Bookbinding/bookbinding_and_its_auxiliary_branches_1914.md

A black-and-white photograph of a young man with short hair, wearing a white shirt and a bow tie. Bookbinding and its auxiliary branches John J. Pleger  A circular seal with Latin text around the edge, "SAPIENTIAE INGENIUS" at the top, "HARVARD UNIVERSITY" in the center, and "M.D. 1636" at the bottom.  : . 

 BOOKBINDING

1  John J. Plough.  BOOKBINDING AND ITS AUXILIARY BRANCHES (IN FOUR PARTS) BY JOHN J. PLEGER

PART FOUR

GILT EDGING, GOFFERED EDGING, MARBLING, HAND TOOLING AND THE CARE OF BOOKS

CHICAGO THE INLAND PRINTER COMPANY 1914  B O 15 HARVARD COLLEGE JUL 13 1915 LIBRARY.

S. A. A. T. A. F. I. N.

Copyright, 1915, by The Inland Printer Company Chicago  FOREWORD.

It is not laudation of any trade to say that it follows in a beaten path when there is no reason therefore except that methods of procedure are habitual. That the present-day craftsman leaves too much to precedent and habit, and does not exercise enough his power of initiative, is demonstrated clearly by experience in bookbinding. To improve ought to be the constant aim; to do this, the continuation of steadfast methods and styles must be merited by sufficient reasons.

The introduction of machines has given impetus to all branches of manufacturing, and by the displacement of hand labor, has given a possibility for further development of modern methods, yet we find there is in many binderies labor performed by hand which, with a proper understanding of hand and machine methods, might be done more expeditiously and perfectly with machines. Modern conditions and demands, however, are not an unmotivated advance, coupled with the opposition of improved methods have some the pressure of competition and the slapshod makeshifts to economize in material and time without regard to the fineness or durability of the product, which puts on the appearance of a genuine article and is a good seller because of the cheapness in price. "Art with cheapness" was the motto of the ancient Greek, and it would be well for the modern man also to remember that art with cheapness, or even extravagance, is meant, not to be confused with shoddiness. The Greeks believed, as we should, that simplicity and plain durability were the methods of attainment. Art in bookbinding should never be overlooked, for art means wholesomeness, and wholesomeness is lost by resorting to shabby, albeit gaudy, styles and materials, but is

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BOOKBINDING

gained by better and quicker methods of execution and suitability of design to the theme.

So, changes in, as well as continuation of, methods and styles of bookbinding have been motivated by sufficient reasons. The terms of bookbinding are sometimes technical, but at other times are local or accidental. To have terms of value it is necessary to make them universal, so that a science may be based upon them, and one man may profit by the experience of another. It may seem strange, yet it nevertheless is true, that terms are at variance in different localities, and there seems to be no harmony in plan of description.

A demand has arisen for a book for use as a text. The growing generation is composed of students, and there is a demand not only for advanced knowledge among those practicing the art but among many would-be learners for a school, and, more essential still, a text. Craft education is of importance in these days of appreciated handwork; moreover, among those whose livelihood is earned by such labor, competition is so keen that each must strive to improve himself in order to obtain the rewards of success.

It has been my aim in compiling these pages to treat the subject in a concise and comprehensive manner, defining consistently terms and processes in a way which may be grasped by novices and serve as an aid to bookbinders, librarians and printers who are more or less in charge of office work. To instruct the printer and binder, serve as a check on their work, and to assist him when he should question erroneous work orders, and to aid both in satisfying the requisitioner, these pages are written. The wail for "the prostitution and the decadence of the once proud art of bookbinding" should be quelled by the improvements of to-day succeeded by those of to-morrow in the advance of a "modern bookbinding."

A page from a book with text about bookbinding. 

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TABLE OF CONTENTS
EDGE-GILDING.	ran
Aluminum edges	16
Botus preparation	17
Burnishing	18
Filler	19
Coffered edges	19
Gold Cushions	20
Gold knife	20
Illustrated edges	21
Laying on	22
Laying on gold leaf	23
Patching	24
Placing hands in press	25
Scraping	26
Biting	27
HAND-TOOLING.
Blind-tooling	52
Gouger and lines	53
Hand stamping	44
Inlaying	45
Marbling design

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

MARBLING.

