We’ve just published our latest Conservation Newsletter. Newsletter No. 4, Winter 2020-21
My latest read is Lionel Darley’s Bookbinding Then and Now: A Survey of the First Hundred and Seventy-Eight Years of James Burn & Company (London: Faber & Faber, 1959). As its title suggests, the book is a history of an English bookbinder, James Frederick Burn (1828-1870), and the London company first established in 1781 by
I’ve been working on springback bindings for many years and thought I’d share my selected bibliography on the subject. It’s not exhaustive but hopefully covers all the significant works. If you have any suggestions to add, do let me know! Click here for bibliography.
Let me present my latest find: M. Dupont, Ou La Jeune Fille Et Sa Bonne by Charles Paul De Kock (Paris, 1835). The book is an octavo, printed on paper; with tipped endleaves formed from single folds of white paper; multi-section sewn on three recessed cords; rounded and backed; with cut edges and without endbands. Importantly, it
We’re now pleased to be welcoming our students back for one-to-one teaching and workshops. To help make it as safe and pleasant as possible, we’ve developed some Covid-19 guidance for students. We welcome your feedback and will keep reviewing the situation.
I was recently commissioned to bind an early eighteenth century book in a contemporary style and took the opportunity to explore Cambridge panels in a little more detail. I was inspired by conversations with Trevor Lloyd, and decided to follow his method of getting new rolls made from rubbings of books of the period. I
1. Knocking-down stick: This tool was given to me at one (I forget which) of the binderies I worked at in London in the noughties. It’s a worthless but very useful tool, which appears to have been roughly fashioned from an off-cut. It has some patina so has some age but would be hard to date.
There are lots of books about books but none quite like that of Annie Carey’s The History of a Book. First published in 1873, it charts the development of printing, paper-making, and bookbinding from the unique perspective of a ‘new book’ sitting in a ‘dark, dingy room’ amongst ‘several old books’ (p.9). Upon the departure