During the past five years the Plimpton Press has contributed much to elevate the standard of printing and binding by abolishing to a large extent the prevalent custom of publishers to produce their volumes by “piecemeal.” This has resulted in changing the making of books from a contracting to a manufacturing business, and has had its effect in raising the quality of the so-called “trade” volumes. When the composition, presswork, and binding of a book are divided up among as many firms, the result of the divided responsibility often means a general deterioration of quality; but by the “complete manufacture” method the volume is planned out in advance, even to the paper, cover design, and illustrations, by a single mind. This places the printer in the position of expert manufacturing man to a large number of his customers, and enables him to preserve standards and to introduce economies by purchasing supplies in larger quantities, and by combining forms of text and illustrations in the manufacture.
The influence which a publisher can exert upon the Art of the Book is shown by the series of classics issued in exquisite form by Mr. Thomas B. Mosher, at prices within the reach of all. These volumes are distinct evidences of his own taste and knowledge rather than triumphs of the printer, for Mr. Mosher has expressed himself in the type, margins, paper, and the general format of his admirable publications.
It would be difficult to estimate the far-reaching results in the general advance in typographical standards due to two magazines, The Printing Art and The Graphic Arts. The monthly issues of these publications have shown ordinary printers how to produce work above the average by placing before them actual examples of the best combinations of type, paper, and colour harmonies. They have been educational in the extreme, teaching buyers of printing as well as printers how to secure the effects desired.
In the matter of domestic production America shows little originality in book-papers, the “Old Stratford” being the only distinctive exception. No hand-made book-paper is now produced in America, owing principally to the high cost of labour. This makes it possible to import from England, France, and Italy cheaper than to manufacture at home. The “Old Stratford” paper, however, is a unique product, and is used much in volumes of de luxe format, and in books where lasting qualities are demanded. In cover-papers, on the other hand, America produces a bewildering line, which quite excels those of other countries, offering a variety of selection which is a tremendous aid to the printer in securing artistic results.
Fine bookbinding in America is at present confined to a small number of individual workers, mostly pupils of the famous English and French binders, and their principal claim to originality of processes may be said to be an effort to combine the workmanship of the English with the artistic skill in decoration of the French. The Club Bindery, which flourished in New York during the lifetime of Mr. Robert Hoe, could scarcely be called an American institution, as its best workmen were brought to this country for this special purpose. Since his death this bindery has been broken up, and the finest work is to-day being done by women. Their skill and workmanship rank high, but they are handicapped by the excessive cost of labour and by the fact that all their leathers must be imported. The inevitable higher price makes it natural that American book-collectors should continue to send their volumes abroad for fine bindings. Amongst those whose work is most highly prized may be mentioned Miss Sears and Miss St. John of Boston, and Miss Lahey of New York.
In ordinary trade bindings the processes are more and more reduced to machine production, but in the best binderies this standardization has by no means proved a deterioration in quality. American trade books as a whole compare favourably with those of other countries, but it is quite true that the constantly increasing cost of every phase of book manufacture is in some instances causing American publishers to economize, and to accept a grade of work inferior to what they would have considered a few years ago. This, however, should not be regarded as a reflection upon American workmanship, but rather upon American conditions which force it. In cover design plain lettering still obtains for books of fiction and for serious works, but considerable elaboration is used upon smaller volumes issued as seasonable publications, or with a specific appeal. A few characteristic examples are reproduced on pp. 275 and 276.
It is impossible, within the scope of this article, to do more than chronicle some of the results of the remarkable advance made in the standards of book-manufacturing in America during the past ten years. The knowledge of what constitutes a well-made volume is much greater than ever before, and the ability of the buying public to discriminate is the most hopeful promise for the future. In the omission of other examples of printing and binding, and of mention of other artists entitled to credit for the part they have played in advancing the Art of the Book in America, the writer pleads the limitations imposed by space.
PAGE FROM “TITLE-PAGES” (THE GROLIER CLUB) PRINTED IN THE “RENNER” TYPE DESIGNED BY THEODORE LOW DE VINNE