Part 1

MODERN BOOKBINDINGS

MODERN BOOKBINDINGS THEIR DESIGN AND DECORATION

BY S. T. PRIDEAUX

NEW YORK E. P. DUTTON AND COMPANY 1906

Edinburgh: T. AND A. CONSTABLE, Printers to His Majesty

CONTENTS

PAGE MODERN ENGLISH BINDING 3 MODERN FRENCH BINDING 59 EDITION BINDING 105

LIST OF ILLUSTRATIONS

PLATE I. BOUND BY ZAEHNSDORF—_Frontispiece_ AT PAGE II. „ „ 6 III. „ „ 6 IV. „ RIVIÈRE 10 V. „ „ 10 VI. „ MORRELL 14 VII. „ „ 16 VIII. „ „ 16 IX. „ DE COVERLY 18 X. „ FAZAKERLY 20 XI. „ „ 20 XII. „ CHIVERS 26 XIII. „ „ 26 XIV. „ THE OXFORD UNIVERSITY PRESS 30 XV. „ „ „ 34 XVI. „ „ „ 34 XVII. „ THE GUILD OF HANDICRAFT 38 XVIII. „ DOUGLAS COCKERELL 40 XIX. „ „ „ 40 XX. „ F. SANGORSKI AND G. SUTCLIFFE 42 XXI. „ DE SAUTY 44 XXII. „ „ „ 44 XXIII. „ MISS ADAMS 46 XXIV. „ MISS MACCOLL 48 XXV. „ MISS ALICE PATTINSON 48 XXVI. „ MISS MAUDE NATHAN 50 XXVII. „ MISS WOOLRICH 52 XXVIII. „ MISS PHILPOT 54 XXIX. „ MARIUS MICHEL 60 XXX. „ „ „ 62 XXXI. „ „ „ 62 XXXII. „ LÉON GRUEL 64 XXXIII. „ „ „ 68 XXXIV. „ „ „ 68 XXXV. „ „ „ 72 XXXVI. „ „ „ 72 XXXVII. „ MERCIER 76 XXXVIII. „ „ 80 XXXIX. „ „ 82 XL. „ „ 84 XLI. „ „ 84 XLII. „ RUBAN 88 XLIII. „ „ 92 XLIV. „ „ 92 XLV. „ CARAYON 94 XLVI. „ „ 96 XLVII. „ „ 96 XLVIII. „ CHAMBOLLE 98 XLIX. „ „ 106 L. „ „ 106 LI. „ CANAPE 108 LII. „ „ 112 LIII. „ „ 116 LIV. „ „ 120 LV. „ „ 120 LVI. „ KIEFFER 124 LVII. „ „ 128 LVIII. „ „ 128

ERRATUM

_For_ “Revière” _read_ “Rivière” in List of Illustrations.

_For_ “Morell” _read_ “Morrell” throughout.

The address of the Oxford University Press is still Amen Corner, E.C., and _not_ St. Dunstan’s House, Fetter Lane, as stated on page 35.

MODERN ENGLISH BINDING

I

Within the last five-and-twenty years there has been a marked revival in every department of applied art. The influence of William Morris, whose efforts in all the accessories of house decoration were for some time only recognized by the few, has now spread to all classes. No longer confined to the houses of the rich or of those who profess the cult of aesthetics, it is to be found with more or less of travesty in country rectories and suburban villas, catered for by the enterprising tradesman on the monthly hire system. To those who remember vividly the early Victorian surroundings of the home and their prevailing ugliness, the complete change which has taken place has hardly yet ceased to be a source of wonder. Nothing remains the same: from wall-paper to coal-box, from bedroom to kitchen, all has ‘suffered a sea change.’ In any examination of the present condition of the artistic crafts and the promise they present of future development on a sound basis, one cannot fail to observe that the effort to promote taste has penetrated to the commonest objects of daily use. The thought that finds expression in decoration has gone to salt-cellars and buttons as well as to carpets, cabinets and books. Some industries too, that may almost be said to have died out for lack of appreciation, have been revived on new lines and taken up by the public with enthusiastic approval. The use of enamel in jewellery and in combination with wrought metal may be mentioned as an instance of this, as well as the inlaying of cabinet work not only with coloured woods, but with pewter, ivory and pearl. The spell of convention once broken, the imagination of the craftsman has found relief in flying to the furthest distance from models that were till recently his only guide. This freedom, when restrained by genuine artistic feeling, has given in many cases excellent results; but in the majority of cases the sole achievement has been an eccentricity that shows few signs of a realization of what is needed in applied art and of the laws that should govern it.

