Bound to Please: an Exhibition of Fine Leather Bindings from the University of Miami Library --- SELECTED BIBLIOGRAPHY
INDEX OF BINDERS AND BINDERIES
CHRONOLOGY
ADDENDUM

Acknowledgements
Bienes Center for the Literary Arts
Introduction
Vellum or Parchment Bindings
Pigskin Bindings
Colors and Surfaces
Inlays and Onlays
Mottling & Sprinkling
Spanish Marbling
Gold Tooling
Modern Gold Tooling
Diapered
Central Ornamentation
Retrospective Bindings
Modern English Bindings

Exotica

Foreword

Bound to Please: an Exhibition of Fine Leather Bindings from the University of Miami Library is a selection of 70 volumes from the extensive rare book holdings of the Library's Archives and Special Collections Department. The catalog describes and illustrates a diverse and exquisite group of leather bindings dating from the fifteenth through the early twentieth century and includes books from the United States, Cuba, Spain, France, Germany, Italy, and The Netherlands.

Book lovers, whether avid collectors, experienced dealers, or serious scholars, understand that one can often "tell a great deal about a book by its cover." With respect to fine leather bindings, the interested and knowledgeable observer can often determine a wealth of information about a particular book. Leather bindings, including the type of skin or skins used to complete the work, may reveal a great deal about the bookbinder, the trade of bookbinding, and the worth or importance of the book. As the catalog and exhibition illustrate, bookbinders utilize a variety of materials, tools, and techniques to produce their work. Local practices and traditions can help to identify books by the time period and region in which they were produced, often with remarkable certainty. Both the technical competency and the artistic and creative talent of the bookbinder can be featured. In addition, leather bindings with their decorations and applications illustrate technological advances in design and intellectual variations in artistic styles and movements. Fine leather bookbindings can often document much about the aesthetics of owners who have commissioned bookbindings. Finally, these bookbindings may serve as a window, or perhaps a mirror, to the varied literary contents held within their pleasing covers.

The exhibition highlights the intricate technical processes required to produce exquisitely detailed bindings. Shown are representations of different binding and finishing techniques and styles such as tree calf, inlaying and onlaying, and diapering. Among the important binders and binderies featured are: the Doves Bindery, Rivière and Son, Zaehnsdorf, Bayntun, the Kelmscott Press, and the Roycroft Bindery. Texts by Cotton Mather, William Morris, and William Makepeace Thackeray, and works such as the Bible, Rubáiyát of Omar Khayyám, and Lady Chatterley's Lover are displayed in beautiful bindings that often help to enhance the literary value of these noted works.


William E. Brown, Jr.
Head, Archives and Special Collections
University of Miami Library

Nora J. Quinlan
Rare Book Cataloger
Archives and Special Collections
University of Miami Library

Pedro A. Figueredo
Assistant Librarian
The Wolfsonian


Acknowledgements

Back to top of page

University of Miami Library
Initial research for the exhibition was begun by Pedro Figueredo in 1995, as a component of his student work for a course in rare books and archives taught by Bill Brown through the University of South Florida School of Library and Information Science. The bindings were exhibited at the University of Miami Library from April 2-June 15, 1997. The project became a collaborative effort, however, as exhibition plans evolved to include a World Wide Web site for a "virtual exhibition" of the bindings.

At the request of James A. Findlay, Librarian, Bienes Center for the Literary Arts at the Broward County Main Library, the exhibition travelled to Fort Lauderdale and will be on display from July 14-September 19, 1997. The University of Miami Library is delighted to loan these materials, and hopes this will be the first of many cooperative ventures with the Broward County Library.

I wish to recognize a number of people who contributed to this worthy project. To Pedro Figueredo I offer my sincere thanks for his dedication and love of books. His enthusiasm and commitment to excellence are worthy goals for us all to emulate. To Nora Quinlan I extend my heartfelt thanks for her incredible professional acumen and her ability to see both the forest and the trees. Additional thanks are due to Frank Rodgers, Director of Libraries at the University of Miami, for his continuing support for the acquisition, promotion, and use of rare and unique scholarly research materials by students, faculty, and interested researchers. Similarly, I wish to acknowledge the support of Micky Wolfson, Cathy Leff, and the staff of The Wolfsonian. Finally I would like to thank Jim Findlay for his invitation to display this exhibit at the Bienes Center for the Literary Arts in its inaugural year.

William E. Brown, Jr.
Head, Archives and Special Collections
University of Miami Library


Bienes Center for the Literary Arts

Back to top of page
The Bienes Center for the Literary Arts is especially gratified to host Bound to Please and is proud and honored to be able to participate with the University of Miami Library in this, its first cooperative exhibition venture. Warm thanks are proffered to Bill Brown, Nora Quinlan, and Pedro Figueredo, curators of the exhibition, to Margaret Bing, cataloger/curator of the Bienes Center for helping to select the titles added to the exhibition from its own collections, and to the Broward Public Library Foundation for its continued support of the Bienes Center's exhibition and program series.

James A Findlay, Librarian
The Bienes Center for the Literary Arts


Introduction

Back to top of page

The binding of a book consists of a text block attached to the front and back boards and the spine. The boards and spine are usually covered with leather, cloth, or paper. The materials can be varied to create different types of bindings. Three basic leather binding formats are full, half, and quarter bound. Leather bindings use different animal skins such as calf, sheep, and pig, which are either tanned or treated.

