We carry out the following types of binders:

1. French binding;
2. Typographic binding (with a straight or rounded root);
3. Binding to the cuts;
4. Binding for punctures;
5. Binding on folds (album).

The most durable and durable is French binding. Books manufactured by this technology adorn the best libraries in the world.

What is the difference between French binding from the printing?

Printing binding has a limited service life. After several years, the book literally crumbles on the pages, risking to turn out of an important thing in ordinary garbage.

The fact is that the basis of such a binding is gauze impregnated with a certain composition. Over time, it dries and cannot perform protective functions. As a result, the book disintegrates on separate sheets or completely falls out of the cover. In addition, a clips are used as fastening, which rust over the years is used, which adversely affects the beauty of the publication, and on its safety.

The interlacing book on French technology is qualitatively different from the printing. Sheets, or rather, notebooks, stitched with flax threads on durable and durable cords from natural materials. Next, the stitched block is placed in the clamp and with the help of the hammer there is a root of the root and give it the form of fungus, after which they are sick.

Binding works on French technology make it possible to preserve valuable publications and extend the life of your favorite books. Thus, the ancient books of the XVIII century remained integer and almost unharmed, without losing a single page.

Leather binding books

The skin is one of the main and most commonly used binding materials. Soft and plastic, with a special dressing, leather binding is able to maintain elasticity and not to sink by centuries.
Our binding workshop uses skin not only those tones that were popular in past centuries, but also selects original color solutions at the request of the customer.

As a binding material, the skin provides greater freedom to work with it: you can cover the covers entirely or make composite binding, covering only the root and corners; decorate painting, embossed, relief or marble; Combine on one cover several types of material without visible transition boundaries. The skin is durable, durable and gives any publication a noble and solid look.

Manual binding prolongs the lives of books and keeps the master of the Master's soul invested.

We offer a full range of books. Restorers-punchers will help you preserve the most valuable publications, restoring the original binding or creating a new one by your desire.
If the binding of the publication was not deformed, but only strain from time to time, we will help return it to the original look: restore the lost material, the decor, save the original cardboard and delicately raise the binding material.

For books that have not been checking time and literally crumbled, a set of restoration work is provided, including stitching the block and restoration of an old cover or creating a new one. Our masters are creating real miracles, turning the old ugly book in an excellent unique copy of the family cultural heritage.

We offer the owners of books in a soft cover. We offer the following options for binding:

1. Saving and restoring a soft cover;
2. Making solid binding;
3. Creating a beautiful and durable case on the book.

The last option is perfect for those cases when the owner for various reasons wishes to keep the original assembly and prevent further damage.

If the book was fastened with brackets (paper clips), who over the years rust and destroy the roots of sheets, we recommend replacing them to cords.

What are the advantages of our binding workshop?

Crossing each book in our workshop is performed solely manually. The painstaking work of our masters, respecting traditions and possessing an excellent taste, creates unique work that meets high quality standards and wishes of the customer. We provide a lifelong guarantee for all work performed on binding.

Prices for binding services

The cost of work is calculated individually depending on the selected design, materials used, the format and circulation of the book, as well as the wishes of the customer. We perform solid or composite binding, edge decoration with foil and tinted gold, tinting of cropping, painting, bindings with curly recesses and inserts, decoration of covers with gold, decorative elements or locks, and much more.

The cost of opening work begins from 8000 rubles. In more detail with the cost of work on the binding of books can be familiarized

All text - part of the text

TO niggy bake It consists of two durable, usually solid covers (front and rear) and the root, which are concluded (pasted) the discarded sheets of the book. The necessary element of the binding book are the mousets - folded in half the sheets of thick paper, glued ahead and behind the book to the extreme notebook of the book block and the inner side of the binding covers that serve as a book fastening and the element of its decoration. In addition, the intertwined book, as a rule, has a capal - cotton or silk braid with a thickened edge attached to the root of the book block in order to the most durable bond of sheets of the book, as well as its decorations.

The binding is designed to fasten the sheets of the book together, protect the book block from damage and exposure to time. The protective function of the binding is the main and the earliest occurrence. However, being essentially "clothes" books, the binding becomes the element of its decoration, a kind of means of the characteristics of the book, carries an imprint of the era, existing social relations, a certain artistic style. With the development of book production and book culture, aesthetic and informative binding functions are formed.

The prototype of the modern book binding was diptych (from Greek. Diptychos - double, folded twice) - bonded together bone, wooden or metal plates, the outdoor sides of which had a smooth surface or decorated with threads, precious stones, etc., and the internal wreck was waxed for which wrote a pointed rod - style. In the ancient world, the diptychs were used as record books.

In ancient Russia, the bookstone became known with the advent of handwritten books - Codes.

Until the end of the XVII century, the cover of the binding was made exclusively from the tree, the binding boards were cut into the closure with the book block and attached to it with the help of leather belts to which the book notebooks were stacked. From the outside of the board, the skin was covered, which was bent involved. Each belt was consistently passed through the propyl bindings made in binding boards. Forzza in the ancient Russian book was not, the inner part of the binding covers was punishable, as a rule, parchment. The root book was made flat or round, without behind. Each book was supplied with clasps or ties, cropping crops were painted or processed by special tools in order to change their texture.

Depending on the purpose of the handwritten books, their boundaries were divided into bold and everyday life.

The binding is shredded by a decorative metal coating (salary) made of gold, silver, gilded or silver copper. The elements of the decoration of the salary were chasenka, Skan - striked by binding lid openwork pattern made of thin smooth or twisted wire, mobile, enamel, precious stones, pearls, etc. As a background under the salary, expensive fabrics were used - velvet, a group, atlas or finely isolated leather. The motives and plots of designer of binding borrowed from the book itself.