In no sphere has there been a more striking departure from the hitherto circumscribed lines of ornamentation than in everything that relates to books and their decorative treatment. Paper and ink, type and its massing on the page, illustration both as a part of the text and outside it, the materials and enrichment of the cover—all have alike undergone fundamental reconsideration. It is, however, with bindings and not with the other features of book production that we are now concerned; and it is proposed in these pages to draw attention to what is being done in England and France in a field of work that has an increasing number of recruits and a growing and interested public.

It is now more than twenty years since the movement spoken of began to include bookbinding. During that time there has been noted the trade opposition to Mr. Cobden-Sanderson when he started as an amateur, followed by an imitation in many quarters, which, to say the least of it, is not the most subtle form of flattery. There has been also the later influence of Mr. Douglas Cockerell—a result of his strenuous craft teaching as well as of the work of his own hands—and the tardy acknowledgment of professional binders that the interest of the amateur has been productive of good even from the narrow standpoint of their class. Nor has France escaped this wave of innovation, though there formalism had a stronger hold even than with us, inasmuch as the traditions of what in the sixteenth and seventeenth centuries had really been more of a fine art than a craft were rooted in the country with all the firmness that national pride could give. Finally, one may mark the growing enthusiasm of our American neighbours in the subject and their efforts to create a national taste in fine bindings. They show a ready acknowledgment of what is being done outside their own country, and a willingness to recognize that work directed by the artistic rather than the commercial spirit must be paid for according to a standard different to that of the ordinary tradesman.

That an increasing number of people appreciate the problem of designing book covers may be judged from the fact that of late years nearly every illustrated paper has had an occasional article on one or another binder anxious to attract the public to the originality of his work. Assuming this appreciation, we will touch briefly on the craft in England before its revitalization during the last quarter of a century, and then pass in review those who are now occupied with its decorative side and who are trying to remove it from the traditional grooves in which it lay for so long. Unfortunately, many binders doing excellent and conscientious work, on lines far more valuable than that of pattern making, must remain unnoticed, for it is only work that is striving after an effect of ornament that is capable of illustration. Of this, too, the amount has so much increased of late that it is impossible to give examples of much that equally deserves representation with what has been selected.

For a true understanding of modern effort it is necessary to realize that the art history of binding is an important one, especially in Italy and France; but in this very brief review of English binding before 1850, we need not start further back than the time when gilt tooling was brought from France. Before that period the heavier covers had been decorated with stamps often of a very beautiful kind and impressed upon the leather without gold. But in the reign of Henry VIII., Thomas Berthelet, the King’s printer, first executed gold-tooled bindings, the designs on which were frankly adopted from those that prevailed in Italy, the models, no doubt, being found among the large number of books imported from abroad at that time. Later on, when Italian binding as a fine art had been merged in that of France, the influence of the latter country is seen, as, for example, in the books bound for Thomas Wotton in imitation of Grolier, one of the most famous collectors of any age or country. Throughout the reigns of the Stuarts, English binding continues to show French influence, as a glance at the books exhibited to the public in the British Museum will show to the most casual observer. Nor had we a binder who can be said to have shown any tendency towards a native style till the time of the Restoration, when Samuel Mearne, bookbinder to the King, inaugurated what is known as the ‘cottage’ form of decoration. Though the elaborate filigree work on his books reminds one that Le Gascon exercised an important influence, the form of the ornaments and their arrangement remain distinctly English. A development of this style, equally native in character, may be found a little later, during the first part of the eighteenth century, chiefly on the Bibles and Prayer-Books of the time. In these there is a certain amount of rough inlay, either in the form of a panel or in that of tulips and other conventional flowers outlined in gold, though with a dotted instead of a solid line. These ornaments, poor in themselves, which form the main part of the decoration, are often combined with great skill and sense of effect. An unusual number of such books were collected at the time of the Exhibition of Bindings at the Burlington Fine Arts Club, and were found both charming and effective notwithstanding a somewhat rough and hasty workmanship. From the reign of James II. to the time of Roger Payne there are no names associated with any bindings of importance; and with the passing of the prevailing fashion of ornament on the books just described, design reached its lowest point towards the end of the century. Of Roger Payne, who effected a genuine revival of bookbinding somewhere about 1770, it is not necessary to say much. His style is well known to all book lovers, and the details of his eccentric life have been so often recorded that the reader must be more than weary of them. One point in connexion with his work is, however, I think, worth mentioning, and that is that his style has never lent itself to that modification in imitation which enables any artist to become the founder of a school. Any one of the skilled binders will do you a ‘Roger Payne’ as he will do you a ‘Grolier’ or a ‘Le Gascon’; but it will be a reproduction of the real Roger’s work, with the exact details and precise arrangement of them that are to be found on his authentic bindings. So that, notwithstanding his originality, he inspired no following, though his imitators have been perhaps more numerous than those of any other binder.

