http://kathyabbott.biz/updatesnews daily 0.75 2024-01-28 http://kathyabbott.biz/updatesnews/2024/1/28/39uk5rfl8d1vflnuk93bg4cdv86gqr monthly 0.5 2024-02-11 http://kathyabbott.biz/updatesnews/2023/7/23/teaching monthly 0.5 2023-07-23 http://kathyabbott.biz/updatesnews/2019/1/20/codex-2019 monthly 0.5 2019-01-20 http://kathyabbott.biz/updatesnews/2016/5/22/i-appear-in-a-tiny-part-of-this-very-interesting-article-about-book-collecting monthly 0.5 2016-05-22 http://kathyabbott.biz/updatesnews/2014/1/20/the-end-of-a-beautiful-exhibition monthly 0.5 2014-01-20 http://kathyabbott.biz/updatesnews/2013/10/29/readable-objects-a-tomorrows-past-exhibition-at-the-aram-gallery-london monthly 0.5 2013-10-29 http://kathyabbott.biz/updatesnews/2013/10/29/designer-bookbinders-lecture monthly 0.5 2013-10-29 http://kathyabbott.biz/updatesnews/2013/9/15/hello monthly 0.5 2013-09-23 http://kathyabbott.biz/content-exploration daily 0.75 2024-03-07 https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1706434536654-F853IPN7KVMUBNM2ULXB/image-asset.jpeg Tomorrow's Past - 2024 Newbery’s Spelling Dictionary John Newbery, c. 1750 I found this tiny book (just 10cm high) in a second-hand bookshop in Norwich. The red-rotten boards were off, the spine had almost crumbled away and the sewing was partially broken. A corner of the title page was missing. I took the book apart, in-filled the title page with toned Japanese tissue before guarding the rest of the sections. I then re-sewed the book with packed sewing on alum-tawed pigskin for maximum flexibility. I created a slotted-spine made from gilded Japanese paper and veiny calf-vellum boards. It now opens beautifully. 100 x 60 x 25mm Photography by Prudence Cuming Associates Ltd. University of Miami Special Collections. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1706434536654-F853IPN7KVMUBNM2ULXB/image-asset.jpeg Tomorrow's Past - 2024 Newbery’s Spelling Dictionary John Newbery, c. 1750 I found this tiny book (just 10cm high) in a second-hand bookshop in Norwich. The red-rotten boards were off, the spine had almost crumbled away and the sewing was partially broken. A corner of the title page was missing. I took the book apart, in-filled the title page with toned Japanese tissue before guarding the rest of the sections. I then re-sewed the book with packed sewing on alum-tawed pigskin for maximum flexibility. I created a slotted-spine made from gilded Japanese paper and veiny calf-vellum boards. It now opens beautifully. 100 x 60 x 25mm Photography by Prudence Cuming Associates Ltd. University of Miami Special Collections. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1648996995593-XX9RLW6OBRI0RPCBI4AZ/image-asset.jpeg Tomorrow's Past - 2022 The Poetical Works of Ambrose Philips. Ambrose Philips, 1799. I found this book with the front board detached, the headband missing, the tailband broken and the spine leather blackened and extremely worn. The top edge of the front board was bald, as were all the corners. The rear board was quite firmly attached. In the past, someone had branded the front board with their initials: C.G. The old spine was cleaned off with Xanthan gum, a new headband was sewn using red silk and gold thread; the tailband was repaired. The board edges and corners were repaired with calf fleshings, gilded with 23.5 gold leaf and organic wheatflour paste. The detached board was re-attached with unbleached and unwaxed linen thread, sewn through the board and around the sewing stations. The exposed threads on the front board and the exposed cords on the rear board, were covered with gold-beater’s skin, which was then gilded with 23.5 gold leaf. The spine was lined with unbleached cotton and handmade paper using EVA. A new spine piece was made with Japanese paper, gilded with 23.5 gold leaf and tooled with a reversed ‘C’ and a ‘G’ to resemble the Chanel/Gucci logo. The new spine piece was punched and cut so that it could ‘lock’ onto the lacing on points of the boards and then lightly tacked to the endpapers with tiny dots of EVA. 130 x 84 x 12mm Photography by Prudence Cuming Associates Ltd. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1648997193950-IT3W5577H1QC6LBQQU1Q/image-asset.jpeg Tomorrow's Past - 2022 The Poetical Works of Ambrose Philips. The head edge. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1548405382086-MMCI93VL6MSKMNF8YXID/Imitation_of_Christ_full+view.jpg Tomorrow's Past - 2019 De Imitatione Christi Thomas a Kempis, 1759. Textblock sewn onto hand-made linen cords with a supported link-stitch sewing. Cords laced through a slotted calfskin vellum spine into 3 layers of Zaanschbord. 230 x 188 x 24mm Photography by Prudence Cuming Associates Ltd. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1548405874970-091PC8K3FDAYCJAUBKQ1/Imitation_of_Christ_spine+view.jpg Tomorrow's Past - 2019 De Imitatione Christi (spine) Thomas a Kempis, 1759. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1548405735242-6CZ8D46991S5J1W6UISC/Imitation_of_Christ_frontview.jpg Tomorrow's Past - 2019 De Imitatione Christi (front view) Thomas a Kempis, 1759. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1548923949990-IMXOFOQ80QU86VZD7W0S/Kathy.jpg Tomorrow's Past - 2018 Table Talk and Other Poems William Cowper, London 1825. 'Sacred Binding' using the original boards, gold-tooled calfskin vellum spine and handpainted marbled cotton joints. Repairs to board edges and corners made with gilded Japanese tissue. Photography by Prudence Cuming Associates Ltd. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1507482806083-VHUXENIU0P3D37UK0HG2/Culpeper%27s_Herbalist_standing.jpg Tomorrow's Past 2017   Culpeper's Complete Herbal Nicholas Culpeper, London 1861. 'Sacred Binding' using the original boards, handpainted calfskin vellum and handpainted linen joints. 272x205x39mm Photography by Prudence Cuming Associates Ltd. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1507483408183-LK54JEGT7FIUZBOER92A/Culpeper%27s_Herbalist_lying.jpg Tomorrow's Past 2017   Culpeper's Complete Herbal (lying) Nicholas Culpeper, London 1861. 272x205x39mm https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1498836735375-RI4B3ZK8LOU2YFLQF1CG/KathyAbbott.jpg Tomorrow's Past 2017   Albion and Albanius: An Opera Mr. (John) Dryden, London 1691. A variation on Carmencho Arregui's crossed structure binding, with tabbed corners. Handmade paper, unbleached and unwaxed linen thread, mottled calfskin vellum. 226x170x9mm Photography by Prudence Cuming Associates Ltd. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1453654831570-WENPEQN1UBO5697AT5I5/image-asset.jpeg Tomorrow's Past - 2016 The Modern Cabinet of Arts T.C. Thornton, London 1841. Original boards; hand-gilded aero-cotton and original turn-ins. 130x82x25mm Photography by Prudence Cuming Associates Ltd. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1390206842400-RMTHKUGLZ8WQ0IN806WA/Sacred_Dramas_horizontal.jpg Tomorrow's Past - 2013 Sacred Dramas Hannah Moore, c.1818. Original boards; hand-coloured cotton joints; hand-decorated, hand-made paper spine and hand-coloured Kozo-shi tissue repairs. Photography by Prudence Cuming Associates Ltd. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1390206864036-PEEM6LWJ7MP6EZ5A80N4/Metamorphoses_lying.jpg Tomorrow's Past - 2013 Ovid's Metamorphoses. 1807. Slotted spine binding. Original boards; linen thread and mottled vellum. Photography by Prudence Cuming Associates Ltd. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1605604462532-NR8U97QN5KK0U4CY2LSB/image-asset.jpeg Tomorrow's Past - 2011 Q. Haratii Flacci Carmina Expurgata. Josepho Juvencio, 1784. Conserved binding 'Kintsugi' style. Hand-dyed alum tawed thongs, hand gilded hand-made paper. Photography by John Hammond. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1605604148096-1K6Z4OS207SAMDPNC3X1/image-asset.jpeg Tomorrow's Past - 2011 Q. Haratii Flacci Carmina Expurgata. (detail) Josepho Juvencio, 1784. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379271699580-FKL4M7DBCKAWKMQ0O7OJ/Hudibras.jpg Tomorrow's Past - 2010 Hudibras Samuel Butler, (London 1817) Adapted 'simplified binding'. Hand decorated, hand-made paper spine and hand-coloured, hand-made paper over archival millboard boards. Photography by John Hammond. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379272203084-VMUDF33XCDZLWR9S2EZU/Tomorrow%27s_Past_Kathy_+Abbott_2008.jpg Tomorrow's Past - 2008 The Farmer's Boy: A Rural Poem. Robert Bloomfield (London 1820). 'Clip-on cover binding II'. Hand decorated hand-made paper cover that clips onto the endpapers, to which the book is sewn. Photography by Prudence Cuming Associates Ltd. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379846645333-G5O13D7C7JRV24AB18NX/Kathy+Abbott+2007+17.jpg Tomorrow's Past - 2007 Cecilia or memoirs of an Heiress - vol. 2. 'By the author of Evelina' (Frances Burney), London 1782. Limp paper 'Disappearing spine binding'. 'Dutch gilt' paper and hand-coloured threads. Photography by Prudence Cuming Associates Ltd. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379623102401-QSFMI5JXMIV1SJOEC7NJ/KA_master.jpg Tomorrow's Past - 2006 The Thistle: A Dispassionate Examen of the Prejudice of Englishmen in General to the Scotch Nation. 1747. 'Clip-on-cover binding'. Hand-decorated hand-made paper cover that clips onto the endpapers, to which the book is sewn. Photography by Prudence Cuming Associates Ltd. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379847850627-TT7WJ2Q0ANQ0PZFNNHYQ/Kathy2006SecretLove.jpg Tomorrow's Past - 2006 Secret Love or the Maiden Queen. John Dryden, 1669. 'Clip-on-cover binding'. Mottled vellum cover that clips onto the endpapers, to which the book is sewn, hand-made paper and leather thongs. Photography by Prudence Cuming Associates Ltd. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379847834200-RN1997M2CNS6I3PO6EWC/Kathy2005Poeticalworks.jpg Tomorrow's Past - 2005 The Poetical Works of the Rt. Hon. George Canning MP. George Canning, c. 1820. Vellum 'Wrap-around binding'. Photography by Prudence Cuming Associates Ltd. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379623087349-EVO2IGT0JL90L1L1S258/Kathy2005TheEnglishPope+.jpg Tomorrow's Past - 2005 The English Pope London, 1643. 'Clip-on-cover binding'. Hand-decorated hand-made paper cover that clips onto the endpapers, to which the book is sewn. Photography by Prudence Cuming Associates Ltd. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379847881274-4RGBN8Z6WMCHULKMW8TH/Kathy2004TheWorksOfEdmundWaller.jpg Tomorrow's Past - 2004 The Works of Edmund Waller. 1758. Limp paper wrapper binding. Mouldmade paper and hand-coloured thread. Photography by Prudence Cuming Associates Ltd. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379847508984-8EQ9O6XA2SRG3DOLR2TW/Kathy2004muchado.jpg Tomorrow's Past - 2004 Much Ado About Nothing. William Shakespeare, 1735. Limp paper 'Wrap-around binding'. Hand-made paper. Photography by Prudence Cuming Associates Ltd. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379622991725-UH7PNILUVPTRKYTG9TLI/Kathy2005Cecilia.jpg Tomorrow's Past - 2004 Cecilia or Memoirs of an Heiress - Vol. 1. By the author of Evelina (Frances Burney), London, 1782 Limp 'Clip-on-cover binding'. Hand-coloured paper cover that clips onto the endpapers, to which the book is sewn, hand-dyed linen threads. Photography by Prudence Cuming Associates Ltd. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379622844917-UKP7IAIO6CT0X2EVF5OJ/Kit2004Book+Jacket.jpg Tomorrow's Past - 2004 Oeuvres, vol. 1. Rabelais, 1725. Limp paper binding. Hand-coloured hand-made paper, sewn on hand-coloured alum tawed thongs. Photography by Prudence Cuming Associates Ltd. Private collection. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379623017601-KFZBAXLBR9LIW69NLYJU/Kathy2003ThepopesNuntioes.jpg Tomorrow's Past - 2003 The Popes Nuntioes. 