Hostname: page-component-7479d7b7d-k7p5g Total loading time: 0 Render date: 2024-07-12T11:31:32.886Z Has data issue: false hasContentIssue false

Innovative cover design: an exploration of 19th- and early 20th-century publishers’ cloth bindings designs

Published online by Cambridge University Press:  06 June 2016

Frances Willis*
Affiliation:
Victoria and Albert Museum, Cromwell Road, London SW7 2RL, UK
Get access

Abstract

The Victoria and Albert Museum’s Renier Collection of Children’s Books provides a rich resource for research into book production as well as social history. Publishers’ cloth bindings have developed in a visually vibrant way that provides clues to the production dates of the books, as well as encouraging reflections on how they were marketed across the Victorian era and early 20th century. Questions also arise, such as, what was the relationship between the reader and cover? How did the cover designs reflect the times in which they were created? And, how different are our paperback era designs to those of the period when cloth was used?

Type
Research Article
Copyright
Copyright © The Art Libraries Society 2013

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1. Cundall, Joseph, On ornamental art applied to ancient and modern bookbinding... read to the meeting of the Society of Arts held November 1847 ([London]: House of The Society of the Arts, 1848), 15.Google Scholar
2. Krupp, Andrea, Bookcloth in England and America, 1823-50 (London: British Library, 2008), 5.Google Scholar
3. University of Alabama, Publishers’ Bindings Online, 1815-1930, http://bindings.lib.ua.edu/.Google Scholar
4. Krupp, Andrea, Bookcloth in England and America, 1823-50 (London: British Library, 2008).Google Scholar
5. Tomlinson, William and Masters, Richard, Bookcloth 1823-1980: a study of early use and the rise of manufacture, Winterbottom’s dominance of the trade in Britain and America, production methods and costs and the identification of qualities and designs (Stockport, Cheshire: Dorothy Tomlinson, 1996).Google Scholar
6. King, Edmund M. B., Victorian decorated trade bindings 1830-1880: a descriptive bibliography (London: British Library; New Castle, Del: Oak Knoll Press, 2003).Google Scholar
7. Cundall, Joseph, 1848, 12.Google Scholar
8. Minsky, Richard, American decorated publishers’ bindings, 1872-1929 (Stockport, N.Y.: R. Minsky, 2006), 57.Google Scholar
9. Ibid, i.Google Scholar
10 Baines, Phil, Penguin by design: a cover story, 1935-2005 (London: Allen Lane, 2005), 6.Google Scholar
11. Ball, Douglas, Victorian publishers’ bindings (London: Library Association, ca 1985), 7.Google Scholar
12. Carter, John, Publisher’s cloth: an outline history of publisher’s binding in England, 1829-1900 (London: Constable & Co. Ltd, ca 1935), 31.Google Scholar
13. ‘The nomenclature of nineteenth-century cloth grains,’ Book Collector 2, issue 1 (Spring 1953): 5458.Google Scholar
14. Carter, John, Publisher’s cloth: an outline history of publisher’s binding in England, 1829-1900, 19.Google Scholar
15. White, Gleeson, ‘The artistic decoration of cloth book covers,’ The Studio IV, no.19 (1894): 17.Google Scholar
16. Advert for the Lily series bound within Coolidge, Susan, What Katy did. (London: Ward Lock & Co., [193-]).Google Scholar
17. White, Gleeson, ‘The artistic decoration of cloth book covers,’ The Studio IV, no.19 (1894): 17.Google Scholar
18. Powers, Alan, Children’s book covers:great book jacket and cover design (London: Mitchell Beazley, 2003), 132.Google Scholar
19. Powers, Alan in Smith, Bill et al, Bond bound: Ian Fleming and the art of cover design (London: Fleming-Wyfold Art Foundation, ca 2008), 31.Google Scholar
20. Carter, John, Publisher’s cloth: an outline history of publisher’s binding in England, 1829-1900 (London: Constable & Co. Ltd, ca 1935), 14.Google Scholar
21. White, Gleeson, ‘The artistic decoration of cloth book covers,’ The Studio IV, no.19 (1894): 20.Google Scholar