The Binder's Ticket

Copper gilding tools.

Vernon Wiering — Fri, 09 Mar 2012 21:03:58 +0000

Copper gilding tools.

Banner title on 19th Century cloth binding.

Vernon Wiering — Fri, 10 Feb 2012 15:22:04 +0000

This original worn binding had a nice title banner. The lettering, unlike most bindings where the letters are gold stamped into the cloth, is embossed, the surrounding area gilt. A nice effect. The new binding works especially well since it utilizes antique grained cloth, similar to the cloth on the original binding. The blind lines also give it that historical touch.

Student and Schoolmate, Allen, 1867

An 18th Century Cambridge style binding.

Vernon Wiering — Tue, 07 Feb 2012 15:57:13 +0000

In the late 17th Century and into the 18th Century, the Cambridge style binding was popular in England. Probably originating — or at least commonly used — in Cambridge, England, this style of binding features contrasting paneled boards where the contrast was often done with acids or dyes. Corner stamps of some sort are a must in these bindings. This binding features hand-dyed calf, with a darker central panel, and hand lettered title done in gold leaf.

Frezier, A Voyage to the South Sea, London, 1717

Calf book bag.

Vernon Wiering — Thu, 12 Jan 2012 05:10:06 +0000

Custom bookbag with copper rivets, hand stitched seams, and stainless hardware.

Grained cloth binding on a set of Schoolcraft’s “Red Man”.

Vernon Wiering — Mon, 14 Nov 2011 03:35:00 +0000

Here’s another example of a 19th Century historical binding. Schoolcraft, Ethnoligical Researches, with an Indian bust on the spine, and a canoe with two natives. Historically speaking, whereas early 19th Century center designs were purely decorative, by the middle of the Century we start seeing images directly related to the content of the book.

Binding featuring antique grained cloth, genuine gold titling and emblems, and blind work on the boards.

Happy Halloween.

Vernon Wiering — Mon, 31 Oct 2011 13:21:05 +0000

19th Century grained cloth binding.

Vernon Wiering — Mon, 24 Oct 2011 04:21:50 +0000

Quick picture here of a 19th Century grained cloth binding. Most 19th Century cloth books were bound in starch-filled grained cloth. This cloth was vulnerable to moisture damage, and was light in weight, generally. In the early 1900s synthetic cloth began to supersede the starch filled cloths, and today it is difficult to find appropriate cloth for historical 19th Century bindings. Happily, I have a few vintage/antique cloths in my bindery for use on valuable books, and I do some graining as well. Below is an example of an 1839 binding worked up with blind and gold decorations fitting the period.

Edgar Allen Poe, Conchology. Antique grained cloth, genuine gold decorations, blind corners and border rule.

A leather box for Catlin’s North American Indians.

Vernon Wiering — Thu, 13 Oct 2011 04:24:29 +0000

Though I’ve never been particularly attracted to making boxes for books, always preferring to work on the books themselves, the need often arises to make attractive boxes. Giving boxes a historical and authentic touch has made box making an attractive pursuit. The box can then give a clear suggestion of what’s inside. Below is an example of such a project.

The original book in a 19th Century ornate binding. These type of bindings were worked up in festive circus-like decorations, full of gold designs and blind stamping. This binding is full leather, and is preserved quite well for a popular 19th Century title.

The spine of the box, designed to match the spine of the book itself. Dies were produced to replicate the design of the spine. The spine leather was then dyed to match as well, and then prepared for stamping. The stamping was done in genuine gold.

The body of the box was constructed of book board and covered in red cloth.

A 19th Century cloth binding on Nicholson’s Bookbinding.

Vernon Wiering — Mon, 21 Mar 2011 18:41:47 +0000

In 1856 Henry Carey Baird published the first American Manual on bookbinding, written by James B. Nicholson. The full title is a lengthy one: A Manual of the Art of Bookbinding: Containing Full Instructions in the Different Branches of Forwarding, Gilding, and Finishing. Also, The Art of Marbling Book-Edges and Paper. The Whole Designed for the Practical Workman, The Amateur, and the Book-Collector.

It is curious that many books on bookbinding and binding history are actually bound in unattractive covers. Now and then there is an exception. I acquired one of these from Tom Nicely, bookseller, proprietor of Leaves of Grass Bookshop in Ann Arbor, Michigan. The volume in question had been at a library for a time, and some attempt had been made to preserve the book. It was resewn and bound. The binding, though serviceable, was not attractive. It needed work. Below are images of the after and before:

A completely new cloth binding is created in the style of the period. Some of the features of this stye include blind (stamping without gold) corners on the front board; angular lettering; a variety of lettering styles; floral gold decorations covering the whole spine; and grained cloth.

Function without beauty; Nicholson's Manual of the Art of Bookbinding in a library binding.

Display case for Grand Rapids Public Library.

Vernon Wiering — Mon, 14 Mar 2011 12:20:15 +0000

The Grand Rapids Public Library contacted me about a display case for their local history space. Because of my historical binding work for them, they were interested in my creating a historically accurate display case. The case needed to fit in historically with their other furniture. Not all the furniture matched, though, but because the library had a set of table legs from one of the early library tables, it was an easy decision. I determined to reflect the curves and gravity of the original table in the new case.

A few photos.

One of the surviving library tables in the Ryerson Library, the main library of the Grand Rapids Public Library.

The completed display case with original legs and top to match. Most of the early furniture in the library is oak, so I made the top of oak, though the legs are actually mahogany. A suitable dye was produced to bring it all together. The edges of the case was milled to match the contour of the early library tables.

Another view. The brace on the original tables was pegged and glued, making it vulnerable to pulling away from the legs. These legs are held tight with bolts mortised into the brace. The holes are covered by the original number plates.

Leg detail. The legs were worn from many years of leather soles rubbing the wood. The old finish was cleaned off, holes filled, and the whole dyed to a rich chestnut brown.