BOOKBINDER
......................................................................................................................................................................................................................
  2017     The Return of the Native.    Thomas Hardy.  Heritage Press, USA 1970.  Illustrated with woodcuts by Agnes Miller Parker.   230x170x41mm  Photography by Prudence Cuming Associates Ltd.  Bound in full dark yellow goatskin with de-bossed gorse shapes.  All edges airbrushed with acrylic paint.   This novel is centred around the landscape: the gorse-covered heathland, which Hardy describes beautifully throughout the story. My inspiration cam from these descriptions, focussing on gorse, heather and late-summer light.

2017

The Return of the Native.

Thomas Hardy.

Heritage Press, USA 1970.

Illustrated with woodcuts by Agnes Miller Parker. 

230x170x41mm

Photography by Prudence Cuming Associates Ltd.

Bound in full dark yellow goatskin with de-bossed gorse shapes.  All edges airbrushed with acrylic paint.

This novel is centred around the landscape: the gorse-covered heathland, which Hardy describes beautifully throughout the story. My inspiration cam from these descriptions, focussing on gorse, heather and late-summer light.

  2017   Edge detail and front board

2017

Edge detail and front board

2016

2016

A Shropshire Lad.

A.E. Housman.

Riccardi Press, London 1914.

443/1000. 

230x165x16mm

Photography by Prudence Cuming Associates Ltd.

Bound in full recessed chocolate goatskin with handmade paper onlays. Top edge gilded in Caplain leaf.

Housman recounts his walks through the Shropshire landscape and his reminiscences of the Boer war and the blood shed on the battlefields. I created paths in the leather with angled blood red edges, which appear and disappear depending on where you stand in relation to the book.

2016

2016

Front board.

2016

2016

Patchwork Quilt.

Decimus Magnus Ausonius (Done into English by Jack Lindsay).

Illustrated by Edward Bawden.

Fanfrolico Press, London 1930.

149/400. 

235x155x17mm

Photography by Prudence Cuming Associates Ltd.

Bound in full black goatskin with blind tooling. Top edge gilded in Caplain leaf.

The author constantly apologises for the mish-mash of poems in these series of poems: hence the title.  I created a series of criss-crossed lines to symbolise this.

2016

2016

Front board.

2015

2015

 

The House, the Garden, and the Steeple.

Mr Arthur L. Humphreys.

Ist Edition. London 1906. 

169x133x17mm

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full yellow goatskin with gold tooling. Top edge gilded.

This book contains old mottoes found on lintels (house), sun dials (garden) and bells (steeple).  I created three shapes to symbolise this: a square for the house, a circle for the garden and a triangle for the steeple.

2015

2015

On a Calm Shore.

Frances Cornford.

Designs by Christopher Cornford.

Cresset Press, 1960. First Edition. 

221x144x18mm

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full grey goatskin with recessed and embossed onlays and relief printing. All edges coloured and relief printed. 

On this binding I have responded to the references to the sea in the poetry and to the layered screen-printed illustrations by the author’s son, Christopher Cornford, it was a nice chance to fuse my two interests: bookbinding and relief printing.

2015

2015

Edge view

2015

2015

Detail of front board

2013

2013

Benito Cerano.

Herman Melville.

Illustrated by E. McKnight Kauffer.

Nonesuch Press, 1926. 656/1650. 

Photography by Prudence Cuming Associates Ltd.

Bound in full grey goatskin with recessed paper inlays. Top edge gilded in distressed Caplain leaf. 

The tale in this book is savage in its nature: a ship-wrecked slave ship whose captives conduct a mutiny on board, slaying many with cutlasses.  The slashes on the front and back covers were done after the book was finished and had to be made frenetically with a scalpel to have the 'right' look.  The leather was chosen for its windswept looking grain.

2013

2013

Edge view

2013

2013

Endpaper and doublure.

2013

2013

The Mercury Fountain.

Gregory Warren Wilson.

Enitharmon Press, 2008. 

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full blue goatskin with Caplain leaf tooling. All edges coloured and sprinkled.

I responded to the watery themes in many of the poems contained in this work.  I discovered this beautiful skin and all that was left to do was to highlight the watery grain with tooling.

2013

2013

Leçons/Learning.

Phillipe Jaccottet and Mark Trehame

Delos Press, 2001. 38/150. 

