Art is a journey into the most unknown thing of all - oneself. Nobody knows his own frontiers… I don’t think I’d ever want to take a road if I knew where it led.

Louis Kahan
PAISLEY. MonasteryRegistrum Monasterii de Passelet Edinburgh: 1832 [Mu39-a.19] A signed binding by James Hayday with the hand-coloured bookplate of Joseph Walter King Eyton. Hayday was a London binder whose name first appeared in the directories in 1825 and who died in 1876, aged 72. He bound a number of books for Eyton, some of them very elaborate productions. This one is handsome and dignified, in a contemporary style. link
Brass clasp with miniature, 19th century This book was bound in Oxford or London by James Hayday (1796-1872) who first appears in the London directories in 1825 as Hayday & Boyer. From 1829 he worked on his own, and by 1840 Hayday had also established a firm at Oxford. He enjoyed considerable prosperity up until 1848, when his business went into decline. In the years 1837-1838 he is known to have employed between 30 and 40 people, including 10 finishers, a large number for this time. link More : http://www.buyminiatures.com/photos/
Artist: S. E. StevensDate of painting: Between 1941 and the 1950s Painted on: Richard Chenevix Trench, Notes on the Parables of Our Lord (London: John W. Parker, 1850) Binding: Bound in black leather stamped in gold and blindBinder: Bound by British bookbinder James Hayday (1796-1872) link link
[FORE-EDGE PAINTING]. [Hayday Bindery]. (An Early Closed Fore-Edge Painting on Gauffered Edges). The Book of Common Prayer, and Administration of Sacraments, and Other Rites and Ceremonies of the Church, According to the Use of the United Church of England and Ireland: Together with the Proper Lessons for Sundays and Other Holy-Days, and a New Version of the Psalms of David. Oxford: Printed at the University Press, 1846. link
Binding by Ramage, late 19th or early 20th century This blue goatskin cover with its red and green onlays, is tooled in gold to an original design based on an Eastern theme. This theme is continued on the turn-ins which are also tooled in gold, this time with green and blue onlays depicting peacock feathers; the central panel of the pastedown is cream watered silk. The binder’s gold tooled stamp, “Bound by Ramage, London”, appears towards the lower edge of the right-hand image. In the 19th century binders began to regularly insert an adhesive label or a gold-tooled or ink stamp with their name into the books they bound; prior to this bindings were largely unsigned. John Ramage was born in London in 1836. When Ramage came out of his apprenticeship in 1856, he took the unusual step for an English binder of going to Paris and working under Lortic, one of the leading French binders of the day. In 1860 Ramage returned to Britain and purchased the Edinburgh business of Alexander Banks Jnr, stating in the 1861 census returns that he employed 8 men, 3 boys, 6 women and 1 girl. Three years later he moved his business to London, where there was more work. He moved to larger premises in Warwick Lane in 1870, and from there he went to Warwick Square and in 1891 to Creed Lane. After his death in 1911, W.D. and N.M. Ramage, whose names appear in the London Directory for 1918, continued the work of the firm, disappearing after 1929, presumably victims of the slump following the stock market crash in New York that year. The firm reproduced the styles of the past, but was also capable of producing outstanding original designs, as shown here. link link
English Restoration binding, 17th century With the restoration of the monarchy in England in 1660 and the departure from the artistically gloomy days of Oliver Cromwell’s Protectorate, an era of brilliantly gold-tooled leather bindings began… Upper cover of Richard Allestree, ‘The art of contentment’ ([Oxford]: At the Theater in Oxford, [1675]). REng ALLE Art 1675. link
German silver binding, c.1700 Contemporary German silver binding patterned with flowers and scrolling foliage hammered into relief from the reverse side. The covers and clasps are hinged, and there are pierced text-block retainers at the head and tail. The endpapers are red and gold. The text edges are gilt. Created in Ulm c.1700; the city mark occurs on the lower turn-in of the back cover and on the lower clasp. Possibly bound by Johann Adam Kienlin (1661-1740). Purchased 2008. Jesum liebender Seelen tägliche Himmel-Reis (Nürnberg: In Verleg. Joh. Andreä Endters Seel. Söhne, 1692). RGer GOBEL Jesum 1692 link
 (Silver binding). SPANGENBERG, JOHANNES. Postilla. Das ist: Auslegung der Episteln und Evangelien, Auf alle Sontage und vornehmsten Feste durch das gantze Jahr, Für die einfältigen Christen in Frag-Stücke verfasset. Luneburg, Sternische Buchdruckerey, 1794. link                                                   link
uncertaintimes: … a pair of 17th-century “writing tables”—erasable pages bound in delicate silver filigree—that would have served as a portable notebook for the owner. The binding wraps around alternating blank pages, coated with gesso and varnish, that are written on with a stylus and erased with a sponge to record witticisms, recipes, birth and death dates, or jottings of any sort. An early silver stylus has survived with the binding, and slips into place along the fore-edge to hold the volume closed. Folger Shakespeare Library  #
Leighton, John, designer Kirkland, Caroline Matilda   The book of home beauty Place of Publication New York Date of Publication 1852 Link (click for a closer look)              Headpiece from Once a Week Link More at:  http://www.archive.org/search.php?query=creator%3A%22Leighton%2C+John%2C+1822-1912%22                                          High-res → (The royal picture alphabet - Leighton, John, 1822-1912) http://scrap.oldbookillustrations.com/search/John+Leighton
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