The binding of a book is done in two stages. The first stage is the making of the inner structure. The gatherings of pages are sewn together and the boards are attached. The material used for the covers is then glued to the inner structure. The decoration of the binding, or finishing, is the second step. The work requires special training and equipment and is expensive and time consuming. To create quality work, binders must serve many years in apprenticeships learning the fine art of binding in all its intricacies.

The author's name appears first, followed by title, place of publication, publisher, date, pagination, size (height by width), and notes, including binder and/or bindery.

1
Gordon Turnbull. A Narrative of the Revolt and Insurrection in the Island of Grenada.
Second edition with additions. London: Printed by A. Paris..., sold by Vernor and Hood..., 1796. 183 p. 22 x 13.5 cm.

Quarter bound in brown calf with marbled paper on covers. Single decorative gilt roll on covers and spine. Double gilt fillets on spine. Spine title in gilt. Raised spine bands.

2
William Wilberforce(1759-1833). A Letter on the Abolition of the Slave Trade... London: Printed by Luke Hansard & Sons, for T. Cadell and W. Davies..., 1807. 396 p. 22.5 x 13.5 cm.

Half bound in brown calf with marbled paper on covers. Single decorative gilt roll on covers. Single gilt fillets on spine. Spine title in gilt. Raised spine bands.

3

Fraser's Magazine for Town and Country. London: James Fraser. July to Decem ber, 1837, vol. xvi. 22 x 14 cm. Contains William Makepeace Thack eray's The Yellow plush Correspon dence. Fully bound in green morocco with decorative gilt roll border on covers. Title and ornaments on spine in gilt. Raised spine bands. Top edge gilt. Signed binding. Tooled in gilt: Bound by Tout and Sons.


Vellum or Parchment Bindings

Back to top of page

Vellum or parchment bindings are made from untanned animal hides. The hide is soaked in lime, scraped clean of hair and flesh and then stretched to dry on a frame. The terms parchment and vellum are now used interchangeably but have a historical difference. Vellum was made from calfskin while parchment was made from sheepskin that had been split. The finer quality parchment was used for creating Medieval manuscripts. Several of the vellum bindings in this exhibit are made from manuscript leaves taken from older books. Recycling of older material was common and was done to conserve scarce resources and save money.

4
Junius.

Stat Nominus Umbra... London: Printed by T. Bentley..., 1799. Two volumes. 21 x 13 cm.

Bound in vellum in the manner of Edward of Halifax. Double lines in blue ink on boards. Gilt ribbon ornaments and decorative rolls on spine. Spine title in blue ink. Edges with gilt stripes.

5
Casimir Freschot (1640?-1720). Histoire du Congrès et de las Paix d'Utrecht, comme aussi de celle de Rastadt & de Bade... A Utrecht, Chez Guillaume van Pool sum, 1716. 503 p. 16.5 x 11 cm.

Bound in vellum, with blindstamped fillet border and ornaments on covers. Gilt ornaments and double fillets on spine.

Handbuechlein: aus der Evangelischen Kirchen Harmonie...

6
Handbuechlein: aus der Evangelischen Kirchen Harmonie... Wulfen Buettel: In Verle gung der Gebrueder, 1646. 304 p. 14 x 8 cm.

Bound in vellum. The binding is made from a manuscript leaf taken from an older book. Rubricated, ruled text can be seen on the binding.

7K
The Tale of Beowulf. [Hammersmith, England: Printed by... William Morris at The Kelmscott Press, 1895]. 119 p. 29.5 x 22 cm.

Gift of Charles Deering. Limp vellum binding with green ribbon ties. Bound at the Kelmscott Press.

8
Marcus Junianus Justinus. Justini His toriae Philippicae cum Integris Commentariis Jac. Bongarsii, Franc. Modii, Matth. Ber necceri... Lugduni Batavorum [Ley den]: apud Theodorum Haak, 1719. 832 p. 20 x 12.5 cm.

Bound in vellum with decorative gilt roll border and floral ornaments on cover and spine. Armorial stamp on front cover.


Pigskin Bindings

Back to top of page
Pigskin bindings are made from alum tawed pigskin. The binding is very strong and can withstand a great deal of wear and tear. The skins were then stretched over wooden boards which made the books even sturdier. Pigskin does not easily accept gold tooling so most of the decoration is blindstamped. The use of pigskin was particularly popular in Germany in the fifteenth and sixteenth centuries. The process has recently undergone a revival due to its superior archival qualities.

Bible. Latin. 1539.

11
Bible. Latin. 1539. Biblia Sacra Utriusque Testamenti, et Vetus Quidem Post Omnes Omnium Hactenus Aeditiones, Opera D. Sebast. Musteri... Tigrui apud Christo phorum Froschoverum, 1539. Unaged. 23 x 16 cm.

Gift of Mr. and Mrs. O.J. Tanner, Jr. Bound in pigskin over wooden boards. Blindstamped covers. Brass clasps in the shape of bird heads.

12
Virgil.
Opera Vergiliana docte et Familiariter Expositer; Docte Quidem Bucolica & Georgica a Seruio... Ex Officina Ascensiana Im pedio Ionnis, Parui, 1507. Unpaged. 33 x 22.5 cm.

Blindstamped pigskin over wooden boards. Brass clasps, damaged.


Colors and Surfaces

Back to top of page

The manipulation of natural grains, texture, and the coloring of leather is a frequent method of book decoration. As an additional artistic element, binders sometimes sculpt the surface of the leather, and apply embossed decorations.