The salary supplied predominantly liturgical books that were used during worship or religious ceremonies. The earliest salary is the binding of the Mstislavov Gospel, built in the XII century in Constantinople and as they died with Russian masters. Now this book is kept in the State Historical Museum in Moscow.

The first Russian precipitated dated work of ferry art is the binding of the gospel of the weekly, built in 1392 by order of the boyar Fyodor Cat and now stored in the Russian State Library.

Books designed for everyday use, dressed in simple everyday binders - solokina or coarse canvas, with a minimum set of decorations or without them. One of the characteristic elements of everyday binding is metal fittings - ignorants, furniture, "beetles" (zhukovina) - convex rhombid or round plates. Published on the upper and lower binding covers, they simultaneously performed aesthetic and protective functions. Starting from the XV century, the covers of Russian everyday bindings are decorated with blind embossed on the skin.

The most outstanding salaries and everyday life of the ancient Russian books are described in the works of P.K.Simoni and S.A. Klepikova.

At the State Historical Museum in Moscow, the copy of the Apostle "Apostle" Ivan Fedorova (1564), enclosed in an unusual binding for that time: on the top cover of the cold-colored binding, richly decorated with a blind embossed, a double-headed eagle was rectified in a rectangular gold frame, testifying that that this is a personal copy of King Ivan the Terrible. This is the first eating case known to us. spexlibris (Owning sign, wounded on a binding) as a binding decoration element and first grazing gold on the skin in Russian binding.

The development of the Russian binding in the XVI-XVII centuries is closely related to the activities of the Moscow Printing Court, in which the Binding Workshop is beginning to function at the end of the XVI century.

The main part of the products of the Moscow printed courtyard was intended for sale and was produced in uniformly simple all-in-dusty bindings, modestly decorated with blind embossed. In the center of the Covenant Cover Cover, the Moskovsky Printed Court was often placed - a heraldic image of a lion and a unicorn (Ivan IV), standing on the hind legs under the crown. Two birds were placed over the circle, and under them - flowers. The whole composition is enclosed in a rectangle bounded by an ornamental border. Over time, this sign has undergone numerous changes. In the workshop of the printed courtyard, "tray" (that is, intended for a gift), especially luxurious bounds from expensive materials - safyan (fine, soft, durable and beautiful skin), velvet, silk, brocade, with gold embossed, artistically treated crop, skillfully engraved fasteners. An interlacing book on orders was also engaged in the workshops of the Embassy Order and the order of secret cases, which functioned a small Safyanov Plant.

In the XVII century, Russian books acquire a number of characteristic features that significantly distinguish them from the binds of the preceding period both in manufacturing technology and in the design. So, binding boards now stand over the book block; The smooth and flat root of the book of the XI-XVI centuries becomes a "bandage" - it is divided into pieces of transverse leather rollers (bandages), hidden by the Bacchev or the dust, which the book block was bonded. For the first time, the name of the book is made on the root, while in abbreviated form. Complicated pattern of embossing on binding lids.

At the turn of the XVII-XVIII centuries, wooden binding covers are replaced with cardboard.

For Russia, the XVIII century is characterized by a feudal and craft method of manufacturing bookbread; Each binding was a unique sample of manual labor. Responding to the spirit of Petrovsky reforms, at the beginning of the century, they get spread simply and strictly decorated bindings: the covers, as a rule, were covered with dark calf leather without decorations, the spores of the bandages were divided into parts, a brief name of the book was placed in one of the top members. Solve more often met with solid binding with a narrow, embossed gold ornamental frame or decorated with pranks (splashes) surface.

Already at the beginning of the century, significant changes occur in the technological process of manufacturing bookstores, which were due to the development of typography: To increase the strength of the binding, the root embryoration was introduced (additional processing that gives it a mold-shaped form); Instead of thick belts for staging, the book began to use a special braid, more subtle and flexible, a trappal of manual manufacture began to glue to book notebooks and others.

In the middle of the XVIII century, during the reign of Elizabeth Petrovna, entertainment and ceremonial editions were distributed, dressed in light soft skin, velvet and silk, with gilded cuts and rich embossed. One of the most luxurious bindings of this time is the binding of the already mentioned publication "The description of Coronation Elisavet Petrovna ..." (1744), made in the workshops of the Academy of Sciences in three versions: the most expensive - from the Red Safyan, with the Menniel Tsaritsa in the style of Rococo, wisted gold; Less expensive - single-dusty, with the wedged gold coat of arms of the Russian Empire and the attributes of the royal power (crown, power and scepter) and the simplest - without any decorations.

In subsequent years, the art of tray individual binding is improving. He receives special development in the 1970s due to the development of biblies in Russia, the appearance of large noble libraries. Caps of individual bindings, regardless of the book content, were tightened with a red saffian and decorated with a border frame and superxylibris, wounded gold on both sides of the binding. Richly decorated the bandage root, trims of books were golden, the nozzles were gone out of the marble paper hand-made dressing. Such registration of individual bindings was the name of the style of palace libraries.

In the second half of the XVIII century, new types and types of bindings receive distribution in Russia:

• semi-shit, or binding in root , the root and the angles of which were covered with the skin, and the covers were outlined with the motley paper handheld ("under marble", "Pavlini Pen", "bird eye", etc.);
• publishing cardboard, or binding in the folder - a solid-circuit binding, which was placed by a single-color paper with the printed text of the title of books and output, the distribution of which was caused by the expansion of the social circle of consumers of the book, gradually democratizing the book culture.