1643. Limp hand-made paper binding sewn on manuscript vellum. Photography by Prudence Cuming Associates Ltd. http://kathyabbott.biz/modern-canadacana daily 1.0 2025-02-23 https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1740326625051-M686X9AQ2XE7864BZMLE/image-asset.jpeg Fine Bindings - 2024 Ballades in Blue China and Other Poems Andrew Lang. Thomas B. Mosher, Portland, Maine, 1907. 187 × 117 × 21mm. Photography by Prudence Cuming Associates Ltd. Private collection. A full calf vellum binding over a painting on paper by the binder. Textblock sewn onto a mouldmade paper stub. Handmade Japanese paper endpapers and hand-sewn silk endbands. Top edge coloured with acrylic ink. I responded to the notion of Chinese porcelain ceramics in the opening poem. I found an image of this dragon on a Yuan dynasty plate, which I recreated in acrylic paint on acid-free paper. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1740326625051-M686X9AQ2XE7864BZMLE/image-asset.jpeg Fine Bindings - 2024 Ballades in Blue China and Other Poems Andrew Lang. Thomas B. Mosher, Portland, Maine, 1907. 187 × 117 × 21mm. Photography by Prudence Cuming Associates Ltd. Private collection. A full calf vellum binding over a painting on paper by the binder. Textblock sewn onto a mouldmade paper stub. Handmade Japanese paper endpapers and hand-sewn silk endbands. Top edge coloured with acrylic ink. I responded to the notion of Chinese porcelain ceramics in the opening poem. I found an image of this dragon on a Yuan dynasty plate, which I recreated in acrylic paint on acid-free paper. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1739175654673-C50BYAM3HK6LY56A5BHZ/Horror_Vacuui.jpg Fine Bindings - 2024 Horror Vacuui. Alastair Johnston, with illustrations by Carl Dern. Jungle Garden Press, Fairfax, California 1986. Ltd. Edition of 280 copes. Photography by Prudence Cuming Associates Ltd. Available for sale. A modified Simplified Binding with green Harmatan goatskin spine and calf vellum boards with green and pink leather inlays. Top edge decorated with green acrylic painted dots. Handmade endpapers and doublures. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1739175948039-S5R3GC6CH8L423QYMV0L/image-asset.jpg Fine Bindings Horror Vacuui. Front view. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1658148452517-PMM2YT4Z8ENQYCB3TUJI/Impresiones_Compartidas1_fullview.jpg Fine Bindings - 2022 Impresiones Compartidas 1 Mirta Rosenberg, with illustrations by María Inés Tapia Vera, printed by Patricio Gatti, de Coleccíon Libros Una, 2021. 272 x 171 x 13mm. Photography by Prudence Cuming Associates Ltd. Private collection. A modified Simplified binding with black goatskin spine and boards of transparent calf parchment over pencil drawings drawn by the binder. Handmade paper endpapers and doublures. Top edge coloured with acrylic inks. Inspiration: I get the sense/feeling of dream-like recollections from these poems and wanted to create a design for this binding that was slightly ethereal and nostalgic. I particularly responded to these lines in the first poem: Una Carta Convertida en Cosa (translated): “With enough reason I seem to remember days, where the only shadows projected were those of trees…..” My drawings are taken from a photograph that I took a few years ago, of the shadows of the tree against the window of my studio. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1740324617565-J5DAIAJ5ODCO0YUSB7FT/image-asset.jpeg Fine Bindings Horror Vacuui. Back view. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1740325716414-3A371V1ZT92UKEPAC9LD/image-asset.jpg Fine Bindings Horror Vacuui. Detail of head. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1740326822460-LCY2U0BAID4UNMPP5EJX/image-asset.jpeg Fine Bindings Horrror Vacuui. Page details. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1706434075786-VR5OE4X34239R0G7WX1X/image-asset.jpeg Fine Bindings - 2024 A Song About Myself. John Keats, with calligraphy by Andy Moore. The Old Stile Press, 2014. 328 x 239 x 17mm. Photography by Prudence Cuming Associates Ltd. Private Collection. Bound in full black goatskin with recesses and red feathered onlays. Top edge coloured with acrylic ink. Coloured handmade paper endpapers and doublures. Inspiration: The image was taken from one of the spreads in the book and I wantd to get the feel of coloured pencil drawing via the feathered onlays. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1706435473571-1USCPXIDU4Q8IXU4EZOG/image-asset.jpeg Fine Bindings - 2024 A Song About Myself. Top edge detail and view along front board. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1706433004257-XTGKKV2TLCQN22M49MQ2/image-asset.jpeg Fine Bindings - 2024 The Wind in the Lilacs. Harris Merton Lyon, with decorations by Lawrence A. Pattterson and frontispiece etching by Blanding Sloan. Johnk & Seeger and S.T. Farquhar, 1929. 162 x 132 x 13mm. Photography by Prudence Cuming Associates Ltd. Available for sale. A stub binding bound in full grey Nigerian goatskin with tooling in Caplain gold leaf. Top edge gilded in Caplain leaf. Coloured handmade paper endpapers and doublures. Inspiration: This sweet, whimsical story shares a tale whispered by the wind to a young girl and her grandfather. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1706465128080-EG9ZGHHI3RTVBMK8IMXD/image-asset.jpeg Fine Bindings - 2024 Sidereal. Sara Langworthy. Sara Langworthy, Iowa, 2019. 311 x 185 x 11mm. Photography by Prudence Cuming Associates Ltd. Boston Athenaeum Special Collections. A Clip-on-Cover binding in full coloured goatskin vellum with tooling in silver foil. Coloured and white Japanese paper endpapers. Inspiration: I searched through 50 or more skins of vellum until I discovered this one, which looks just like the night sky. The image is taken from one of the book’s spreads. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1706465696853-8ZPB67PGG2A5U1IBSG6W/image-asset.jpeg Fine Bindings - 2024 Sidereal. Back cover. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1706465779914-6EOO94ATOK83N1HWWYOJ/image-asset.jpeg Fine Bindings - 2024 Sidereal. One of the spreads. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1697481805360-37J4WCZNSBH88P4PMFSF/image-asset.jpeg Fine Bindings - 2023 Anatomy of Melancholy Vol. 1. Robert Burton, with illustrations by E. McKnight Kauffer. Nonesuch Press, 1925. 316 x 208 x 42mm. Photography by Prudence Cuming Associates Ltd. Private collection. Bound in full black goatskin with full thickness onlays, edged with acrylic colour. Machine-made paper endpapers and doublures. Inspiration: I wanted to capture the bleakness of melancholy but also the little rays of light/joy that come within the periods of darkness; like the sun coming from behind the clouds. The circular, cross-hatched shapes are found within the illustrations. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1697483513127-AR2BULOGE0R27A5OK0WV/image-asset.jpeg Fine Bindings - 2023 Anatomy of Melancholy Vol. 1. Detail. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1697483739234-08N18R8SIHSIGEJ3SX2W/image-asset.jpeg Fine Bindings - 2023 Anatomy of Melancholy Vol. 2. Robert Burton, with illustrations by E. McKnight Kauffer. Nonesuch Press, 1925. 316 x 208 x 41mm. Photography by Prudence Cuming Associates Ltd. Private collection. Bound in full black goatskin with full thickness, bevelled onlays, edged with acrylic colour. Machine-made paper endpapers and doublures. Inspiration: I wanted to capture the bleakness of melancholy but also the little rays of light/joy that come within the periods of darkness; like the sun coming from behind the clouds. The cross-hatched leaf shapes are found within the illustrations and reference the healing properties of plants. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1697483817619-DR83SF97AZ0MXXJ95PMA/image-asset.jpeg Fine Bindings - 2023 Anatomy of Melancholy Vol. 2. Detail. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1697481561798-KBA00QNQ4BTA6K8S9W7Y/image-asset.jpeg Fine Bindings - 2022 Impresiones Compartidas 1. Mirta Rosenberg, with illustrations by María Inés Tapia Vera. Printed by Patricio Gatti, de Coleccíon Libros Una, 2021. 272 x 171 x 13mm. Photography by Prudence Cuming Associates Ltd. Private collection. A modified Simplified binding with black goatskin spine and boards of transparent calf parchment over pencil drawings drawn by the binder. Handmade paper endpapers and doublures. Top edge coloured with acrylic inks. I get the sense/feeling of dream-like recollections from these poems and wanted to create a design for this binding that was slightly ethereal and nostalgic. I particularly responded to these lines in the first poem: Una Carta Convertida en Cosa (translated): “With enough reason I seem to remember days, where the only shadows projected were those of trees…..” My drawings are taken from a photograph that I took a few years ago, of the shadows of the tree against the window of my studio. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1658148347403-0YL956YV2PEV93PPV1LM/image-asset.jpeg Fine Bindings - 2022 Impresiones Compartidas 1. Front view. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1612455589889-JNSBTZRAA3E1WFCFZTOJ/image-asset.jpeg Fine Bindings - 2020 The Traveller. Walter de la Mare with drawings by John Piper. Faber & Faber Ltd. London, 1946. 214 x 162 x 14mm. Photography by Prudence Cuming Associates Ltd. Bound in Native dyed goatskin. Top edge coloured with acrylic ink. Katie McGregor handmade paper endpapers and doublures. A lone traveller and his horse traverse across the rocky salt plains of Lake Titicaca; with no water, both man and horse perish in the rugged landscape. For this binding, I decided to use a goatskin dyed in Nigeria using natural native dyes. To me, this skin evoked the dry landscape of the text perfectly, needing no other embellishment, it also works beautifully with the John Piper illustrations. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1648995610516-PS8RCOMCEOZ7VTMV05GC/image-asset.jpeg Fine Bindings - 2022 The Fragments of Parmenides and an English translation. Translated by Robert Bringhurst, wood engravings by Richard Wagener. Printed by Editions Koch, Berkeley, USA, 2003. 426x 270 x 24mm. Photography by Prudence Cuming Associates Ltd. Private collection. A full binding in black goatskin with black and 23.5 carat gilded leather inlays and onlays. Gold onlay edge-coloured with acrylic ink. Top edge gilded in Superieur 23.5 carat gold leaf. Paper doublures. Parmenides is considered to be the founder of metaphysics. The key themes I took from this text were: • What Is versus What Is Not • Enlightenment versus Un-enlightenment • Day versus Night • Light versus Darkness • Reality versus our sense of reality • What is has no beginning and no end Working with the duality of these key themes, I wanted to create an image that radiated from the front cover; a solid mass, which was alive and glowing, and an opposing negative force on the rear cover that was cold and almost wasn’t there. Gold for me is full of life: luxurious, vibrant, glowing. The central circle is edged with red to help the gold radiate that little bit more. The circle motif has no beginning and no end. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1648996788355-M8XIL2PWXLZTL7YSC5OX/image-asset.jpeg Fine Bindings - 2022 The Fragments of Parmenides and an English translation. Front view. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1648996834818-UEVJ6TJBSIBH6KWOXZ7U/image-asset.jpeg Fine Bindings - 2022 The Fragments of Parmenides and an English translation. Back view. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1648996887779-U7ULTDMHG9UHFL20NAT4/image-asset.jpeg Fine Bindings - 2022 The Fragments of Parmenides and an English translation. Detail. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1648995222796-BPB7D2F3HHRE8EHCKYRF/image-asset.jpeg Fine Bindings - 2022 Hamlet. William Shakespeare. Alberto Tallone, Alpignano, Italy, 1978. 97/360. 357 x 223 x 41mm. Photography by Prudence Cuming Associates Ltd. Private collection. A ‘tongue in slot binding’ in black goatskin with red goatskin feathered onlays. Top edge, endpapers and paper doublures decorated with acrylic inks. Hamlet is one of my favourite Shakespearean plays. It is painful and difficult; full of melancholy, bloodshed and heartache. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1648995076934-BCF0VZA3MFK3J2B46LXI/image-asset.jpeg Fine Bindings - 2022 Hamlet. The top edge (head). https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1648995473188-9Y9J39JE72U63OGST1R0/image-asset.jpeg Fine Bindings - 2022 Hamlet. Doublures and endpapers. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1636549767389-UVIIYQLW7ARI5RORCMHA/image-asset.jpeg Fine Bindings - 2021 The Lyrical Woodlands. Margaret Sackville, with drawings by Lonsdale Ragg. Chiswick Press, London, 1945. 286 x 199 x 9mm. Photography by Prudence Cuming Associates Ltd. Boston Athenaeum Special Collections. Calf vellum boards tooled in 23.5 carat gold leaf from a tool designed by the binder and chocolate brown goatskin spine. Top edge gilded in 23.5 carat gold leaf. Handmade paper endpapers and doublures. I wanted to capture the essence of light catching on falling oak leaves. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1636550502486-BRA1XHWTSZNY7X5UE6ZP/image-asset.jpeg Fine Bindings - 2021 The Lyrical Woodlands. Front board. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1636559720095-F1RHZRPX0YUYG63VOZML/image-asset.jpeg Fine Bindings - 2021 The Lyrical Woodlands. Illustration of Queen Mary’s Oak by Lonsdale Ragg. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1636559595873-CBSGRCIMTNZYH8UHWZ7G/image-asset.jpeg Fine Bindings - 2020 The Traveller. Walter de la Mare with drawings by John Piper. Faber & Faber Ltd. London, 1946. 214 x 162 x 14mm. Photography by Prudence Cuming Associates Ltd. NFS. Bound in Native dyed goatskin. Top edge coloured with acrylic ink. Katie McGregor handmade paper endpapers and doublures. A lone traveller and his horse traverse across the rocky salt plains of Lake Titicaca; with no water, both man and horse perish in the rugged landscape. For this binding, I decided to use a goatskin dyed in Nigeria using natural native dyes. To me, this skin evoked the dry landscape of the text perfectly, needing no other embellishment, it also works beautifully with the John Piper illustrations. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1612714417972-9SONQEA0GD8SA24DAVSF/image-asset.jpeg Fine Bindings - 2020 The Traveller. John Piper’s illustration. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1612714322408-MN09Y8RH1HL3OUC280LT/image-asset.jpeg Fine Bindings - 2020 The Traveller. John Piper’s illustration. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1571126492729-AGC0V5RX4DVHMB5L1NGY/Kathy+View+1.jpg Fine Bindings - 2019 Unpublished early Poems. Alfred Tennyson (edited by Charles Tennyson, his grandson). MacMillan & Co., Ltd. London, 1931. 256 x 174 x 22mm. Photography by Prudence Cuming Associates Ltd. Available for sale. A stub-binding bound in full grey goatskin over sculpted boards, cold gilded with Caplain gold leaf. Top edge gilded with Caplain gold leaf. Hand decorated handmade paper endpapers and doublures. With so many poems to respond to, I focussed on one: Ode. O Bosky Brook, and particularly part II, which refers to the moon. “Well have I know thee, whatsoe’er thy phase, In every time and place, Pale Priestess of grey Night, Whether thy flood of mournful rays,…………….” I loved the line: “Pale Priestess of grey Night” and my design is based on this. I created moonscape-like decoration on the endpapers and doublures and two crescent-shaped moons on the front and back covers which become a full moon when the book is opened. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1571127624222-CU07VI6HTX5O11D7JN62/Kathy+View+2.jpg Fine Bindings - 2019 Unpublished early Poems. Full moon when the boards are opened. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1571127704463-ERZETOATGVQNNIQTCRAA/Kathy+View+3.jpg Fine Bindings - 2019 Unpublished early Poems. Endpaper and doublure. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1613726935339-634L2XRPGEC0XNXX63YK/image-asset.jpeg Fine Bindings - 2019 La Prose du Transsibérien et de la Petite Jehanne de France. Blaise Cendrars and Sonia Delaunay-Terk. Recreated by Kitty Maryatt. Two Hands Press, 2018. 366 x 105 x 28.5mm. Photography by Prudence Cuming Associates Ltd. Private Collection. A three-flap enclosure, held closed with magnets, covered in full alum-tawed goatskin with multi-coloured onlays. My inspiration for this binding came from the poem: cold, white, snowy Siberian weather, naivety of adolescence and the many references to wheels and circles. I wanted to convey the feeling of the movement of the train, along with the fragmented reminiscences of the poet. The colours of the onlays were taken from the pochoir and the image starts with a red semi-circle and ends with a yellow one; this was taken from this line of the poem: “if I were a painter, I would pour a lot of red and yellow at the end of this journey”. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1561708920420-2WU2LF3BEEHXG561VN0V/La_Prose.jpg Fine Bindings - 2019 La Prose du Transsibérien et de la Petite Jehanne de France. Blaise Cendrars and Sonia Delaunay-Terk. Recreated by Kitty Maryatt. Two Hands Press, 2018. 