13
Junius. Stat Nominus Umbra... London: Printed by T. Bentley..., 1799. v.1, 274 p. 23 x 14 cm.
Bound in dark blue, straight-grain morocco, with decorative roll borders and ornaments on covers and spine in gilt. Title in gilt on spine. Gilt decorative roll on turn-ins. All edges gilt.

14
A Description of the Memorable Sieges and Battles in the North of England, that Happened during the Civil War in 1642, 1643, &c. Chiefly Contained in the Memoirs of General Forfeits, and James Earl of Derby. To Which is Added, the Life of Oliver Cromwell... Bolton: Printed by J. Drake, 1785. 476 p. 20.5 x 13 cm.

Bound in brown, diced panelled calf with gilt fillets and curves and blindstamped roll borders and ornaments. Gilt armorial device of a ram's head in center of front board. Green leather spine labels with titles in gilt. Spine decorated with gilt ornaments. Gilt decorative roll on turn-ins. Signed binding. Binder's label: Bound by J. & J. Haddock, Warrington.

15
James Shirley (1596-1666). The Traytor. A Tragedie... London: Printed for William Cooke..., 1635. Unaged. 18.5 x 13.5 cm.
Gift of William T. Reich. Bound in full green morocco with single gilt fillet border on covers. Raised spine bands. Gilt title and ornaments on spine. Gilt decorative roll on turn-ins. Signed binding. Binder's stamp on front endpaper: Bayntun. Binder. Bath. Eng.

16
Sulpicius Serverus. Sulpici Serveri Presbyteri Opera Omnia. Cum Lectissimis Commentarijs. Accurante Georgio Hornio. Amstelodami, Apud Elzevirios. Lugd: Bat: et Roterod: apud Hackios, 1665. 329 p. 13 x 8 cm.

Bound in red, straight-grain morocco with decorative roll and double fillets borders in gilt. Decorative black leather inlays on spine. Ornaments, fillets and title on spine in gilt. Gilt decorative roll on turn-ins. Signed binding. Tooled in gilt: Boze vian.

17
Elbert Hubbard (1856-1915). The Man of Sorrows; Being a Little Journey to the Home of Jesus of Nazareth. East Aurora, N.Y.: The Roycrofters, 1905. 111 p. 21.5 x 14 cm.

Gift of Mrs. O.J. Tanner. Bound in brown leather with blind, handcarved pictorial covers. Set in double ruled frame. Bound at the Roycroft Press. Signed binding: In manuscript on front endpaper: T[?]. Kranz made this book. Jul 3. 1905.

18
José Hernández (1834-1886).
Martín Fierro y La Vuelta de Martín Fierro. Buenos Aires, Argentina: Ediciones "Jagüel", 1974. 285 p. 15 x 11 cm. Gift of Robert Agramonte. Bound in brown leather with blindstamped, embossed pictorial covers. Signed binding. Binder's label on inside of back cover: CCC.


Inlays and Onlays

Back to top of page

Bookbinders can achieve a mosaic-like decorative effect on a binding by adding different colors and/or textures of leather. If the pieces of leather are inserted into pre-cut spaces, the process is termed inlaying. If thin pieces of leather are adhered to the surface, the process is called onlaying.

Eric Mackay (1851-1895). Love Letters of a Violinist and Other Poems.

19
Eric Mackay (1851-1895). Love Letters of a Violinist and Other Poems. London: Lamley and Co., 1893. 242 p. 19 x 13.5 cm.

Gift of Charles Deering.

Bound in tan morocco. On front cover is an onlay of a violin done in dark brown and black leather decorated in gilt and surrounded with gilt vine-like decoration. Set within a border of a single gilt fillet interspersed with circle ornaments. Gilt lettering and vine-like decoration on spine. Green silk doublure endpapers. Single gilt fillet on turn- ins.

20
Elizabeth Cleghorn Gaskell (1810-1865). Cranford. London: New York: Macmillan and Co., 1892. 297 p. 19 x 13 cm.

Bound in green morocco. Front cover and spine decorated with gilt tooled crocuses done in variously colored inlays. Raised spine bands. Spine title in gilt. Single gilt fillet on turn-ins.

Signed binding. Stamped in gilt: Bound by Rivière & Son.

21
Horace. The Odes & Epodes of Horace. Boston: Issued by the Bibliophile Society for Members Only, 1901. v.2, pt. 1, 177 p. 19 x 12 cm.

Gift of Dr. Robert Spicer.

Bound in red morocco with gilt fillets borders and decorative ornaments on covers and spine. Decorative floral inlays on spine. Raised spine bands. Title in gilt on spine. All edges gilt.

Signed binding. Stamped in gilt: The Harcourt Bindery.

22
Alexander Wilson Drake (1843-1916). Three Midnight Stories. [New York: The Century Co., 1916]. 117 p. 19 x 12 cm.

Bound in full dark blue-green morocco with blind stamped panel on covers. Decorative inlays in dark green leather. Raised spine bands. Title in gilt on spine.

Bound by Mrs. Alexandra Drake.

23
Hewson L. Peeke (1861-1942). Americana Ebrietatis; The Favorite Tipple of Our Forefathers and the Laws and Customs relating thereto. New York: Privately Printed, 1917. 154 p. 22.5 x 14.5 cm.

Bound in brown morocco with blindstamped ornamental panels on covers and ornaments on spine. Tan leather inlays on covers and spine. Raised spine bands. Title in gilt on spine.


