Showing posts with label Bindings. Show all posts
Showing posts with label Bindings. Show all posts

Saturday, November 25, 2017

Bone Folder Design Prototypes

While waiting for the Boss Dog Press to complete the printing of the fine press edition of my translation of Ernst Collin's Der Pressbengel (as The Bone Folder), I decided to experiment with some design ideas on the sheets I offer for download. While the format of these is 8.5" x 11" folded in half, the fine press edition will have a trim size of 9" x 12."

N.b. The Boss Dog's printing is almost complete and will have been more than worth the wait. Like a fine wine or beer.

Binding 1, Dorfner/de Gonet style:


The design is a play on the question and answer dialog of the text. Sewing supports are vellum back with pared leather to give a more 3-dimension effect. Leather on spine is natural Niger leather and on boards is Harmatan with chagrin for the low relief onlays.

Top edge in graphite with hand sewn endbands. The image also shows the open joint structure of the Dorfner/de Gonet style

Collaged doublures and flyleaves with dilute colored paste washes. Base of the collage is Collin's original text in German, with onlays from articles and books on topics referenced in the book that were written by Collin.
I was inspired to try this by some of the work of Mark Cockram, but mine pale in comparison... Still, I think they work here.



Binding 2, Danish millimeter style:

The Danish millimeter is best described in English by John Hyltoft who presented on it at the Guild of Book Workers 1995 Standards conference (starts on PDF page 33). See his presentation handout here.

Spine covered in salmon parchment with pastepaper boards, invisible salmon parchment corners.
I describe making the salmon parchment here. It was very nice to work with and I still have lots...

Pastepaper doublures and flyleaves that continue the dark to light progression from the cover.
Top edge in graphite with endbands of pastepaper wrapped around a thread core.

Detail of salmon parchment and pastepaper at spine.

If anyone who downloaded the sheets would like to share their binding, send me an email using the "contact" link at top right. I'd love see and perhaps even share...

Sunday, November 13, 2016

Binding Ideas | Einband Ideen

Starting work on some bindings, mostly playing around with designs and texture/color combinations, but also doing real prep so I can hit the ground running...

For the Boss Dog's Three Lectures in the Eberhardtiana series...

Reddish Roma endpaper that matches headings in text with black fish and red eel.
I think I'll go with the black fish, and make more pastepapers...

Below, some ideas for paring fish with goat, a bibliophilic "surf n' turf," for the Boss Dog's edition of my Ernst Collin The Bone Folder. Printing is underway and there are exhibition deadlines coming up in the next 6-months ~ year... Want to have more than one appropriately bound. Why fish? It was something Collin wrote about.



Sunday, May 8, 2016

Pan at the Veatchs Arts of the Book

Very nice to see my binding on the Pennyroyal Press's Pan opposite the title page in the latest catalog (84) from the Veatchs Arts of the Book. You can also see it here. I had a great time binding this, and a big thank you for letting me borrow it back for the 2015 Society of Bookbinders' Competition.

Click to enlarge

Click to enlarge

Click to enlarge


Lots of other fantastic bindings/books in Catalogue 84, so check it out here.

Saturday, March 5, 2016

W. Collin Verlagsarbeit - Publishers' Binding

Chicago Weltausstellung, 1893 | Chicago World's Fair, 1893


Mappe mit 32 losen Blättern nach Photographien der Bauten und anderen Sehenswürdigkeiten der Weltausstellung mit Baukosten dieser. 
Author: Wilde, Otto u. Albert Ganzlin (ed)
Beschreibung: Mappe von W.Collin, Königl. Hofbuchbinderei Berlin. Signiert unten auf Rückdeckel.

Portfolio with 32 loose plates from photographs of the pavilions and other sites. Interesting is that the descriptions for these also include the construction costs.
Author: Wilde, Otto u. Albert Ganzlin (ed)
Description: Portfolio by W.Collin, Königl. Hofbuchbinderei Berlin. Signed at bottom of rear cover.


