FINE BINDINDS
An exhibit of book bindings
By Wilfredo Geigel
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Book
binding is not a lost art as some people may think. The binding of books
is not as prevalent as it used to be more than a hundred years ago,
however it is still practiced. It is an old trade dating back to the third
and fourth century of the Christian era, when the early codices or books
as we know them were created. The concept of the book changed very little
in eighteen centuries, except, for example, materials and manufacturing
techniques, such as the printing press and the use of paper in rolls.
The binding
of books became a necessity in order to keep the parchment leaves together
and to protect them from dust, dirt and other hazards. By the XVth
century, binders had developed their separate guilds and decorations on
covers became more prevalent particularly as the result of the influence
from Byzantium. During the XVI th and XVII th century binders were being
sought out by royalty throughout Europe and bestowed with titles such as
“relier du Roy”. The mass production of books during the XIX th
century had a deleterious effect on fine bindings; however, by the end of
that century and the beginning of the XXth, a revival of fine printing of
books by private printing houses regenerated the need for fine bindings.
The entire process from the manufacturing of paper by hand, fonts,
illustrations and bindings was carried out by persons dedicated to the
production of a work of art. William Morris in England, was very
influential in that process, not only in his country, but in Europe and
the United States, as well.
Today, some bibliophiles purchase two copies of the same book: one,
for the pleasure of reading it; and the other for the enjoyment of a work
of art, particularly, its binding.
Many of those artistic works are sold even before they are
produced.
The binding of books is not only a question of practice, it is still being taught. In Germany, for example, a binder is not allowed to open a workshop unless he has completed at least three years of an apprenticeship and approves an examination offered by master binders. It is also possible to obtain a master’s degree in the arts of the book encompassing not only the structure of the book but conservation and preservation, as well.
The exhibit is a selection of
bindings by Wilfredo A. Geigel. It is a small sample of what bindings can
do to enhance a book.
THE ARTIST BINDER
Wilfredo A. Geigel is an attorney at law, adjunct professor of history, bibliophile, researcher and bookbinder. He established his law practice in Christiansted, sixteen years ago. Today, in addition to his professional activity, he has taken up what some call the lost art of bookbinding. Four years ago, at the age of 57, he commenced a second career in bookbinding with a master binder in San Juan who had trained in Spain. Geigel continued developing his skills taking courses in French style and velum binding, gilding and medieval sewing of books under the guidance of renowned book artists, such as Tini Miura from Japan, Edwin Heym from Switzerland, Frank Mouwry and Eleanor Sleight from the United States.
He took up binding because that was one of the areas about books, which he knew little about, but which he considers essential for the conservation of the extensive library he owns together with his wife. What he did not realized was the fascination developed by a person working with the structure of the book and materials such as leather, gold and antique instruments. Geigel prefers working with leather, but he also binds in cloth and paper. Binding is also a skill he now uses for making gifts for friends. Lately, he has been receiving inquiries for commissions.
CATALOGUE
- Ojeda.
El desterrado de París. A biography about one of the great
statesmen
of Puerto Rico,
Betances. The book was published
in 2001. It is bound
in
red Morocco leather decorated with blind tooling, hand
headbands and top edge painted with red acrylic paint. End papers
were hand made by Japanese artist, Miura. It is enclosed in a case covered
in red linen cloth Lined in red velvet. The top of the case has an on laid
black leather “B” which represents the first letter of Betances’
signature.
- Malaespina. La Expedición botánica de Malaespina. A modern edition of a
1789 voyage from Chile to Alaska. It is bound in imitation leather
with an inlay in real leather imprinted with different botanical
representations. It is enclosed in a case, which duplicates the
decorations
of the covers of the book.
- Geigel.
El Arte de ser feliz. A guide for a happy life. It is bound in
green
Nigerian
leather with gold tooling. The title is enclosed in a cartouche formed by
a gold thread. The book is enclosed in box made with the same leather of
the book, decorated with gold tooling, repeating the guilding on the cover
book. The cover of the book opens in the shape of a pyramid following the
form of the guilded decorations. The binding was a gift from the binder to
his sister, the author of the book.
4.
Aforismos. A miniature book of quotes and phrases. It is
bound in red leather with
guilded decoration in the shape of a shell. The slipcase
is covered in red
velvet.
5.
Semillas.
A miniature book of quotes bound in beige Moroccan leather
with gold tooling.
6.
Inténtalo.
A miniature book of quotes bound in Mahogany from St. Croix
7.
Sanz. Geografía
de Ptolomeo. Bound in red Morocco leather decorated
with
two line rectangles and a vined leaves in charcoal gray foil and
raised bands on the spine.
8.
Milton. Hymn On The Morning of Christ’s Nativity. Bound in
off white
linen
cloth with leather on lays. The title is imprinted with title in gold
letters.
The slip case is covered with red linen cloth and four white linen rectangles on laid on each side. The binding was a gift for
his wife.
9.
De gramática. A facsimile of one of the first books printed
in
Barcelona the late 1470’s. Bound in velum by sewing method alone.
Headbands are hand sewn. The
binding reproduces a 15th century style.
10
and 11. Model plates
for covers. These plates are reproductions of 15th century
leather bindings with Moorish patterns from Spain. They were made
as
samples for future bindings.
12. Artiñaño. Historia del Comercio en América. Bound in
imitation leather with
identical lineal guilding on both covers.
13. Iglesias Pantín. Luchas. Bound in brown Morocco leather
with arches and semi-
circles
in blind tooling.
14. Hugus. Le vicende del nome América. Bound in red
Morocco with an
embroidered band running from top to bottom at the center of each
cover. The case is covered in imitation leather and paper and is
constructed in a “pop up” structure whereby when opened the
book is raised to vertical position within the case.
15. Catálogo de documentos
de la 9va Sección del Archivo de Indias.
Bound
in beige Nigerian leather with raised false bands on the spine.
The title and
decorations are done in blind tooling.
16.
501 Spanish Verbs. Bound
in red velvet paper and yellow leather
representing the colors
and stripes of the Spanish flag. The decoration
consists
of raised numbers in leather in front and a map of Spain in the
rear. The case is
covered in burlap cloth with windows cut out for the
numbers and the map on the book covers.
17. Buchandbande.
Bound in green morocco with leather on lay
decorations. The top edge is guilded with 21k gold and headbands are
hand sewn.
18. De Cardenas. Problemas y secretos maravillosos de América. Reprint of a
1595 book. Bound
in beige morocco with blind tooling on the
covers.
19. Prideaux. Notes On Printing. Bound in half leather and
hand made French
paper with raised bands on the spine.
20. Libros españoles siglo XV y XVI. Exhibition catalogue
for the Casa del
Libro
in San Juan. Bound light brown morocco with title in blind tooling.