Charles Lewis and Frances Bedford, followed by Robert Rivière and Joseph Zaehnsdorf, did much good work in the early part of the last century, especially Bedford; but they can lay no claim to an originality which disappeared with Payne, and which was not seen again until Mr. Cobden-Sanderson attempted to do for the binding of books what William Morris had already done for the other decorative arts. It is the result of this revived interest in handicrafts and the attempted application to binding of the more vital principles of art which it is proposed to illustrate here. One must say attempted, because success by no means always results. In this review, however, of modern binders, definite criticism is not an object, though the difficulties attendant on their efforts naturally come up for consideration and necessarily involve some expression of opinion.

Both Zaehnsdorf and Rivière left representatives to carry on their work, the former a son, and the latter two nephews, Mr. Percy and Mr. Arthur Calkin. From the small establishments in which both houses originated there has developed in each case an important business in which an exceedingly large number of books are bound for the export as well as the retail trade. In a bindery of this nature there would not be time for the serious consideration of artistic problems unless it contained what Mr. Lethaby so aptly describes as ‘a “quality” department in a “quantity” business.’ It remains as true now as it has always been that the craftsman who is also an artist must work in his own way and at his own speed—a fact well realized in the French workshops, which are altogether outside the rush and pressure of commercial life. So in each of these houses we find a certain number of the more intelligent and skilful men employed only upon the best work, and engaged in carrying out designs which they either make up themselves from certain recognised types or which are made for them by more practised designers. This introduces the question—which is a practical one for the large employer, though it need not exist for those having a comparatively limited output—whether it produces better results to keep a trained designer, or to give the pattern making into the hands of the more artistically disposed ‘finishers.’ Some consider that it is impossible, so long as the education of the workman is so lamentably defective on the side of taste as it is, to expect him to plan book covers above the ordinary level of presents and school prizes; others hold that his feeling for what is good and appropriate can only be cultivated by encouraging him to the interest and responsibility of planning what he is going to execute. Mr. Calkin has long kept a designer entirely occupied on the decorated work that many of his clients demand. Other houses have tried the practice of getting drawings made by the general decorative artist, and have given it up in disgust at the unpractical character of the results obtained. And it is true that it takes time and patience to train one accustomed to a free hand in invention to a realization of the limitations necessitated by the use of rigid stamps and the comparatively small number of them that can be employed on a binding.[1] Ask any professed pattern maker to make you a device for a book cover, and you will get something which, though it may be satisfactory and attractive in itself, will be either impossible of execution or give the most disappointing results. Naturally, where any firm happens to possess workmen of the required taste and ability, they should be encouraged to the utmost to give effect to their sense of drawing in its application to their own trade. Messrs. Morrell, whose large business is entirely a wholesale one, supplies all the booksellers with bindings designed by his men and remarkable for their variety and merit. It is too early to speak of the influence of the technical schools upon the output of the large workshops, but when one knows that the three houses above mentioned employ some 200 men between them, it can easily be imagined that the training of the workman is a serious consideration.[2] It is customary now for binders to keep a record of their more special work, and in this way the extent of their range can be noted by the employer and undue repetition prevented. Another improvement on the past is that designs are not now multiplied as they used to be—that is to say, in the best class of work. A specially planned cover is not repeated or even published without the owner’s consent; and this is a wise plan, for all art, even the best, suffers by vain repetition, and a good and appropriate pattern on a book will be but a weariness to the eye when it is seen in multiplicity in booksellers’ windows.