The big merit in the approval of new bindings belonged to N.I. Novikov, who paid serious attention to the cheapening of his editions.

The merit of the introduction of cardboard binding to the Publishing practice of Russia belongs to H. Rodigeru and H. Claudia, in the last five years of the XVIII century, which took a line of the printing house of Moscow University. One of the first Russian publishing cards is the binding of the book by A.F. Krestybu "Hate for people and repentance", printed by the University printing house in 1796. Publishing cards laid the beginning of the creation of mass binding, which made machinery.

Introduction to the publishing practice of Russia of cardboard has become possible due to the appearance printed cover. The first work of Russian press released in the printed publishing cover is "academic news" in January 1779 - the monthly magazine of the Academy of Sciences, published in 1779-1781. The publishing cover was widely distributed in Russia at the end of the XVIII - early XIX century. In addition to the periodicals, it supplied separate works and multi-volume editions. Publishers widely used a printed cover for book advertising and special publishing ads.

Development of a bookprinting in Russia at the beginning of the XIX century, the increase in the number of printing houses, the number of published books and their erases, on the one hand, and the backwardness of the binding technology, the domination of manual labor, with the other, led to the fact that most of the Russian books of this period ( Up to 70%) came out of the printing houses non-relaxed, in the printed publishing cover. The binding was made by order of the owner after buying a book.

Throughout the 19th - the beginning of the 20th century, already well-known types and types of bookstoves were technologically improved, the techniques and methods of their artistic and printing decoration were exhausted. The process of democratization of the Russian book, changing the social composition of its readers and buyers led to a gradual reduction in the number of books intertwined in the skin (at the beginning of the 20th century, genuine leather almost completely ceased to be used as a binding material), an increase in the number of composite semi-shots and nomination to the forefront of the publishing Cardboard with a plot picture, printed by a lithographic way, as the most democratic and mass binding that responds to the spirit of the times. One of the first bindings of this type is considered to be the binding of the famous almanach A.F. Sirdina "Novosella" (1833).

New binding materials made on a tissue-based basis mechanically, and first of all calico. Invented in England in 1825, the Chankor from the 40s of the XIX century was widely distributed in Russian binding, practically ousting all other binding materials from use. The use of the crankcrew made it possible to produce durable, cheap and beautiful binders, a variety of color, character and method of finishing. It was used with the same success for the manufacture of both whole and composite bindings (in combination with leather or paper), both a cheap mass book and luxurious, expensive gift and biblical editions.

At the beginning of the 20th century, among binding materials appears locker.

In the 1870s, a technical coup in Russian binding is a technical coup, as a result of which the transition from the handicraft method of production of bookbread to the factory was carried out. The first Russian factories are arising for the production of mass publishing bindings of all types and species - O.F. Kirchner in St. Petersburg (1871), T-VA "I.N. Kushners and K °" (1869), T.I. GAGEN (1869) In Moscow, etc., equipped with equipment of foreign production worked on modern machine technology. In order to advertise factory products from this time, special stamps appear on the covers of bookscarves - printed by typographical way Labels (with the name or sign of the owner of the factory), which were stuck on the atmosphere of the rear cover of the binding. Often the name of the binding establishment was reproduced with embossed on binding lids. Similar stamps and embossing appear on individual ownership of binding.

At the turn of the XIX-XX centuries, binding is becoming modern, modern types and types of bookbreads are formed.

In the first years of Soviet power, the number of books produced in publishing bindings did not exceed 10%. However, already in 1928-1937, the cover and binding were distributed equally largely at the expense of books produced by the State Publishing House of Fiction and Publishing House "Academia" (these publishers also started the release of books in superstrupplications). The following main types of publishing contacts were distributed: 1) solid-circuit, with font printing on the top cover and root (the first collected works by K. Marks and F. Engels, V.I. Lenin); 2) Publishing cardboard on the type pre-revolutionary, which is a light paper cover pasted on cardboard - In this form, a widespread covers a cover with a small pattern of the front papers of the XIX century with imitation stickers with title books on the top cover (books of the State Publishing House, Land and Factory "," Academia "," Circle ", etc.); 3) an all-zolnencore binder embossed in one or two paints, and sometimes gold (many books of the "Earth and Factory" publisher); 4) Composite binding: the crankhor root and supporters covered with paper (edition of predominantly educational and technical literature of various publishers).

Covers and Counters of those years do not have a single style of registration, but reflect the struggle of various art directions (the traditions of the "world of art", constructivist, futuristic, realistic), are solved by different means (with the help of photomontage, realistic illustration, a generalizing drawing, bearing dynamic, "poster "Character, font, typical typographic jewelry, etc.) are performed in various techniques (lithograph, woodcuting). The best artistic attitude of this time was created by B.M. Kustodiyev (only for the period from 1919 to 1927 for the Gosizdat, he created them more than seventy), V.M. Konashevich, A.I. Kravchenko, Ahleo, I.F .Rerberg, L.S. Ekhinsky, V.A. Favorsky and others.

By the end of the 30s, the bulk of the books goes to the crankhor and ice-free bindings.

In the post-war time, new materials are beginning to be widely used: graphic skin (dense embossed tissue with a special coating, made on rubber and imitating skin), plastic, new fabric binding substitutes - reinforced (that is, glued with rare marley) paper and albertin (Cardboard with colored glazed paper), cellophane (fine transparent film that gives the cardboard or paper beautiful and brilliant, as if lacquered surface) and others. Apply new ways of binding approaching it to the binding of today.