Mottling & Sprinkling

Back to top of page

Mottling and sprinkling are methods used by bookbinders to create decorative patterns on leather bindings. These irregular patterns are produced by the direct application of acid to the leather. Mottling is achieved by dabbing ferrous sulfate on the surface using a cloth, brush, or fingertip. A speckled appearance is produced by sprinkling or splattering acid. The application of different types and strengths of acid allows for variations in tone. The indiscriminate use of acid as a decorative agent can permanently damage the leather.

24
Antonio Caulin (1719-1802). His toria Corógrafica Natural y Evangélica de la Nueva Andalucia Provincias de Cumaná, Guayana y vertientes del Río Orinco... [Mad rid: s.n.], 1779. 482 p. 36 x 25 cm.

Gift of Phanor J. Eder.

Mottled calf with double blind-tooled fillet border on covers. Raised spine bands. Red leather spine label with gilt lettering and ornaments on spine.

25
Jean Baptiste Thibault de Chanvalon. Voyage a la Marti nique, Contenant Diverses Observations sur la Physique, l'Histoire Naturelle, l'Agriculture, les Moeurs, & les Usages de Cette Isle... A Paris: Chez J.B. Bauche..., 1763. 192 p. 26 x 21 cm.

Mottled calf with triple of French blind-tooled fillet border on covers. Raised spine bands. Red leather spine label with gilt lettering and ornaments on spine. Edges stained red.

26
George Carlton. The Memoirs of an English Officer, who serv'd in the Dutch War in 1672, to the Peace of Utrecht, in 1713... London: Printed for E. Symon..., 1728. 352 p. 20 x 13 cm.

Mottled calf with triple or French gilt fillet border with corner ornaments on covers. Raised spine bands. Light brown spine label with gilt lettering. Gilt decorations and ornaments on spine. Gilt decorative roll on turn-ins. All edges gilt.

27
Edme-François Gersaint (d. 1750). Catalogue Raisonné de Coquilles, et Autres Curiosités Naturelles... A Paris: Chez Flahault... [et chez] Prault, Fils..., 1736. 167, 64 p. 17 x 10.5 cm.

Mottled calf with single blind-tooled fillet border on covers. Raised spine bands. Gilt title and ornaments on spine. Gilt decorative roll on turn-ins. Edges stained red.

28


Les Amours Pastorales de Daphnis et Chloé. A Londres: [s.n.], 1780. 196 p. 13 x 8 cm.

Mottled calf with triple or French gilt fillet border on covers. Gilt title, decorations and ornaments on spine. Gilt decorative roll on turn-ins. All edges gilt.

Marble Calf

To create the effect of marble calf the binder stains the surface of a light-colored calfskin with diluted acid. The use of diluted acid can create a variety of effects. One special variation of this technique is known as "tree calf," named for the visual image created on the surface of the leather of a tree trunk and spreading branches. Marble calf bindings reached great popularity during the nineteenth century. Marble calf should not be confused with marbling, the process of using color inks or paints to create decorative patterns on a variety of surfaces including leather, paper, and cloth.

29
Casiano Pellicer. Tratado Histórico Sobre el Orígen y Progresos de la Comedia y del Histrionismo en España. Madrid: En la Imprenta de la Administración del Real Arbitrio de Beneficencia, 1804. 230 p. 15 x 10.5 cm.

Bound in marble calf, with gilt ornaments and fillets on spine. Brown leather spine label with gilt lettering. Edges stained yellow.

30
Richard Glover (1712-1785). The Evidence Delivered on the Petition Presented by the West-India Planters and Merchants to the Hon. House of Commons... [London: s.n., 1775]. 95 p. 18.5 x 11.5 cm.

Bound in marble calf with a double gilt fillet border and corner ornaments on covers. Gilt lettering and fillets on spine. Gilt decorative roll on turn-ins.

Luis Galvez de Montalvo (1546?-1591?). El Pastor de Filida...

31
Luis Galvez de Montalvo (1546?-1591?). El Pastor de Filida... En Valencia: En la oficina de la Salvador Fauli, 1792. 389 p. 18.5 x 11.5 cm.

Tree calf binding with gilt spine decorations and fillets. Red leather spine label with gilt lettering. Edges stained red.

32
[Beaumont de Brivazac, comte de, 1746-1821]. L'Europe et ses Colonies, en 34 Décembre 1819. A Paris: Chez Brissot-Thivars [et chez] Delaunay, 1820. v. l, 385 p. 21 x 13 cm.

Bound in marble calf with single blind-stamped fillet border on covers. Rebacked. Gilt spine ornaments. Red and green leather spine labels with gilt lettering. Marbled edges.

33
Charles James Fox (1749-1806). A Letter from the Right Honourable Charles James Fox, to the Worthy and Independent Electors of the City and Liberty of Westminster. The thirteenth edition. London: Printed for J. Debrett, 1793. 43 p. 21 x 13.5 cm.

Tree calf binding with double gilt fillet borders on covers. Gilt spine ornaments and fillets on spine. Red leather spine label with title in gilt. Gilt fillet on turn-ins. Red speckled edges.

Signed binding. Binder's stamp: Bound by Hering.

34
[Beaumont de Brivazac, comte de, 1746-1821]. L'Europe et ses Colonies, en 34 Décembre 1819. A Paris: Chez Brissot-Thivars [et chez] Delaunay, 1820. v. 2. 21 x 13 cm.

Bound in marble calf with single blind-stamped fillet border on covers. Rebacked. Gilt spine ornaments. Red and green leather spine labels with gilt lettering. Marbled edges.