366 x 105 x 28.5mm. Photography by Prudence Cuming Associates Ltd. A three-flap enclosure, held closed with magnets, covered in full alum-tawed goatskin with multi-coloured onlays. My inspiration for this binding came from the poem: cold, white, snowy Siberian weather, naivety of adolescence and the many references to wheels and circles. I wanted to convey the feeling of the movement of the train along with the fragmented reminiscences of the poet. The colours of the onlays were taken from the pochoir and the image starts with a red semi-circle and ends with yellow one; this was taken from this line of the poem: “if I were a painter, I would pour a lot of red and yellow at the end of this journey”. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1561710628738-U25QXMLAT1FRODLZNT8G/La_Prose_detail.jpg Fine Bindings - 2019 La Prose du Transsibérien et de la Petite Jehanne de France. Detail of the multi-coloured onlays. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1561710712170-906RXBCFGLZDHKY0YMRB/La_Prose_open.jpg Fine Bindings - 2019 La Prose du Transsibérien et de la Petite Jehanne de France. The concertina inside the enclosure. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1550940809432-LANQSXXNU8DK4KTXL8C8/Epistle_to_Julian.jpg Fine Bindings - 2019 Epistle to Mr Julian. George Villiers, Duke of Buckingham. London, 1677. 305 x 210 x 13mm. Photography by Prudence Cuming Associates Ltd. Private collection. A conservation binding in full burgundy goatskin with debossed shapes, painted with acrylic. Coloured handmade paper endpapers and doublures. This ‘book’ consists of just two leaves from a Broadside. The Duke of Buckingham unleashes a vitriolic attack on Mr Julian: (Secretary to the Muses) a drunk, with a penchant for red wine and brandy. Julian was a purveyer of Broadsides and was known as a wit with a sharp tongue. This is Buckingham’s rhyming attack on him. The spiky, inky shapes allude to the sharpness of the words: ‘the pen’, which is mightier than the sword. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1613740125112-7HD4JX3YKQIZ6WV0S28V/image-asset.jpeg Fine Bindings - 2018 Eve, Singing. Poems by Paul Ramsey. Penny Royal, USA 1976. 117 x 137 x 10mm Photography by Prudence Cuming Associates Ltd. Private collection. Airbrushed calf vellum boards and tan goatskin spine with alum-tawed pigskin onlay. Edges coloured with acrylic ink. Handmade paper endpapers and doublures. I responded to this line of the poetry: “What stirs us when A rim of light Refuses, on the edges’ edge to go”. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1547978557912-KPOS0KSP64TI7A6BA2RV/Kathy+Abbott+3.jpg Fine Bindings - 2018 Living in Time, Poems. Kathleen Raine. Editions Poetry, London 1946. First Edition. 193.5x138.5x13.5mm Photography by Prudence Cuming Associates Ltd. Available for sale. Bound in full grey goatskin with pink and green goatskin onlays. Top edge gilded in Caplain leaf. Coloured handmade paper endpapers and doublures. I have responded to the poet’s references of lost love and of nature, throughout this wonderful collection of poems. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1593429745452-LU5HP5R8V7LRACVOMKJS/image-asset.jpeg Fine Bindings - 2018 Living in Time, Poems. Title page. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1497111700659-CGPCRIDT7ME7W7WY2GWQ/A17688+16605.jpg Fine Bindings 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. Private collection. Bound in full dark yellow goatskin with de-bossed gorse shapes. All edges airbrushed with acrylic paint. Hand-coloured handmade paper endpapers and doublures. This novel is centred around the landscape: the gorse-covered heathland, which Hardy describes beautifully throughout the story. My inspiration came from these descriptions, focussing on gorse, heather and late-summer light. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1497112461009-KXTBT2UOXDNSGWH68IQH/A17688+16592.jpg Fine Bindings - 2017 The Return of the Native. Edge detail and front board. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1461523256185-GPM8SOFVY7J568CWNYE4/Shropshire_Lad_2016.jpg Fine Bindings - 2016 A Shropshire Lad. A.E. Housman. Riccardi Press, London 1914. 443/1000. 230x165x16mm Photography by Prudence Cuming Associates Ltd. Boston Athenaeum Special Collections. Bound in full recessed chocolate goatskin with handmade paper onlays. Top edge gilded in Caplain leaf. Coloured handmade paper endpapers and doublures. 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. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1461522781758-4HPA6RO6O5L5FEQ4ZONL/Shropshire_Lad_f.cover.jpg Fine Bindings - 2016 A Shropshire Lad. Front board. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1461520629765-JA8YEWEUWEV2E8W5VJY1/Patchwork_Quilt_2016.jpg Fine Bindings - 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. Available for sale. Bound in full black goatskin with blind tooling. Top edge gilded in Caplain leaf. Coloured handmade paper endpapers and doublures. 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. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1461521036958-V3CUQTMQRWVMLLU6F3F6/Patchwork_Quilt_f.cover.jpg Fine Bindings - 2016 Patchwork Quilt. Front board. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1431202820734-YGP85PMD7E4072X8P1B0/image-asset.jpeg Fine Bindings - 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. Coloured handmade paper endpapers and doublures. 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. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1433002008509-GYZMCLZWWVDM8D0B774F/Calm+Shore+-1.jpg Fine Bindings - 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 with acrylic ink. Coloured handmade paper endpapers and doublures. 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. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1433002720137-JQMNORG0K0P9Z029WSX1/image-asset.jpeg Fine Bindings - 2015 On a Calm Shore. Edge view. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1433002910812-MVQRJT318FIHKKF7FNIF/image-asset.jpeg Fine Bindings - 2015 On a Calm Shore. Detail of front board. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379267374080-MYOGGJNWZP5TXZ9F3LOI/Benito_Cereno_front_view.jpg Fine Bindings - 2013 Benito Cereno. Herman Melville. Illustrated by E. McKnight Kauffer. Nonesuch Press, 1926. 