This topic is currently marked as "dormant"—the last message is more than 90 days old. You can revive it by posting a reply.
1leccol
The first step in rebinding an LEC, as you might expect, is finding a suitable copy to rebind. I might preface this explanation with the statement that usually only LECs published from 1929 through 1949 should be considered to be rebound. I have now rebound 37 LECs, all of which have been published between the above dates. I have had repaired a few books published in 1950 and later, but no rebindings.
Now why rebind LECs at all? I can only answer for myself. Some LECs within the above dates are practically impossible to find, so rebinding is a possible solution. Another reason for rebinding could be that the materials used in the original book give it an almost prehistoric look. My first rebinding attempt was Robinson Crusoe which had one of those flexible bindings which didn't look too good when new. But the spine had faded from green to a color which looked like a tan of indiscriminate original color.
I might add that the LECs of the above era are worth saving. The paper used, the typography, and the illustrations are many times over what are now used in Fine Press books. Also, the illustrators and designers have passed on, so this is the only way you can ressurect their work.
When looking to rebind an LEC, you want to find a copy which has a deteriorated spine and boards, but Fine interior. Some examples can be used here. My Robinson Crusoe book was so faded that it looked like it belonged to someone who lived in Death Valley. But the insides were very Fine, including the illustrations by Edward A. Wilson. Even the deckle edges were fine and clean. Many times these edges must be trimmed back to eliminate dirt and foxing. However, the shoddy binding enabled me to buy the books for about $45.
I rebound the book in a bright green 1/2 goatskin with identical corner protectors. The boards were covered in a hand made marbled paper, and the same paper was used as end pages. the top paper edges were gilded using 22 K gold. The rule of thumb here is to gild the top edges when leather is only used on the spine. When the book is to be bound in full leather, the side and bottom edges should be gilded. A dark maroon titling label was replicated using a font such as used on the original.
Two other examples can be used here. My Moby Dick was missing the spines on both volumes. I only paid $175 for it and immediately sent it to my binder to see if the book needed resewing. The binder told me the sewing was still good so I was able to produce a book which looked as new for much less than a Moby Dick which I have seen at $800 to $1200 and still badly faded.
Another example is my recently rebound Walden. Now this book I have seen for over $1000. It has the marvelous Steichen photographs reproduced in the complex, but amazing colotype process which uses no halftone screens, making the photos come out as if they were paintings. I rebound Walden in 1/2 dark blue goatskin with a hand marbled paper over the boards and as endpages. The beautiful Crepaldi paper from Brazil was used.
This book was never read since the pages were uncut. Because the Steichen photogaphs were covered for 80 years, they look as if they were just taken yesterday. Because of the deteriorated, shoddy original binding, I was able to purchase the book for about $300. If the seller knew how I would bring the book back to life, he would have asked for much more.
If you find this rebinding primer interesting, let me know, and I will post some more on techniques for rebinding LECs.
Now why rebind LECs at all? I can only answer for myself. Some LECs within the above dates are practically impossible to find, so rebinding is a possible solution. Another reason for rebinding could be that the materials used in the original book give it an almost prehistoric look. My first rebinding attempt was Robinson Crusoe which had one of those flexible bindings which didn't look too good when new. But the spine had faded from green to a color which looked like a tan of indiscriminate original color.
I might add that the LECs of the above era are worth saving. The paper used, the typography, and the illustrations are many times over what are now used in Fine Press books. Also, the illustrators and designers have passed on, so this is the only way you can ressurect their work.
When looking to rebind an LEC, you want to find a copy which has a deteriorated spine and boards, but Fine interior. Some examples can be used here. My Robinson Crusoe book was so faded that it looked like it belonged to someone who lived in Death Valley. But the insides were very Fine, including the illustrations by Edward A. Wilson. Even the deckle edges were fine and clean. Many times these edges must be trimmed back to eliminate dirt and foxing. However, the shoddy binding enabled me to buy the books for about $45.
I rebound the book in a bright green 1/2 goatskin with identical corner protectors. The boards were covered in a hand made marbled paper, and the same paper was used as end pages. the top paper edges were gilded using 22 K gold. The rule of thumb here is to gild the top edges when leather is only used on the spine. When the book is to be bound in full leather, the side and bottom edges should be gilded. A dark maroon titling label was replicated using a font such as used on the original.
Two other examples can be used here. My Moby Dick was missing the spines on both volumes. I only paid $175 for it and immediately sent it to my binder to see if the book needed resewing. The binder told me the sewing was still good so I was able to produce a book which looked as new for much less than a Moby Dick which I have seen at $800 to $1200 and still badly faded.
Another example is my recently rebound Walden. Now this book I have seen for over $1000. It has the marvelous Steichen photographs reproduced in the complex, but amazing colotype process which uses no halftone screens, making the photos come out as if they were paintings. I rebound Walden in 1/2 dark blue goatskin with a hand marbled paper over the boards and as endpages. The beautiful Crepaldi paper from Brazil was used.
This book was never read since the pages were uncut. Because the Steichen photogaphs were covered for 80 years, they look as if they were just taken yesterday. Because of the deteriorated, shoddy original binding, I was able to purchase the book for about $300. If the seller knew how I would bring the book back to life, he would have asked for much more.
If you find this rebinding primer interesting, let me know, and I will post some more on techniques for rebinding LECs.
Join to post