Spanish Marbling

Back to top of page

Spanish marbling offers a distinctive variation of the traditional marbling process. This treatment, also known as "Pasta Española," entails the bold use of colored dyes on animal skins in order to create a marbled effect. The most popular colors for dyes are brown, green, and red. The use of particular color combinations can help to identify the origins of a binding. Certain colors and color combinations represent individual cities. For example, the color combination of black and red, named "Barcelonesa," identifies works from the city of Barcelona, Spain.

35
Reales Decretos Sobre Arreglo del Ejército. Habana: Imprenta del Gobierno y Capitanía General por S.M., 1828. Unpaged. 20 x 14.5 cm.

Spanish marbling in green and red, decorative gilt border on covers. Brown leather spine label with gilt lettering, gilt decoration and ornaments on spine. Edges stained yellow.

36
Juan Diaz Calvillo. Sermon que en el Aniversario Solemne de Gracias a María Santísima de los Remedios... Mexico: En la Imprenta de Arizpe, 1811. 269 p. 21 x 15 cm.

Spanish marbling in browns, decorative gilt borders on covers. Green leather spine label with gilt lettering, and gilt decoration and ornaments on spine.

37
Archivo Municipal de Vich (Spain). El Archivo Municipal de Vich. Su Historia, Su Contenido y Su Restauración... Vich, [Spain]: Establecimiento Tipográfico de Ramon Anglada y Pujals, 1879. Unpaged. 27 x 18 cm.

Gift of A.M. Huntington.

Spanish marbling in red and black. Slightly raised spine bands, paper label on spine. Edges stained red.

38
Lope Félix de Vega Carpio (1562-1635). Colección de las Obras sueltas... En Madrid: En la Imprenta de Don Antonio de Sancha..., 1778. 520 p. 21.5 x 15.5 cm.

Spanish marbling in green and brown. Raised spine bands, red and green leather spine labels with gilt lettering, gilt decoration and ornaments on spine. Edges stained red.

Jacobo de la Pezuela y Lobo (1811-1882). Ensayo Histórico de la Isla de Cuba.

39
Jacobo de la Pezuela y Lobo (1811-1882). Ensayo Histórico de la Isla de Cuba. Nueva York: Imprenta Española de R. Rafael, 1842. 631 p. 22 x 14.5 cm.

Spanish marbling in browns. Slightly raised spine bands, red leather spine label with gilt lettering, and gilt decoration on spine.


Gold Tooling

Back to top of page

Gold tooling was introduced in Europe from the Middle East sometime during the mid-fifteenth century, as Islamic bookbinders travelled throughout the world. As practiced today, the technique of decorating bindings requires the use of a heated tool to press a design on the surface of the leather. The binder then covers the blindtooled area with glaire (made from egg white and vinegar), places gold leaf on the leather, and then retools the design with the heated tool to adhere the gold to the leather.

Creative binders combine various ornamental tools to achieve numerous variations in book decoration. Bindings can be dated by the type of ornamentation used, with rococo ornaments common in the seventeenth century and classical Greek key borders popular for eighteenth century bindings. In some cases, individual binders or workshops are recognizable by their distinctive tools and craftsmanship.

40
Richard Arnold (d. 1521). The Customs of London, otherwise called Arnold's Chronicle. London, Printed for F. C. and J. Rivington [etc.], 1811. 300 p. 31.5 x 25.5. cm.

Gift of William T. Reich.

Bound in calf with gilt decorative roll and fillet borders on covers. Raised spine bands. Gilt ornaments on spine. Dark brown leather spine label with gilt lettering. Gilt decorative roll on turn-ins. All edges gilt.

Signed binding. Tooled in gilt: Bound by J. Mackenzie.

41
Antonio Julian (b. 1722). Trasfor ma zione dell'America o sia Trionfo della S. Chiesa... In Roma, dal Casaletti nel Palazzo Massimi, 1790. 286 p. 19.5 x 12.5 cm.

Bound in calf with a gilt decorative borders and corner ornaments on covers. Gilt decorations and ornaments on spine, green leather spine label with gilt lettering. All edges gilt.

Thomas Davies (1712-1785). Dramatic Miscellanies: Consisting of Critical Observations on Several Plays of Shakespeare.

42
Thomas Davies (1712-1785). Dramatic Miscellanies: Consisting of Critical Observations on Several Plays of Shakespeare. London: Printed for the author..., 1783-1784. 508 p. 20 x 13 cm.

Bound in calf with plain and marbled calf panels on covers. With gilt decorative roll borders and corner ornaments. Gilt decorations and ornaments on spine, and red leather spine labels with black inlays and gilt lettering. Gilt decorative roll on turn-ins.

43
William Dugdale, 1605-1686. The History of Imbanking and Draining of Divers Fens and Marshes... London: Printed by W. Bowyer and J. Nichols, 1772. 469 p. 42 x 27 cm.

Diced panelled calf with gilt and blindstamped decorative roll and fillet borders on covers. Raised spine bands. Gilt ornaments and title on spine. Gilt decorative roll on turn-ins. Marbled edges. Rebacked.


Modern Gold Tooling

Back to top of page

In the nineteenth century the technique of gold tooling developed in two separate directions. With the advent of the Industrial Revolution, the machine-assisted or block-stamped process quickly evolved and became dominant. It was less time consuming and less expensive to block-stamp a book and the process allowed for mass production. Now everyone could own beautifully decorated books, not just the wealthy. The down side was that bookbindings were cheaply done and were not always well designed. Fortunately the traditional hand-tooled process did survive. At the end of the nineteenth century it underwent a revival buoyed by the Arts and Crafts Movement led by such artists as William Morris of the Kelmscott Press.

