Z is for Zaehnsdorf

In the final post in our A-Z of Books, we look at bindings by the famous English firm of Zaehnsdorf, founded by Joseph Zaehnsdorf from Hungary and continued by the same family from 1843 to 1947. The Zaehnsdorf name is now incorporated in the firm Shepherds Sangorski & Sutcliffe.

The British Library Database of Bookbinings, which can be searched by binder, has images of a range of Zaehnsdorf bindings.

The collections in Special Collections hold Zaehnsdorf bindings dating from the 1880s to 1953 (the latter after a design by Fazakerley of Liverpool).

Two examples: SPEC Y88.3.324 (volume 5) and SPEC J24.39 show all aspects of their fine binding work. The first volume was owned by Sir Thomas Lauder Brunton (1844-1916), a pioneering experimental pharmocologist renowned for his work on the treatment of angina. The second volume is no. 17 of a limited edition of 500 copies of George Chandler’s William Roscoe of Liverpool (1953), sponsored by Liverpool City Council.

SPEC Y88.3.324 v.5 in signed Zaehnsdorf binding.
SPEC Y88.3.324 v.5 page edges.
SPEC Y88.3.324 v.5 Zaehnsdorf name on verso of marbled endpaper.
SPEC J24.39. Bound by Zaehnsdorf Ltd., after a design by Fazakerley of Liverpool.
SPEC J24.39: doublures and turn-ins.

G is for Gilt and Gold

Gilt and gold-tooled (or tooled in gold) are terms used to describe the techniques of applying gold decoration to a book’s page edges and its binding.

In gold-tooling, individual engraved metal hand tools are heated and applied through gold leaf to impress the design on the book’s spine and covers. Larger designs use an engraved metal block in a blocking or arming press, for example a centrepiece block or corner blocks.The design is then described as blocked in gold rather than tooled in gold.

If the binder’s tools or blocks are used straight onto the bookbinding material the decoration is described as blind-tooled (tooled in blind), or blocked in blind. A panel-stamp is a single large block used to impress a design onto the book cover; the term is used particularly of ‘blind-stamped’ 16th-century bindings, but the pretty cover designs of 19th-century literary annuals or gift books use essentially the same technique.

Fisher’s Drawing Room Scrapbook for 1852
SPEC Annuals 1c.F333

Whether the material is leather, vellum, or cloth, and the design is tooled or blocked, these techniques have produced some of the most stunning bookbindings from all periods.

Two 18th centiry religious works in a red morocco binding of ‘cottage’ design, inlaid with black, with the leather book-label of Ann Aingel, 1769.

SPEC H85.9 booklabel

Design blocked in gold on cover of Moore’s Irish melodies, 1851
SPEC L8.5

W. B. Yeats, Poems 1895
SPEC J18.15

 

 

 

 

 

 

 

 

 

 

Gilding describes the process of applying gold leaf or gold powder to the trimmed edges of the pages of a book. As well as giving the volume a more luxurious appearance, the smooth shiny surface serves the practical function of resisting dust. Gilt edges may be made more ornate by tooling a design onto the gilded surface, to produce gauffered edges.

Bible ( 1831). In a very elaborate Victorian leather binding; all edges gilt and gauffered.

Resources and further reading:

The Language of Bindings glossary at Ligatus.

The British Library Database of Bookbindings

The British Armorial Bindings database at the University of Toronto