Tuesday, February 16, 2016

Die Bernsteinhexe, ein W. Collin Einband

Seitdem ich vor einigen Wochen das erste Teil meiner Geschichte und Bibliographie der Berliner Hofbuchbinder und Schriftsteller, Die Collins - Teil 1: Wilhelm und Georg veröffentlicht habe, habe ich einige Emails, Anregungen, und wertvolle Kritik von Bibliophilen und anderen bekommen. 

Am meisten habe ich mich über die Bilder von Maria Schweidler, die Bernsteinhexe von Wilhelm Meinhold. Die Erstausgabe aus Berlin, 1843 wurde in einem Handeinband der Firma W. Collin gebunden, der Ästhetik nach vermutlich aus der Zeit von Georg Collin, also zwischen 1886 - 1918. Der Pergamenteinband ist handvergoldet mit den Vorsätzen, Schnitt und der mit Buntpapier beklebte Schuber in einem einheitlichen Muster. Der Einband ist in der Privatsammlung von Günter Jung in Deutschland. Ich danke Ihnen Herr Jung.

Since publishing the first part of my history and bibliography of W. Collin, the Berlin-based Court Bookbinders Wilhelm and Georg Collin, as well as Georg son Ernst who rather than binding went on to become one of the most important writers about bookbinding... in Germany in the first half of the 20th century, I have received several emails, words of encouragement, and useful critique from bibliophiles and others in Germany. So far the history and bibliography are only available in this first part, and only in German...

I was happiest to receive the images below of Maria Schweidler, die Bernsteinhexe by Wilhelm Meinhold. The first edition from Berlin, 1843, was bound in full vellum and hand gilt at W. Collin, most likely during the time of Georg Collin (1886-1918). Endpapers, edge treatment, slipcase are decorated in the same marbling pattern... I am most grateful to Günter Jung whose book this is, for sharing and allowing me to publish the pictures here.

Einband in Schuber | Binding in slipcase

Gesamt Einband | Overall binding

Schnitt und Vorsätze | Foredge decoration and endpapers

Signature von W. Collin | Binder's stamp

Saturday, October 3, 2015

Art Deco Bookbinding - Two Tales by Oscar Wilde

For a change, something from Germany's neighbor to the west, France. This is one of my favorite bindings, in large part because I have had the privilege of being able to view and handle it as part of my "day job" as a librarian. Reasons for its attraction are my love of art deco livres d'artistes, in particular the French bindings of that period, and the fact that so much of the process in the form of proofs of illustrations and the binding design are bound in. Johanna Drucker in her work The Century of Artists' Books , the livre d'artiste came into being as a publishing enterprise initiated by such figures as the Parisian art dealers Vollard and Kahnweiler who saw a business opportunity in marketing deluxe editions illustrated by recognized or upcoming stars in the fields of visual arts or poetry, among them Chagall, Picasso, Apollonaire, Matisse, Miro, Ernst.

The two short stories that are related in Two Tales by Oscar Wilde, The Happy Prince and The Nightingale and the Rose, involve the tragic deaths of a sparrow and a nightingale, each sacrificing itself for the cause of true love. The engraver and printer F. L. Schmied and the bookbinder Georges Cretté decided to use this emblem on the volume's magnificent art deco binding. Set into the morocco leather of the front cover is a panel with the image of a dying bird created with cracked eggshell and lacquer by Jean Dunand after Schmied's design. The edition was limited to twenty copies. The opening displays Schmied's dramatic typographical treatment complemented by a horizontal band of engraving and explains the death of the nightingale:
If you want a red rose," said the Tree, "you must build it out of music by moonlight, and stain it with your own heart's-blood. You must sing to me with your breast against a thorn. All night long you must sing to me, and the thorn must pierce your heart, and your lifeblood must flow into my veins, and become mine.
In addition to the final printed text and illustrations, proofs for all illustrations, borders, and other design elements were also bound into the book.

Front cover of binding with eggshell lacquer panel by Jean Dunand.

Design mock-up of front cover design bound into book.

Detail of eggshell lacquer panel...

Printed silk doublure (inside front board) with stamp for lacquer panel.

Detail of stamp.

