International studio (15.1901/1902(1902))

Paul Kersteris Leather IVork

Michels, or the Charles Meuniers—who apppear to
be influencing their German confreres. The
symbolical styles of the French craftsmen, and
their mosaics, aiming at pictorial effect, are rarely
copied; the methods of Cobden-Sanderson,

BOOKBINDING BY P. KERSTEN

Riviere, Zaehnsdorff, and Miss E. M. MacColl
appear to have struck the fancy of the
German morocco workers. These are largely
based on the style of the Italian masters of
the sixteenth century, with supple and elegant
interlacings, infinite in their combinations.
This return to the primitive fashion is very
fascinating, the maximum of effect being
often obtained by means of the fewest
possible motifs.

The bindings of Mr. Paul Kersten, who has
been established for a short time at Aschaff-
enbourg, and displayed some very fine ex-
amples of his work at the recent International
Art Exhibition at Dresden, are the most
striking manifestation yet made by the young
German school of binding. He shines
especially as a gilder. After a long course
of work for a big firm at Leipzig, under the
management of M. Sperling, for whom he
did his earliest bindings, Paul Kersten was
confident enough to start on his own
account, in order to bring his name before
the public and do justice to his signature.

BY P. KERSTEN

BOOKBINDING

BY P. KERSTEN

students ot the highest ability continue to appear
as rivals of the existing master-binders of England
and France.

Truth to tell, it is not at the present moment
the French binders—the Rubans, the Marius-

BOOKBINDING