The concluding illustrations in this chapter show work done by Mr. Roger de Coverly and Mr. Harry Wood. Mr. de Coverly served his apprenticeship to the elder Zaehnsdorf, and was afterwards employed for many years by Messrs. Leighton. In 1863 he set up for himself, and his sound taste being discovered by Mr. F. S. Ellis and Mr. William Morris, he soon got the custom of many of those who were then seeking its application to bindings. In 1883 he took one of his clients, Mr. Cobden-Sanderson, as a pupil, and has had others since. He considers his speciality to be vellum work; but unfortunately this does not show well in reproduction. Mr. Wood was also with Zaehnsdorf, working for him as a finisher for twelve years. He subsequently managed and in the end bought the business of Mr. Kaufmann in Soho, which he has greatly expanded, and which is now managed by his son. Neither he nor de Coverly have ever sought the heavy expenses and responsibilities of a large undertaking, but have been content with a personal business in which they themselves have always taken an active part.

II

Although the chief place to study bookbinders and their craft is naturally London, there are several provincial centres where it flourishes, and where it has been touched by that movement for developing the artistic as well as the business side which we noticed in the previous chapter. In large country towns it is impossible for work to be as much specialized as it is in London; consequently a large bindery will do business of a most miscellaneous kind, embracing everything from pamphlets to fine-tooled morocco bindings, and including albums, ledgers, library and school books for prizes. Mr. Fazakerly in Liverpool, Mr. Birdsall in Northampton, and Mr. Chivers in Bath, all have establishments more or less of this kind.

Mr. Fazakerly was one of the first binders, certainly outside of London, who refused to support the excessive competition in cheapness, and who struck out a department in which fine work could be executed at prices that were remunerative and not prohibitive. Happily the result of his efforts shows the success of a refusal to pander to that desire for cutting prices which has done so much to ruin the crafts on their artistic side. For some time after he had educated his workmen to the responsibility of his new venture, he found that the taste of his customers lay towards a reproduction of old models, but he has of late been quite successful in directing it on to new lines. One feature may be noted in connexion with the morocco work of Mr. Fazakerly, namely, that the under cover is rarely decorated with the same design as the upper. If the lower cover is left quite plain, the effect is poor, and suggests that trouble has been spared on the book as a whole; but there is no reason for the convention, almost universally adopted, whereby the two sides are entirely alike. The same tools and elements of design should appear in each cover, only disposed in different schemes of ornament, and such variation naturally implies more thought, the thought that avoids repetition. One of Mr. Fazakerly’s innovations was the employment of embossed leather, which has since spread to many other houses; and another which he considers a specialty of his business is the decoration of the edges of books, both by means of tooling on them or gauffering, as it is more generally called, and also by painting underneath the gold. We may recall that in the sixteenth century this extension of ornament to the leaves of a book was very prevalent, and was only one of many indications that the workman spent ungrudging time and thought on the details of what was intended to be a work of art throughout.[3] Some very fine specimens of gauffered edges may be seen on the works of Luther in seven folio volumes, dated Jena 1572–1581, now in South Kensington Museum. The volumes being very thick offer fine scope for ornament, which consists of the shield of Saxony painted in the centre of each foredge, the rest of the space being filled with arabesques and Renaissance ornaments. And there is, we believe, still in this country part of the library that once belonged to Odonico Pillone of Belluno, comprising some hundred and forty folios with foredges painted by the hand of Cesare Vecellio, a nephew of Titian.[4]