FROM Ancient times, the binding was considered as an important commodity property of a book, as an integral element of its assessment.

This commodity property is determined by a set of objectively existing trading signs, allowing to characterize any binding regardless of time and place of its manufacture. Such featured refers to the design of the binding, the texture of the binding material, the nature and method of its decoration, as well as the modernity of the binding of the book itself, its belonging (publishing, ownership of the binding) and the skill of execution. Only the knowledge of all these trademarks, their classification, origin and the main stages of evolution will help a book trading specialist to explore and objectively assess the antique book as a product in terms of its binding.

The defining trademark of the binding is its structure, or design. By designs Reps are divided into two main types:

• whole (Open), third party and the roots of which are covered with a single piece of binding;
• compoundFor the manufacture of which various materials are used.

The earliest of the occurrence is the Open Binding (Salary, Honor Binding). The first components (skin with marble paper) appear in Russia only in the middle of the XVIII century. In subsequent historical periods, both types of intertwines are developing in parallel. History shows that each new kind (type) of binding material is usually used first for the manufacture of whole bindings - it was as if checked, technological, visual and aesthetic possibilities of material were worked out, and then used in composite bindings.

An important trademark of binding is texture The material from which it is made. For the manufacture of bindings over long historical development, various materials were used. For example, binding covers were made of wood (in the ancient bindings) or cardboard (starting from the end of the XVII century); Metal (bashing), leather, cloth, paper used as their coverage.

The most ancient binding material is the skin that is widely used for the manufacture of all types and types of binding, both individual, possessive and sales (publishing).

Ancient grade used in Russian binding is a calf leather, having a series of varieties, the best of which is considered promotion (skin calves aged one year) and opoek (Two-year-old calf skin). The calf leather is batter, has a smooth facial surface that was additionally subjected to polishing, differs by high strength. This skin, due to its natural qualities and the lack of necessary technology, is almost not coloring in other colors, and therefore the overwhelming majority of single-dusty bindings of Russian books have a natural brown color (from light to darker).

In addition to calf, in Russian binding, the following skin varieties were used as a binding material:

Ram - Sheep leather; Low-term compared to other varieties (on the book it is easily upsry up), is painted in any colors (painted mainly in black, dark brown and green colors). In Russia, he received widespread in Russia in the second half of the 19th - early 20th century, was used for the manufacture of cheap bindings of a mass book.

Bull skin - Skin grade, characterized by high strength. In binding, it is rarely used, mainly in cases where the drawing on the cover of the binding is knocked out by punches or rolls with a knife.

Velours (chrome leather) - chrome tap leather, produced from dense small hortal skins or pigs; In grinding acquires a pronounced darling. In binding is rarely used.

Stupid - the kind of horse leather, released from the skins foals; Very tough, easily skips water, quickly turns away from moisture, "feed". For the release of binding is inconvenient, in Russia received distribution in the second half of the XIX century; It was used for the manufacture of mass publishing binding.

Suede leather - grade of the skin, released from the skin of the deer, sheepskin or the guard; It is characterized by soft, velvety, large porosity, waterproof. In binding was rarely used.

Goat - goat leather; It turns away from water, it is uncomfortable to highlight the binding. Received in the second half of the XIX century for the manufacture of cheap mass bindings.

Maocken (MAROQUIN) - the type of Safyan (embossed Safyan); It has a strong and beautiful structure. Used for the manufacture of tray and individual binding. As a binding material, paper imitating safyan is also used.

Sheep leather - the cheapest grade of the skin used as a binding material. In Russia, he received distribution in the second half of the XIX century for the manufacture of cheap mass publishing and library binding. By pressing, it can be forged under the expensive variety of skin, including Safyan.

Morocco - grade of leather, released from sheep's skins, vegetable tossing goats; It has a strong and beautiful structure, distinguished by high strength and beauty, greater visual capabilities, is painted in any colors. For the first time began to be allocated in the East, mainly in Morocco, in the city of Safi, from where, apparently, and got its name. In Russia, as a binding material began to be used in the XVII century, solely for the manufacture of luxurious individual and tray bindings; most often stained in red, less often - in green; Always differed high cost.

Pork leather - Skin grade having a pronounced pupil structure, is distinguished by high strength and rigidity (the greatest and rigid skin of all varieties used in binding). It is usually dark gray with some "bloom"; White color is achieved as a result of skin tossing by alum. In Russian binding, it was rarely used, mainly for binding of the most frequently used books (for example, library); It was distributed in the second half of the XIX century for the manufacture of publishing whole-dusty binding.

Sealskin - leather grade having a strong structure distinguished by high strength; As a binding material, it was distributed in Russia in the second half of the XIX century for the manufacture of publishing whole-dusty binding.

Fantasy leather - Numerous varieties of leather, manufactured, usually from calf skin by pressing, marble, etc. and give it a structure inherent in expensive varieties. As a binding material was distributed in Russia at the beginning of the 20th century.

Hose - Name of goat or donkey skin. For the manufacture of bindings is rarely used. At the beginning of the XVIII century, tray and ownership of the bindings were made of doves.

Shagreen - born horsepie or donkey leather; In Russian binding, it was rarely used, solely for the manufacture of individual ownership of the binding.

Yuft (Uphlazed skin) - Skin grade, released with tar from horse or calf leather, black. As a binding material, it was distributed in the second half of the XIX century for the manufacture of publishing whole-dusty binding.

