International studio (34.1908)

Practical Bookbinding

style of finishing which in itself is quite well enough;
it is very objectionable, however, to impose bindings
finished by such purely mechanical processes on
the guileless public as “hand-tooled” books.
These “blocked patterns” are produced as
follows: The whole design is engraved on a single
metal plate. This is placed in an “arming press”
and heated. The cover with a blanket of gold-leaf
(this often ofpoor quality) on it, is slipped in position,
the lever pulled, and “presto!” the pattern is
produced. No preliminary “blinding-in” is needed.
By this method all parts of the design are stamped
to the same depth, and all parts are flat as regards
surface. This naturally results in “loss of life” in
the design; it is flat and uninteresting, devoid of
that individuality which is always present in the
simplest specimen of hand-work. In using small
tools no two impressions are necessarily at the same
angle; this causes the reflecting surfaces of the gold
to be active at whatever angle the book is held and
thus gives brightness and variety which can never
exist in blocked work. It therefore follows that a
hand-tooled book, where the design is worked out
in small tools, is much more brilliant than where
large tools are employed.
Some criticism expressed recently, by a com-
petent authority, referring to this variety of work,
may be read with profit:
“In short, it could not give the impress of
thought and mind to its work, which render the
simplest specimen of true handicraft more or less
interesting and satisfactory. Its perfection was a
dead level of uniformity, dull and unpleasing, and
its limitations of ornamental or other art were pre-
tentious failures.”
The remarks “as to flatness” apply also to the
employment of “rolls” in borders. They not only
make a bad finish at the corners, but they produce
a “flat” result, as the whole bearing surface must
be on one level; the wider the roll the worse the
effect.
It is only of recent years that a few unscrupulous
publishers have begun to employ this method of
exploiting their unwary customers.
The usual procedure is as follows: A so-called
“limited edition” of some wTell-known standard
set of volumes (on which the copyright has
usually expired) is advertised and subscriptions
are solicited. This is done by clever agents who
work almost exclusively among people not familiar
with such methods. It is represented that this is in
itself a “limited” edition of say 1,000 copies, and
that a small number of copies (from ten to thirty)
are specially illustrated by original water-colors—

or line drawings on “specially prepared” paper—
specially hand-bound and tooled, etc. When issued
as full-bound work, the leather selected is some-
times of inferior quality and soon deteriorates.
In some cases the machine tooling is eked out by
a small amount of hand-work, just enough to give
color to the statement “it is hand-tooled.” This
business, however, only flourishes among cus-
tomers who are in complete ignorance as to what
constitutes a well-bound book.
There is only one thing to be said in favor of such
work, and that is, that even though purchasers are
defrauded to some extent, they soon find it out and
in the research made necessary by this they do
acquire a knowledge of what is the real thing, and
in this way many of them become well posted for
the future, as to the kind of books they ought to
buy. In this manner a considerable knowledge of
the art is spread abroad, though in a very ob-
jectionable manner.
In closing this article, I desire to express my in-
debtedness for many valuable points contained
herein to the works of Zaehnsdorf, Cockerell,
and particularly to the excellent articles published
by Messrs. Sangorksi & Sutliffe, of London. Their
articles were illustrated by the best cuts which have
so far come to my notice, and I have made free use
of them, particularly those relating to sewing and
headbanding.
I also desire to acknowledge my indebtedness to
Bradstreet’s bindery, its genial superintendent, Mr.
John Oliver, and to the expert staff, Messrs. David
Smith, forwarder; Nathaniel Kirby and Alfred
Launder, finishers, and Miss Doran, who does the
sewing and head-banding. To their willingness to
give me practical points and to discuss them has
been due whatever success I have had so far.
Not being interested in the art of bookbinding
in any way except for the love of it, I have felt free
to make full use of all accessible data which would
aid me in bringing in compact shape before the
beginner those points which will aid him in his
efforts. If I have done this, in even a slight degree,
I shall feel well repaid.
New York, September, 1907, 346 Broadway.
Note.—The author will be pleased to answer any inquiries made.
A notable addition to the Faculty of Fine Arts
of Columbia University is reported. Kenyon Cox
has been appointed professor of painting, Daniel
Chester French professor of sculpture and John La
Farge professor of the decorative arts. The three
appointments speak well for the recognition of the
importance of art study in the university curriculum
on the part of both academic and artistic interests.

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