Gallery: 6

We are proud to showcase fine examples of the bookbinding art. The bindings below were all created using our leathers. Click on the thumbnails for details and a bigger picture.

  • Norge
    bound by Tom Twetten, Craftsbury Antiquatian Books

    An early photographic book on Norway.

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  • Complete Poems of Robert Frost
    bound by Tom Twetten, Craftsbury Antiquatian Books

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  • Hansel and Gretel and Other Stories of the Brothers Grimm
    bound by Tom Twetten, Craftsbury Antiquatian Books

    American Edition, 1925
    Illustrated by Kay Nielsen

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  • The Illustrated Man: 16 short stories by Ray Bradbury
    The Folio Society, 2017
    bound by Mel Jefferson

    Bound in black Harmatan goatskin. Body landscape of maril (thinly sliced marbled leather composite) with airbrushed highlights/shadows. Silk endbands. Edges in acrylics with specks of palladium leaf. Astronaut rendered in domed recessed onlays of alum-tawed goatskin. Lectern in recessed onlaid lines.

    Printed planet inlay under vellum. Rocketship and planet logo blocked and onlaid.

    Printed doublures with 16 inlaid period comic strip images under vellum.

    The design reflects my feeling that Bradbury’s early work – often written for sci-fi comics – used the genre as a platform for what now seems like rather naïve moralising, hence the declaiming astronaut.

    Winner of the Mansfield Medal for best binding in the Designer Bookbinders Bookbinding Competition, 2018.
    Collection: The British Library.

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  • Enclosures: Times And Places
    A book of woodcuts by Andrew Anderson
    Evergreen Press, 2009
    bound by Mel Jefferson

    A crossed-structure binding in laminated Harmatan goatskin.

    Outer laminate decorated with starfield, clock face and musical notation rendered in recessed leather onlays. Circular crosshatching design blocked in silver foil. Recessed onlaid lines in alum-tawed goatskin. Inner laminate textured and decorated with blind tooling showing a plan of Stonehenge with remaining stones indicated by goatskin onlays. Cover fore-edges contain carbon rods for rigidity.

    Central lacunose strap with a leather button bearing the artist’s monogram. The strap may be detached from the inner covers to reveal hidden patches of ‘grass’.

    Two-stage sewing through an inner concertina wrapper of dyed Tyvek with stylised inked stonework design. Covers secured with laminated ‘donuts’ of parchment (upcycled title deed) sewn with silver wire. Graphite edges.

    Box of dyed Tyvek and Windmill paper. Circular stylized stonework design. Title blocked in grey foil. Magnetic insert conceals collapsible stand. Folding cushions enable box to be used as a display plinth.

    Winner of the Harmatan Leather Ltd. Prize in the Designer Bookbinders Bookbinding Competition, 2018.
    Collection: Dr. John Walters.

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  • Happy Abstract
    bound by Coleen Curry

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  • Le Tambour
    bound by Jean-Pierre Durix

  • 13 poems by H.N. Bialik
    bound by Yehuda Miklaf, 1987

    Original etchings by Moshe Gershuni
    Jerusalem Print Workshop

    Full black goatskin with mosaic portraits of the author and artist using more than 5000 small leather squares.



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  • Révolutions
    by J.M.G. Le Clézio
    bound by Jean-Pierre Durix

  • Meetings with Remarkable Manuscripts
    by Christopher de Hamel
    bound by Carole Durix

  • Inside the Book
    bound by Robin Brandes
    by David Esslemont, Solementes Press, 2002.
    263 x 172 x 30mm.

    Full leather binding with laced-in boards. Covered in Harmatan white Katsina goatskin. Edge-to-edge paper doublures. White Katsina leather hinges. Archival pigment-printed flyleaves on Awagami bamboo paper. Brackets laser cut by Sarah Pike. Titling in palladium leaf by Samuel Feinstein.

    During the concept development for the design binding Inside the Book, I was thrilled to discover brackets used to enclose the page numbers in the text like this: [ 12 ] As a graphic designer, I like to deconstruct content to get to the core meaning for presentation. It occurred to me that each bracket looked like an edge of an open book! I wanted the viewer to see through the edges of the book—to see inside the book. Therein lies the design binding for Inside the Book.

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We actively support the following associations and sponsor their competitions:
The Society of Bookbinders       Designer Bookbinders       The Guild of Bookworkers