Art on the Edge

A fore-edge painting.  Image courtesy of the University of Florida.
Viscount Alfred Milner, England in Egypt.  London:  Arnold, 1894.

Artists through the ages have used all kinds of media and surfaces to express themselves.  One of the most unusual is fore-edge painting.  This is a painting done on the edges of the pages of a book that is invisible unless the pages are fanned to expose it.

Mark Akenside, The Poems of Mark Akenside, M.D.  Chiswick:  from the
Press of C. Whittingham, College House, 1822.  Volume I above and Volume II below.
These are attributed to the "Thistle" painter, active in the 1950s in NYC, who
frequently used thistles in his backgrounds.  Images courtesy of the Lilly Library

Most of the edges of these books are gilded or marbled after the painting is done and has dried, further obscuring it from plain view when the book is closed.  Not content to just do one painting, some artists create double fore-edge paintings - one painting can be seen fanning the pages one way, the other can be seen by fanning the pages in the other direction.  An even more ambitious project is the triple fore-edge painting, which has a third scene painted on the very edges instead of gilt or marbling.  This third painting, therefore, is visible when the book is closed. Additionally, some artists also did paintings on the top and bottom edges of books, known as panoramic fore-edge paintings, but these are not as common.

Jean Louis de Lolme, The Constitution of England; or, An Account of the English
Government; in which it is Compared Both with the Republican Form of Government;
and the Other Monarchies in Europe.  London:  Printed for G. Wilkie; J. Cuthell;
J. Stockdale; Longman, Hurst, Reese, Orme, and Brown; Cadell and Davis; Lackington,
Allen, and Co; R. Pheney; R. Scholey; J. Booker; Baldwin, Cradock, and Joy; R. Saunders;
J. Black; Walker and Edwards; and B. Reynolds, 1816.  This is an example of a double
fore-edge painting.  They are very rare, accounting for only a few percent of all fore-edge
paintings.  Both of these are river scenes with a bridge and boats.  Images courtesy of the
Lilly Library.

The earliest fore-edge paintings may have been done as far back as the 10th century and were of symbolic designs - coats of arms, shields, etc.  The earliest English ones were of heraldic designs, often just in gold, and are thought to be from the 14th century.  Circa 1750 the subject matter of the paintings became more complex.  Landscapes, portraits, religious scenes, and even x-rated scenes were done, some relating to the book but often not.  Many fore-edge paintings were applied to old books, even centuries older.

The Seasons by James Thompson:  to which is prefixed, A Life of the Author.  Together
with Illustrative Remarks on the Seasons.  By the Rev. J. Evans, A.M., Master of a
Seminary for a limited number of Pupils, Pullin's Row, Islington.  London:  Printed by
J. Cundee, Ivy-Lane, for T. Hurst, Paternoster-Row, 1802.  Image courtesy of the Lilly Library.
A fox hunt scene at a water jump.

Since most of the painters did not sign their work, it is anyone's guess who they are.  Some binderies employed artists to do fore-edge paintings.  Some artists have been assigned names, for instance the "Dover artist", so-called because s/he painted scenes of Dover.  Historians and scholars can sometimes recognize an artist by their style.

Robert Southey, The Remains of Henry Kirke White, of Nottingham, Late of St. John's
College, Cambridge, with an Account of his Life.  London:  Printed for Longman, Hurst,
Rees, Orme, and Brown, Paternoster-Row, 1822.   This painting features Nottingham
Castle.  Image courtesy of the Lilly Library.

There are basically two theories of the origins of fore-edge paintings.  The first one refers to the Middle Ages, when books were composed of vellum or parchment and therefore commonly shelved on their sides with the edges out.  This was the most practical area to write titles.  Later when paper became the preferred material for books, they could be bound with spines and shelved vertically.  The spines became the obvious place for titles, leaving the fore-edge blank - and literally a blank canvas.

Geoffrey Chaucer, The Canterbury Tales of Chaucer.  To Which are Added an
Essay on his Language and Versification, and an Introductory Discourse together
with Notes and a Glossary.  By the Late Thomas Tyrwhitt, Esq. F.R.S.  Oxford:
the Clarendon Press, 1798.  Copied from a painting by Thomas Stothard, volume I
above shows the left side of the painting, and volume II below the right side.
Image courtesy of the Lilly Library, this set is from the library of J.K. Lilly.

The other theory is simpler.  Since bookbinders liked to decorate their creations, blank edges begged for some decoration of their own.  This led to the first decorations, mostly heraldic or simple designs like flowers or butterflies, that were not only painted but stamped on the edges.

Simple motifs decorate the fore-edge of this book.
Jeremy Taylor, Rule and Exerfises of Holy Living.  London:  M. Flefher, 1686.
Image courtesy of the Bentley Rare Book Gallery, Kennesaw State University.

