Posted by Thomas Martak on July 16, 1999 at 20:25:34:
In Reply to: Re: Album backing posted by John Fiorillo on July 11, 1999 at 12:47:38:
: Thomas,
: Many Japanese prints were compiled into albums by Japanese collectors. Even a few publishers bound whole series of prints into albums, such as Akiyama Buemon, who put together sets of Yoshitoshi’s ‘Tsuki hyakushi’ ("One hundred aspects of the moon"). To make an album the compiler would paste the individual prints onto plain sheets of paper (the "album backing"). Once all the prints were glued to their backings, they were bound together by means of a string or cord along one of the vertical edges. Prints were usually pasted on both sides of each album backing. Another method was the "accordion style," which did not require binding with a cord. Prints were glued to their backings (sometimes to both sides of the album backings, sometimes to only one side), and then the individual sheets were pasted along a vertical edge of one print (say, the right) onto the vertical edge (in this case, the left) of an adjacent sheet. All the bound prints would form a long row of images if completely opened and spread out. The beginning and end sheets were also pasted to covers, either plain, with simple inscriptions or designs, or with elaborate designs or even brocade. Some albums were contemporary with the publication of the prints contained therein, while others were compiled at a later date.
: Today we often find examples of prints that have been removed from their former albums. Sometimes you will find "binding holes" along the edges of a print. These were, of course, the result of tying the cords through the edges of the sheets. Often the album backings remain intact, even though the print has been removed from the album. This is why you so often find descriptions of prints with "album backings."
: Albums were a mixed blessing. Often they helped to preserve the colors and kept the prints relatively clean. The binding holes were, of course, damaging to the print, although in many cases their placement at the edge of the sheets meant limited damage to the print design. The facing of prints against an adjacent design sometimes resulted in rubbing off of pigments, either resulting in loss from one sheet or discoloration onto the adjacent facing sheet, or both. In cases where humidity or moisture was present, there could be "bleeding" of the colors from one print to the next. The original compilers of prints from different series or of unrelated designs would sometimes trim their prints to fit a standard album size, which unfortunately meant that some prints survived with very good colors but with part of their design cut off.
: John
John,
Thank you so much for your informative and complete
answer to my inquiry.
I also understand more about "binding holes" thanks
to your response.
Regards,
Tom