Binder's stamp from inside of rear board, G[eorges] Cretté succ[essor] Marius Michel

Title page.

Colophon/edition statement on verso of title page.

Text page showing borders/decorative elements

Full page illustration.

Proof for illustration above, bound in at back of book.

Proof for illustration, bound in at back of book.

For more images of wonderful Art Deco livres d'artistes, including other examples of this edition see the auction catalog for the Bibliothèque Félix Marcilhac that can be downloaded in PDF.


Art Nouveau and Art Deco Bookbinding: French Masterpieces 1880-1940 by Alastair Duncan and Georges De Bartha is must have "book porn" for lovers of this era of binding. Lots of copies floating around at Amazon, ABE Books, ...


All binding images, Peter D. Verheyen from Wilde, Oscar. Two Tales. Paris : F.L. Schmied, 1926. Contains: The Happy Prince and The Nightingale and the Rose.8 leaves, xxviii p., 5 leaves, xxvi p., 6 leaves, 102 leaves : ill. ; 29 cm. Permission of: Special Collections Research Center, Syracuse University Libraries

Tuesday, June 24, 2014

Pan


Just completed the long-overdue binding on Eight Wood Engravings On A Theme Of Pan (Northampton: Pennyroyal Press, 1980) with wood engravings by Barry Moser. A delightful well-proportioned smallish book printed in an edition of 130 copies. The text is made up of six epigrams from the Anthologia Graeca, which Moser loosely translates in his afterword. Set in Goudy Greek (12pt. to 36pt.) in 3 or 4 colors, and punctuated with original brush calligraphy by Betse Curtis. Printed on handmade Japanese Etching paper; engravings on sheets of Sekishu.

From the description of this book at The Veatchs, Arts of the Book.



Description: Dorfner/de Gonet "open joint" style binding. Text sewn on two reinforced leather tapes; bottom and fore-edge left uncut with graphite top edge; black leather endband; spine covered in snake-skin; "O'Malley Crackle" flyleaves; boards covered in Pergamena goat vellum with design taken from illustrations underneath; "O'Malley Crackle" doublures and roundels on front of boards. Housed in Layered Indigo Night semi-soft slipcase.


Cave Paper "O'Malley Crackle" flyleaves and doublures.

Semi-soft slipcase of Cave Paper "Layered Indigo Night" with gold stamped snake-skin label.


Overall showing snake-skin spine, "O'Malley Crackle" roundels,
with design taken from illustrations underneath Pergamena goat vellum.

Sunday, June 8, 2014

Millimeter Binding (Edelpappband)

The German-style millimeter binding (Edelpappband) is the "ennobled" version of the paper-covered case binding and should not be confused with the equally elegant but fundamentally different Danish millimeter binding (link to John Hyltoft: Danish Millimeter Binding from GBW Standards 1995). I described the case-bound German version of the millimeter binding in The Bonefolder, Volume 1, No. 2, Spring 2005, and Renate Mesmer the "in boards" version at the GBW Standards in 2005.

Ernst Collin discussed aspects of this binding on "Wednesday" in his Pressbengel, link to the English Bone Folder at left.

See also the 2005 Bonefolder Edelpappband / “Millimeter” Binding Bind-O-Rama where readers explored this structure, many for the first time.

Below are some maquettes I made to illustrate the covering stages for the version with the narrow leather edge along top and bottom (or fore-edges) and the version with invisible corners.



Below a diagram showing some of the design variants possible.



Overall images of the three books above

The Enchiridon of Epictetus, Press Intermezzo, 1997.

Edelpappband / millimeter binding: Endpapers of red Roma paper; top edge gilt; endband of pastepaper around thread core, vellum trim along top and bottom edges; covered in hand-made pastepaper; title in gold on front cover. 16.5 x 12 x 1cm. Bound 2005.


Saturday Night, 1953 / The Elements, Angorfa Press, 1998.