Edwards of Halifax, the well-known British binders/publishers/booksellers, revived the practice and made it popular.  William Edwards was painting fore-edges in the late 1700s using monochrome at first (gray or brown) and then the full range of colors.  The typical books done included Bibles and prayer books, the classics, and poetry.  William picked up on the new term "picturesque", coined by author William Gilpin, meaning that something was capable of being skillfully depicted in painting, and began creating fore-edge paintings that illustrated something from the books they were painted on.  William's son Thomas Edwards carried on with the family tradition of fore-edge painting.

An example of a monochromatic painting.
C.C. Sturm, Sturm's Reflections.  London:  G. & W.B. Whitaker, 1823.
Image courtesy the George and Frances Gill Collection.

In the late 19th century, there was a period of time when a painting had no relation to the content of its book.  British booksellers were trying to appeal to buyers, especially those from the U.S.  Tourists apparently liked images of their country and history, so they bought books in England where they could find those types of scenes.  Most of these books were unimportant volumes, and appealing to U.S. patrons was a good way to get rid of their older stock.  Although the prices went up on these books, the quality of the paintings went down.

These golfers are an example of a painting unrelated to the book's subject.
Sir Walter Scott, The Poetical Works of Sir Walter Scott.
Edinburgh:  Adam and Charles Black, 1869.
Image courtesy of the George and Frances Gill Collection.

Watercolor paints were used with as dry a brush as possible to keep the paint from running.  These paints were absorbed by the paper and didn't cause the pages to stick together later as oils or other paints might.  They also don't crack with repeated handling.

Book of Common Prayer, and Administration of the Sacraments, and Other Rites
and Ceremonies of the Church, According to the Use of the United Church of
England and Ireland:  Together with the Psalter or Psalms of David, Pointed as
They are to be Sung or Said in Churches; and the Form and Manner of Making,
Ordaining, and Consecrating of Bishops, Priests, and Deacons.  Oxford:  Printed
at the Clarendon Press, by J. Cooke and S. Collingwood, Printers to the University;
And sold by E. Gardner, at the Oxford Bible Warehouse, Paternoster Row, London, 1820.
This was painted from Titian's painting below.

Titians "The Aldobrandini Madonna", circa 1532.  Virgin and child with St. John
and St. Catherine.  The title is often incorrectly used with Rafael's "Garvagh Madonna".
Image courtesy of the National Gallery, London.

The art continues today with a few artists.  Martin Frost is perhaps the most well-known.  Another is Clare Brooksbank.  Books with fore-edge paintings are highly collectable luxury items and fetch enormous prices.  If you are looking for an artistic endeavor and can work in miniature, this might be the medium for you.

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Unless otherwise stated and linked, images courtesy of

The Lilly Library, Indiana University at Bloomington

The Marist College

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Bagging Books

A book purse made from Journeys Through Bookland.

Looking for a novel fashion accessory - literally?  How about a book made into a bag or wallet?  Caitlin Phillips of Rebound Designs makes them, to the tune of about 600-700 a year.  This year she’s made 265 so far, but the holiday season is approaching.

Louisa May Alcott's An Old-Fashioned Girl.

Ms. Phillips removes pages from books while leaving the covers intact.  The spines become the bottoms of her purses.  She takes care to only use books that are damaged, falling apart, unwanted or being thrown out.  Out-of-date textbooks work well. When she does use new books she uses ones that are mass-produced classics.

Janson's History of Art.

Her pieces are handcrafted and take ten to twelve hours to make, not including the time spent on gathering books and searching for the right fabric.  Fabrics are specially selected for their respective pieces, so the fabric is only used once.  

Oliver Twist.

The handles are mostly beaded and match the books.  Each piece is fully lined with 100% cotton fabric, and has a pocket to hold a small cell phone or wallet.  There are extra reinforcements to the spines.  While these pieces are not designed for everyday use, they are much more durable than they were as books.

The Scarlet Letter.

While she doesn't remove water spots, torn or bent cover edges, or stray markings, which she feels adds to the character of the piece, she does give advice on their proper care.  Rain or shine can be a problem - no leaving them in the sun for very long, or getting them wet.  The handles fold inside, so the pieces can be stored on a shelf, just like the books they once were.

James Joyce's Ulysses.

Ms. Phillips does custom orders and gets requests for them every week.  Although she often is asked for books that she’s done before, each one is unique.  She offers a variety of choices in fabrics and handles to customers to ensure the items are not only made to order but are one of a kind.  She will also find a specific title for customers.  Her stock of books is in the thousands, but if she doesn’t already have it she will hunt library sales and online for it.  Many people give her their own books, ranging from new ones to an old, treasured but damaged book.  Some authors bring her their own books.

A custom-made purse of Jane Eyre.  From a choice of five fabrics and two
handle options.  Click here to read more about this purse and options.
Custom orders can take two-three weeks to complete.

Jane Austen is one of the most sought-after authors.  Although the most popular book once was Pride and Prejudice, people are also responding more to Emma and Sense and Sensibility.  As Phillips states, “Austen seems to appeal to a very broad spectrum of women of all ages and backgrounds; her appeal is really timeless.  She’s not a passing fad, and the women who buy my purses aren’t necessarily interested in fads, but rather in things that they can connect to.  Her work is so funny, much sharper than a casual reader might think, and unlike some books women read in their youth that later in life seem a bit dated, her books stand up to multiple readings.  Of course, I’m a fan as well, so my personal bias shows.”