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Aluminum edges Botus preparation Burnishing Filler Coffered edges Gold Cushions Gold knife Illustrated edges Laying on Laying on gold leaf Patching Placing hands in press Scraping Biting Blind-tooling Gouger and lines Hand stamping Inlaying Marbling design Proper way of handling tools Substitute tools Tree cutlery Marbling accessories Alum water American marble Bouquet marble Brushes Combs Comb pieces Comb edges Colors Blue Blueish gray Brown Brownish gray Grayish green Olive gray Red brownish gray Yellow Violet Aluminum edges Botus preparation Burnishing Filler Coffered edges Gold Cushions Gold knife Illustrated edges Laying on Laying on gold leaf Patching Placing hands in press Scraping Biting Blind-tooling Gouger and lines Hand stamping Inlaying Marbling design Proper way of handling tools Substitute tools Tree cutlery Marbling accessories Alum water American marble Bouquet marble Brushes Combs Comb pieces Comb edges Colors Blue Blueish gray Brown Brownish gray Grayish green Olive gray Red brownish gray Yellow Violet.... Aluminum edges.... Botus preparation.... Burnishing.... Filler.... Coffered edges.... Gold Cushions.... Gold knife.... Illustrated edges.... Laying on.... Laying on gold leaf.... Patching.... Placing hands in press.... Scraping.... Biting.... Blind-tooling.... Gouger and lines.... Hand stamping.... Inlaying.... Marbling design.... Proper way of handling tools.... Substitute tools.... Tree cutlery.... Marbling accessories.... Alum water.... American marble.... Bouquet marble.... Brushes.... Combs.... Comb pieces.... Comb edges.... Colors...< span=""> Carved and tooled edges by Brownie, Strassburg.   MARBLING.  Filipino Marbler, taught by the author. 109  MARBLING. The harmony of colors when arranged in different patterns is pleasing to the eye, and the skill required in execution calls forth appreciation from the beholder. The seeming dishonesty which may befall marblers easily be attributed to their masters themselves, as they zealously guard their secrets, and make it difficult to spread the beautiful art. The average shop can ill afford A marbling machine with various containers and tools. to employ a specialist, and efforts of novices to produce marbling have usually resulted in unsightly edges and in condemnation of the process as expensive. A concise explanation will here be given, which, if followed and with sufficient practice, should produce satisfactory results. No matter how intelligent a person may be and with what (7)  22 BOOKBINDING care these pages are studied, there still remains the most essential feature to successful marbling; namely, “prac- tice.” MARBLING ACCESSORIES. THROUGH.—The trough should be large enough to accommodate a double-medium book. The illustration shows a trough that has a glass bottom, the purpose of which is to give light where most needed, so that bad spots can be avoided in dipping. It also enables the A diagram showing a marbling trough with a glass bottom, shelves for holding materials, and a waste pan at the bottom. marbler to judge the intensity of the colors, and to see the designs. This is especially appreciated when the size becomes soiled. The trough is made of well-seasoned wood and dovetailed at the ends. STAND.—The stand is shown in the illustration. It is made for the trough to rest on. There is an opening in the top board the size of the glass at the bottom of the trough, through which the water of it thins which the skimmed size drops into the waste pan. There is also an opening at the right of the trough for a bowl in which sprinkling-water or the ground color for Turkish marble  MARBLING 23 is prepared. The waste pan is removed when full without disturbing the trough, and, when papers are used for skimming, the hands are not solled in removing them. The stand is on rollers, which enables the martier to move it where the light will be the best. The opening in the stand enables the light to strike the glass. BRUSHES.—Marbling brushes are from 3/8 to 1/4 inch in diameter. The larger brushes are used for ground-color in drawn marble, while the smaller brushes are used for the subsequent colors. These brushes should be made of a fine bristle, set in hard rubber, and mounted with sin. The bristles should be reversed to give a freer motion when dropping the color. To form the brush, wind the bristles with thread 1/4 inch from the handle; pull them over, and fasten the thread to the handle. Put in hot water for a time; then remove, and let dry. A marbling brush with a wooden handle and a metal ferrule. A whisk broom used for sprinkling water and the ground color in Turkish marble. WHISK BRUSH.—For sprinkling water and the ground color in Turkish marble, the ordinary whisk broom used in brushing clothing will be found serviceable. For  24 BOOKBINDING throwing on the second and subsequent colors, gall for white spots, whisk brushes of rice straw are made about 3/4 inch in diameter and 5 inches long. These brushes should be inserted in 6-inch wooden handles. COLOB-DROPPING MACHINE. The throwing on of colors in drawn marble requires considerable practice to produce uniformity of drops and patterns. The recent invention of a machine for throwing on colors has greatly facilitated this operation. It A man in a white coat is operating a machine labeled "Halfer's Marbling Machine". The machine has three compartments with labels "Operation", "Operation", and "Operation" respectively. Below the machine, there is a sign that reads "THE HALFER COMPANY". consists of a four-compartment reservoir and a system of tubes connected with the reservoir. These serve as outlets and distribute drops of color at regular intervals on the size. Three and five outlets are provided for the two principal colors, and two outlets each for the sec-  MARBLING 25 ondary colors. To operate this machine, prepare the colors for drawn marble as directed in that chapter; then fill the compartments with color of equal amount; then slide the marble into the trough, press two levers which form part of the handle of the machine, and open the outlets by a slight pressure. The colors become free, and fall on the size. The tube ends must not come in contact with the size. COMBS—Combs used in drawn marble are made as follows: Cut two pieces of No. 20 binders' board, 2½ inches wide and the length ¼ inch narrower than the width of the trough. Draw a pencil line ¼ inch from A diagram showing a comb being assembled from two pieces of No. 20 binders' board. the edge on one board, and divide the length into eighths of an inch; then with an awl scratch the end sufficiently to embed a fine steel needle. Glue the board, and lay the needles into the grooves even with the pencil-mark; then glue the other piece, and press until dry. The combs should be made in four different spacings; one in ⅛ inch, one in ¼ inch, one in ⅜ inch, and one in ½ inch. A double comb, consisting of wide and narrow 3  26 BOOKBINDING spacing, alternately, one ¼ inch, then one ⅜ inch, until the length is covered, should also be made. PEACOCK COMB.