Photography by Prudence Cuming Associates Ltd.

Bound in full black goatskin with recessed paper inlays. All edges sprinkled.

I responded to the author's reminiscences of his life and the warm flashbacks of passion and lifeforce.

2012

2012

Winged Chariot.

Walter de la Mare.

Faber and Faber, 1951. First Edition. 

Photography by Prudence Cuming Associates Ltd.

Bound in full burgundy goatskin with tooling in Caplain leaf.
Top edge gilded in Caplain leaf. 

This book contains one long poem about the passing of time, both in the poet's life and within nature.

2011

2011

Poems and Pieces 1911 to 1961.

Frances Meynell.

Nonesuch Press, 1961. 482/750. 

Photography by Prudence Cuming Associates Ltd.

Bound in full chocolate goatskin with multi-coloured onlays. 

I responded to the joy and spring-like references found within this wonderful collection of poems.

2010

2010

Antony and Cleopatra.

William Shakespeare.

The Gresham Publishing Co. Ltd. , 1906. 

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full crimson goatskin with recessed gilded detail.
All edges gilded in 23 carat gold leaf. 

Private Collection. 

 

2010

2010

A Stitch in Time or Pride Prevents a Fall.

James Laver.

Nonesuch Press, 1927, 360/1525.

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full lime green goatskin with pink goat skin onlays.  
All edges gilded in white gold leaf. 

 

2010

2010

The Poems of William Shakespeare.

William Shakespeare.

Wood Engravings by Agnes Miller Parker.

Limited Editions Club, 1967. 

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full burgundy goatskin with recessed suede inlay.  
All edges coloured.

There are contrasting themes here in this text: brutality and love.  I have expressed the savagery with a slash through the board but have inlaid a delicate pink suede into the slash, and if you look carefully, you will see small tooled dotted hearts on the suede to show the softer side of the text.

2009

2009

The Comedy of Errors.

William Shakespeare.

Illustrated by Isadore Seltzer.

PDR/Royal, Inc. NYC. 1993.  

Photography by Prudence Cuming Associates Ltd.

Bound in full black goatskin with grey and orange back-pared onlays. Top edge coloured.

Twin masters and twin man-servants are separated and lost at sea. The twin masters arrive separately in the Greek city of Ephesus with each of their respectiive man-servants and therein follows a farce of mistaken identity.  I have represented each master with a grey circle and each man-servant with an orange dot, the grain of the leather represents the sea.

2009

2009

Down the River.

H.E. Bates.

Wood Engravings by Agnes Miller Parker.

Victor Gollanz, 1937. 

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full navy blue goatskin with recessed white gilded detail. Top edge gilded in white gold.

 

  

2008

2008

As You Like It.

William Shakespeare.

The Roycroft Shop, 1903. 

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full scarlet goatskin with black goatskin onlays.
Top edge gilded in moon gold leaf.

The hearts on this binding represent the love letters that Orlando leaves for Rosalind hanging from the trees in the forest of Arden.

2008

2008

Detail

2008

2008

New York Revisited.

Kenneth Auchincloss.

Wood Engravings by Gaylord Shanilec

The Grolier Club of New York, 2002. 

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full black goatskin with handmade paper onlays. Top edge coloured.

I wanted to create the notion of speed and energy found in the city of New York.  One line is white and two are sage green, to create a tension between the lines.

 

2006

2006

Love's Labour's Lost.

William Shakespeare.

Illustrated by Berkeley Sutcliffe.

1959. 

Bound in full pink goatskin with multi-coloured goatskin onlays. Top edge coloured. 

Photography by Prudence Cuming Associates Ltd.

British Library Collection. 

The King of Navarre and each of his three lords: Berowne, Longaville and Dumaine despite swearing a period of abstinence from all things love-related, fall in love respectively with the Princess of France and each of her three ladies-in-waiting: Rosaline, Maria and Katharine.  During the play the four men disguise themselves as Russians to woo the ladies, but the ladies are forewarned and decide to change identities with each other. The lords enter, and woo the wrong women.

The farce felt like a dance to me, so I represented each character with a coloured onlay, mixed up, stepping forward and back.
 

2006

2006

Detail.