Edelpappband / millimeter binding: Sewn on 3 ramie tapes; plain endsheets same as text; solid graphite edges; red eel-skin leather endbands; "millimeter / edelpappband" case covered in original pastepaper by binder with blue eel-skin leather trim at head, tail, and along foreedges; title stamped in black on spine. 18 x 13 x .7cm. Bound 2003. The book, in the "Cased Binding" category, was awarded the Harmatan Leather Award for Forwarding in the Society of Bookbinders' 2003 Bookbinding Competition.


Fritz and Trudi Eberhardt, Rules for Bookbinders, The Boss Dog Press, 2003.

Edelpappband / millimeter binding: Endpapers same as text; top edge in graphite and burnished; dark red leather endband around thread core; vellum trim at head/tail caps with invisible corners; covered in handmade pastepaper; title in graphite on front cover. Soft “Ascona-style” slipcase covered in paper to match book with title in graphite on spine. 18 x 12.5 x 1cm. Bound 2005.
Other examples can be seen among the bindings here.

Sunday, February 9, 2014

Jahrbuch der Einbandkunst 2

Back in April of 2012 I shared this binding from my reference library, one of those books that changes how you approach your field and the history of it. Below a snippet from that blog post...

The copy above, bound by/in the firm of E.A. Enders (Leipzig) is from my collection. I remember being blown away by it on many levels when it was brought into Bill Minter's shop by a dealer who wanted to have a nice clamshell box made for it. Much to Bill's chagrin, the book was sold on the spot (for what was then a lot of money) with a box made shortly thereafter in my own then modest studio. I very quickly found myself sucked into the essays, especially the ones on contemporary binding. It was my first (and really only) design binding purchase and I still love to study the design, the combination of decor, the typographic elements - Germans integrated the title into designs more so than other traditions - and also the little flaws that make it "human."
Yesterday another one of my orders arrived from Germany, this time from Antiquariat Peter Ibbetson, the kind of order one needs to sign for, so glad it was Saturday... Among them was book that I had dawdled over ordering, Musterbetriebe deutscher Wirtschaft: Die Großbuchbinderei E.A. Enders, Leipzig - München from 1929. Translated, "Model Businesses of German Industry," the introduction challenges the reader to learn about German model businesses, pointing out the deluge of publications by and about American model industries, and that these are better known than the "native" German ones... This one is number 6 in the series, here the WorldCat record..


Although part of a series, this book is very similar to the many other publications by binderies such as Extra Binding at the Lakeside Press (R.R. Donnelley and Sons Company, 1925), or Ernst Collins' essays "Fünfzig Jahre deutscher Verlegereinband, 1875 - 1925" in Festschrift Hübel & Denck (Leipzig: Hübel & Denck, 1925) or "Vom guten Geschmack und von der Kunstbuchbinderei" in Spamersche Buchbinderei (Leipzig: Spamer, 1914). These publications tend to give a history of the book and the bindery, highlighting the functional areas with illustrations of the workspaces and the bindings produced in them.

So in reading/leafing through the book I get to page 39 (Sonderabteilung für Handeinbände, Extra Binding Department) and what do I find??? Look familiar? Unfortunately, the 6 pages of that section don't provide any details about the binding, although other bindings mentioned are described as exemplars of the materials and techniques applied in this kind of work.


Oh, so very glad I grabbed it...

Saturday, November 30, 2013

Mayflies of the Driftless Region - Done

Heading into the home stretch thanks to a week off at home. Plenty of procrastination, a speciality, but also good work on Mayflies and another binding...

First the open joint (offener Falz) where the only board attachment to the textblock is via the tapes, in this case a laminate of vellum and fish leather. The gray elements are stained birch veneer.



Then, an overview with boards attached, exterior and interior.



Attaching the final design elements to the middle of the fore-edge.

Attaching the tied mayfly to front board

Overall

Mayfly detail

Final steps, detail, touch-up where needed, make box!

To the Dorfner/de Gonet style (bottom of first post in series), I like it and have another binding using it in the works. Even though this is a smallish to average sized book, the tapes/slips must be flexible when opening cover, yet rigid so textblock does not sag. Nice to be able to work covers and textblock separately and then join.. I'm sure I'll have other thoughts as I give it the look(s) over...