by Aleksis Rannit
The Elizabethan Press, New Rochelle, 1977
Covered in native-dyed yellow and grey goatskin over sculptured boards; onlays of feathered black and white goatskin; free-form tooling of one blue line on the front board, two grey lines and two horizontal black lines, one on each board.
by William Shakespeare
Edited by Gwyn Jones
The Golden Cockerel Press, 1960
325 x 225 x 40mm
The binding is sewn on five braided tapes and the sculptured boards are covered; inlays and onlays in various goatskin colours. Vertical linear tooling in black and grey. Endbands of grey and red linen thread. Edges left untrimmed. Endleaves of Guido Reni marrone paper and hand-printed board papers. Flyleaves lined with red suede leather.
The design begins at the head with two unarmed roman generals and close friends, Tarquinius and Collatinus discussing their wives' chastity, including reference to the unfortunate Lucretia; anticlockwise the design follows the warm and sunny welcoming of Lucretia to Tarquinius, her husband's friend, leading towards the complex dark spine and an almost endless night of difficulties, indecision, doubt, lust, and guilt, leading to the inevitable tragedy.
The compositional circle is completed with the dying Lucretia reaching out to her husband Collatinus. This unusual design visually combines abstract rationalization with the continuing drama.
The Old School Press, 2009
bound in 2013
Full leather binding in grey, tan and dark green goatskin over sculptured boards. Yellow and brick red onlays, with grey and black rectilinear tooling.
The design echoes the tranquillity of Palladio's buildings, using a static, rectilinear composition, whilst the colours reflect the warmth of the Mediterranean.
by Vernon Watkins
Old Stile Press, Monmouthshire, 2004
Full leather binding in scarf-jointed black and grey goatskin over sculptured boards. Blue feathered onlays and tooled rectilinear lines, traversing both boards and spine.
Vernon Watkins was steadfastly religious yet sensitive to the archaic atmosphere of his native Wales. The white onlay crossing the grey line depicts the isolation of Taliesin within the evolutionary image of creation and the aggressiveness of the mockers.