DOI Artikel:
Sullivan, Edward: Design in gold-tooled bookbinding
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20710#0053
Design in Gold-Tooled Bookbinding
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The artist-binder has, however, no cause of com- extravagances—too often met with in recent times
plaint by reason of this restricted field in the way —one cannot but feel that the first canons of
of material; for, as a matter of fact, the very finest artistic treatment have been set aside in the
results in gold-tooling are only to be obtained from framing of the design, or that the designer has
morocco ; and the artificer who has once produced, shown himself to be ignorant of the especial con-
upon this leather, some design that satisfies the dition of true ornament-—that it be beautiful in
soul of the artist within him, will never willingly its place.
go back to any other material. It is undoubtedly a fact, however, that the last
But it is Design that mainly concerns us here— fifteen or twenty years have seen a vast improve-
that all-important section of " finishing," or second ment in the matter of design in English book-
division of the craft of bookbinding. Technique ornamentation. For quite a long time previously
of a high order is, of course, essential to a first-class there had been little in the way ot originality to
" finisher," but skilful technique in a " finisher " commend the work that was being produced, or
who works out some ignoble design is calculated to distinguish it from the somewhat commonplace
only, in Hamlet's phrase, to "make the judicious conventional forms which had been adopted by
grieve." The book may
be perfect to the touch in
all the delicacy of its
polished exquisiteness, the
lustre of each separate
gold impression may be
all that eye could wish
for; each tool be grace-
fully and correctly cut;
but the tools, as they
show in the design, are
themselves gathered into
some fantastic medley of
incongruous detail which,
though it cover the field
with brilliancy, yet lacks
the convincing and satisfy-
ing eff.ct which is alone
the outcome of an artist's
mind working artistically
within the limits of an
art that he loves and
understands.
Then, again, a good
design in the case of a
"mosaic" pattern may be
completely spoiled by a
want of harmony in the
colours of the inlaid
leathers; for although gold-
tooling goes far to soften
the crudities of clashing
colours, there are certain
combinations of hue which
can never be reduced to
anything approaching tran-
quillity when in juxtaposi-
tion.
It is in the case of such bookbinding by sir edward sullivan
36
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1-4 .v • / .....t [A ,;
-'-«•< :!'• ft-:--:--.: """tV' -.-:'.""'< J'-' .• . •" K-V-Vb-V "to ^
The artist-binder has, however, no cause of com- extravagances—too often met with in recent times
plaint by reason of this restricted field in the way —one cannot but feel that the first canons of
of material; for, as a matter of fact, the very finest artistic treatment have been set aside in the
results in gold-tooling are only to be obtained from framing of the design, or that the designer has
morocco ; and the artificer who has once produced, shown himself to be ignorant of the especial con-
upon this leather, some design that satisfies the dition of true ornament-—that it be beautiful in
soul of the artist within him, will never willingly its place.
go back to any other material. It is undoubtedly a fact, however, that the last
But it is Design that mainly concerns us here— fifteen or twenty years have seen a vast improve-
that all-important section of " finishing," or second ment in the matter of design in English book-
division of the craft of bookbinding. Technique ornamentation. For quite a long time previously
of a high order is, of course, essential to a first-class there had been little in the way ot originality to
" finisher," but skilful technique in a " finisher " commend the work that was being produced, or
who works out some ignoble design is calculated to distinguish it from the somewhat commonplace
only, in Hamlet's phrase, to "make the judicious conventional forms which had been adopted by
grieve." The book may
be perfect to the touch in
all the delicacy of its
polished exquisiteness, the
lustre of each separate
gold impression may be
all that eye could wish
for; each tool be grace-
fully and correctly cut;
but the tools, as they
show in the design, are
themselves gathered into
some fantastic medley of
incongruous detail which,
though it cover the field
with brilliancy, yet lacks
the convincing and satisfy-
ing eff.ct which is alone
the outcome of an artist's
mind working artistically
within the limits of an
art that he loves and
understands.
Then, again, a good
design in the case of a
"mosaic" pattern may be
completely spoiled by a
want of harmony in the
colours of the inlaid
leathers; for although gold-
tooling goes far to soften
the crudities of clashing
colours, there are certain
combinations of hue which
can never be reduced to
anything approaching tran-
quillity when in juxtaposi-
tion.
It is in the case of such bookbinding by sir edward sullivan
36
IJ i if . $ fe« l§tK;
mm "!'.',P 4 -fi':<-:<* hjk..
«.*. •»«.•* 1 -.>t:r--..! l..--."-»i".-jr-ak,.,'-..-;. .1 k-r?t 1 v
# § ' v: V ;, ,,-.v; p::'k%\