656/1650. 311 x 208 x 21mm Photography by Prudence Cuming Associates Ltd. Available for sale. Bound in full grey goatskin with recessed hand-coloured paper inlays. Top edge gilded in distressed Caplain leaf. Handmade paper endpapers and doublures decorated with acrylic ink. 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 were made frenetically with a scalpel to create the appearance of savagery. The leather was chosen for its windswept looking grain. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1433003090608-IGK8J2I27WB1DERK74LQ/image-asset.jpeg Fine Bindings - 2013 Benito Cereno. Edge view. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1433003160191-JIT9RS27QRHX7Q24QMNM/image-asset.jpeg Fine Bindings - 2013 Benito Cereno. Endpaper and doublure. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1593430524894-77GJLL4RI8CY5V9APN53/image-asset.jpeg Fine Bindings - 2013 Benito Cereno. Title page. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1381067411951-M8QWQRN34PI7X3NNRLZ4/The_Mercury_Fountain.jpg Fine Bindings - 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. Coloured handmade paper endpapers and doublures. 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. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379267850096-1N2SQO98BPZHG4OY5N7Q/Lecons.jpg Fine Bindings - 2013 Leçons/Learning. Phillipe Jaccottet and Mark Trehame Delos Press, 2001. 38/150. Photography by Prudence Cuming Associates Ltd. Available for sale. Bound in full black goatskin with recessed hand-coloured paper inlays. All edges sprinkled with acrylic ink. Coloured handmade paper endpapers and doublures. I responded to the author's reminiscences of his life and the warm flashbacks of passion and lifeforce. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379268154956-G1VCSWKRLE9IRXJR7RHI/Walter+de+la+Mare-b.jpg Fine Bindings - 2012 Winged Chariot. Walter de la Mare. Faber and Faber, 1951. First Edition. 219 x 178 x 16mm Photography by Prudence Cuming Associates Ltd. Available for sale. Bound in full burgundy goatskin with tooling in Caplain leaf. Top edge gilded in Caplain leaf. Coloured handmade paper endpapers and doublures. This book contains one long poem about the passing of time, both in the poet's life and within nature. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1613686606543-JMTJUZER6GLTZRA3X91F/image-asset.jpeg Fine Bindings - 2011 Poems and Pieces 1911 to 1961. Francis Meynell. The Nonesuch Press. London, 1961. 482/750 235 x 150 x 14mm. Photography by Prudence Cuming Associates Ltd. Available for sale. Bound in full chocolate goatskin with hand-cut multi-coloured goatsin onlays. Japanese handmade paper endpapers and doublures. The poetry inspired me to make a binding that was joyful and spring-like. The ‘X’ device in the pattern was in response to the little flower motif on the title page. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379267340827-UPSWO89I4LXU2E6S9V58/Kathy+Abbott+1.jpg Fine Bindings - 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 goatskin onlays (to resemble stitches). All edges gilded in white gold leaf. Coloured handmade paper endpapers and doublures. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379268171689-3ABP2DGKKJAK0J4QIDP4/A10854-K+Abbott+16841.jpg Fine Bindings - 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 with acrylic ink. Coloured handmade paper endpapers and doublures. There are contrasting themes here in this text: brutality and love. I have expressed the savagery with a slash across the board but have inlaid a delicate pink suede into the slash. If you look carefully, you will see small tooled dotted hearts on the suede to show the softer side of the text. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1607938716807-BLZC79S0N3GK9764W4X5/image-asset.jpeg Fine Bindings - 2010 Antony and Cleopatra. William Shakespeare. The Red Letter Shakespeare, The Gresham Publishing Co. Ltd., London, 1904. 164 x 98 x 24mm Photography by Prudence Cuming Associates Ltd. Bound in crimson goatskin with cold-gilded recess. Top edge gilded in 23 carat gold leaf. Coloured Japanese paper endpapers and doublures. Opulence, passion and violence; come together for me in the imagery for this binding. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1603278074276-GT5LN87058CN5JXA6QMT/image-asset.jpeg Fine Bindings - 2010 Mayflies of the Driftless Region. Wood engravings by Gaylord Shanilec with identifications by Clarke Garry. Midnight Paper Sales, USA, 2005. 357/400. Bound in collaboration with Tracey Rowledge. 265 x 189 x 16mm Photography by Prudence Cuming Associates Ltd. NFS. A limp conservation binding in hand-decorated handmade paper with hand-titled spine. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379267390250-MM5UO7CDCONAETJ69ID8/Comedy+of+Errors.jpg Fine Bindings - 2009 The Comedy of Errors. William Shakespeare. Illustrated by Isadore Seltzer. PDR/Royal, Inc. NYC. 1993. 208 x 206.5 x 24mm Photography by Prudence Cuming Associates Ltd. Available for sale. Bound in full black goatskin with grey and orange back-pared onlays. Top edge coloured with acrylic ink. Coloured handmade paper endpapers and doublures. 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. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1593430205369-G141UC9XHQZ3AL1AXD5V/image-asset.jpeg Fine Bindings - 2009 The Comedy of Errors. Title page. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379267587183-PAJ176D3NWYW8N8OESWP/Book.jpg Fine Bindings - 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. Coloured handmade paper endpapers and doublures. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379267359808-PQ3FKUKZV4MORETYWCHC/As_you_like_it.jpg Fine Bindings - 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. Coloured handmade paper endpapers and doublures. The hearts on this binding represent the love letters that Orlando leaves for Rosalind hanging from the trees in the forest of Arden. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1433003592187-72LIZQE54F9V21SXY831/image-asset.jpeg Fine Bindings - 2008 As You Like It. Detail. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379267879516-LJYJ89DFF3AC4ZR5X30F/New_York_Revisited.jpg Fine Bindings - 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. Coloured handmade paper endpapers and doublures. 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. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1379267867630-SVVGYYDFSLK3IQIXFXCM/Loves_Labours_Lost.jpg Fine Bindings - 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. Coloured handmade paper endpapers and doublures. 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. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1433003676730-QVFVCKXYDDFQYGFM5J1S/image-asset.jpeg Fine Bindings - 2006 Love's Labour's Lost. Detail. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1603277637494-CIS7TFWSU5RXZHRWE43W/image-asset.jpeg Fine Bindings - 2003 The Tempest. William Shakespeare. The Red Letter Shakespeare, The Gresham Publishing Co. Ltd., London, 1904. 163 x 97 x 19mm Photography by Prudence Cuming Associates Ltd. Bound in full green goatskin with white gold-tooled dots. Top edge gilded in white gold leaf. Coloured Japanese paper endpapers and doublures. The grain of this leather was very reminiscent of the sea to me. The tiny gold-tooled dots were used to hightlight the grain and to create the impression of sea foam. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1602840585263-Z3R4YRNM3CE3XSIWUGUF/image-asset.jpeg Fine Bindings - 2002 Macbeth. William Shakespeare. J.M. Dent & Sons Ltd., London, 1900. 132 x 105 x 30mm. Photography by Prudence Cuming Associates Ltd. Bound in full oxblood brown goatskin with full thickness onlay, with goathair tuft. All edges coloured with mottled acrylic ink. Hand decorated handmade paper endpapers and doublures. I wanted to create a chunky and rugged looking binding to reflect the landscape that this ‘Scottish play’ is set within. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1602838522223-STCYJFC80LSEMS4GPKXM/image-asset.jpeg Fine Bindings - 2001 Midsummer Night’s Dream. William Shakespeare. J.M. Dent & Sons Ltd., London, 1902. 132 x 105 x 25mm. Photography by Prudence Cuming Associates Ltd. Private collection. Bound in full duck egg blue goatskin with Japanese tissue onlays. All edges decorated with a bleed of duck egg blue acrylic ink. Japanese handmade paper endpapers and doublures. The Japanese tissue onlays were placed at the ends of the strong grain in this skin creating the impression of light and lively Will-o’-the-wisps. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1602837149389-JER99Y6LDG614TQQ6LCP/image-asset.jpeg Fine Bindings - 1998 Romeo and Juliet. William Shakespeare. J.M. Dent & Sons Ltd., London, 1905. 132 x 105 x 33mm. Photography by Prudence Cuming Associates Ltd. Bound in full black goatskin with leather fleshing onlays. All edges gilded with 23.5 carat gold leaf. Machine made paper endpapers and doublures. I wanted to capture the dark passion of this play. The fleshings evoke flames or even rose petals against a solid black backdrop. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1507484885192-CLCSZ4CJM29HNMCEEKFL/Metamorphoses.jpg Fine Bindings 1997 Metamorphoses. Ovid. Translated by Mary Innes. The Folio Society, UK 1955. Illustrated by Richard Shirley Smith. 260x178x48mm Photography by Prudence Cuming Associates Ltd. Bound in full chocolate goatskin with crumpled suede onlays. All edges gilded in copper leaf. Coloured handmade paper endpapers and doublures. 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. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1507483759680-P953DZWSFLS61WFD018J/Daphnis_%26_Chloe.jpg Fine Bindings 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. 267/450. 260x200x25mm Photography by Prudence Cuming Associates Ltd. Bound in full green goatskin with full thickness goatskin onlay. All edges gilded in white gold. Coloured handmade paper endpapers and goatskin doublures. 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. https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1593430618474-M61HHNXFAXYW36LWIDC3/image-asset.jpeg Fine Bindings - 1997 Daphnis and Chloe. Title page. http://kathyabbott.biz/events daily 0.75 2025-05-09 http://kathyabbott.biz/events/2013/4/15/event-one-kpced monthly 0.5 2013-04-01 http://kathyabbott.biz/bookbinding-a-step-by-step-guide-3 daily 0.75 2019-02-24 https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1381081735875-QUQ1FP75NFTMMBYUJTMV/Cover.jpg Bookbinding: A step-by-step guide https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1381081777361-XIL9R7EKBH1TICWW6RKX/tools.jpg Bookbinding: A step-by-step guide https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1381081890365-JRO4HKNSYWYL7O835ETU/Chapter1.jpg Bookbinding: A step-by-step guide https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1381081907733-V5MVOT3SAAYAW41U5YKJ/2.jpg Bookbinding: A step-by-step guide https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1381081975333-MLYUZ75XU5UJ5MTGQJ35/Wrap.jpg Bookbinding: A step-by-step guide https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1381081995990-FOF5CU0HTU6HUXBZZZBQ/7.jpg Bookbinding: A step-by-step guide https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1381082127830-6W3TACW5FX3H5W3PDVGO/Chapter2.jpg Bookbinding: A step-by-step guide https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1381082169744-UMCOAZVWZH1IFVS2P6BG/Wrap.jpg Bookbinding: A step-by-step guide https://images.squarespace-cdn.com/content/v1/5235f227e4b011d42dda0a2c/1381082216301-H8NXKG1FU2LGOXPJXJXY/Appendices.jpg Bookbinding: A step-by-step guide http://kathyabbott.biz/biography daily 0.75 2023-10-16