44
Joseph Bedier, ed. (1864-1938). Le Roman de Tristan et Iseut... Paris: L'Édition d'Art, H. Piazza & Cie., [ca. 1900]. 214 p. 31 x 24 cm.

Gift of Charles Deering.

Bound in brown morocco with gilt decorative roll and fillet borders and decorations in an arabesque style on covers and spine. Gilt lettering on spine. Gilt decorative roll on turn-ins. With silk endpapers. Top edge gilt.

Signed binding. Tooled in gilt: MIQ VEL RIVS.

William Morris (1834-1896). The Life and Death of Jason: A Poem.

45
William Morris (1834-1896). The Life and Death of Jason: A Poem. Hammersmith: Printed by... William Morris at the Kelmscott Press, 1895. 353 p. 30 x 22.5 cm.

Gift of Charles Deering.

Bound in brown morocco with gilt fillet borders and pointillé and blind-stamped ornaments. Raised spine bands. Gilt title, fillets, pointillé and ornaments on spine. Top edge gilt.

Signed binding. Tooled in gilt: Bound by Zaehnsdorf 1895.


Diapered

Back to top of page

A diapered binding contains a uniformly repeated motif or ornament applied by the binder to create an overall pattern. This decorative technique is best realized in gilt, using just a few tools to create a simple geometric, abstract, or figurative design.

46
William Henry Schuetze (1853-1902). William Henry Schuetze. Chicago: R.R. Donnelly & Sons Co., The Lakeside Press, 1903. 165 p. 24.5 x 16 cm.

Gift of Charles Deering.

Bound in brown morocco with multiple gilt fillet borders and diapered ornaments on covers. Raised spine bands, gilt lettering and ornaments on spine. Gilt fillets on turn-ins. All edges gilt.

Signed binding. Tooled in gilt: The Doves Bindery / 19 C-S 04.

Binding designed by T. J. Cobden-Anderson (1840-1922), founder of the Doves Bindery which was established in 1893.

47
Arioste. Roland Furieux. Poème Héroïque de l'Arioste. A Paris, Chez Pissot, 1780. 422 p. 17.5 x 11 cm.

Gift of Dr. Henry Field.

Calf binding with diapered gilt ornaments, borders and fillets on covers and spine. Raised spine bands. All edges gilt.

Omar Khayyám. Rubáiyát of Omar Khayyám, the Astronomer-Poet of Persia...

48
Omar Khayyám. Rubáiyát of Omar Khayyám, the Astronomer-Poet of Persia... London: Macmillan and Co., Limited; New York: Macmillan Company, 1899. 111 p. 15.5 x 10.5 cm.

Gift of Charles Deering.

Bound in brown morocco with diapered gilt ornaments and pointillé within double gilt fillet borders on covers and spine. Gilt title on spine. Gilt fillet on turn-in. All edges gilt.

Signed binding. Tooled in gilt: Bound by Zaehnsdorf.

49
Walter Hamilton (1844-1899). An Odd Volume for Smokers. A Lyttel Parcell of Poems and Parodyes in Praise of Tobacco... London: Reeves & Turner, 1889. 180 p. 15.5 x 12 cm.

Bound in full spackled calf with blind-tooled decorative roll border on covers. Red leather spine label with gilt lettering, fillets, and diapered gilt ornaments on spine. Gilt decorative border roll on turn-ins. All edges gilt.

Signed binding. Binder's stamp: Bound by Zaehnsdorf for A.C. McClure & Co.


Central Ornamentation

Back to top of page

Central ornaments, described as such for their location on the covers of a binding, serve as decorative devices to delight the eye. These decorations may also contain information regarding the content and provenance (history of ownership) of the book.

50
A. H. Bullen, ed. Musa Proterva: Love-poems of the Restoration. [n.p.]: Privately printed, 1895. 128 p. 20 x 16 cm.

Gift of Charles Deering.

Bound in blue morocco with gilt central ornament and single gilt fillet border on covers. Raised spine bands. Gilt title and ornaments on spine. Gilt decorative roll on turn-ins. Top edge gilt.

51
William Penn. An Address to Protestants Upon the Present Conjuncture. Im [sic] II Parts. [n.p.]: Printed in the year 1679. 148 p. 20 x 15 cm.

Bound in brown morocco with gilt armorial ornament depicting coat of arms of William Henry Miller in center of front cover. Raised spine bands. Gilt title on spine. Gilt fillet on turn-ins. All edges gilt.

Signed binding. Tooled in gilt: Bound by W. Pratt.

52
Grammaticus Musaeus. Héro et Léandre. Paris: A Quanti, Imprimeur-Éditeur..., 1879. 135 p. 15 x 10 cm.

Gift of Charles Deering.

Bound in green morocco with gilt floral ornament and single gilt fillet border on front cover. Raised spine bands decorated with gilt fillets. Title and ornaments in gilt on spine. Gilt decorative roll on turn-ins.

53
Horace. Quinti Horatii Flacci Opera. Parisiis: Ex Typo graphica Firminorum Didot, 1855. 199 p. 15 x 10 cm.

Gift of George W. Rosner.

Bound in green morocco with central ornament done in red leather inlay decorated in gilt. Gilt decorative roll borders and fillets on covers. Raised spine bands. Gilt lettering and ornaments with red leather inlays on spine. Top edge gilt.

