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J BOOKBINDING
LONDON. J. ZAEHNSDORF
CAMBRIDGE works, 144-146, SHAFTESBURY AVENUE, wic.

A Short History of Bookbinding.
$
2. 2/
2 /2 2,
& 2,"


A Short
History of Bookbinding
AND A
GLOSSARY OF STYLES AND TERMS
USED IN BINDING
WITH A BRIEF ACCOUNT OF
THE CELEBRATED BINDERS AND PATRONs
OF BOOKBIND ING FROM WHOM THE
VARIOUS STYLES ARE NAMED,
IDESCRIPTION OF
LEATHERS,
ETC.
LONDON
PRINTED AT THE CHISWICK PRESS
MDCCCXCV
A SHORT HISTORY OF
BOOKBINDING,
OOKBINDING carries us back to the
time when leaden tablets with inscribed
hieroglyphics were fastened together with
rings, which formed what to us would
be the binding of the volumes. We might go even still
further back, when tiles of baked clay with cuneiform
characters were incased one within the other, so that
if the cover of one were broken or otherwise damaged
there still remained another, and yet another covering ;
by which care history has been handed down from
generation to generation. The binding in the former
would consist of the rings which bound the leaden
tablets together, and in the latter, the simple covering
formed the binding which preserved the contents.
We pass on from these, and make another pause,
when vellum strips were attached together in one con-
tinuous length with a roller at each end. The reader


6 A SHORT HISTORY
unrolled the one, and rolled the other as he perused the
work. Books, prized either for their rarity, sacred
character, or costliness, would be kept in a round box
or case, so that the appearance of a library in Ancient
Jerusalem would seem as if it were a collection of
canisters. The next step was the fastening of separate
leaves together, thus making a back, and covering the
whole as a protection in a most simple form ; the only
object being to keep the several leaves in connected
sequence. I believe the most ancient form of books
formed of separate leaves, will be found in the sacred
books of Ceylon, which were formed of palm leaves
written on with a metal style, and the binding was
a silken string tied through one end so loosely as to
admit of each leaf being laid down flat when turned
over. When the mode of preserving MS. on animal
membrane or vellum in separate leaves came into use,
the binding was at first a simple piece of leather
wrapped round the book and tied with a thong.
These books were not kept on their edges but were
laid flat on shelves, and had small cedar tablets hang-
ing from them upon which their titles were inscribed.
The ordinary books for general use were fastened
strongly at the back, with wooden boards for the sides,
and simply a piece of leather up the back.
In the sixth century, bookbinding had already taken
its place as an “Art,” for we have the “Byzantine
OF BOOKBINDING. 7
coatings,” as they are called. They are of metal, gold,
silver or copper gilt, and sometimes they are enriched
with precious stones. The monks, during this century,
took advantage of the immense thickness of the wooden
boards and frequently hollowed them out to secrete
their relics in the cavities. Bookbinding was then con-
fined entirely to the monks, who were the literati of
the period. Then the art was neglected for some
centuries, Owing to the plunder and pillage that over-
ran Europe, and books were destroyed to get at the
jewels that were supposed to be hidden in the different
parts of the covering, so that few now remain to show
how bookbinding was then accomplished, and to what
extent.
We pass on to the middle ages, when samples of
binding were brought from the East by the crusaders,
and these may well be prized by their owners for their
delicacy of finish. The monks, who still held the art
of bookbinding in their hands, improved upon these
Eastern specimens. Each one devoted himself to a
different branch—one planed the Oaken boards to a
proper size, another stretched and covered with the
leather ; the work was thus divided into branches, as
it is now. The task was one of great difficulty, seeing
how rude were the implements then in use.
In many of our Cathedral towns, notably Durham
and Winchester, there are to be found examples of
8 A SHORT HISTORY
binding executed in England in the twelfth century,
and these examples show great beauty of design and
execution.
The art of printing gave new life to our trade, and,
during the fifteenth century, bookbinding made great
progress on account of the greater facility and cheap-
ness with which books were produced. The printer
was then his own binder ; but as books increased in
number, bookbinding became a separate trade of itself.
The art improved so much, that in the sixteenth century
some of the finest samples of bookbinding were exe-
cuted. Morocco having been introduced, and fine
delicate tools cut, the art was encouraged by great
families, who, liking the Venetian patterns, had their
books bound in that style. The annexed woodcut
will give a fair idea of a Venetian tool. During this
period the French had bookbinding almost entirely
in their hands, and Grolier,' who loved the art, had
his books bound under his own supervision in the
most costly manner. His designs consisted of bold
gold lines arranged geometrically with great accuracy,
crossing one another and intermixed with small leaves
or sprays. These were in outlines shaded or filled
up with closely worked cross lines. Not, however,
* In nearly all Grolier's books the motto “Io. Grolierii et amico-
rum,” or “Mei Grolierii Lugdunens et amicorum,” is generally
found lettered on the covers.
OF BOOKBINDING. 9
Satisfied with these simple traceries, he embellished
them still more by staining or painting them black,
green, red, and even with silver, so that they formed
bands interlacing each other in a most graceful manner.
I give in illustration a centre block of Grolier. It will
be seen how these lines entwine, and how the small
tools are shaded with lines. If the reader has had
VENETIAN.
the good fortune to see one of these specimens, has
he not wondered at the taste displayed 2 To the
French must certainly be given the honour of bring-
ing the art to such perfection. Francis I. and the
succeeding monarchs, with the French nobility, placed
the art on such a high eminence, that even now we
are compelled to look to these great masterpieces as
models of style. Not only was the exterior elaborate
B
º
º º *** * * *
:
.

