Images from “In Retrospect: Designer Bookbindings by Michael Wilcox”

 

wilcox st john
Saint John the Divine. The Apocalypse. Woodcuts by Jim Dine. San Francisco: Arion Press, 1982.
Lent by Jeremy M. Norman.
Full black goatskin, with coloured leather onlays and gold and blind tooling.
382 x 282mm. Bound in 1988.
In Retrospect: Designer Bookbindings by Michael Wilcox
Thomas Fisher Rare Book Library, University of Toronto, 1998.

Fun fact: The two black goatskins on this binding were tanned using aluminum triformate. At the time, this chemical was used to improve the durability of leather. Unfortunately, when Wilcox purchased it he did not realize (nor did many others) that gold does not adhere to it well. Hence, his gold tooling is restricted to the onlays, while the black is tooled in blind.

Continue reading “Images from “In Retrospect: Designer Bookbindings by Michael Wilcox””

Tini Miura in Person

Allen Ginsberg. Howl, Grabhorn-Hoyem, San Francisco, 1971. 11.5 x 8.75 inches Bound in 1986
Allen Ginsberg. Howl, Grabhorn-Hoyem, San Francisco, 1971. 11.5 x 8.75 inches
Bound in 1986

Truth: I’ve been stalling on writing this post.

I visited Tini Miura a few weeks ago. We spent 3 hours talking. We probably could have spent 3 days. Or 3 weeks. I felt the same with Sonya Sheats, but this was a bit different. My dilemma, my reason for stalling, is that we immediately felt so comfortable together that our conversation got very, very personal very quickly. Much of what was said stays in the vault forever. Teasing out useable material about Tini’s experiences and thoughts on the art and craft of bookbinding has been difficult.

The Song of Solomon, illustrated by Ronald King. Circle Press: London, 1968. 15 x 12 Bound in 1987
The Song of Solomon, illustrated by Ronald King. Circle Press: London, 1968.
15 x 12 Bound in 1987

Tini is one of the greatest binders of the immediate post-war generation. She was born in Kiel, Germany in 1940. Kiel is a port city on the Baltic. It was a major naval base and ship building port for the German Reich. Therefore, the city suffered terrible bombing by the Allies during the war. About 80% of the city was destroyed. Quite naturally, Tini does not like to discuss the war except to say that the Marshall Plan allowed her to grow up quite differently from her husband, Einen. Einen is Japanese. His country did not have the benefit of four years of post-war economic support from the United States and other relatively unscathed nations.

Pierre Loti. La Mort de Philae, with illustrations by Geo Colucci, Paris, Ed. Rene Kieffer, 1924. 9 x11 inches Bound in 2010 Private collection
Pierre Loti. La Mort de Philae, with illustrations by Geo Colucci, Paris, Ed. Rene Kieffer, 1924. 9 x11 inches
Bound in 2010. Private collection.

This wasn’t meant to be a history lesson, but it’s important to me. Tini is the only binder I’ve met whose formative years were spent in this context. It’s a melancholy thought that, without two world wars, Tini would probably not have been able to study in Paris with some of the great French masters. I think that two wars dramatically thinned the male population of potential binders in Europe, leaving a little more room for women to be taken seriously.

William Shakespeare. Venus and Adonis. Arion Press: San Francisco, 1975. 12 x 13  Bound in 1990
William Shakespeare. Venus and Adonis. Arion Press: San Francisco, 1975. 12 x 13
Bound in 1990

So how did Tini become a designer bookbinder? How did she get to the point where she could study in Paris with these legendary binders? Tini was lucky in many ways, but the most important was the encouragement and insight of her father. While Tini originally wanted to be an archeologist and was (and still is) deeply interested in mythology, she decided that she wanted to go to art school and be a book illustrator. She had always drawn and painted and had a

E.J. Stagnelius. Tretton Dikter [Thirteen Poems]. Stockholm, 1951. 11.25 x 9 inches Bound in 1975
E.J. Stagnelius. Tretton Dikter [Thirteen Poems]. Stockholm, 1951.
11 x 9 inches. Bound in 1975.

great love of literature. Sounds like a plan, right? Her father, an art teacher, saw things a bit differently. Being a book illustrator is a wonderful goal, but he thought Tini should know how a book is put together first if she wanted to work in that field. He thought she should first learn what goes into making a book: she should learn to bind. This was a very unusual, even controversial, suggestion. A well-educated young woman from a family of intellectuals should go to university, not a trade school. Her grandfather was especially upset about the plan. Tini liked the idea, though. She enjoyed working with her hands.

The program was quite rigorous. It was ages before the students were permitted to bind a book from start to finish. Prior to that, each step was practiced over and over again until mastered. Possibly this is the source of Tini’s attention to every detail of craftsmanship (we really need a better word for this – craftsperson just sounds stupid). Bench time was alternated with history of the book and visits to great libraries. FINALLY, Tini and her cohort were allowed to put everything they had learned together and actually bind their own books. When Tini looked at her completed book, she knew that this was it: her medium as an artist was bookbinding.

Daigaku Horiguchi.  Érotique. Tokyo, 1965. 8 x 6.24 inches Bound in 1978
Daigaku Horiguchi. Érotique. Tokyo, 1965.
8 x 6 inches. Bound in 1978.

The world of bookbinding is lucky she made that decision. Tini has lived in 7 countries. She has taught in many more. She is one of the founders and a faculty member (1993-2003) of the American Academy of Bookbinding. She has published several books (of which I own two) and there is another to come, on her bindings since 1990. I can’t wait to see it.

See Tini’s plaquettes from 1964.

Herman Melville. Moby Dick. San Francisco, 1979. 15 x 10 inches. Bound in 1983.
Herman Melville. Moby Dick. San Francisco, 1979.
15 x 10 inches. Bound in 1983.
Polka dots: The Twelve Months by The Catharijne Press, The Netherlands. 2 1/2 x 2 inches. Binding date: unknown. Box/fan: Lotus Blossom & Moon Flower, A Chinese folk tale by Carol Cunningham. Sunflower Press CA. 1981 2 1/2 x 2 inches. Binding date unknown.
Polka dots:
The Twelve Months by The Catharijne Press, The Netherlands. 2 1/2 x 2 inches. Binding date unknown.
Box/fan:
Lotus Blossom & Moon Flower, A Chinese folk tale by Carol Cunningham. Sunflower Press CA. 1981. 2 1/2 x 2 inches.
Binding date unknown.
Kerstin Tini Miura. My World of Bibliophile Binding. Kyuryudo, Tokyo, 1980. 14 x 10 inches. Bound in 1981.
Kerstin Tini Miura. My World of Bibliophile Binding. Kyuryudo, Tokyo, 1980. 14 x 10 inches. Bound in 1981.

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