In Russian binding, various types of fabrics were widely used. So, expensive fabrics - a brocade, velvet, trip (wool velvet), atlas and its separate varieties: silk, kamka (silk Chinese cloth with divorce), armature (wavy silk fabric, shut down with gold) and others - went to the manufacture of luxurious tray and owned bakes, simple - dumina (coarse canvas), harsh cloth, etc. - to cover the cheap books used in home use. Cheap fabrics were rarely used, since the skin was usually used for the manufacture of simple sales bindings - the material is the most durable and cheap at that time.

The era of fabric binding, but already made of special artificial materials on a tissue basis, the most durable, durable and cheap compared to leather and exquisite tissues, begins in Russia from the second half of the XIX century, when widespread gets first calico - cotton fabric with double-sided starch-coaline coating, diverse in color, character and method of finishing, and then (at the beginning of the 20th century) - locker (from it. Leder - leather) - a similar fabric with an elastic water and an adhesive layer on the front side and an integrated texture (under the skin, satin, silk). Locches - the most durable and elegant (due to the brilliance and texture), but more expensive compared to the knee material.

The cheapest material (but less durable, durable) used in binding is paper. As an independent binding material, it was widespread only in the XIX century (in publishing cardboard). This paper was practically no difference from the printed (except for the sizing), and therefore it can serve as a specialist of the book trading, the starting point for evaluating the commodity properties of various binding materials.

An important trademark of the binding is the originality of his artistic solution, which is based on a method of decorating binding - binding covers, root, beam and chripe together. To the main historical fashion designs Binding includes the following:

1. Printing grated paints

Playing text, ornament or pattern by high printing method, while images can be single and multi-stage. Is the easiest, economical and common type of interleaving of bulk publications; In Russian binding, widespread from the XIX century received widespread.

2. Embossing

Technique of artistic treatment of leather, fabric, metal, cardboard, etc., obtaining pictures on their surface image or text by pressure on their surface. One of the most ancient ways to design a binding; In Russian binding, it applies from the last quarter of the XIV century. The following main types of embossing distinguish:

2.1. Flat-mounted painless

("Blunt", fire, blind - blind (eng.)) Essentially a variety of high heat-painted printing; the easiest and most economical type of embossing; The earliest in time of appearance (the end of the XIV is the beginning of the XV century). Synonym for the term "blind embossing".

2.2. Relief, or congrene

Getting a convex image on binding covers. It is distinguished by large visual capabilities, the complexity of the technological process and the high cost, is used limited, mainly in the most artistic editions for reproducing the portrait of the author of the book, various emblems, etc. It may be painful and color. Named by the name of the English inventor of U. Kongpev (W.Congreve, 1773 - 1828), which offered this method of embossing. In Russian binding, it turned out the spread in the 40s of the XIX century (usually the portrait of the author of the book was reproduced by Congreth).

2.3. Divided colorful

The type of embossing similar to that described in paragraph 2.1 and differing from it the presence of a colorful image. Until the end of the XIX - the beginning of the 20th century, the embossing on the binding was made by paints and natural (gravy) gold (from the end of the XVI century), from the beginning of the 20th century - binding foil (colorful and metallized).

3. Inlay, or mosaic

Decoration of the turntable surface with patterns or images from other materials other than the main color or quality. It was used exclusively for decorating owner and tray bindings. Especially widespread development received in the second half of the XIX - early XX century.

4. Drawing and hand painting

5. Attaching metal jewelry

1. Decoration of binding covers with metallic fittings (by nagolnikami, modern, beetles) or salary.
2. Attaching the fasteners.
3. Attaching curtains (clogs) - shields in the form of silver plates to the upper salary board in order to protect artistic crop cropping. It is an ancient way to decorate the bindings of Russian books.

6. Torchonization

Processing of the surface of binding material or trimming of books with special tools in order to change their texture.

The choice of concrete binding material, a certain character and the method of its decoration was determined. accessory Binding (publishing, owned).

Publishing The binding, made simultaneously with the entire publication. It is usually uniformly decorated for the entire circulation or part of the circulation of the book. Unlike him, the owner (piece or individual) binding is made individually, on request of the buyer or the book owner, it is poured for each copy of a particular publication.

Until the end of the XVIII century - the time of the appearance of publishing binding in Russia - in fact, all books in one degree or another were individual, piece, positive. Starting from the second half of the XVIII century, both Russian books can be clearly divided into two large groups: publishing and owned.

It is important that fundamental differences between them were not in binding materials, which almost did not differ from each other (in this regard, only Safyan and expensive types of fabrics were exceptionally, which for long historical development were used exclusively for the manufacture of ownership of the binding), and In the approach to the very target destination Binding, in the character and method of its decoration. So, in the design of publishing bakes, artists sought to reflect the content of the book, often putting a story on the upper cover of the binding, then the individual ownership of the ownership was solved almost exclusively in a decorative and decorated plan, appliqués, mosaic from multicolored pieces of leather, leather carving , rich gold embossed, especially on the root (which, unlike the flat and even root of the publishing binding, remained bandage), and others. The characteristic element of the design of the opening of the opening was superxalibris. In addition, the initials of the book owner are sometimes stuck in gold at the bottom of the binding root.

The value of the ownership of the binding is largely determined by the skill of the rebooter. Unfortunately, the history of Russian binding is not rich in the creators of the unique samples of binding; Unlike European countries in Russia, it was not customary to leave the author and performer on the binding. Only in the second half of the XIX century in connection with the intensive development of the Russian book case, its capitalization and monopolization, a sharp increase in the number of published books, the situation of the mass publishing binding is changed: the ownership of the correspondence is "subscribed". The most famous masters for the manufacture of individual ownership of the binding at the turn of the XIX-XX centuries were E.RO (Row), V.Nilson, Meyer, A.Shnel (the official supplier of the courtyard of his imperial majesty, the most expensive rebooter of St. Petersburg began the beginning of the XX century), A. D.Petherson in St. Petersburg, A.Petsman, Z.M. Tarasov in Moscow, etc.

