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By Donald C. Williams, Michele Pietryka-Pagán & Philippe LafargueAfter seven years of work by a worldwide team of translators, editors and designers – and an investments of hundreds of thousands of dollars – we are pleased to offer the deluxe version of “With All the Precision Possible: Roubo on Furniture.”
Measuring 12-1/4” wide x 17-1/4” tall by almost 2-1/4” thick, “Roubo on Furniture” is the largest and most luxurious book we have printed since Lost Art Press was founded in 2007.
The text is printed in #100 Mohawk Superfine paper, perhaps the finest domestic paper available today. To match the fine paper, the images and plates are printed in full color at a linescreen few presses can achieve.
The result is a level of detail and clarity rarely seen in any book of any era.
The book’s signatures are sewn, casebound and reinforced with a fiber tape that will ensure the binding will outlast us all. The hardbound boards are covered in a beautifully printed pattern with a cotton cloth cover on the spine. The spine is then debossed in gold and black.
The entire book comes in a custom-made slipcase covered in a complementary-colored cotton cloth.
We are printing 1,000 copies of the deluxe edition. Once this press run is sold out, there will not be a second press run.
Our deluxe version of “Roubo on Marquetry” (long since sold out) was manufactured to these same high specifications and was named one of the “50 Books of the Year” by by the Design Observer, in association with AIGA and Designers & Books.About the Text
“With All the Precision Possible: Roubo on Furniture” is the first English translation of the 18th-century masterpiece: “l’art du Menuisier” by André-Jacob Roubo. This, our second volume, covers Roubo’s writing on woodworking tools, the workshop, joinery and building furniture.
In addition to the translated text and images from the original, “With All the Precision Possible: Roubo on Furniture” also includes five contemporary essays on Roubo’s writing by craftsmen Christopher Schwarz, Don Williams, Michael Mascelli, Philippe Lafargue and Jonathan Thornton.
“Roubo on Furniture” is filled with insights into working wood and building furniture that are difficult or impossible to find in both old and modern woodworking books. Unlike many woodworking writers of the 18th century Roubo was a traditionally trained and practicing joiner. He interviewed fellow craftsmen from other trades to gain a deep and nuanced view of their practices. He learned to draw, so almost all of the illustrations in this book came from his hand.
The above facts are important because many early woodworking books are filled with information that is not quite right and drawings that were made by non-woodworkers. Not so with Roubo.
No matter what sort of woodworking you do or your skill level, we think “Roubo on Furniture” will expand greatly your knowledge of how fine furniture was (and still should be) built.
About the Author
Don Williams says his love of learning was probably fostered by the fact that his father was going through seminary when he was a child. Don grew up in a household without television. Instead, his family listened to classical music and read.
“But much to my parents’ dismay, I veered off into jazz as my primary interest, so they were pretty much convinced in my teenage years that they had picked up the wrong kid in the hospital,” he says.
Don maintains a love of jazz.
Jazz can loosely be defined as a combination of polyphony, syncopation and improvisation — simultaneous but independent melodic lines playing at the same time with unexpected and off-beat rhythms achieved extemporaneously. For Williams, jazz is not only what he listens to, still to this day, but serves as an outline for how he lives his life.
A self-proclaimed conservator, educator, scholar and all-around inquisitive guy, Don was a curious child who delved deep into varying topics – some unexpected – and from a young age, found connections.
Read more about Don Williams in this full profile.