  1997     Daphnis & Chloe: A Most Sweet and Pleasant Pastorall Romance for Young Ladies    Translated Out of the Greek of Longus By Geo: Thornley, Gent.  Golden Cockerel Press, UK 1923.  260x200x25mm  Photography by Prudence Cuming Associates Ltd.  Bound in full green goatskin with full thickness goatskin onlay.  All edges gilded in white gold.   This Greek classic, centres on a pastoral romance between a boy (Daphnis) who is found and raised by a goatherd and a girl (Chloe) who is found and raised by a Shepherd.  I have subtly tried to evoke the nature of the text by using the natural edge of the goatskin to create the landscape in which the tale is set.

1997

Daphnis & Chloe: A Most Sweet and Pleasant Pastorall Romance for Young Ladies

Translated Out of the Greek of Longus By Geo: Thornley, Gent.

Golden Cockerel Press, UK 1923.

260x200x25mm

Photography by Prudence Cuming Associates Ltd.

Bound in full green goatskin with full thickness goatskin onlay.  All edges gilded in white gold.

This Greek classic, centres on a pastoral romance between a boy (Daphnis) who is found and raised by a goatherd and a girl (Chloe) who is found and raised by a Shepherd.  I have subtly tried to evoke the nature of the text by using the natural edge of the goatskin to create the landscape in which the tale is set.

  1997     Metamorphoses    Ovid  The Folio Society, UK 1955.  Illustrated with woodcuts by Agnes Miller Parker.   260x178x48mm  Photography by Prudence Cuming Associates Ltd.  Bound in full chocolate goatskin with crumpled suede onlays.  All edges gilded in copper leaf.   I created metamorphic shapes from pasted and crumpled suede, which creep from around the edges of the front and back covers.  I gilded the edges in copper so that they would turn to verdigris and tarnish, as the book ages.

1997

Metamorphoses

Ovid

The Folio Society, UK 1955.

Illustrated with woodcuts by Agnes Miller Parker. 

260x178x48mm

Photography by Prudence Cuming Associates Ltd.

Bound in full chocolate goatskin with crumpled suede onlays.  All edges gilded in copper leaf.

I created metamorphic shapes from pasted and crumpled suede, which creep from around the edges of the front and back covers.  I gilded the edges in copper so that they would turn to verdigris and tarnish, as the book ages.

2017

The Return of the Native.

Thomas Hardy.

Heritage Press, USA 1970.

Illustrated with woodcuts by Agnes Miller Parker. 

230x170x41mm

Photography by Prudence Cuming Associates Ltd.

Bound in full dark yellow goatskin with de-bossed gorse shapes.  All edges airbrushed with acrylic paint.

This novel is centred around the landscape: the gorse-covered heathland, which Hardy describes beautifully throughout the story. My inspiration cam from these descriptions, focussing on gorse, heather and late-summer light.

2017

Edge detail and front board

2016

A Shropshire Lad.

A.E. Housman.

Riccardi Press, London 1914.

443/1000. 

230x165x16mm

Photography by Prudence Cuming Associates Ltd.

Bound in full recessed chocolate goatskin with handmade paper onlays. Top edge gilded in Caplain leaf.

Housman recounts his walks through the Shropshire landscape and his reminiscences of the Boer war and the blood shed on the battlefields. I created paths in the leather with angled blood red edges, which appear and disappear depending on where you stand in relation to the book.

2016

Front board.

2016

Patchwork Quilt.

Decimus Magnus Ausonius (Done into English by Jack Lindsay).

Illustrated by Edward Bawden.

Fanfrolico Press, London 1930.

149/400. 

235x155x17mm

Photography by Prudence Cuming Associates Ltd.

Bound in full black goatskin with blind tooling. Top edge gilded in Caplain leaf.

The author constantly apologises for the mish-mash of poems in these series of poems: hence the title.  I created a series of criss-crossed lines to symbolise this.

2016

Front board.

2015

 

The House, the Garden, and the Steeple.

Mr Arthur L. Humphreys.

Ist Edition. London 1906. 

169x133x17mm

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full yellow goatskin with gold tooling. Top edge gilded.

This book contains old mottoes found on lintels (house), sun dials (garden) and bells (steeple).  I created three shapes to symbolise this: a square for the house, a circle for the garden and a triangle for the steeple.

2015

On a Calm Shore.

Frances Cornford.

Designs by Christopher Cornford.

Cresset Press, 1960. First Edition. 