Throughout the XIX and at the beginning of the 20th century, publishers often differed from each other within one edition of the publication. This was due to the fact that many books during this period came out of printing in the cover, and then at the request of the customer were included in this or that binding. This form of relationships with buyers, for example, was actively used by the publisher A.F. Marx when sending free applications to the Niva magazine. In the same type of gray covers and publishing cards, the books of the "Collection of Overactions of Russian Writers" A.F.Smmdina were published. Books in different publishing bindings have repeatedly released M.O.Volf. So, well-known biblies issues of "picturesque Russia" in rich whole-zoltencore bindings with embossed gold and paints were also sold in the publishing cover. The Bible with the illustrations of the city of Dore (St. Petersburg, 1867), "Art Galleries of Europe" (St. Petersburg, 1862) and even "high-time and royal hunting from XVI of the XVI century" (SPB., 1896) and others.

In the second half of the XIX century, a clear differentiation of publishing binders occurred, depending on the type of publication, its target and reading destination. The technological features of the binding of educational, scientific, artistic and children's books. Thus, the fundamental editions of a scientific and reference nature were mainly in composite correspondence with the leather root, richly embossed gold, and crankoric sides without jewelry (boggauus encyclopedic dictionaries - Efron brothers, grenades brothers, etc.). Children's books dressed in publishing cards or all-zolnenkorovye bounds with a plot picture, printed by a lithographic way, or fabric root and sidepoints, plated marble paper, etc. Studying the binding as an important commodity property of an antique book, it should be remembered that its assessment is determined by the set of all the included above commercial signs. The ancient book, the greater the value of her binding as a monument of the material culture of the past and the more its proportion as a pricing factor in the new selling price of the book; For books published after 1917, only owned, individual binders have value. In addition, the binding, modern book should be assessed higher than the later, even manufactured individually. Naturally, this rule does not apply to unique, the most rare and artistic decorated reps, having independent artistic value.

Speaking about the degree of "marketability" of the binding of an antique book, it is impossible not to stop on the commodity properties sometimes replacing it covers - Everything is relatively light and fragile (mostly thin paper) shell of the book connected to it, as a rule, by gluing to the root. The cover itself is due to its fraud, cheapness, temporary, of course, does not have a significant impact on the modern commodity assessment of the antique book, but its presence or absence cannot be taken into account merchant, especially if we are talking about the first Russian printed publishing covers of the end of XVIII century, uniquely elegant emergency covers in the style of "Ampire" of the beginning of the XIX century, decorative-graphic covers created by the artists of the world of art at the end of the XIX - early XX century, bright and figurative covers of the 20-30s of our time wearing illustrative and poster Character, etc. Created in various artistic styles, directions reflected by the individual manner of the artist, they carry unique features of their time.

The books of the last century with the preserved cover are rarely found, which is explained by its fragility, as well as the desire of the reader, first of all Bibliophile and collector, enter into a book in a hardcover. At the same time, the rebuilders subjected the book with an additional trilateral trimming, not seeking to preserve the publishing cover. For example, the cover of the first edition of the "Dead Souls" N.V. Gogol (M., 1842), made in drawing of the writer himself, is considered to be very rare. Copies of the cover with the cover are extremely rare.

Thus, many artistic covers, and even more binders, Russian antique books are unique and should be considered as a monument to the book art of their time.

Bucinist's great help in the study of Russian binding and cover, their history, individual types and species will be operated by P.K.Simoni, S.A. Klepikova, I.M. Polonskaya, O.L. Tarakanova.

In Russia, book bindings became known only with the advent of handwritten books - Codes.Until the end of the XVII century, the cover covers were made exclusively made of wood. Binding boards cut closed with a book block and attached to it with the help of leather belts to which book notebooks were stacked. From the outside of the board, the skin was covered, which was bent inside. Each belt was consistently passed through the cuttings made in the bonding boards. Forzza in the ancient Russian book was not, the inner part of the binding covers was punishable, as a rule, parchment. The root book was made flat or round, without behind. Each book was supplied with clashes or ties, cropping crops were painted or treated with special tools in order to change their texture.

Depending on the purpose of the intention of handwritten books, their bindings were divided into bounce and everyday life. Broasting wooden bindings were covered with skin, covered with gold, silver or copper salary and / or cloth (atlas, velvet) and decorated with chasing, finifesty, color enamels, scan, precious stones or rhinestones. A velvet, a brocade, satin were used as a background of the salary. The salary supplied predominantly liturgical books that were used during worship or religious ceremonies. The most early salary is the binding of the Mstislavov Gospel, created in the XII century in Constantinople and as the ultimately renewed by Russian masters. Now this book is kept in the State Historical Museum in Moscow.

Salary of Mstislavova Gospel.

The first Russian precipitated dated work of ferry art is the binding of the gospel of the weekly, created in 1392 by order of the boyar Fedor of the cat and now stored in the Russian State Library.

Gospel Fedor Cat.

Books intended for everyday use, "dressed" into simple everyday bindings. Housing wooden binding was covered with leather or canvas and had a minimum of jewelry (metal nagolics, furnaces, embossing on the skin).