—This consists of two independent combs put in a holder with the projecting ends pulled out and pushed in, alternately. To make it, cut four pieces of No. 60 binders' board 12 by 2 inches. Draw a A diagram showing the construction of a Peacock comb. It consists of two independent combs placed in a holder with the projecting ends pulled out and pushed in alternately. pencil line ¼ inch from the edge on two boards, and divide 10 inches into fifteen divisions. With an awl, scratch the board from the line sufficiently to embed fine steel needles. Glue the board, and lay the needles into the grooves even with the pencil-mark; then glue the other pieces, lay on top, and put in press until dry. This will leave one end of 2 inches without needles on both combs. Cut two pieces of No. 25 binders' board 10 by 2½ inches, and cut a strip of the same size as the two combs, 10 by ¼ inches. Cut exactly out of the middle of both combs a strip 4 by ½ inches, then with the cutting machine trim to 3½ by ⅜ inches. Lay the comb on the 10-inch No. 25 binders' board centered with the 2-inch handle to the right, leaving ¼ inch on the top, to which binders' board the combined thickness of the two combs is glued. Then glue the strip cut from  MARBLING 27 the center of the comb, and lay it to the right of the slot. This is done in the same manner to the second comb; the ¾-inch end of the No. 25 binders' board is then glued, and the two combs put together with the projecting end to the left, and pressed until dry. This leaves two handles on both ends when pulled out ½ inches long. The needles in the two combs are thus exactly at each other's canes, and finish as sandpapering or covering, and will be found serviceable for a long time. RAKE—This is made by taking a board ¾ inch thick, about 1¼ inches wide, and about 1 inch narrower than the width of the trough. Drive thin wire nails along both sides 1 inch apart: the nails on one side are placed between those of the opposite side. STYLIUS—This is a piece of hard wood about 6 inches long, 1 inch in diameter at the top, tapering to a fine point at the bottom. It is used to draw the colors across the trough in comb marbling, and for other designs as described under the various heads. SKIMMING. Before the colors can be thrown on the size, the top must be skimmed to remove the film. This film is caused by evaporating water from the surface of the paper. It is obviously necessary to akim all size before throwing on or preparing colors. No matter how careful the worker, it can not be properly done with paper. Trouble arises when the size is disturbed, for that causes a delay and necessitates another skimming. To obviate this, the skimmer as shown in the illustration fills all require-  28 BOOKBINDING ments. It may be raised or lowered on both ends, according to the quantity of the size in the trough. The rubber on the end enables a clean skim, and, being supported on the rims of the trough, assures an even and quick pull which will not disturb the size. A diagram showing a skimming tool with a handle and a metal rod extending upwards. Skimming must be quickly executed, and colors thrown on immediately, to prevent another film forming on the size. ALUM WATER. Marbling colors require a binding medium, or they will run. Alum is known to possess properties which attract and bind the ox gall and color to paper. To prepare, dissolve one ounce of alum in one pint of water by boiling. This is allowed to cool off before using, and is applied to the edges with a sponge. From five to ten minutes must elapse before dipping prepared edges, and at no time should the books be prepared than can be marbled in one-half hour. This preparation should be kept in a corked bottle. OX GALL. All marbling colors to be serviceable as such require a binding and expanding medium. No known chemical preparation can take the place of ox gall and produce like results. If colors are thrown on the size without gall, they will sink.  MARBLING The preparation of ox gall must be carefully exe- cuted, for on it the entire success of marbling depends. Gall bladders can be purchased from any slaughter house. The contents of the bladder should be emptied and fil- tered through paper or cloth into a jar or bottle. To one quart of bile add one-half pint of alcohol; shake well; and leave for three or four weeks before using. The gall should then be carefully filtered through a fine cloth. The fatty particles at the bottom should not be disturbed, as they are useless. Ox gall for use is placed in a small bottle with a quill in the cork, so that a few drops at a time can be shaken out into the color. SPRINKLING-WATER. For hair-veined and Turkish marbles, a stronger- expanding medium than the gall used for the first colors is required. More gall is used here than for drawn marble, because more veins are required. Hence it is clear that a stronger expanding medium, the sprinkling- water, is required to force the color and gall into veins. Aside from this, sprinkling-water produces oval spots which enhance the beauty of the veins. Scrape two ounces of castile soap in fine particles and put in a vessel, then add one pint of ninety per cent alcohol, and fill the vessel into a water tank; and boil. Direct heat must not be employed. When dissolved put two and one-half quarts of water, and put aside. A less troublesome method is to purchase eight ounces of spirits of soap, and mix with about one quart of water. This preparation is used for hair-vein marble and added to the ground color in Turkish marbling. In using, this should be reduced to give the proper expanding medium. To determine how much to use, spread the colors on a pint of water into a bowl, and pour a little of this solu- tion into it; then throw the colors on the size, dip the whisk broom, and throw the sprinkling-water upon the colors. If it expands rapidly and tears the veins, it is  30 BOOKBINDING too strong and should be reduced by adding water. Too much should not be thrown on, as it will produce too large spots. Should it fail to force the color into the veins, more of the mixture must be added until the required strength is obtained. A little paraffin may be added when there is trouble with frothing. COLORS. There are two classes of colors — mineral and lake. Lake colors are easily prepared, as the addition of gall and water is all that is required. Mineral colors are insoluble in water, are finely ground, and require a glu- tinous matter to effect a union of particles. Take two-thirds of an ounce of gum tragacanth and dissolve in one pint of water; then add a fairly thick solution of gum arabic. This mixed solution is stirred until a thick paste is obtained, then carefully ground. Then reduce with water, and put into a closed vessel in a cool place. The bottle containing the colors should always be shaken before using, and enough color taken thencefrom to marble the work on hand. Prepared color should never be returned to the bottle, as exposure to air will quickly cause it to become reduced with water, and gall is added as an expanding medium in the prepara- tions required for the different marbles. Stir all color before throwing on the size, as its tendency is to sink to the bottom and thicken. The amateur marbler is prone to condemn the colors as old or unfit for use when the least bit of trouble appears. In nine cases out of ten, the fault will be with the size rather than with the color. BRONZE COLORS.—These colors are of recent origin and can be purchased from supply houses. Their treat- ment is exactly the same as other colors, but they must always be carefully mixed or shaken before using. The color is heavier and sinks to the bottom. They are pri- marily used in Turkish marble, but may be used on other  MARBLING 31 marbles as well. In comb marbles, in drawing the bronze colors with the stylus, long strokes should be made, or their effect is lost. The entire execution must be done quickly, and the size carefully skimmed after each operation, as the size takes on a bronze tinge. SIZE. The first process in marbling is the preparation of the size on which the colors are to be floated. There are a number of vegetable mucilages suited for this purpose, but especially recommended is gum tragacanth moss, better adapted to edge marbling than any other gil- tinous substance. It is sensitive and requires specially prepared colors which produce excellent results. Gum tragacanth can be recommended for ordinary work, as it will give passable results with much less exertion, and will last longer in hot weather than carrageen moss. However, the colors will not spread as well, and their effect will not be so brilliant as when they are dissolved in cold water in the proportion of one-fourth of a pound of gum to one gallon of water. This must be stirred frequently and allowed to stand for thirty-six hours before it can be used. It is then strained, and water is added until the required consistency is obtained. Carrageen moss is dissolved by boiling water, then put into six ounces of moss to