221x144x18mm

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full grey goatskin with recessed and embossed onlays and relief printing. All edges coloured and relief printed. 

On this binding I have responded to the references to the sea in the poetry and to the layered screen-printed illustrations by the author’s son, Christopher Cornford, it was a nice chance to fuse my two interests: bookbinding and relief printing.

2015

Edge view

2015

Detail of front board

2013

Benito Cerano.

Herman Melville.

Illustrated by E. McKnight Kauffer.

Nonesuch Press, 1926. 656/1650. 

Photography by Prudence Cuming Associates Ltd.

Bound in full grey goatskin with recessed paper inlays. Top edge gilded in distressed Caplain leaf. 

The tale in this book is savage in its nature: a ship-wrecked slave ship whose captives conduct a mutiny on board, slaying many with cutlasses.  The slashes on the front and back covers were done after the book was finished and had to be made frenetically with a scalpel to have the 'right' look.  The leather was chosen for its windswept looking grain.

2013

Edge view

2013

Endpaper and doublure.

2013

The Mercury Fountain.

Gregory Warren Wilson.

Enitharmon Press, 2008. 

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full blue goatskin with Caplain leaf tooling. All edges coloured and sprinkled.

I responded to the watery themes in many of the poems contained in this work.  I discovered this beautiful skin and all that was left to do was to highlight the watery grain with tooling.

2013

Leçons/Learning.

Phillipe Jaccottet and Mark Trehame

Delos Press, 2001. 38/150. 

Photography by Prudence Cuming Associates Ltd.

Bound in full black goatskin with recessed paper inlays. All edges sprinkled.

I responded to the author's reminiscences of his life and the warm flashbacks of passion and lifeforce.

2012

Winged Chariot.

Walter de la Mare.

Faber and Faber, 1951. First Edition. 

Photography by Prudence Cuming Associates Ltd.

Bound in full burgundy goatskin with tooling in Caplain leaf.
Top edge gilded in Caplain leaf. 

This book contains one long poem about the passing of time, both in the poet's life and within nature.

2011

Poems and Pieces 1911 to 1961.

Frances Meynell.

Nonesuch Press, 1961. 482/750. 

Photography by Prudence Cuming Associates Ltd.

Bound in full chocolate goatskin with multi-coloured onlays. 

I responded to the joy and spring-like references found within this wonderful collection of poems.

2010

Antony and Cleopatra.

William Shakespeare.

The Gresham Publishing Co. Ltd. , 1906. 

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full crimson goatskin with recessed gilded detail.
All edges gilded in 23 carat gold leaf. 

Private Collection. 

 

2010

A Stitch in Time or Pride Prevents a Fall.

James Laver.

Nonesuch Press, 1927, 360/1525.

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full lime green goatskin with pink goat skin onlays.  
All edges gilded in white gold leaf. 

 

2010

The Poems of William Shakespeare.

William Shakespeare.

Wood Engravings by Agnes Miller Parker.

Limited Editions Club, 1967. 

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full burgundy goatskin with recessed suede inlay.  
All edges coloured.

There are contrasting themes here in this text: brutality and love.  I have expressed the savagery with a slash through the board but have inlaid a delicate pink suede into the slash, and if you look carefully, you will see small tooled dotted hearts on the suede to show the softer side of the text.

2009

The Comedy of Errors.

William Shakespeare.

Illustrated by Isadore Seltzer.

PDR/Royal, Inc. NYC. 1993.  

Photography by Prudence Cuming Associates Ltd.

Bound in full black goatskin with grey and orange back-pared onlays. Top edge coloured.

Twin masters and twin man-servants are separated and lost at sea. The twin masters arrive separately in the Greek city of Ephesus with each of their respectiive man-servants and therein follows a farce of mistaken identity.  I have represented each master with a grey circle and each man-servant with an orange dot, the grain of the leather represents the sea.

2009

Down the River.

H.E. Bates.

Wood Engravings by Agnes Miller Parker.

Victor Gollanz, 1937. 

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full navy blue goatskin with recessed white gilded detail. Top edge gilded in white gold.

 

  

2008

As You Like It.

William Shakespeare.

The Roycroft Shop, 1903. 

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full scarlet goatskin with black goatskin onlays.
Top edge gilded in moon gold leaf.

The hearts on this binding represent the love letters that Orlando leaves for Rosalind hanging from the trees in the forest of Arden.