IO A SHORT HISTORY
in ornament, but the edges were gilded and tooled,
and even painted. -
There is little doubt that the first examples of the
style now known as “Grolier” were produced in Venice,
under the eye of Grolier himself, in accordance with
his own designs; but the workmen in France soon
rivalled and excelled the early attempts. The work
GROLIER.
of Maioli may be distinctly traced by the bold sim-
plicity and purity of his designs; and more especially
by the broader gold lines which margin the coloured
bands of geometric and arabesque ornamentation.
All books, it must be understood, were not bound
in so costly a manner, for we find pigskin, vellum and
calf in use. The latter was especially preferred on
account of its peculiar softness, smooth surface, and

OF BOOKBINDING, II
great aptitude for receiving impressions of dumb or
blind tooling. It was only towards the latter part of
the sixteenth century that the English binders began
to employ delicate or fine tooling.
The most famous binders of the sixteenth century
were the Eves (Nicholas and Clovis). Their names
are associated with the libraries of Marguerite de Valois
and Catherine de Medicis. The style of the Eve
work is geometrical shaped compartments linked
together with interlaced circles, the centres being
filled with small floral ornaments.
During the seventeenth century the names of Du
Sueil and Le Gascon were known for the delicacy
and extreme minuteness of their finishing. Not dis-
daining the bindings of the Italian school, they took
from them new ideas; for whilst the Grolier bindings
were bold, the Du Sueil and Le Gascon more re-
sembled fine lace work of intricate design, with har-
monizing flowers and other objects, from which we
obtain a great variety of artistic character. During
this period embroidered velvet was much in use.
Then a change took place, and a style was adopted
which by some would be preferred to the gorgeous
bindings of the sixteenth century. The sides were
finished quite plainly with only a line round the edge
of the boards (and in some instances not even that)
with a coat of arms or some badge in the centre.
I 2 A SHORT HISTORY
Towards the end of the seventeenth century book-
binding began to improve, particularly with regard to
forwarding. The joints were true and square, and the
back was made to open more freely. In the eighteenth
century the names of Derome, Roger Payne, and others
are prominent as masters of the craft, and the Harleian
style was introduced. -
The Derome style is remarkable for the extreme
simplicity and yet the symmetry of the design ; its
characteristic feature being the boldness of the corners
and the gradual diminishing of the scroll work as it
nears the centre of the panel. Morocco and calf were
the leathers used for this binding. -
Hand-coloured calf was at this period at its height,
and the Cambridge calf may be named as a pattern of
one of the various styles, and one that is approved
of by many at the present day—the calf was sprinkled
all over, save a square panel left uncoloured in the
centre of the boards.
The Harleian style took its name from Harley,
Earl of Oxford. It was red morocco with a broad
tooled border and centre panels. We have the names
of various masters who carried the art forward to great
excellence during this century. Baumgarten and Bene-
dict, two Germans of considerable note in London;
Mackinly, from whose house fine work was sent out,
and by whom good workmen were trained whose
OF BOOKBINDING. I 3
