Bound in purple cloth blocked in gold and blind, the blocking on this book includes two cloth grains: diagonal ripple in centre oval and a quadruple-line diamond pattern. It contains the binder’s ticket of William Hunter, Edinburgh.
Norman Macleod. The gold thread: a story for the young. Edinburgh: A. Strahan & Co.; London: Hamilton, Adams, 1861.
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This binding is of blue net-grained cloth blocked in gold, black and blind, with lacquered inlaid white paper medallion, and bevelled edges. The blocking of black ink onto cloth was first mastered in the 1840s, and by the 1860s the use of black in conjunction with gold had become a significant trend.
William Shakespeare. The dramatic works of William Shakespeare. Edinburgh: Gall & Inglis, 1864.
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This book is bound in dark blue cloth with patterned sand-grain, and pictorially blocked in gold and blind. Some copies of this first edition are bound in green cloth. Simultaneous issue of an edition bound in different coloured cloths was a common practice of publishers from the 1850s.
W.B. Tegetmeier. Pigeons: their structure, varieties, habits, and management. London: Routledge, 1868.
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Bound in dark brown morocco-grained cloth blocked in gold and blind, the front cover features the tiny initials ‘JL’ at the base of the centre shield. This is the signature of designer John Leighton, a prominent cover designer of the 1850s and 1860s. The design incorporates symbols of various peoples, kingdoms and nations which have influence the history of England. The signature of the engraver ‘Timbury’ is visible in the bottom right corner.
James E. Doyle. A chronicle of England, B.C. 55-A.D. 1485. London: Longman, Green, Longman, Roberts & Green, 1864.
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This edition of Dickens’ Christmas books is bound in burgundy sand-grained cloth blocked in gold and blind with bevelled edges.