six quarts of water, and leaving it standing for twenty minutes. Add two quarts of cold water and stir for a few minutes. This has a clarifying effect on the size, as otherwise it will look muddy. Some marblers claim that boiling the size is responsible for the muddy appearance; hence boil the water and pour it over the size. This has much to recom- mend it, but it does not dissolve the seeds and strings sufficiently to release the gum, and, consequently, much of the beauty is wasted. When necessary to preserve the size, the following ingredients may be added: Arsenic, borax, formalde-  32 BOOKBINDING hyde and sodium sulphate. These should be added to the size before boiling. The proportions required vary in different localities according to temperature, and can be easily arrived at by cautiously trying and gradually adding should it be necessary. The size when boiled must stand without a cover for at least twelve hours to cool off. It may be reduced to the proper consistency for the different style edges. It is then strained through a loosely woven cloth. When ready for the marbling, put a bag or cloth in the marbling tank which will contain the desired dilution, should that be necessary. In reducing the consistency, do not take hot or warm water; the ordinary hydrant water will answer the purpose. The temperature of the size must be the same as the room in which marbling is to be executed. If this condition does not prevail, small spots will appear in the color when thrown on the size, and the rim will look ragged. In winter the size is apt to become briny, and a common error is to warm it before using or to reduce with warm water. This practice will cause it to produce unsatisfactory results, and energy thus expended is useless. To remedy this, strain the size through a loosely woven cloth, and add a little cold water. The size should be a solution entirely free from undissolved strings and seeds. The room in which marbling is to be executed should be of an even and mild temperature; a cold atmosphere hinders the spreading of colors, and a hot room causes a rapid evaporation of water. A damp atmosphere, otherwise, retards the spreading and produces irregular shapes. Under ordinary conditions, the size for drawn edges will last four or five days, while that for the Turkish or stone marble will last six or seven. The time can be considerably extended by the addition of preservatives as above mentioned. When the color is spread on a new  MARBLING 33 size, it somewhat contracts, and it expands on an older size. Account books should be marbled on an old size, which gives a larger marbling surface. HAIR-VEIN EDGES. This style is largely used on account of its beauty and its easy production. The size should be much thinner than for other marbles. To determine the proper consistency of the size, put the thumb and index finger in the trough and, after removing, put them together and spread out about ¼ inch; if the size adheres to the finger or thumb, it is too thick; if it spreads with water. A little experience will enable one to determine the proper consistency without any difficulty. The size should be mixed a few days, as the color spreads more easily on an older body. For hair-vein edges, one or two colors are employed, which are diluted with water to one-third their volume. If two colors are used, black is always the first color; if a third color is required, the darkest color must always be used as the first color, and the others sprinkled on. Black and blue, brown and blue, brown and green, red and blue, are proper combinations. The black or first color is prepared by taking one and one-half ounces of color to thirty drops of water and twenty drops of ox gall. The blue or second color requires one ounce of water and twelve drops of gall. In preparing the color and throwing on the size, too much color in the brush will cause it to sink, as the size is thin and the amount of color heavy. Thick color will, likewise, sink. A lighter color is required than for other marbles, as it is forced into veins, and a heavy color will lack the fineness required in this marble. In the operation of the first color, enough gall is added so that in throwing on the size, after having been diminished, it will expand sufficiently to form a ribbon 8 to 10 inches wide. In throwing on the second color, a whisk is  34 BOOKBINDING employed, and care must be taken that the drops are not too large and that they are evenly distributed. The sprinkling-water is prepared as described on page 29. Dip the whisk broom into it and tap out a little; then sprinkle over the floated color by hitting the brush on the left hand. This will produce veins. The size of the veins can be gauged by the amount in the brush, and the stroke. A hard stroke will produce small veins, while a light stroke will produce light veins. If the veins tear or fail to hang together, the sprinkling water is too strong and must be reduced with water. The uniformity of the veins depends upon the amount of sprinkling-water and the stroke. All this can easily be gauged with practice. TURKISH MARBLE. The size is prepared in the same manner as described in the chapter on hair-vein marbling. The black is the first color, and is prepared so that a drop will expand to 7 inches; this should be possible with about twelve drops of gall to one and one-half ounces of color. The other colors are prepared by adding to one-half ounce of color one ounce of water and twelve drops of gall. These must be stirred until a brownish blue color is obtained—first blue, then yellow and red. If white is desired, reduce ox gall with water, and throw on with a whisk in like manner. All colors thrown on with a whisk should be carefully stirred and be thrown in small drops. The ground color is prepared with gall and sprinkling-water, and is thrown on with a whisk broom, as in hair-vein marbling, but with a larger brush than the greatest net of veins. Fine or coarse veins may be produced according to the strength of the sprinkling-water in the ground color. Combinations of color for the ground are prepared as follows: GRAY—One part black, two parts sprinkling-water and ten drops of ox gall. A stylized illustration of a person's head or face.  MARBLING GRAYISH GREEN.—One part green, one part black, two parts sprinkling-water and ten drops of ox gall. BLUSH GRAY.—One part indigotine blue, one part black, one part sprinkling-water and ten drops of ox gall. OLIVE GRAY.—Two parts black, one part green, one part sprinkling-water and ten drops of ox gall. BROWN.—Two parts brown, one part sprinkling- water, and ten drops of ox gall. RED BROWN.—One part carmine red, one part sprin- kling-water and ten drops of ox gall. BLUE.—One part indigotine blue, one part sprinkling- water and ten drops of ox gall. YELLOW.—Two parts yellow, four drops of carmine red, one part sprinkling-water and ten drops of ox gall. VIOLET.—One part indigo blue, one part carmine red, one part sprinkling-water and ten drops of ox gall. DRAWN MARBLE. COMB EDGES.