2008

Detail

2008

New York Revisited.

Kenneth Auchincloss.

Wood Engravings by Gaylord Shanilec

The Grolier Club of New York, 2002. 

Photography by Prudence Cuming Associates Ltd.

Private collection.

Bound in full black goatskin with handmade paper onlays. Top edge coloured.

I wanted to create the notion of speed and energy found in the city of New York.  One line is white and two are sage green, to create a tension between the lines.

 

2006

Love's Labour's Lost.

William Shakespeare.

Illustrated by Berkeley Sutcliffe.

1959. 

Bound in full pink goatskin with multi-coloured goatskin onlays. Top edge coloured. 

Photography by Prudence Cuming Associates Ltd.

British Library Collection. 

The King of Navarre and each of his three lords: Berowne, Longaville and Dumaine despite swearing a period of abstinence from all things love-related, fall in love respectively with the Princess of France and each of her three ladies-in-waiting: Rosaline, Maria and Katharine.  During the play the four men disguise themselves as Russians to woo the ladies, but the ladies are forewarned and decide to change identities with each other. The lords enter, and woo the wrong women.

The farce felt like a dance to me, so I represented each character with a coloured onlay, mixed up, stepping forward and back.
 

2006

Detail.

1997

Daphnis & Chloe: A Most Sweet and Pleasant Pastorall Romance for Young Ladies

Translated Out of the Greek of Longus By Geo: Thornley, Gent.

Golden Cockerel Press, UK 1923.

260x200x25mm

Photography by Prudence Cuming Associates Ltd.

Bound in full green goatskin with full thickness goatskin onlay.  All edges gilded in white gold.

This Greek classic, centres on a pastoral romance between a boy (Daphnis) who is found and raised by a goatherd and a girl (Chloe) who is found and raised by a Shepherd.  I have subtly tried to evoke the nature of the text by using the natural edge of the goatskin to create the landscape in which the tale is set.

1997

Metamorphoses

Ovid

The Folio Society, UK 1955.

Illustrated with woodcuts by Agnes Miller Parker. 

260x178x48mm

Photography by Prudence Cuming Associates Ltd.

Bound in full chocolate goatskin with crumpled suede onlays.  All edges gilded in copper leaf.

I created metamorphic shapes from pasted and crumpled suede, which creep from around the edges of the front and back covers.  I gilded the edges in copper so that they would turn to verdigris and tarnish, as the book ages.

  2017     The Return of the Native.    Thomas Hardy.  Heritage Press, USA 1970.  Illustrated with woodcuts by Agnes Miller Parker.   230x170x41mm  Photography by Prudence Cuming Associates Ltd.  Bound in full dark yellow goatskin with de-bossed gorse shapes.  All edges airbrushed with acrylic paint.   This novel is centred around the landscape: the gorse-covered heathland, which Hardy describes beautifully throughout the story. My inspiration cam from these descriptions, focussing on gorse, heather and late-summer light.
  2017   Edge detail and front board
2016
2016
2016
2016
2015
2015
2015
2015
2013
2013
2013
2013
2013
2012
2011
2010
2010
2010
2009
2009
2008
2008
2008
2006
2006
  1997     Daphnis & Chloe: A Most Sweet and Pleasant Pastorall Romance for Young Ladies    Translated Out of the Greek of Longus By Geo: Thornley, Gent.  Golden Cockerel Press, UK 1923.  260x200x25mm  Photography by Prudence Cuming Associates Ltd.  Bound in full green goatskin with full thickness goatskin onlay.  All edges gilded in white gold.   This Greek classic, centres on a pastoral romance between a boy (Daphnis) who is found and raised by a goatherd and a girl (Chloe) who is found and raised by a Shepherd.  I have subtly tried to evoke the nature of the text by using the natural edge of the goatskin to create the landscape in which the tale is set.
  1997     Metamorphoses    Ovid  The Folio Society, UK 1955.  Illustrated with woodcuts by Agnes Miller Parker.   260x178x48mm  Photography by Prudence Cuming Associates Ltd.  Bound in full chocolate goatskin with crumpled suede onlays.  All edges gilded in copper leaf.   I created metamorphic shapes from pasted and crumpled suede, which creep from around the edges of the front and back covers.  I gilded the edges in copper so that they would turn to verdigris and tarnish, as the book ages.