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In 2008, the collection was pulled out for inclusion on a new website.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"What guided Romilly Saumarez Smith’s approach to bindings for earlier works?",{"text":68,"@type":64},"Smith’s response to texts focused on mood and rhythm, aiming to make the binding’s structure visible rather than purely protective or decorative.",{"name":70,"@type":61,"acceptedAnswer":71},"What is emphasized about bookbinding as an art in the introduction?",{"text":72,"@type":64},"Bookbinding is presented as an art of collaboration and individualism, balancing the pre-existing content of the book with the binder’s 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\nDigitized by the Internet Archivein 2022 with funding fromKahle/Austin Foundation  \nhttps://archive.org/details/bookbindingsfore0000unse  \n| **  \u003Cbr>Wra and Learnina Reenrrn  \u003Cbr>*  \u003Cbr>Wimbledon College of Art  \u003Cbr>*  \u003Cbr>Merton Hal Road  \u003Cbr>don  \u003Cbr>London  \u003Cbr>SW193QA  \u003Cbr>Unive  \u003Cbr>*  \u003Cbr>One week loan  \u003Cbr>late return of this item will incur fines.  \u003Cbr>renew online:http://www.arts.ac.uk/library  \u003Cbr>renew by phone:02075149690   |  |  |\n| --- | --- | --- |\n|  |  |  |\n\n# INTRODUCTION\n\nFor someyears,due to the problems of storinglarge and sometimesunusually shaped books,my collection of bindings by RomillySaumarez Smith was hidden in boxes.In 2008,in an attempt toinclude on my new website all the booksIhad made or been involvedin publishing,I pulled them out of their boxes and discovered atreasure trove of colour,tone,texture,muted pattern,andcrafts-manship.These books form the core of Romilly Saumarez Smith:Bookbindingsfor Eileen Hogan.  \nThe first timeIencountered a binding by Romilly was in 1984.The book was The Seven Deadly Sins of London by Thomas Dekkerpublished originally in 1607 and reprinted by Cambridge UniversityPress.Romilly's response to the text seemed to focus on its mood andrhythm,and the binding's effect was achieved by giving its structurea visible rather than a purely protective or decorative role.Fouryearslater,when I wanted to commission a one-off binding forASelectionof Poems by CPCavafy,the first book thatIproduced with my ownimages for The Camberwell Press(Ihad established the press atCamberwell School of Art and Crafts in 1984 and was its Directoruntil 1997),I asked Romilly to do it.  \nMy experience of binding had been shaped by classes with thebook conservator Chris Clarkson when I was a student at Camberwell,in the days when students had to take a subsidiary subject andI,unusually in the Painting School,chose lettering and started makingbooks.Chris was one of the team who rescued the holdings of theBiblioteca Nazionale Centrale following the Florence flood in1966,and in examining the structures of the water-damaged booksdeveloped'new'limp vellum bindings.The simplicity of these non-adhesive structures,which emphasise the sewing and the end-bands,  \ninfluenced my taste and understanding.In Romilly's approach thephysical nature of the binding is usually evident,as was tobe thecase in her solution for Selected Poems byCPCavafy,a characteristicwhich,for me,is part of her strength.Someone-I can't rememberwho-said that Romilly's contribution made them think of Cavafy'sshoes;Iam not sure that his shoes would have been as colourful,butwithout doubt the binding reflected Cavafy's unique tone of voice.  \nSubsequently,Iasked Romilly to bind the books that Ihadalready made during my years as a student at the Royal College ofArt for the Lion and Unicorn Press and for The Burnt Wood Press(my press between the RCA and Camberwell).My Lion and UnicornPress books were either one-offs or very small editions that usedletterforms Ihad designed and cut in lino,sometimes printing theletters singly with images integrated within the texts.Romilly foundstructures and materials which reflected the nuances of the textsand imagery,often marrying subtlety with unexpected coloursand patterns in the endpapers.In 1986 she designed and bound,inan edition of 2oo,The Camberwell Press's Anaskaphes:A celebrationof the Centenary of the British School at Athens(1986),which encom-passed thirteen of my images alongside twenty-two speciallycommissioned articles from members of the British School.  \nThis display includes two bindings linked to the late CharleneGarry,the much-loved founder and proprietor of The Basilisk Pressand The Basilisk Bookshop.The first was commissioned by Charlenefor Basilisk Press's last and most ambitious book,The Rhinoceros,a monograph conceived by Francesco Nardelli,with twentyillustrations by Matt","cbCaisIk5VwGsGwM","https://ap.wps.com/l/cbCaisIk5VwGsGwM","pdf",1958259,36,"English","# INTRODUCTION\n## Romilly Saumarez Smith and the bindings for Eileen Hogan\n## Biographical notes: Romilly Saumarez Smith\n## Biographical notes: Eileen Hogan\n## HARMONY AND COUNTERPOINT","[{\"question\":\"Why were the bookbindings hidden in boxes before 2008?\",\"answer\":\"The bindings were hidden because storing large and unusually shaped books caused problems. In 2008, the collection was pulled out for inclusion on a new website.\"},{\"question\":\"What guided Romilly Saumarez Smith’s approach to bindings for earlier works?\",\"answer\":\"Smith’s response to texts focused on mood and rhythm, aiming to make the binding’s structure visible rather than purely protective or decorative.\"},{\"question\":\"What is emphasized about bookbinding as an art in the introduction?\",\"answer\":\"Bookbinding is presented as an art of collaboration and individualism, balancing the pre-existing content of the book with the binder’s imagination.\"}]","Romilly Saumarez Smith - Bookbindings for Eileen Hogan | PDF",1790646570,55]