—These edges are appropriately used on blank-books, and should never be put on letterpress books. The size is more dense than for hair-vein or Turkish marble, and may be tested in the same manner, allowing, of course, a greater expansion of thumb and index finger because of the greater density of the size. A safe test is to prepare a drop of water and add to it six drops of gall to two-thirds of an ounce of color. When thrown on the size, a drop should expand to a diameter of 4 or 5 inches. If it does not, the size may be too thick and should be thinned by adding water. It is safe to say that if, for any reason, the necessary expansion is not obtained, the size is either too thick or there is not sufficient gall in the color. Take the stylus and draw it into wax lines. When this line can be drawn into straight lines, without following the stylus, the size pos- sesses the proper consistency, and gall must be added to the color until it reaches the diameter given. When the  36 BOOKBINDING size is too thick, the color will mix with it when attempt- ing to skim the surface. If the color is drawn along by the stylus or can not be easily cut, the size is too thick and must be diluted with water; if, in drawing along the stylus, the color shows a line or streak, it is too thin and thick size must be added. Thin size is useless for this purpose, as the colors will expand beyond the natural requirements and will look pale; besides, the pattern will be drawn out of proportion with the stylus. Four colors are usually employed and thrown on in the following order: black, blue or green, yellow and red. White is added, but not as a color, as it is formed by the stylus and does not require any special care. It should be prepared for the work in hand. Prepare all other colors with gall in the same manner, except that much less expansion is required. When the first color, black, has spread to the desired dimension, throw on a drop of blue (or green), then yellow on the blue, and red on the yellow, each of which must expand to a diameter of about 1/2 inches. The size is skimmed, and the black color is thrown on in such way that the first drop comes in contact with the rim of the second, the second with that of the third, the third with that of the fourth, etc., so that a color ribbon 4 or 5 inches in width is formed. Throw the blue on both sides of the black, and avoid the joining of the drops. Yellow is thrown on at both rims of the black in such a way that each drop of blue has a yellow center. The red is thrown on so that each drop of yellow has a red center. By taking the stylus and drawing lines of colors in wavy lines through each other past the black, white lines will be produced between the colors; the comb is then drawn across, producing scales. Dip the comb not more than 1/4 inch, and draw it slowly the length of the trough. Both ends of the comb should be of equal depth in the size. The books, having first been coated with alum water,  MARBLING 37 are placed between boards and dipped from left to right in the trough; the surplus size is removed by scraping from the edge with a piece of paper, and the edge is left A diagram showing the process of marbling. A comb is dipping into a trough filled with water and colored powders. The comb is being used to apply the colors to a piece of paper. to dry. The remainder of the color on the size is skimmed, and the operation repeated as above described. The fore edges are marbled before the heads and tails are trimmed. After the books are rounded, proceed with the heads and tails, applying the marbling to all four edges. To avoid getting a portion of the color on the fore edges, dip a sponge into the size and apply it to the corner of the fore edges, which will be dipped in the size. If air bubbles should appear, dry the spot and redip immediately. The color will only bind to the dry spot. SNAIL MARBLE.—The colors are thrown on as in comb edges, and drawn into wavy lines by the stylus, after which the snails are produced one at a time by dipping the stylus into the size at regular intervals, twisting it to the side, and drawing it through the color. Snails also be drawn through the color and snails produced as above described. AMERICAN MARBLE.—This marble is made exactly as the comb, with the additional drawing of the comb the width of the trough. PEACOCK MARBLE.—The method of preparation is the same as that for the comb, except that after the colors  38 BOOKBINDING have been drawn by the stylus into wavy lines, they are alternately drawn wide and narrow by the peacock comb. Draw the comb for about 1 inch, then close it, then draw for another inch, and open. BOUQUET MARBLE.— Proceed as for the comb marble. Draw a fine comb through the colors, and use the rake in such a way that the teeth of the second row will trace those of the first. Repeat this operation by moving the rake from right to left. The sliding or peacock comb may be substituted for the rake with equally good results. SUN SPOTS. The sun spot can be produced on any Turkish, snail, or wave marble by sprinkling the preparation after the ground colors have been thrown on. To prepare this, add a few drops of kreolin chalk water to a small quantity of water and add to the color and chalk water. To test the strength, try the color and chalk by sprinkling on the size. The chalk water will spread the color according to the strength, and this can be regulated as desired. Then add a little of the potash, which has been dissolved in water; this will draw the color together in the center of the spot. The reward for patiently trying out the different strengths of the preparation will be ample in the production of beautiful effects. Sprinkle on a drawn spot the size, and the sun rays will appear. These will spread out until the expansive force is expended; then diminish in size, and gradually vanish. If a second drop is put exactly upon the first, the rays will be more vivid. If two colors are prepared with this preparation and thrown one on the other, a still more beautiful effect is obtained. There is no limit to the extent to which this may be used, and the methods of procedure are as fancy suggests.  MARBLING 39 BOOK-EDGE DECORATING MACHINE. A machine has been recently designed to decorate book edges in imitation of marble. The principle is somewhat on the order of the platen press, in which the books are laid and withdrawn by the operator. The book is clamped and carried forward to the printing surface, which has been inked by the form rollers. After the impression is made on the edge, the book is unclamped to be withdrawn and another inserted. Adjustments are simple, so that one set of two can be used for different thicknesses of books. Any design, color, or combination of colors can be used to ornament the edges of books. This enables the selection of designs which harmonize with the end-papers and covering. The machine is equally useful for city directories where advertising matter appears on the edges. Three hundred books can be decorated on three sides in one hour. A photograph of a marbling machine.  A black and white image of a person with long hair, wearing a hat and a jacket, standing in front of a building.  HAND-TOOLING. 4  Small black triangle pointing to the right.  HAND-TOOLING. No other trade can furnish the abundance of material for artistic execution that letterpress book-designing affords. There is no limit to the employment of artistic talents in the execution of engraved hand dies or stamps in making complete designs. The artisans of old spent weeks and months in ornamenting single books of special A diagram showing various types of gouges and lines, with numbers indicating their sizes. GOUGES AND LINES. 108 110 112 113 115 117 119 120 122 124 126 128 130 132 134 136 138 140 142 144 146 148 150 152 154 156 158 160 162 164 166 168 170 172 174 176 178 180 182 184 186 188 A stylized "C" logo. (  44 BOOKBINDING value. The tools employed must be governed by the character of the work. A flower pattern could be appropriately employed on a work on botany, but would be out of place on almost any other kind of work. Books on natural history may have trees, flowers, insects, or HAND STAMPS. A collection of hand stamps with various floral and geometric designs. anything indicating the contents. The object in design should be to assist the person in determining the contents by the exterior decoration. The design on the back should always be in harmony with the sides. In lettering, large  HAND-TOOLING 45 type are out of harmony with requirements, and small type are not legible on the shelf. The first care of the finisher should be to determine the style in which the book is to be finished. Then draw the design on a piece of closely ruled cross-section bond 100 100 100 100 100 100 100 HAND STAMPS. 1.68 1.68 1.68 1.68 1.68 1.68 1.68 1.25 1.25 1.25 1.25 1.25 1.25 1.25 1.25 1.25 1.25 1.25 1.25 1.25 1.25 3.75 HANDED STAMPS. 1.68 1.68 1.68 1.68 1.68 1.68 1.25 1.25 1.25 1.25 1.25 1.25 3.75 HANDED STAMPS. 3.75 < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS. < HANDED STAMPS.

