Sol Rébora bindings: Argentine Eye Candy revised

The first time a saw a picture of a Sol Rébora binding, I felt weak in the knees. It was (and still is) on the Designer Bookbinders of America web site.

There is an extensive interview with Sol in The Thread That Binds. (Seriously, people. You have to get a copy of this book.) Coming from a family of artists and bookish folk (an aunt was an antiquarian bookseller!), it seems that Sol was born to be a designer bookbinder. At art school, Sol chose bookbinding as one of her classes three years in a row, despite planning to be a fashion designer. Call it coincidence; call it fate. Whatever you call it, bookbinding kept throwing itself in her path. First, her aunt needed some bindings done for books in her store. Her brother, who worked in a store selling conservation and restoration materials, introduced her to an artist who needed help figuring out how to put her work into a book to show at a gallery. The curator wanted to know who made the book. He turned out to be the editor of books with very small limitations. The edition of 40 copies he’d just done needed boxes. Guess what? His bookbinder had just died! Sol got the job and found her first binding mentor and cheerleader. When she showed him the design bindings she had been goofing around with at school, he showed he a book with pictures of 20th century French bindings (was it the one by Alisdair Duncan?). Once she saw those pictures, Sol knew that was what she wanted to do. At the time, no one in Argentina was doing design binding. Now what?

First, Sol studied privately with a bookbinder, learning traditional French fine binding. Eventually, though, Sol knew she would have to go abroad. There were many obstacles, but Sol is a lucky woman. After a few false starts, things started to fall into place. Sol was finally able to study with masters in Canada, the United States, and Europe. The results of her hard work, combined with her natural talent, are impressive (understatement).

Neale Albert has a couple of her miniatures in his collection, so I was able to experience her work up close.  Her technique is superb.

I had a quick Facebook chat with Sol recently. She was so nice. She answered my questions about my favorite binding and offered to send me more pictures.

Alice in Wonderland. Dos Amigos Press. 33cm x 27cm Shown at the Buenos Aires Antiquarian Bookfair 2011
Alice in Wonderland. Dos Amigos Press. 33cm x 27cm
Shown at the Buenos Aires Antiquarian Bookfair 2011
The flowers are goatskin onlays and the tooling and lettering are done with candle soot over blind tooling.

Rebora Alice upper board

Rebora Alice spine

Rebora Alice w box

Society of Bookbinders 2007 Award for Craftsmanship Maria Sol Rebora Carta de Anastasio el pollo sobre el beneficio de la Senora La Grua
Society of Bookbinders 2007
Award for Craftsmanship
Carta de Anastasio el pollo sobre el beneficio de la Senora La Grua
Society of Bookbinders 2009 Harmatan Award for Forwarding Milongas by Jorge Luis Borges Full leather with a design in five sections. Edges gilt. The spine and front edges are red goatskin, the central panels are onlays. The doublures are also red goatskin. The title has been tooled in gold along the spine.
Society of Bookbinders 2009
Harmatan Award for Forwarding
Milongas by Jorge Luis Borges
Full leather with a design in five sections. Edges gilt. The spine and front edges are red goatskin, the central panels are onlays. The doublures are also red goatskin. The title has been tooled in gold along the spine.
Balada Para un Loco By Horacio Ferrer Single copy with Calligraphy, Design and Illustration by Nancy Leavitt Bilingual edition (English translation by Alberto Paz) Published - 2009 Size - 284mm x 182mm A full goatskin binding that is divided into six pieces by inlays with different levels worked with onlays in relief, with violet and white goatskin worked with sandpaper to change the shades. Tiny circles have been inserted across the cover.
Balada Para un Loco
By Horacio Ferrer
Single copy with Calligraphy, Design and Illustration by Nancy Leavitt
Bilingual edition (English translation by Alberto Paz)
Published – 2009
Size – 284mm x 182mm
A full goatskin binding that is divided into six pieces by inlays with different levels worked with onlays in relief, with violet and white goatskin worked with sandpaper to change the shades. Tiny circles have been inserted across the cover.
First Prize 1º Premio Competencia Internacional EARA Fernando Noy - Hebra Incompleta.  French structure. Full goatskin leather cream color, with inlays on natural  and cream colors. Blind tooling around the circles. Title in blind.
First Prize
1º Premio Competencia Internacional EARA
Fernando Noy – Hebra Incompleta.
French structure. Full goatskin leather cream color, with inlays on natural and cream colors. Blind tooling around the circles. Title in blind. 19.7 x 13 cm.