specimens almost equal the work of their master.
There were two other Germans, Kalthoeber and
Staggemeier, each having his own peculiar style.
Kalthoeber is credited with having first introduced
painting on the edges. This I must dispute, as
it was done in the sixteenth century. To him, how-
ever, must certainly be given the credit of having
discovered the secret, if ever lost, and renewing it on
his best work. We now come to Roger Payne, who
lived during the latter part of the eighteenth century.
§§§§
§ & <s
ROGER PAYNE.
His taste may be seen from the woodcut. He
generally used small tools, and by combining them
formed a variety of beautiful designs. We are told
he cut most of these tools himself, either because
he could not find a tool cutter of sufficient skill, O1°
that he found it difficult to pay the cost; also that
he drank much and lived recklessly; but notwith-
standing all his irregular habits, his name Ought to be
respected for the work he executed. His backs were
firm, and his forwarding excellent; and he introduced
a class of finishing that was always in accordance with
the character or subject of the book. His only fault


I4 A SHORT HISTORY OF BOOKBINDING.
was the peculiar coloured paper with which he made
his end papers.
Coloured or fancy calf has now taken the place of
the hand-coloured. Cloth (publishers' work) has come
so much into use, that this branch of the trade alone
monopolizes nearly three-fourths of the workmen and
females employed in bookbinding. Many other sub-
stitutes for leather have been introduced, and a number
of imitations of morocco and calf are in the market;
this, with the use of machinery, has made so great a
revolution in the trade, that it is now divided into two
distinct branches—cloth work and extra work.
I have in the foregoing remarks named the most
famous artists of past days ; men whose works are
most worthy of study and imitation. I have re-
frained from any notice or criticism of the work of
my contemporaries; but I may venture to assure the
lover of good bookbinding that as good and sound
work, and as careful finish, may be obtained in a
first-rate house in London as in any city in the world.
Prom “Art of Bookbinding ” (Zaehnsdorf). Published by
Ae// and Sons, York Streeſ, Covent Garden.

GLOSSARY OF STYLES AND TERMS
USED IN BINDING,
witH A BRIEF Account of THE CELEBRATED
BINDERS AND PATRONS OF BOOKBINDING
FROM WHOM THE VARIOUS STYLES
ARE NAMED, DESCRIPTION
OF LEATHERS, ETC,
*

GLOSS ARY.
*ALDIN E or Italian.-Ornaments of solid face
ſºl without any shading whatever, such as used by
Aldus and other early Italian printers. The orna-
ments are of Arabic character.
Aldus : Aldus Manutius, 1547-1597.--An Italian printer
and classical scholar, and founder of the famous Aldine Press
at Venice. His device consisted of a dolphin and anchor, and
the motto “Festina Lente.”
Azured Tooling.—Ornamentation outlined in gold and
crossed by horizontal lines in the manner of indicating azure in
heraldry.
Backing.—The process of gradual hammering the back of
the sheets for the purpose of securing the rounding of the back,
and at the same time to form the grooves at each side of book
for the boards to rest in.
Blind Tooling.—Ornamentation impressed into the leather
but ungilded.
Bookbinding (Eng: book; binding). —“The art of stitching
or otherwise fastening together and covering the sheets of
paper or similar material composing a book. The edge of a
modern book constituted by the margin of the paper com-
posing it is called the ‘binding-edge.’
C º
:
ºw
:



I8 GLOSSARY.
“When books were literal ‘volumes” or rolls, the way of
‘binding’ them, if it could be so called, or at least of keeping
them together, was to unroll them from one cylinder and roll
each again, as it was perused, on another. When books
became separate folios the first method of dealing with them
seems to have been the tying them together by a string passed
through a hole at the margin of the pile. This is still done in
the south of India and Ceylon with writing on talipot or other
BACKING.
palm leaves. The holding together of folios of a literary man’s
manuscript by a small clasp at one edge is an essentially similar
device. The present method of binding seems to have been
invented by or under Attalus, King of Pergamus, or his son
Eumenes, about 200 B.C. The oldest bound book known—-
is the volume of St. Cuthbert,
about A.D. 650. Ivory was used for book-covers in the eighth
century; oak in the ninth. The ‘Book of Evangelists’ on
which the English kings took their coronation oath, was bound
in oak boards, A.D. 1 Ioo. Velvet, silk, hogskin, and leather
the binding was ornamental

GLOSSARY. I9
were used as early as the fifteenth century; needlework bind-
ing began in 1471 ; vellum, stamped and ornamented, about
I5 Io; leather about the same date, and calf in 1550. Cloth
binding superseded the paper known in England as ‘boards’
in 1823; indiarubber backs were introduced in 1841, tortoise-
shell sides in 1856.
“The chief processes of bookbinding are the following:
folding the sheets; gathering the consecutive signatures; roll-
sº ---
COLLATER.
ing the packs of folded sheets; sewing, after saw-cutting the
backs for the cords; rounding the backs and glueing them ;
edge-cutting; binding, Securing the book to the sides; covering
the sides and back with leather, muslin, or paper, as the case
may be ; tooling and lettering; and edge-gilding. Books may
be full bound, i.e., with the back and sides leather, or half
bound, that is, with the back leather, and the sides paper or
cloth.”—Encyclopaedic Zictionary.
Buckram.—Coarse linen cloth stiffened with glue or gum.
Largely used for inexpensive bindings.

2O GLOSSARY.
Calf.-Calf-skin prepared for bookbinding.
Cambridge Calf.-Fine and dark sprinkled calf of two
tints, a square panel being left in centre of sides.
Cloth.-Stiffly sized and glazed variety of cotton cloth,
usually coloured and often decoratively embossed. Used for
the binding of books in an inexpensive form.
|
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(
COVERERS.
Collater.—One who examines the sheets by the signatures
after the volume has been folded, to ascertain if they be in
correct sequence.
Coverer.—One who prepares the book, and covers same
in cloth, material, or leather.
Cutter-out.—The person who cuts covers for books from
skins of leather. A responsible position, requiring a good







GLOSSARY. 2 I
knowledge of leather and a quick eye to detect flaws and
shades of colour.
Dentelle Border.—A style in imitation of lacework, exe-
cuted with finely cut tools.
Derome (J. A.). —Was contemporary with Padeloup.
Nicholas Derome, called the younger (1761) gave to book-
binding a new style. He was the most famous of all the
§
º º Aft
%
CUTTER-OUT.
Deromes, and when we speak of Derome binding it is generally
to his work we allude. His designs were no doubt influenced
by the art ironwork of the eighteenth century.
Style.—Ornaments of a leafy character, with a more solid
face. The ornaments are often styled renaissance, being
an entire change from the Gascon. The Derome is best
exemplified in borders, Vandyke in design ; it is simple in
construction, but rich in effect.







