Gabrielle Fox received a diploma in Fine Binding and Conservation from Guildford College in the United Kingdom where her instructors included Maureen Duke, Daphne Beaumont-Wright, and Tony Miles. She has taught in England and the United States, most recently at the San Francisco Center for the Book, the Book Arts Program at the Marriott Library at the University of Utah, and King Library Press at the University of Kentucky. Fox has just completed three years as an independent conservator at the University of Cincinnati Libraries where she has been developing the conservation program for the Preservation Services Department. She is the author of The Essential Guide to Making Handmade Books.
Stephen N. Joffe.
Andreas Vesalius: The Making, the Madman, and the Myth.
Bloomington, Indiana: Persona Publishing, 2009.
Terracotta goatskin bound with variations to the joint structure to allow for better movement and less damage to a heavy text. Native goatskin onlays based on an image in Vesalius’s De humani corporis fabrica. Gold number and letters are marked as in illustrations attributed to students of Titian. The gold dust across the binding refers loosely to the scenery behind the anatomical illustrations as well as the muscles and tendons in many of the illustrations. Title and author tooled in blind along the fore-edge of the top board. Calfskin doublures have remained plain to show the shoulder markings of the animal. Endpapers are Twinrocker handmade paper, double headbands woven in rust, beige, and burgundy silk.
Full terracota goatskin, green goatskin doublures, and Cave paper endpapers. The four books of the text are represented by the four pages of different colored green goatskin onlays circling in and surrounding the dusting of gold which represents the final book's emphasis on the individual's union with Christ through the Sacrament or Holy Communion. These leaves tooled in gold to loosely reflect the style of tooling popular in France at the time of the publication of the text. Title and author tooled in blind along the fore-edge of both the front and back boards. Leaves on doublures are floating down and towards the text taking the reader into the book. My hope is to combine old and modern imagery using both traditional and recent developments in design binding.