Paul C. Delrue
  • by J.M. Barrie
    Illustrated by Paula Rego
    The Folio Society, 1992
    bound 2006

    "Binding in the 'Tudor' style in purple, blue and green goatskin. Peter Pan or 'The Boy who would not grow up' in natural goatskin onlay on the front cover.

    "I have thrown gold in the air of the book cover with Peter standing in clouds of gold. I was twelve when I first saw Peter Pan and never forgot it's magic and beauty. My binding will, I trust, give much of the same feeling when revealed from its gold titled, suede lined clam-shell box.
  • by Alan Hollinghurst
    Chatto & Windus, London, 1994
    Bound in the 'Lacunose' style, 1995

  • by Laurie Lee

    "The book is about a large family of eight in the 1920s, living in a village in Gloucestershire, where nothing moved faster than a horse. Laurie Lee talks about himself as a scab-kneed schoolboy. Such a world will never be seen again.

    "Bound in brown and biscuit Harmatan goatskin, with onlays of the author as a schoolboy. Decorated with a black tree, using carbon. It really is a daydream of a background, with a suggestion of leaves flying through the air. In fact, Laurie Lee was a daydreamer and a poet. I coloured the edges in bright sunny colours, and the endpapers are also traditional and colourful. I have housed it in a protective box covered in green and brown buckram, with the title in black. The inside of the box is lined with suede."
  • by Arthur Graeme West
    Copy no. 149 of 150
    Signed by the artist and bookbinder, with dedications
    bound 2015

    "This is the most difficult and heartfelt binding I have ever completed. In fact, I cannot do any more war books, they take so much out of me, for I bind to my feelings. I wonder if any other bookbinders do the same?

    "I found the illustrations rather frightening, but also, the more I looked at them, they were perfect illustrations of Arthur Graeme West’s Diary. I am thrilled with my interpretation of the book, where I hint at the chaos of what it might be like in the sea of mud and trenches, a jungle of warfare.

    "Sewn on 5 tapes, top edge trimmed and coloured in browns with acrylic paint, leaving the remaining edges deckled. Covered in mixed brown goatskin, Tudor and Lacunose, heavily marked by bone folder, with blind tooling and cross-hatched wheel work, giving a 'chaos' picture of no-hope. Sanded and treated with PVA about 20 times. Brown onlays of crosses, trees, straps across the spine marked with a 'chain' O. A dead soldier, together with a young man, not understanding the sounds and chaos, mud and trenches, with his head gently bowed. Up above are birds, to give a glimpse of a light touch as they fly free."
  • Started binding in 1959. An apprentice at the University College, London from 1961-64; worked there as a binder until 1971. During that period helped restore flood-damaged books from Florence.
  • Set up a bindery in 1971 at Leagrave, Bedfordshire, later moving to Chester after a two year period binding in Wales. Elected a Fellow of the Society of Bookbinders in 1981, having founded and served as chairman of the Chester and North Wales branch in 1979. Gained numerous awards and honours. Silver medal and three other awards in 1991 in The Bookbinding Competition. Elected a Fellow of Designer Bookbinders in the same year. In 1992, awarded two Bronze medals in the prestigious Prix Paul Bonet.
  • Paul's work often exhibits subtle figurative or landscape qualities, evolving from an innovative covering process to which he has given the name 'lacunose', i.e. furrowed or pitted, and involving the accumulation of thin layers of leather onto the boards, with subsequent sanding procedures.
  • More recently he has developed a technique of covering using overlapping strips of goatskin, creating built up areas without the need for board sculpting or scarf joints. As the technique was first employed on a binding of Shakespeare's Sonnets, Paul calls it his 'Tudor' style.