22 GLOSSARY.
De Thou (Jacques Auguste).-Statesman, historian and
bibliophile. He was a distinguished patron of binders at the
close of the sixteenth century. President of the Parliament
under Henry IV.
Style.—A development of the “fanfare” sprays of foliage.
Divinity Calf.-Dark brown stained calf decorated with
blind stamping and without gilding. So called because used in
binding theological works. •
Doublure.—The term is used when the insides of covers
are lined with leather. To Badier is assigned the first use of
doublures (1703).
Du Seuil (1673-1769).-Binder to Louis XV. and other
distinguished patrons. -
Style.—Fine lacework of intricate design, with harmonizing
flowers.
End papers.-The white or coloured leaves usually put
before and after the text of a book, one or more, in each place.
Eve (Nicholas and Clovis).-The most famous binders
of the sixteenth century. They bound for Henry III., Henry
IV., Iouis XIII., Marguerite de Valois, and other historic
collectors.
Style.—Various geometrical-shaped compartments linked
together by interlaced circles; the centres of the compart-
ments filled with small floral ornaments, and the irregular
spaces surrounding them with circular scrolls and branches
of laurel and palm. The graceful ornamentation known
as “fanfare * is attributed to the Eves.
Fanfare.—Small and numerous spirals alternated with
laurel and oak in the branches, and filled with seventeenth cen-
tury tools. The name of “fanfare” was given to this style of
work in the last century, when Charles Nodier had a volume
entitled “Les Fanfare et Courvées Abbadesques” bound for
GLOSSARY. 23
him by Thouvenir, and ever since the small tools employed
in it have gone by the name of “fanfares.”
Ferrar (Nicholas).-An English theologian, who, in 1624,
retired to Little Gidding, Huntingdonshire, established a con-
vent, and taught the trade of bookbinding to his family and
the nuns. He died in 1637. The nuns of Little Gidding
soon became quite famous for their embroidered silk book-
covers as well as their leather bindings.
* - " - º
Sºssº ºf - -.
RST±ß …ºssesſº-º:
..º ºº
==----, -º
FINISHER.
Fillet.—An engraved outline impressed on the back or side
of a book-cover. The wheel-shaped tool with which this line
is made is also called “fillet.”
Finisher.—The workman who receives the volumes after
they are covered in leather, and decorates same with ornaments
and lettering. Finishing is the art of decorating the covers of
books with different designs. It comprises the embellishment
of the covers either with blind work, or with gold, silver or
platina leaf, or by only a lettering on the back of a book.
Folding.—Generally the first thing a binder has to do with
a book. The sheets are laid upon a table with the signatures






24 GLOSSARY.
(the letters or numbers that one sees at the foot of the first
page of each sheet when folded) facing downwards on the
left-hand side. A folding-stick is held in the right hand and
the sheet is brought over from right to left, the folios being
carefully placed together.
Gaufre Edges.—Impressions made with the tools of the
finishers on the gilt edges of a book.
Gouge.—A curved line or segment of a circle impressed upon
the leather. Also the instrument with which it is impressed.
Grolier (Jean).-Born at Lyons, 1479; died at Paris, 1565:
one of the greatest of private Collectors, and a patron of Aldus :
resided in Italy for many years, where he held the office of
Treasurer of the Duchy of Milan under Louis XII. and
Francis I. At the time of his death he was Treasurer of
France. He was a great friend of De Thou, to whom he gave
many of his finest books.
Sty/e.—Interlaced bands of geometrical pattern, circles, etc.,
with scrolls running through.