 46 BOOKBINDING

and mark the straight line near the joint with a straight-edge and pointed folder the length of the back. Turn the book over, and repeat the operation for the other side. This done, draw the design on the back. With a pencil, mark the back, tie it at the sides, and remove the beginning and end of all straight lines, gouges and stamps. Then divide the space between the lines, and mark the exact center of each panel where center stamps are desired. After the outlines have been made, take the lines, gouges, stamps, and impress them on the paper with ink so that the impression will be visible on the leather. Then remove the paper and take a strip of this board, and with a pointed folder mark the position of the lines so that the ends meet; heat the tools, and impress them on the leather.

Next draw the design for the sides the exact size of the cover on a piece of cross-section paper large enough to permit the ends being turned in on the boards when in the exact position. Place the pattern sheet for the sides on the board, apply glue to the ends, and turn in over the edges of the board. This should be done before the end-leaves are removed from their positions. Blinding can not be done, as it would spoil the end-leaves. All straight lines or dots for which there are rolls can be done without blinding-in by marking the ends and running the rolls against a straight-edge. Heat the gouges and stamps slightly, and impress on the paper so that it can be seen on the leather when the paper is removed. Another method is to impress these patterns with a composition ink or paint on the paper firmly enough to be visible on the leather. This on difficult patterns has an advantage in that omission can be seen before the paper is removed. If the pattern is such that the bottom half is the same as the top, perform the operation for the upper half only, turn the pattern around, and repeat the operation. This is done in the same way as above described. Before removing the paper, lift up  HAND-TOOLING 47

one corner at a time to see that no part of the design has been missed. Remove the paper, and with a straight-edge and pointed folder mark the position of the straight lines that impress the hot rolls on the leather.

Should the design be ornamented, it might be necessary to make another impression, by dampening the leather in the same way as described in "Blind-tooling." If any portion of the design is to be in blind, it should now be executed, then take a small camel's-hair pencil, and pencil the glair in the impressions where gilding is desired on the back; this must be carefully executed, so that no glair appears on the sides of the impressions. Never glair more than one line at a time.

The laying-on of the gold is described under that head, and is performed after the glair ceases to be tacky. The gold leaf should be impressed with absorbent cotton into the impression of the design. The design, being visible through the gold leaf, can be followed with the tools. All long straight fillets should be executed with a mitered roll; all long scallop lines with a small penny wheel; sharp curves and tongues, and all other ornaments with hand stamp tools. The filling-in of the designs, and the degree of heat have been fully described under those heads.

The tools should be bright and free from dirt before impressions are made. Rub them on a piece of leather on which powdered charcoal and vaseline have been rubbed, then clean with an oiled flannel rag. To secure good corners, lift the roll before reaching the mark, and use a corner tool. The beginning or ending of fillets, and the edges of general ornamentation should be noticeable. The impressing of hand stamps requires a steady hand and firm pressure, and will produce better results when worked while a little moisture remains in the leather. Pick up the tool, test the heat, which should hiss slightly, and hold it with the right hand, bringing the shoulder over the tool, thus assuring a firm impression, and, at the same time, guiding it with the thumb-  48 BOOKBINDING

nail of the left. On large stamps, a slight rocking motion will prevent the possibility of any portion of the stamp not adhering, provided all other conditions have been met. Small surface tools, as gouges, dots and lines, should have a slight impression; otherwise the leather will be cut. Generally near the curve they should be ground from the inside of the curve.

The tools or stamps should not remain too long on the gold leaf, as this tends to dry up the albumen and prevent the adherence of the gold to the leather. A cool tool will be devoid of lustre. A cool tool will fail to adhere the gold leaf. A sharp, quick impression will add lustre to the gold leaf. The conditions described in preceding heads as to heat and material need to be carefully studied; then with sufficient practice good results may be obtained. The novice will do well to gain this experience by diligent practice on leather glued to board before attempting the execution of designs on bound books.

Should a false impression be made on morocco leather, dampen the leather, pick up the impression with a needle, and beat it with a small, stubby-bristle brush.

Burnt impressions may be mended by applying moisture on the leather and picking out the gold with a toothpick. If the burn is too deep, cut a piece of very thin leather, and inlay it on the spot; allow to dry, and make another impression. After the design has been executed, remove all traces of oil or vaseline rub off them, then saturate a piece of absorbent cotton with gasoline or benzine, and remove the remaining specks which are held by the oil or vaseline. This done, reglair the imperfect impressions, and go over the weak places.

Patching can be done by applying benzine or gaso-line and quickly laying on the gold leaf. This will give no trouble in removing the surplus gold leaf; however, it must be tooled within fifteen or thirty minutes.  HAND-TOOLING 49

The inside margins of the board are then tooled in the same manner.

SUBSTITUTE FOR HAND-TOOLING.— Hand-tooling is an expensive operation, requiring the highest skill and workmanship. There are very few finishers able to execute a full gilt cover without error. In most establishments the finishers are those called upon for this work, and great difficulty is experienced because they lack confidence and are unaccustomed to such work. To spend weeks and months in decorating a single book puts the product beyond the reach of most book-lovers and makes a luxury for the extremely wealthy. This operation can be simplified and the greatly reduced by difficult patterns by drawing the design on paper and having incrustations made from which extra-heavy shell electrolyte plates can be made. These should be routed out deeply enough to prevent any but the face impressions. Place the plates in the stamping machine, make a blind impression, glair the leather, lay on the gold leaf, and take another impression. If patching is necessary, reglair, and repeat the operation. Hand-tooling can not be executed as quickly as this point would indicate, but there is less danger in making a false move, thus spoiling the work and wasting the labor. This has many advantages in addition to those mentioned, as the plates can be used again on similar work; besides, beautiful bindings can be executed by other than the most skilful of workers. See "Making backs with bands off the books" and "Short cuts to eliminate hand-lettering."

