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Announce Publication Art of Publishers' Bookbindings

Announcing publication May 16th, 2000

By Ellen K. Morris & Edward S. Levin. Foreword by Ruari McLean. Afterword by=
Sue Allen. Los Angeles: William Dailey Rare Books Ltd, 2000

9 x 12-1/4 in., 127 pages, with 257 color illustrations of bindings. Smythe=20
sewn. Available in:=20

=E2=80=94 Wrappers at $37.50  ISBN 0-915148-22-6=20

=E2=80=94 Quarter cloth, with printed boards & dust jacket at $75. (Limited=20=
to 500=20
copies) ISBN 0-915148-21-8=20

=E2=80=94 And in a limited edition of 100 numbered copies signed by the auth=
ors, with=20
slipcase, at $150.

Domestic shipping is $5. via UPS. Payment by Mastercard, Visa, check, or=20
money-order. California residents please add 8.25%. Published by:

William Dailey Rare Books Ltd
8216 Melrose Avenue,
Los Angeles, CA 90046
323 658 8515  Fax 323 658 1170

This is a book about beautiful books =E2=80=94 more specifically about the b=
and innovative bindings of books. The Art of Publishers=E2=80=99 Bookbinding=
1815=E2=80=941915 catalogues an exhibition at the Grolier Club of 254 publis=
bookbindings, each described in detail and all illustrated in color. The ter=
=E2=80=98publisher=E2=80=99s bookbinding=E2=80=99 refers to a binding design=
ed and produced in=20
multiple numbers, as opposed to a hand=1Ebound binding created for an=20
individual book. The books in the exhibition represent the period from the=20
end of the Napoleonic Wars to the onset of the First World War.=20

After about 1820, most books were issued in publishers=E2=80=99 bindings, la=
designed, and executed in a rich variety of materials. The examples in this=20
catalogue afford an opportunity to compare stylistic differences and=20
similarities among individual nations, while underscoring a collective desig=
character common to the nineteenth century as a whole. The designs and=20
production methods of these bindings are a mirror of 19th century culture an=
a reflection of =C3=A6sthetic fashion in fine art and in the decorative arts=
Indeed, these books represent nothing less than a new and distinctive genre=20
in the history of art =E2=80=94 the book as an object of design for a mass m=

The first part of the book presents a chronology of design trends during the=
course of the century. The second section presents variant bindings =E2=80=
differing in design, color, or materials =E2=80=94 for the same book. The ex=
amples in=20
the final section reflect a wide array of designs, materials, and production=
methods, from various dates and countries.

A Foreword by Ruari McLean and an Afterword by Sue Allen present personal=20
overviews on the subject from two eminent historians in the field.

=E2=80=9CThe word =E2=80=98dazzling=E2=80=99 is not adequate to express the=20=
impression I received=20
when I saw these books. While some of the covers were already known to me,=20
others I had only seen in pictured representations, still others I had only=20
read about, many I knew nothing of. This was a leap beyond anything I had=20
ever seen gathered together in one place.=E2=80=9D   =E2=80=94 Sue Allen=20

=E2=80=9CEarly on, publishers recognized that their books would have to be w=
designed to look attractive. How this happened, and what followed, is what=20
this splendid exhibition is about.=E2=80=9D    =E2=80=94 Ruari McLean=20

=E2=80=9CWith this pioneering collection, notable for its international brea=
dth and=20
its outstanding condition, Ellen K. Morris and Edward S. Levin have done us=20
all a service, providing material for research and scholarship for a long=20
time to come.=E2=80=9D      =E2=80=94 Robin de Beaumont=20

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