GLOSSARY. 25
Half-Bound.—When a volume is covered with leather upon
the back and corners, and the sides with paper or cloth.
Headbander.—The person who works the fine silk or
cotton ornament at head or tail of the book as a finish to the
edge.
Janseneste Style.—Entirely plain outside. The name
is derived from Jansen, bishop of Ypres, who died in 1638.
The style is best suited for morocco.
|
*#.
#•
º
Gºssºs
HEADBANDER.
Law Calf.-Law books are usually bound in calf left wholly
uncoloured.
Le Gascon (1625).-Probably a workman of the Eves',
who developed the Eve style of decoration. No documents.
have ever confirmed the existence of a binder of that name.
His name is probably a sobriquet referring to his birthplace,
but nothing is known of him apart from his superb bindings.
Style.—The distinguishing feature is the dotted face of the
ornaments instead of the continuous or solid line. Wher-
ever dotted line ornament is used the style is called
Ile Gascon.
I)


26 GLOSSARY.
Lining-up, i.e., glueing the back to receive the necessary
paper, linen, or soft leather before the final cover goes on.
Maioli (Thomas).-Was a distinguished Italian biblio-
phile, contemporary with Grolier. He died about 1550. The
bindings of Grolier and Maioli were somewhat similar in
character.
Style.—Frame of shields or medallions, with a design of
sº tº §
§§ - §
f | §
|;"
sº
§
ſ
%
º
º
f,
---
LINING-UP.
scroll-work flowing through it. Portions of the design
are sometimes studded with gold dots.
Morocco.—Leather made from goat-skin, tanned with
sumac, originally in the Barbary States, but afterwards very
largely in the Levant, and now produced in Europe from skins
imported from Asia and Africa. The peculiar qualities of true
morocco are great firmness of texture with flexibility and a
grained surface, of which there are varieties There are many
imitations of this leather.






GLOSSARY. 27
Mosaic.—A design inlaid with different colours.
Mottled Calf.-Pale-coloured calf, decorated by the
sprinkling of acids in drops.
Padeloup. —The family of Padeloup were famous as
binders in the seventeenth and eighteenth centuries. Antoine
Michel Padeloup (1685-1758) executed most elegant and
|
&|
º
%
Z2
original examples of binding. His inlaid bindings are
triumphs of art.
Style.—Principally the Mosaic or inlaid style.
Payne (Roger).-The most famous of all English binders.
Born in 1739; died in 1797. His finest work was executed
between the years 1770 and 1790. Most of his books were
bound in dark blue and red straight-grained morocco. He was
illiterate and uncouth, but his work was original and beautiful.




28 GLOSSARY.
Style.—The ornaments of this style are free and flowing in
stem and flower. Before Payne's time they had been stiff
and formal. The honeysuckle is a favourite ornament.
The impressions of the tools are usually studded round
with gold dots, whether used in borders, corners, or
centre pieces.
Petit Fers.-The small tools used for decoration by
finishers.
Roan.-Sheep-skin, often made and used in imitation of
II].OTOCCO.
Russia Leather.—A fine leather prepared in Russia (and
imitated elsewhere), by very careful willow-bark tanning, dyeing
with Sandal-wood, and soaking in birch oil. It has a peculiar
and pleasant Odour. First came into use about 1730.
Semé or Powder.—Ornamentation in which the device
or devices are regularly repeated at intervals.
Sewer.—The person who sews the sheets together on the
sewing-press.
Tool.-The brass or iron implement on which is cut the
ornament or part of ornament which is impressed on the leather.
Tooling.—The ornamentation obtained by pressing the
heated tool on the prepared leather.
Tree Calf.-Bright brown calf stained with acids in con-
ventional imitation of the branches of a tree.
SEP 231913

Z A E H N S D ORF,
BOOKBINDER.
CAMBRIDGE WORKS,
144-146, SHAFTESBURY Avenue,
LONDON, W.C.
ESTABLISHED IN CATHERINE ST., STRAND, 1837.
WoRKSHOPS.
Specia/Aſſention given to the Zettering of Foreign /šooks.
Aſeffrew, Greek, Sanskrit, and Æastern Books
Weſtered in appropriate ºfte.