Hebra

Romeo and Juliet 1973 French binding construction, covered in full goat skin leather; natural, white, yellow, black and brown onlays, leather sanded to get different tones of color. Doublure and flyleaves on goat skin, black and brown color. Décor of gold and blind tooling. Top edge gilt.  35 x 26 x 3 centimeters. Created 2005.
Romeo and Juliet 1973
French binding construction, covered in full goat skin leather; natural, white, yellow, black and brown onlays, leather sanded to get different tones of color. Doublure and flyleaves on goat skin, black and brown color. Décor of gold and blind tooling. Top edge gilt. 35 x 26 x 3 centimeters. Created 2005. Lent by the Bridwell Library, Southern Methodist University for the Guild of Book Workers 100th Anniversary Exhibit, 2006.
Distinguished Winner Designer Bookbinders International Competition 2013 Romeo and Juliet, illustrated by Michèle Forgeois. Calligraphy by Mark Livingston. The Allen Press, California, 1988. 28 x 18 cm Full white goatskin with red goatskin underlays. Titled in blind on the spine. White goatskin doublures and dyed Japanese paper flyleaves.
Distinguished Winner
Designer Bookbinders International Competition 2013
Romeo and Juliet, illustrated by Michèle Forgeois. Calligraphy by Mark Livingston. The Allen Press, California, 1988.
28 x 18 cm
Full white goatskin with red goatskin underlays. Titled in blind on the spine. White goatskin doublures and dyed Japanese paper flyleaves.
Cole Porter. Brush Up Your Shakespeare. 3 x 3 inches Photo by Hannah Brown
Cole Porter. Brush Up Your Shakespeare. 3 x 3 inches
Neale Albert Collection
Photo by Hannah Brown
Percy Bysshe Shelley’s To a Skylark French structure. Full black goatskin with low relief covered on natural color goatskin and relief pieces in white goatskin and black goatskin worked with mixed techniques. Doublures of patinated embossed black goatskin. First flyleaf in patinated light gray goatskin.
Percy Bysshe Shelley’s To a Skylark
French structure. Full black goatskin with low relief covered on natural color goatskin and relief pieces in white goatskin and black goatskin worked with mixed techniques. Doublures of patinated embossed black goatskin. First flyleaf in patinated light gray goatskin.

10 detalle tapa 1 mail

11 detalle tapa 2 mail

Robert Wu (but not my cats)

Thanks to a very generous gift from a friend, I was introduced to the art of Robert Wu of Marbled Graphics™ .  I have Robert’s graphics in every room of my apartment. I won’t be posting pictures of my apartment, though. It’s a slippery slope. First, my apartment, and next thing you know, I’ll be posting pictures of my cats. There are more than enough pictures of cats on the internet.

You can see some of Robert’s marbled paper art here and purchase it here.

Very shortly after receiving this wonderful gift, I discovered that Robert is also an accomplished bookbinder. Since the founding of Designer Bookbinders of America (2011), of which Robert is a member, I’ve been following his career with great interest.

Robert’s most recent achievement is a commission by the Thomas Fisher Rare Book Library, University of Toronto, for a binding of George Barbier and Francois Louis Schmied’s Personnages de Comedie (Paris, 1922).

George Barbier and Francois Louis Schmied's Personnages de Comedie (Paris, 1922)
George Barbier and Francois Louis Schmied’s Personnages de Comedie (Paris, 1922)

It is currently on display in the Fisher Library’s exhibit: “Chevalier du Bracelet” George Barbier and His illustrated Works. Another Robert Wu binding, on loan from the Royal Ontario Museum, is also featured in the exhibit.

Le Roman de la Momie, illustrated by George Barbier
Le Roman de la Momie, illustrated by George Barbier

Check out this guided tour of the exhibit, narrated by the curator, Arthur Smith.

Please do not be under the misapprehension that appreciation of Robert’s binding is limited to Ontario. Robert has twice earned the great honor of his bindings being selected for the traveling exhibits of the triennial Designer Bookbinders International Competition.

Designer Bookbinders International Competition 2009
Water
Designer Bookbinders International Competition 2009
Designer Bookbinders International Competition 2012
A Midsummer Night’s Dream
Designer Bookbinders International Competition 2012

Robert also has many private commissions which, of course, do not get published on his website.

One of Robert’s specialties is miniatures. I hope Robert will forgive me for not writing much about this aspect of his work. I have written enough about minis for the moment. However, it is necessary to mention Robert’s love of all things tiny and made of paper, in order to understand why and how Robert became a designer bookbinder.

Recently, Robert and I have been corresponding via email. I have so many questions for designer binders. Robert is a good sport and agreed to be my first victim. What I received was completely unexpected. Robert wrote such a passionate off-the-cuff essay about his introduction to and training in the art of designer binding that I am forced (with his kind permission) to excerpt some of it here. This is how Robert describes his introduction to bookbinding:

I discovered bookbinding initially through ORIGAMI! I have always been interested in paper folding and one day (back in high school), I discovered at a bookstore a diagram of folding a sheet of paper into a multi-page miniature book. I was intrigued and it fascinated me. Then I realized that I couldn’t write much in it, so I went back to the bookstore and found a manual on bookbinding basics. At that time, the basic bookbinding manual looked very complicated to me, but I decided to give it a try. So I started making my first properly bound books in miniature format when I was in high school, and I was hooked. I think within a few years of making my miniature books, I discovered the Canadian Bookbinders and Book Artists Guild (CBBAG) in Toronto. I started taking workshops in bookbinding because I wanted to make better miniature books.

We are really fortunate here in Toronto to have CBBAG, as it offers a really solid foundation for bookbinding and book arts. During my early university years, I was taking many different workshops at CBBAG. One of the instructors introduced us to a bookbinding manual in CBBAG library called My World of Bibliophile Binding written by Tini Miura. I think it was through Tini’s works and writing in the book that I was first introduced to the concept of design binding: bookbinding as art. Then, I discovered another book called Art Nouveau and Art Deco Bookbinding by Alastair Duncan. It was this book that sealed my fate as a designer bookbinder, and I decided to get advanced training in bookbinding so I could do exactly what I saw in the books.

Robert has much more to say about his training, inspiration, and challenges as a binder, but this post is long enough. Part two coming soon.

Guest Book for Toronto Public Library
Guest Book for Toronto Public Library
Fables
Fables