Above and below, two different treatments for Pride and Prejudice.

Ms. Phillips comes by her knowledge of books with the expertise of someone who graduated Magna Cum Laude from Tufts University with degrees in English and Drama.  She started out as a drama major, but since she tested out of all the freshman requirements, she was able to take whatever she wanted to earn credits.  She would go to the campus bookstore, checkout the reading lists, and sign up for classes based on them.

The Adventures of Robin Hood.

She intended to pursue graduate work in Theater Studies, which is more academic than performance based, but the universe had different plans.  She doesn’t perform professionally any more, but is part of an amateur troupe, and occasionally steps in last-minute on a production.

A Singer Sewing Book.

This is what happens when a creative person is raised to recycle and craft.  Her idea arose from working in a used bookstore and seeing what was unwanted and discarded.  Since she grew up frequenting bookstores and fabric stores, she combines two loves into one endeavor.

Nancy Drew, front and back.

At times repetition rules the day, but mostly her work is stimulating.  Each book is different and the purses often turn out “spectacularly different” than she expected.  She listens to books on tape while she works - an interesting concept as she sees, touches, hears, and thinks about books simultaneously.  She has a part-time assistant, Devon, who helps deal with the volume and photographing the finished items.

For men too self-conscious to carry a "purse", a wallet might do.  Her wallets are slim and folded so they aren't bulky.  They are protected by a double layer of water-resistant vinyl, and include pockets for credit cards, business cards, and ID.  These are a fairly new item for her.  She’s getting a lot of requests for iPad, Kindle, and other ebook covers, which she may offer in the future.  Right now she’s trying to streamline her process to have more time for reading, friends, and yes, she has cats.  (Books and cats seem a universal combination.)

These ingenious creations give new meaning to the word "pocketbook".  If you get one large enough (or if you are reading a small book), you can stash your book in your book.  An Alice in Wonderland purse just made my wish list...

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All images courtesy of  Rebound Designs.

Caveat:  if you are interested in purchasing 

or commissioning an item now is the time 

as the holiday season is quickly approaching!

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Beware of Greeks Bearing Books

"My art is inspired by the death of the printed word.  Books and

newspapers are becoming artifacts of the 21st century.  As a society

we're shifting away from print consumption and heading straight

towards full digital lives."  Nick Georgiou

When Nick Georgiou saw his entire music and film collection absorbed into his computer and starting getting his news online, he realized that people's interaction with paper was becoming very different.  He became obsessed with the immediacy of media.

His work is not only about the decline of the printed word, but also its rebirth as art.  He claims his art is essentially about renewal.  He puts old books and newspapers to good use by crafting them into 3D sculptures and framed wall art.

Born in Queens in 1980, six years after the Turkish invasion of Cyprus, he was one of six kids born to a Cypriot father and a mother whose family came from Smyrna.  He has been working on solo exhibitions for Cyprus and Greece.  He has also been making a documentary on the decline of the printed word.

He has been living in Tucson, Arizona, for the last couple of years, but began his career as an artist on the streets of New York City.  There he placed his work in random locations - on street corners and next to lamp posts.

He loves public art and felt as an artist it was his job to break through to another reality.  He liked to watch public reactions to his placements and photograph them. Now he likes to see which of his images becomes popular, and why:

"It's amazing to be able to witness an image go viral and dissect

what makes it universal/what breaks down cultural/language barriers."

He has a website where he posts his latest creations and thoughts.  Cerebral art from a cerebral mind...

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All images courtesy of his website.

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Artist? Surgeon? Bookman?

Brian Dettmer has a thing for books...and other media that he feels is going by the wayside.  His mind works in mysterious ways, and like a book archaeologist, he digs and carves his way through a book's physical body searching for treasure.

He believes the book as a physical form of information is ending, and a lot of history gets lost in the transition.  Since the book's intended function has waned, new roles for it emerge.  He recontextualizes books, maps, tapes, and similar media, creating new modes of expression.

He often begins with a book and seals its edges, creating an enclosed vessel that's pure potential.  Working with his instruments - knives, tweezers, and surgical tools - he cuts into the surface and dissects it, one page at a time.

Nothing within his creations is relocated or implanted, things are just removed. Alternate meanings are exposed.  He sees his works as collaborations between the item, its original creator(s), and himself.

Originally from Chicago, Dettmer now lives in Atlanta.  He has shown his work throughout the U.S., Mexico, and Europe, and is represented by galleries on both sides of the pond.  His work an be found in private and public collections in the U.S., Latin America, Europe, and Asia.

This booklover doesn't think that the physical book as a source of information or entertainment is dead.  There is a tactile pleasure in holding something that tickles your mind.  But there is room in my world for books for reading, and books for art, and Dettmer's work offers me visual pleasure.

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All images courtesy of the artist.

Take a look at his website to see more of his work.

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