§
;
§
§
}
}
CAM BRIDGE WORKS,
144–146, SHAFTESBURY AVENUE, W.C.
1837 at Catherine Street, Sérand, and
§ afterward's extended to York Street,
Covent Garden.
Owing to the increase of trade in recent years,
//he premises in zw/ic/, //he 62/siness was conducted
for over /a/ a century proved inadequate, and
considerað/e inconvenience was caused by the office
and works being in separate houses aſ some distance
from each other. -
Zn the new building, spacious, weſ/-/ighted work-
s/ho/s ſave been erected, and a showroome on the
ground ſloor contains not only specimens of elačo-
rate/y decorated ſeat/aer woré, Öut clot/, /a/f ca/,
haćf morocco, and other Óindings suſtað/e for Žztó/ic
and private Zióraries. Visitors ſave an opportunity
3 I


of seeing a large stock of Öooks bound in various
styles.
Specia/ attention is a/ways given to extra Öindings,
picked skins of Zevant morocco being used, and in
the designs artistic merit is claimed as well as sound
workmanship.
An addition to the elaborately decorated leather
work which forms an important branch of the
&usiness, Óooéðinding in cloth, half ca//, and /a/f
morocco, suitable for public or private ſióraries is
tendertaken. -
Aooks are also cased in the covers provided by the
Žuć/ishers aſ prices as ſow as those of any genera/
ôānder, while the class of workmanship is of a much
/higher grade.
On receipt of a postcard, work will be sent for
ſo any part of Zondon.
32

SHow-ROOM.
SPECIAL ATTENTION TO THE BINDING
OF LIBRARY BOOKS.
BOOK PLATES IN GOLD LEAF.
RECORDS AND MSS. CARE FULLY BOUND.
SOLANDER CASES FOR PRINTS.
FIRE PROOF CASES FOR VALUABLE BOOKS.
33 E.

CoLLATING AND SEwing DEPARTMENT,
BOOKS BOUND IN VELVET, SILK, OR
WORKED MATERIAL.
PORTFOLIOS.
PLATES AND LETTER PRESS INLAID.
CONFIDENTIAL AND PRIVATE CORRE-
SPONDENCE BOUND UP IN BOOK
FORM.

FORWARDING DEPARTMENT.
SCRAP-BOOKS TO HOLD PRINTS UP TO
ANY SIZE.
TESTIMONIALS- WRITTEN AND ILLUMI-
NATED BY CAPABLE ARTISTS.
LIBRARIES CLEANED ANNUALLY.
A CHEAP BINDING FOR PAMPHILETS
FROM Is. 6d.
35

LEATHER Store-Room.
BINDER TO VARIOUS MEDICAL AND
OTHER SOCIETIES.
PLATES, BOOKS, ETC., CLEANED.
ARTISTIC BINDING TO ANY DESIGN.
ALL BINDINGS OF BEST WORKMANSHIP
AND MATERIAL.
36

CoVERING DEPARTMENT.
SCHOOL PRIZES AND PRESENTATION
B O O K S T A STE F U L L Y B O U N D A T
MODERATE PRICES.
LAW BINDING A SPECIALITY.
OLD BINDING REPAIRED.
BOOKS AND BINDINGS SKILFULLY RE-
PAIRED.

FINISHING DEPARTMENT.
SPECIAL – ART LINEN BINDINGs.-A dainty and
inexpensive Binding for Novels, Pamphlets, Maga-
zines, and Cheaper Literature.
º
ZAEHNSDORF,
CAMBRIDGE WoRKs,
144 & 146, SHAFTESBURY AvRNUE,
LoNDON, W.C.

‘CHISWICK PRESS :—CHARILES WHITTING HAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.

machalá.
Dublin . . . . 1865.
Paris . e . . . 1867.
Vienna . . . . . 1873.
Chicago . tº 1894.
, Etc., etc.
#annuraſile àlºentium,
International Exhibition 1862.
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