

Headband & Rattle

Donated by Jennie Frederick

17. Watermarked and Decorated

Chinese Paper

Donated by Nancy Norton Tomasko

18. Cockerell Marbled Sheets

Donated by Sid Berger

19. More Fiber

Donated by Peter Hopkins

20. Papermaking Weekend in Wisconsin

Donated by Marilyn Sward

21. Signed Copy of A Papermaker’s Season

Donated by author Gin Petty

22. Unique Paper Bracelet

Donated by Amanda Degener

23. Lee S. McDonald Cooper Kit

Donated by Lee McDonald

24. A Special Surprise

Donated by ?????

All bidders receive daily e-mail updates

during the auction. You can be added to

this list without bidding, or request any

additional information by e-mailing us at

<auction2005@handpapermaking.org>.

On Saturday, April 30, the final day of bidding,

we will only accept bids by telephone

made before the item’s time deadline. See

our website for complete information.

Hand Papermaking’s annual auction revenues

help us fulfill our non-profit mission.

Thanks for your support!

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