Signed binding. Tooled in gilt: Bound by Zaehnsdorf.

Binder's device tooled in gilt on inside of back cover.

Francisco da Conceiçao. Director Instruido ou Breve Resumo da Mystica Theologia para Instrucçao dos Directores,... Offerecido ao Director dos Directores, Mestre, de Exemplar das Virtudes Jesus Christo Crucificado...

54
Francisco da Conceiçao. Director Instruido ou Breve Resumo da Mystica Theologia para Instrucçao dos Directores,... Offerecido ao Director dos Directores, Mestre, de Exemplar das Virtudes Jesus Christo Crucificado... Coimbra: Na Real Imprensa da Universidade, 1779.

Bound in full red calf. Elaborately tooled ornaments and decorative borders in gilt. In the center of the covers is the royal (Braganza) arms of Portugal. Raised spine bands. Gilt ornaments, fillets and title on spine. All edges gilt. Gauffered edges.

The black on the covers could either be silver (tarnished to black) or paint.

Modern Ornamentation

Decorative binding techniques used to embellish leather bindings have not changed significantly in the twentieth century. Styles of ornamentation continue to evolve under the influence of contemporary art and design movements such as Art Moderne and Art Deco.

55
William Henry Schuetze (1853-1902). William Henry Schuetze. Chicago: R.R. Donnelly & Sons Co., The Lake side Press, 1903. 163 p. 24.5 x 17 cm.

Gift of Charles Deering.

Bound in red morocco with decorative gilt fillets on covers and spine. Raised spine bands. Title in gilt on spine. Leather doublures with navy blue leather inlays, decorated with gilt ornaments.

Signed binding. Tooled in gilt: M. Lortic.

56
Graily Hewitt. The Pen and Type-design... London: The First Edition Club, 1928. 47 p. 28 x 19 cm.

Gift of Mr. and Mrs. Meyer Gold.

Bound in red niger goat. Decorative gilt fillets on covers, spine and turn-ins. Title in gilt on spine.

57
Jean Marchand. La Légende de Mélvsine. Paris: Boivin & Cie. Éditeurs, [c. 1927]. 273 p. 20 x 15 cm.

Bound in green morocco with decorative gilt fillets and ornaments on covers and spine. Title in gilt on cover and spine. Gilt fillet on turn-ins.

Signed binding. Tooled in gilt: Bayn tun. Bath, Eng.


Retrospective Bindings

Back to top of page

This binding practice uses decorative elements borrowed or in spired from the past. Bindings range from elegant, yet simple, statements to lavish imitations of historical styles and pastiches of ornate decorative elements.

The particularly elaborate and sumptuous retrospective bindings of the nineteenth century reveal a great deal about the state of bookbinding in that period. The book is often portrayed as a work of art and an object of consumption as well as a cultural symbol. Nineteenth century advances in printing technology allowed books to be available to a wider and more literate audience. Publishers issued special editions, or "editions deluxe" to recapture the early prestige of owning books as precious objects. These special editions are often admired more for their physical qualities than for their intellectual content. The binding and other physical attributes, including the quality of handmade paper and the use of elaborate illustrations, enhance the book as object d'art. The use of gauffered edges (impressions made with a heated tool) on the text block, usually gilded, add another decorative feature to the books of this era.

Two popular retrospective binding styles are based on the work of early binders. The Derome Style uses decorative tools to give the effect of lace. This style is derived from bookbinding techniques introduced at the Parisian workshop of Nicolas Denis Derome (1731-1788?). The Grolieresque style is based on bindings commissioned by Jean Grolier de Servin, Vicomte d'Aguisy (1479-1565), a bibliophile known for one of the most important book collections ever amassed. He commissioned French and Italian bookbinders to produce treasures for his library. Characteristics of these bindings include the use of geometric patterns, and intricate strapwork.

58
Charles Marie Gabriel Cousin (1822-1890). Racontars Illustrés d'un Vieux Collectionneur. Paris: A la Libraire de "L'Art", 1887. 335 p. 34 x 26 cm.

Gift of Charles Deering.

Grolieresque binding in brown calf with red and dark brown leather inlay strapwork with gilt pointillé and tooling on covers and spine. Decorative gilt center ornament on covers. Gilt decorative rolls on turn-ins. Gauffered edges.

Signed binding. Tooled in gilt: Hermenegildo Miralles 1919; Guérin-Darer.

59
George Gordon Byron, Baron Byron (1788-1824). Letters and Journals of Lord Byron: With Notices of his Life, by Thomas Moore. London: John Murray, 1830. 670 p. 29 x 24 cm.

Gift of Salem Hyde, II.

Bound in green morocco with decorative gilt ornaments, rolls and fillets on covers and spine. Gilt coat of arms of Lord Byron in center of covers. Gilt initial "B" and coronets in corners. Raised bands. Gilt decorative roll on turn-ins. Silk doublures. Top edge gilt.

Signed binding. Tooled in gilt: Bound by Wallis.

60
Cotton Mather (1663-1728). The Wonders of the Invisible World: Being an Account of the Tryals of Several Witches Lately Executed in New-England... Printed first, at Boston in New England, and reprinted at London, for John Dunton, at the Raven in Poultrey, 1693. 62 p. 20 x 15 cm.

Gift of Charles Deering.

Bound in red morocco with gilt tooled rose corner ornaments within decorative roll and triple or French fillet borders on covers. Raised spine bands. Title in gilt on spine. Gilt decorative roll on turn-ins. Silk moire doublures. Edges stained red.

