in book-papers, the “Old Stratford” being the only distinctive
exception. No hand-made book-paper is now produced in America, owing
principally to the high cost of labour. This makes it possible to
import from England, France, and Italy cheaper than to manufacture
at home. The “Old Stratford” paper, however, is a unique product,
and is used much in volumes of _de luxe_ format, and in books where
lasting qualities are demanded. In cover-papers, on the other hand,
America produces a bewildering line, which quite excels those of other
countries, offering a variety of selection which is a tremendous aid to
the printer in securing artistic results.
Fine bookbinding in America is at present confined to a small number
of individual workers, mostly pupils of the famous English and French
binders, and their principal claim to originality of processes may be
said to be an effort to combine the workmanship of the English with the
artistic skill in decoration of the French. The Club Bindery, which
flourished in New York during the lifetime of Mr. Robert Hoe, could
scarcely be called an American institution, as its best workmen were
brought to this country for this special purpose. Since his death this
bindery has been broken up, and the finest work is to-day being done by
women. Their skill and workmanship rank high, but they are handicapped
by the excessive cost of labour and by the fact that all their leathers
must be imported. The inevitable higher price makes it natural that
American book-collectors should continue to send their volumes abroad
for fine bindings. Amongst those whose work is most highly prized may
be mentioned Miss Sears and Miss St. John of Boston, and Miss Lahey of
New York.
In ordinary trade bindings the processes are more and more reduced to
machine production, but in the best binderies this standardization has
by no means proved a deterioration in quality. American trade books
as a whole compare favourably with those of other countries, but it
is quite true that the constantly increasing cost of every phase of
book manufacture is in some instances causing American publishers to
economize, and to accept a grade of work inferior to what they would
have considered a few years ago. This, however, should not be regarded
as a reflection upon American workmanship, but rather upon American
conditions which force it. In cover design plain lettering still
obtains for books of fiction and for serious works, but considerable
elaboration is used upon smaller volumes issued as seasonable
publications, or with a specific appeal. A few characteristic examples
are reproduced on pp. 275 and 276.
It is impossible, within the scope of this article, to do more than
chronicle some of the results of the remarkable advance made in the
standards of book-manufacturing in America during the past ten years.
The knowledge of what constitutes a well-made volume is much greater
than ever before, and the ability of the buying public to discriminate
is the most hopeful promise for the future. In the omission of other
examples of printing and binding, and of mention of other artists
entitled to credit for the part they have played in advancing the Art
of the Book in America, the writer pleads the limitations imposed by
space.
[Illustration: PAGE FROM “TITLE-PAGES” (THE GROLIER CLUB) PRINTED IN
THE “RENNER” TYPE DESIGNED BY THEODORE LOW DE VINNE]
[Illustration: MERRYMOUNT PRESS: PAGE FROM “THE HUMANISTIC LIBRARY”
PRINTED IN THE “MONTALLEGRO” TYPE DESIGNED BY HERBERT P. HORNE]
[Illustration: TITLE-PAGE FROM “THE TRIUMPHS OF FRANCESCO PETRARCH”
(LITTLE, BROWN AND CO. AND JOHN MURRAY) PRINTED IN THE “HUMANISTIC”
TYPE DESIGNED BY WILLIAM DANA ORCUTT]
[Illustration: PAGE FROM “THE TRIUMPHS OF FRANCESCO PETRARCH” (LITTLE,
BROWN AND CO. AND JOHN MURRAY) PRINTED IN THE “HUMANISTIC” TYPE
DESIGNED BY WILLIAM DANA ORCUTT]
[Illustration: BORDER AND INITIAL LETTERS DESIGNED BY BERTRAM GROSVENOR
GOODHUE FOR “ESTHER” (COPELAND AND DAY)]
[Illustration: BORDER AND INITIAL LETTER DESIGNED BY BERTRAM GROSVENOR
GOODHUE FOR “SONGS OF HEREDIA” (SMALL, MAYNARD AND CO.)]
[Illustration: MERRYMOUNT PRESS: TITLE AND OPENING PAGES PRINTED IN THE
“MERRYMOUNT” TYPE DESIGNED BY BERTRAM GROSVENOR GOODHUE]
[Illustration: PAGE DESIGNED BY WILL BRADLEY FROM “THE CAMPBELL BOOK”]
[Illustration: BORDER AND INITIAL LETTER DESIGNED BY WILL BRADLEY. FROM
“THE CAMPBELL BOOK”]
[Illustration: FRONTISPIECE AND TITLE-PAGE DESIGNED BY BRUCE ROGERS
FROM “ESSAYS OF MONTAIGNE” (HOUGHTON, MIFFLIN AND CO.)]
[Illustration: OPENING PAGES PRINTED IN THE “MONTAIGNE” TYPE DESIGNED
BY BRUCE ROGERS FROM “ESSAYS OF MONTAIGNE” (HOUGHTON, MIFFLIN AND CO.)]
[Illustration: INITIAL LETTERS DESIGNED BY BRUCE ROGERS. FROM “ESSAYS
OF MONTAIGNE” (HOUGHTON, MIFFLIN AND CO.)]
[Illustration: BINDING-CASES BY THE PLIMPTON PRESS STUDIO]
[Illustration: BINDING-CASES BY THE PLIMPTON PRESS STUDIO]