INLAYING.— To produce color variations on tooled covers, by varying the colors of leather on the surface is frequently resorted to. Flowers, leaves, borders and panels afford a pleasing combination of color on most cover-designs. All leather for inlaying must be pared very thin, and this is best done by dampening a strip with a sponge and employing a sharp, pliant knife. Allow the leather to dry between pulp-boards, then impress the  50 BOOKBINDING

stamps for leaves or flowers, and cut with a sharp-pointed knife, and pare the edges. For large surface inlay, proceed as above, and, when dry, paste a piece of paper on the right side, and place between pulp-boards to dry. Then mark the exact size of the panel, border or space to be inlaid, cut it out, and pare the edges. Paste a piece of board or paper, lay on the inlays, and rub down to smooth the edges without the inlays. Then lift it up, lay on the required space, and rub down with a folder. The inlaying is always done after the blank impressions have been made.

A large inlaid design, the outer edge of which is composed of curved lines, is best executed by taking the paper on which the design has been drawn and from which the blank impression was made on the cover, pasting it on

A decorative inlaid design featuring a sunburst pattern with floral elements.  HAND-TOOLING 51

the thin leather, and allowing to dry. Then with a sharp-pointed knife cut out the designs, and carefully pare the edges. This is then pasted on as above described. The object of the paper on the surface of the thin leather is to prevent stretching; this should be removed when the leather is laid on the tooling board, glaïring with a sponge. This will defore the paper, and it can be easily removed. In all inlaying, the edge of the leather should be covered by the outer tooling so that the joining can not be seen. If the leather be a smooth grain or a crushed grain, place the book in a press between two smooth boards with the

A diagram showing a floral design being inlaid into a piece of leather. The design includes various leaves, flowers, and swirls. The top left corner has a rectangular space for text or a title.

back out for about an hour. Remove it from the press, retool the part in blank, proceed with glaïring, laying-on of gold leaf and tooling, as described under the preceding head.

Google  52

BOOKBINDING

BLIND-TOOLING (ANTIQUE). This is a popular style for religious books, and con- sists of impressing hot tools on the leather so as to form designs. It may be executed upon any color of leather,

but a more attractive effect is produced on light colors. Blind in combination with gilt is still more attractive. The lettering is always done in gold. No special tools are required, but the tools used are very simple, with possibly few exceptions, all demands made upon them.

To blind-tool the back, dampen the leather with a sponge, and rub the moisture in with a soft, stubby brush. Mark the position of the lines on the back, as described in the chapter on filleting and rolling. Then warm the creaser, which is a hand tool faced with lines; for this  HAND-TOOLING 53

purpose a wide and narrow line is required. All tools must be heated uniformly. The first impression is made with a slightly warm tool, and the temperature is increased with each subsequent impression. The final impression is taken with hot tools when the leather is dry. If this does remain too long on the surface, the moisture is lost, and further application of the color is impossible without applying more moisture. The moisture when applied to the creaser should vanish slowly. Hold the creaser firmly in the right hand, rub it with an oiled rag, and impress on the back with a circular movement. The arm is held tightly to the body, which bends forward, and the movement is directed with the wrist, while the tool is supported by the left hand. The impression should be firm and appear brown; if it is lighter at any part, the tool is not hot enough or the leather is not damp enough. If the line appears darker at another point, there is too much moisture. It is sometimes necessary to wet the leather a number of times and proceed with the hot tools in the same way in order to obtain the proper color. A high polish can be obtained if the creaser is used frequently, but it will burn out times rapidly. The creaser must, of course, remain in the impression, or the result will be unsightly. The first impression is made at the head, then another close to the first band, then close to the subsequent bands, after which the book is reversed in the finishing press. Impress the creaser at the tail and ⅓ inch from the edge, which should be provided for when forwarding; or, if the back is plain, it must be marked before it is finished. Repeat the operation as above described for the remaining bands.

Center stamps are impressed in the center of the panels except in the second and fourth, and sometimes the fifth panel, when five bands are used. To guide the eye in impressing the stamp in the center of the panel, take a piece of paper and measure the width of the back, then fold it in the center, and place it in the center of the panel,

53 Google  54 BOOKBINDING

and make a slight mark with the folder. Lay a straight-edge on top the length of the book, and mark the center of each panel just enough to serve as a guide. The mark must be covered up when the stamp is impressed. Rub the stamp on an oiled rag, or leather to which oil has been applied, to brighten up the impression. Then take up the stamp, heat it, and place it on the leather so that the marked lines appear in the center. A steady hand is necessary to make the second and subsequent impressions in the first. Dry leather requires a hot tool, and wet leather a warm tool.

Steel Creaser.

The operation for the sides is accomplished in a similar manner, except that the position of the lines to be creased is marked with a pointed folder, and a long-handled creaser is used. The fillet rolls may be substi- tuted by placing a wedge between the arm holders of the roll. Ornamental dies may be impressed in the same way as above described for the back panels.  HAND-TOOLING

TREE CALF.

This embellishment is done on the sides of full light-colored calf books. The object is to produce a tree effect with limbs and branches. To prepare the books, wash with water, and when dry, apply a wash, consisting of one pint of paste-wash with one pint of paste-wash the consistency of thick cream. Leave this to dry, and apply a coat of thin glair. Prepare the different solutions in china or earthen crocks.

(1) To one pint of water add twelve parts of liquid pearl ash.

(2) Mix a solution of copperas, which will produce a black color somewhat like iron rust. This is, likewise, used in sprinkling sheep. For delicate calskin this is too strong.

(3) To produce a brown effect, mix a solution of pearl ash, which should be used in conjunction with copperas.

These two colors are primarily used; insert a sponge and a small bristle brush in each color. Other colors sometimes used are a weak solution of eosine (red) and yellow. Aside from these, a small can of tallow should be melted and a pointed stick inserted.

Make a paper cap to protect the book edges, then place the book in a finishing press, with the boards above the jaws. The press should be placed with one end resting on the bench and the other on a support one foot lower. The board can be tacked on for this purpose. A can should be placed under the press to catch the surplus water which will flow from the covers and the surface of the exposed leather. Bend the covers a trifle outward to serve as a gutter. If there is a border to remain untreed, cut a piece of tab-board the size of the open cover, and remove the portion to be embelished. Take the pointed stick, dip it into the melted

A small illustration of a hand tooling process.  56 BOOKBINDING

tallow, and touch the cover in the places intended for the knots of the tree. Fill a sponge with the first solution, consisting of pearl ash and water, and squeeze out on the cover, so as to wet it evenly. The surplus will run down the bend in the board into the receptacle beneath. Then take the brush quickly from the second solution, tapers, and beating on the other hand, sprinkle the cover. The water will run up to the center of the board, thus forming the branches, and run down the center, forming the trunk of the tree, the solution passing off into the receptacle below. Then again apply the first solution of water and pearl ash.