The State Historical Museum in Moscow stores an instance of the "apostle" Ivan Fedorova, 1564, imprisoned in an unusual binding for that time: on the top cover of solozheky binding, richly decorated with a plug-in embossed, a double-headed eagle and an inscription indicating that This is a personal copy of Tsar Ivan the Terrible. This is the first idea of \u200b\u200bthe use of superexlibris (owned sign, wounded on the binding) as an element of the jewelry of the binding and the first embossing of gold on the skin in Russian binding.

The first book of the Moscow Printing Court - Apostle 1564, released to Ivan Fedorov and Peter Mstislavts

https://pandia.ru/text/78/232/images/image005_67.jpg "Alt \u003d" (! Lang: Upper" width="240 height=305" height="305">!}

Top cover of the binding. Deesus threefigure. Mixed painting technique. The first half of the XIX century. On the lower field there is a film inscription, which previously contained the date of creation of this icon image on the binding (fragmentary) has been preserved

Top cover of binding. "Crucifixion" with the upcoming Virgin and John theologian, with evangelists in medallions. Temperal painting. The first half of the XVIII century.

The development of a binding in Russia in the XVI-XVII centuries is closely connected with the work of the Moscow Printing Court, at which the binding workshop began to function at the end of the XVI century. The main part of the products of the Moscow printed courtyard was intended for sale and was produced in uniformly simple solozen bindings, modestly decorated with a blockage embossed. In the center of the cover of the binding, intended for sale, the brand sign of the Moscow Printed Court is often placed - stigma with the image of the battle between the lion and the unicorn, which is concluded in a circular inscription. Over the circle depicts two birds, and under them - flowers. The whole composition is enclosed in a rectangle bounded by a border of the ornament. Over time, this sign has undergone numerous changes. "Taken" was made in the workshop of the printed courtyard, that is, intended for a gift, especially luxurious bindings from expensive materials - Safyan (a grade of leather, released from sheep's skins and goats, first appeared in the city of Sami in Morocco), durable, beautiful by texture, Dear material, subjected to color in any colors (the favorite were red and green), - thin, soft, durable and beautiful skin, velvet, silk, satin, brocade - with gold embossed and skillfully engraved clashes. The workshops of the Embassy Order and the order of secret cases were also engaged in the interlacing of books to order and the order of secret cases.

In the XVII century, the binding has changed: binding boards now stand over the book block, and the smooth and flat root of the book became "bandage", that is, divided into pieces of transverse leather rollers (bandages), hiding the ramp or a roller, which was bonded by a book block. For the first time, the name of the book was made on the root, while in abbreviated form. The embossing pattern was complicated on binding covers.

Bifting root. Ostrog.

At the turn of the XVII-XVIII centuries, the wooden covers of the binding were replaced with cardboard. In accordance with the spirit of Petrovsky reforms, at the beginning of the XVIII century, there were strictly decorated bindings: covers, as a rule, were covered with dark calf leather without jewelry, the roots of the bandages were divided into parts, the brief name of the book was placed in one of its upper members. Sore raw cripples are much less likely with a narrow, embossed gold ornamental frame or decorated with splashes with paint surface.

At the same time, there were significant changes in the technological process of manufacturing bookstarts. To increase the strength of the binding, the formation of the root was introduced to give it a molm-shaped form. Instead of thick belts for stitching, the book began to use a thin and flexible captal.

In the following decades, the art of binding continued to be improved. It received a special development in connection with the advent of biblies in Russia and the creation of large noble libraries. Caps of individual bugs regardless of the content of the book were covered with a red saffian and decorated with a border frame and superxylibris, wounded with gold on both sideways. Richly decorated the bandage root, trims of books were golden, the nozzles were gone out of the marble paper hand-made dressing. This design of individual bindings is called the style of "Palace Libraries".

The Gospel, the Nicholas I subjected to the Nikolai I on the day of coronation and nested by Nikolai Pavlovich in the Life Guard Transfiguration Cathedral. Kiev, 1746; salary - Moscow, about 1826 silver, gilding, enamel, copper, rhinestones, board, paper; casting, chasing, gilding.

Applique "Href \u003d" / Text / Category / AppLikatciya / "Rel \u003d" Bookmark "\u003e Application of fabric with manual coloring. Pan of top cover - Monogram Empress Alexandra Fedorovna, on the bottom - the image of the emblem of the Russian Empire.

https://pandia.ru/text/78/232/images/image010_39.jpg "width \u003d" 303 "height \u003d" 473 src \u003d "\u003e

With Elizabeth, Petrovna in fashion were publications intertwined in soft skin, velvet and silk, with a gilded crop and rich embossed. The publication of the same book in several embodiments was practiced: individual tray, luxurious and simple. In the second half of the XVIII century, in connection with the formation of large noble libraries, the practice of creating tray bindings is further developed. The covers of such bindings were tightened by the saffian, decorated with an embossed ornamental frame and superxylibris, the bells were sick with marble paper, the criterion of the book was golden.

In addition, in the second half of the XVIII century, new types and types of bugs were distributed in Russia. Semi-winged, or binding in the root, had covered corners, while the lids were gone out of the penny paper handheld ("under marble", "peacock feather", "bird eye"). Publishing cardboard, or binding to the folder, - solid-circuit binding, placed by one-color paper with printed text title books and output. The emergence of new types of binding was caused by the expansion of the social circle of consumers of the book and the gradual democratization of the book culture.