Signed binding. Tooled in gilt: Bound by Ringer; Finished by Ernst Hertz berg.

61
D. H. Lawrence (1885-1930). Lady Chatterley's Lover. [n.p.], Privately Printed, 1928. 365 p. 23 x 17 cm.

Bound in black niger goat with gilt corner ornaments within a single gilt fillet border on covers. Raised spine bands. Gilt title and ornaments on spine. Single gilt fillet on turn-ins. Top edge gilt.

Signed binding. Tooled in gilt: Maclehose, Glasgow.


Modern English Bindings

Back to top of page

English binders of the late nineteenth and twentieth centuries have emphasized well crafted bindings, true to the materials used, with restrained ornamentation. Panel or cover decoration often consists of simple borders that frame an open, central space. The natural grain and color of the leather serves as the primary ornament. Significant embellishments are placed on the spine of the book, the only visible portion of the volume when it sits on a shelf. Two firms who were practitioners of this style were Rivière and Son and Zaehnsdorf.

62
William Makepeace Thackeray (1811-1863). Vanity Fair. A Novel Without a Hero. London: Bradbury & Evans, 1848. 624 p. 21.5 x 14 cm.

Bound in dark blue niger goat with single gilt fillet border on covers. Raised spine bands. Gilt ornaments, fillets and title on spine. Gilt decorative roll on turn-in. All edges gilt.

Signed binding. Tooled in gilt: Bayn tun. Binder. Bath. Eng.

63
Robert Blair (1699-1746). The Grave, A Poem. London: Printed for M. Cooper, at the Globe in Pater-Noster-Row, 1743. 39 p. 26 x 21 cm.

Bound in green morocco with triple or French gilt fillet border on covers. Raised spine bands. Gilt title and ornaments on spine. Gilt decorative roll on turn-in. All edges gilt.

Signed binding. Tooled in gilt: F. Bedford.

64
Sir John Suckling (1609-1642). Fragmenta Aurea: A Collection of all the Incomparable Pieces Written by Sir John Suckling. London: Printed for Humph rey Moseley, 1658. Unpaged. 18 cm.

Bound in green morocco with single gilt fillet frame within decorative roll border on covers. Raised spine bands. Gilt title and ornaments on spine. Gilt decorative roll on turn-ins. Top edge gilt.

Signed binding. Tooled in gilt: Bound by Bayntun-Riviere Bath England.

65
William Makepeace Thackeray (1811-1863). The Four Georges: Sketches of Manners, Moral, Court and Town Life. London: Smith, Elder and Co., 1861. 226 p. 19.5 x 13.5 cm.

Bound in brown morocco with triple or French gilt fillet border on covers. Raised spine bands. Gilt title, fillets and ornaments on spine. Gilt decorative roll on turn-ins. Top edge gilt.

Signed binding. Tooled in gilt: Bound by Riviere & Son.

66
Richard Ford (1796-1858). [Hand book for Travellers in Spain] [London? 1845?]. 768 p. 19.5 x 13.5 cm.

Gift of Charles Deering. The suppressed edition of which only twenty copies are known to survive.

Bound in blue morocco with triple or French gilt fillet border on covers. Raised spine bands. Gilt title and ornaments on spine. Gilt decorative roll on turn-ins.

Signed binding. Tooled in gilt: Bound by Rivière & Son.

67
Samuel Bevan. Sand and Canvas; A Narrative of Adventures in Egypt, with a Sojourn Among the Artists in Rome. London: Charles Gilpin, 1849. 370 p. 23 x 15 cm.

Bound in brown morocco with triple or French gilt fillet on covers. Raised spine bands. Gilt decorations and title on spine. Gilt decorative roll on turn-ins. Top edge gilt.

Signed binding. Tooled in gilt: Bound by Rivière & Son.


Exotica

Back to top of page

Bookbinders often create special bindings using unusual animal skins and other materials. The use of alligator or crocodile hides and tortoise shells are examples of this practice.

68
Máximo Gómez (1836-1905). Diario de Campaña del Mayor General Máximo Gómez... Ceiba del Agua, Habana: Impreso en los Talleres de Centro Superior Tecnológico, [1941]. 623 p. 27 x 20 cm.

Presented in memory of David Masnata.

Full crocodile binding with gilt central ornament on front cover. Gilt lettering and ornaments on spine. Raised spine bands. Red spine label with gilt lettering. Turn-ins decorated with gilt ornaments.

Lew Wallace (1827-1905). The Fair God, A Tale of the Conquest of Mexico.

69
Lew Wallace (1827-1905). The Fair God, A Tale of the Conquest of Mexico. Boston and New York: Houghton Mifflin and Company; The Riverside Press, 1899. 449 p. 25.5 x 18 cm.

Gift of Charles Deering.

Bound in embossed suede with gilt stamped title block on front cover and spine. Gilt ornament on back cover.

Le Nouveav Testament, c'est à Dire, la Nouvelle Alliance de Nostre Seigneur Jesus Christ.

70
Le Nouveav Testament, c'est à Dire, la Nouvelle Alliance de Nostre Seigneur Jesus Christ. [Amsterdam? 1649?]. Unpaged. 12 x 7 cm.

Gift of Mrs. O. J. Tanner.

Tortoise shell binding with metal bosses, edge guards, hinges and clasps. Gauffered edges.

Back to Bienes Center Home Page
Back to Broward County Home Page