The subsequent colors are treated in the same way. Remove the book, and allow to dry. The finishing operation is the same as for the ordinary calf books.  A book cover with intricate designs, including a heart shape in the center. The finest binding in the world, showing the cover of "Omar" before it was completed by Mr. Sangorski. This book was bound for Messrs. Sotheby's & Co., and lost to the Titanic disaster. 

 A modern binding by Mr. De Sauty.  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  A black leather book cover with a central portrait of a figure, possibly a saint, surrounded by ornate borders. The top border features a triangular design with floral motifs, and the bottom border has a similar pattern. The title "Benediction" is written at the top in a stylized font. Resection, with inlaid carved and modeled leather panel, by Karl Lion.  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  A book with a light-blue morocco binding design by L. Sutterlin. Forwarding by H. Kramer and finished by Fr. Fahren, Berlin. Light-blue morocco binding design by L. Sutterlin. Forwarding by H. Kramer and finished by Fr. Fahren, Berlin.  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  Orange-colored morocco, with light-blue inlaying. Binding by Paul Kerven, Berlin.  -  Morocco binding. Finished by E. Hirth and Fr. Reischle.  7  A book with a blue morocco binding, finished in gold and antique, by Troost-Bussennet, Paris. Blue morocco binding, finished in gold and antique, by Troost-Bussennet, Paris.  [API_EMPTY_RESPONSE]  A book cover with the title "Woman's Work" in a stylized font. The cover has a dark blue background with yellow-gray and claret inlays. The spine is visible on the left side.

Dark-blue morocco, with inlays in yellow-gray and claret. Binding by Lorenz Schwartz, East Aurora.  Google  Binding by Otto Schulte & Co. Berlin.  1  A book with a light-blue morocco cover, featuring an embossed shield design with "HISTORIE" written across the top. The spine has a similar design with a smaller shield and the text "HISTORIE" repeated. Light-blue morocco, with inlays. Roses in white and red. Ornament in light brown. Work of students in the Germ School for Bookbinders.

10  I  A book with a dark leather cover featuring a central cross design, surrounded by four smaller crosses. The spine is visible, showing the title "Pigskin binding, blind-tooled. Bound in the Gera (Germany) Trade School for Bookbinders." Pigskin binding, blind-tooled. Bound in the Gera (Germany) Trade School for Bookbinders.  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  A book with a dark brown cover featuring a central emblem resembling a ship's wheel or anchor, surrounded by decorative elements. Clay-colored morocco, with inlaying in dark red for the lettering; steel-blue anchor; life-bouyever in gray. Binding and finishing by pupils in the Gere School for Bookbinders.  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  Half-bindings by Wilh. Stein.

A stack of three books with ornate leather bindings. The top book has a title "Stereoscopic View" and a subtitle "The World's Wonders." The middle book has a title "Stereoscopic View" and a subtitle "The World's Wonders." The bottom book has a title "Stereoscopic View" and a subtitle "The World's Wonders."  ---  Dualure Finishing by Ernestine Strain

A rectangular panel with a zigzag pattern at the top, followed by a marbled design below. 

 CARE OF BOOKS.

No other commodity plays as important a part in our daily lives as books, yet a glance at almost any book-shelf will reveal ignorance as to their proper care. No book should be handled as if rivets and nails were used in its construction. Dropping a book on its edges or corners will mash the board; putting a book, especially a large book, on a shelf with force, will break the joint to loosen and eventually destroy it. To slide a lot of books on their edges will invariably result in peeling the leather. Sliding books on the table is bad usage, as sand or dust will scratch them.

When taking a book from a tightly arranged row upon a shelf, do not pull the head-band, but rest the index finger on the edge, and bring it forward until the book can be grasped with the hand. The necessity for rebinding so many books is due to pulling off the boards and tearing the leather cloth, because of uncalled-for force in taking books from the shelves. Librarians should provide sufficient space on the shelves to permit the withdrawal of books with ease.

To prevent the leaves from sagging, thereby pulling the rounding from the back, at the head, a piece of board should be fitted in under the lower or bottom edge before placing on the shelf. This should be equal in thickness to the size of the square projecting over the edge. This applies to thick books.

The back of a book should not be dropped on the table before opening, as it flattens the back, and the round will disappear, and on blank-books the spring-back will eventually become soft and the hubs become loose. Either tossing a book or dropping it on the floor may break its back.

(80)  90 BOOKBINDING

The ordinary book should not be used as a scrap-book for clippings or notes. There is no provision in the back for additional space between the covers or leaves. This practice invariably results in broken joints and the book falling out of the cover.

When opening a new book, should the fly-leaves stick to the board, bend it a trifle inward, and insert a knife or folder, and loosen the leaves. To hold both parts of an open book tight while forcing the cover up will break the back. The left hand should rest at the front, and turn over a few leaves at a time, resting the left hand lightly on the pages as turned, until the middle is reached; then close the book, and repeat the operation from the back. A book thus treated will open flat and maintain its shape; there will also be less likelihood of breaking the back.

Anti-vermin varnish applied to bindings has a tendency to prematurely deteriorate the material, and will not offer immunity from attack by croton bugs.

A little vaseline rubbed into the pores of the leather with absorbent cotton once or twice a year will prolong the life of any leather binding.  p-book e hack This book

eaves err a parts will cost. left it is tion and of

m- ill

or of  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  3 2044 011 620 381

A FINE IS INCURRED IF THIS BOOK IS NOT RETURNED TO THE LIBRARY ON OR BEFORE THE LAST DATE STAMPED BELOW.

CANCELLED	086-WID
333309	JUL - 9 1980

CANCELLED	WIDELANDS
2-3	JUL - 8 1976

BOOK DUE...  White background with no visible content.