In Russia of the XVIII - the first half of the XIX century, binding works were made manually and each binding was thus unique. Most of the books at the beginning of the XIX century were out of the printing house not intertwined, and the bindings, if they were made, were created by order of the owner after buying them a book, in accordance with its requests and financial capabilities. Unlike Europe in Russia, it was not customary to leave his author's stigma and performer on the binding - only in the second half of the XIX century, the ownership of the bindings become "subscription". The most famous masters for the manufacture of individual holdings at the turn of the XIX-XX centuries were E. RO (Row), V. Nilson, Meyer, A. Shnel, in St. Petersburg, A. Petzman, in Moscow.

The most famous Russian binding firms:

Types of binding.

1. Self-refined (XIII-XVIII century), allotypes (XIII-XVIII), whole-republic (XV-XVIII century) binding is the most common type: spine and covers are completely molded with a coating material that bent and fastened on the inner sides of the boards .

2. Semi-shirt, semi-duct, semi-daisy binding (XV-XVIII century) - the material is covered with only the root and no more than half the caps adjacent to it.

3. Double binding (XVI-XVIII century) - twice covered with different coating material. On some editions of the Moscow Printed Court, intertwined in the Typographic workshop, the coarse top mop protects with gold and silver ornament from damage and dirt.

4. Binding "Summage" - a soft, flexible cover of leather or tissue with a large, most advantage of triangular, like an envelope, a valve with a string, far advocating for the front edge. This reminder in the appearance of the "bag-portfolio" binding was distributed in the XVI-XVII centuries.

5. Cardboard binding, "in paper boards", appeared in Russia in the XVII century.

https://pandia.ru/text/78/232/images/image012_43.jpg "width \u003d" 288 height \u003d 250 "height \u003d" 250 "\u003e

1. Russian book bindings of the XVII-XIX century. 2. The subscription mosaic binding of the work of the Master E. Ro. Russia. End of the XIX century.

https://pandia.ru/text/78/232/images/image014_36.jpg "width \u003d" 310 "height \u003d" 237 src \u003d "\u003e. gif" width \u003d "239" height \u003d "310"\u003e. jpg " width \u003d "267 height \u003d 346" height \u003d "346"\u003e. jpg "width \u003d" 225 height \u003d 297 "height \u003d" 297 "\u003e. jpg" width \u003d "277 height \u003d 328" height \u003d "328"\u003e binding materials "href \u003d" / text / category / pereplyotnie_materiali / "REL \u003d" BOOKMARK "\u003e Blending materials made on a tissue-based manual, first of all the crankskore. Invented in England in 1825, the knee-cencor has been widely used in Russian overwhelming matter since the 40s of the XIX century, practically ousting all other binding materials from use. From the crankshar, it was possible to make durable, cheap and beautiful bindings, a variety of color, character and method of finishing. It was used with the same success for both whole and for composite curls (in combination with skin or paper), both for a cheap mass book, and for luxurious gift and biblical editions. Since the late 1860s, binding factories arise in Russia, first among which were organized in 1869 in Moscow to the partnership and to ° and partnership, as well as the St. Petersburg Factory. The names of the factory was reproduced with embossed or pasted on the front of the back cover of the binding.

Partnership and to °. Moscow, GG.

A. Shch. ". Composite mousets from toned paper.

https://pandia.ru/text/78/232/images/image027_15.jpg "width \u003d" 186 "height \u003d" 259 src \u003d "\u003e

1. Partnership and to °, 1904 year. Leather root with gold embossed. 2. Factory, St. Petersburg, years. Pyatomnik « Universe and humanity. " Getting up in modern style.

1. Wolf. Multi-volume edition " Scenic Russia ", GG .. 2. Moscow, 1912. Partnership.

At the turn of the XIX-XX centuries, a binding case has acquired modern features, types and types of bookstarts have been formed, which are still applied.

In the first years of Soviet power, the number of books produced in publishing bindings did not exceed 10%. Covers and Counters of those years do not have a single style of registration, but reflect the struggle of various artistic directions: constructivist, futuristic, realistic - and solved by different means: with the help of photomontage, realistic illustration, a generalizing pattern, wearing a dynamic, poster character, font, typographic decorations . Such covers are mainly performed in lithography and xylography techniques.

One of the important activities of the Alfaret publishing house is the manufacture of books of books to order. We have a lot of different book collections in high-quality skin, while each binding is manufactured in our workshop by hand by professionals with great experience.

There is a significant number of options for designing books, many of them are represented in our directory. Binding work is divided into several categories of complexity. A simple leather cover includes embossing a single-color foil book name on the root and side. Elegant decorative frames, dies and bandages can be added to the intercession of medium difficulty.

Leather Binding of High Difficulty is, as a rule, a masterpiece of binding art, made for all canons of collecting books: Congress and Plotted embossing, bandages on round roots, manual stacking block, embossing Golden and Silver Foil, Cutting, Exclubs, Monograms, Author's design.

Separate attention deserves a composite binding, for which various materials are used - skin, special fabric, designer or marble paper. Creating such a binding is painstaking manual work, requiring solid experience.

What to choose a binding is to solve the customer: it can be one of the options presented in the catalog, or an individual project based on the original wishes of the client. We will help you choose the design of the binding under or offer a unique solution for - in the design of book collections, the creative flight is not limited, and each bunch can become a ideological inspirer of this exciting process.

Binding materials are also presented in the catalog - this is a genuine leather of special selection of various colors and textures, artificial leather (leatherette), boomvinyl, fabric. For bevels, the designer paper Khepera is used for the mousetors, for the khotal and the lass - natural silk.

Many turn to us to update your favorite publications. The second life of the old book is not only new cover materials: if necessary, we renovate damaged pages, align blocks and cutting edges.