Reviewed by Barbara Adams Hebard
A first glance through the catalog importantly reveals that Castiglioni has mastered the art of bookbinding. The bindings, rendered with an enviable precision and control of technique, leave no doubts regarding his skill as a binder. The artistic use of leather onlays and inlays and the tooling in his designs is enhanced by the sheer dexterity with which they were executed.
|Detail, onlaid, inlaid, and tooled cover|
The textured and color-toned leather seen on the pictorial-style covers has a unique painterly appearance, a result of a printing and stamping process developed by Castiglioni. The colors are more subtle and variegated than can usually be found in leather, giving a three-dimensional quality to the surface of the book covers. The texture adds an interest, absorbing and reflecting the light in a way that deepens the form of the illustration. Those books with covers depicting mountains, orchards, or seascapes are a pleasure to look at because of this rich detail.
|Detail, pictorial-style cover|
The decorative gauffering, featured in the catalog on the heads of some text blocks, beautifully produces a modern appearance while paying tribute to historic patterns of the past. Here Castiglioni uses elements that evoke Rococo, Art Deco, Art Nouveau, and Islamic design, all the while manifesting his own creative style. These patterns also draw the eye to the endbands, a playful motif in Castiglioni’s book art. The asymmetrical color configuration seen on some of his endbands is at odds with the traditionally sewn endband, yet is clearly an intentional component in his vision of the book’s composition.
|Gauffered head with asymmetrical colored endband|
Luigi Castiglioni’s signature also is an integrated part of the overall book design. The three bold, unabashed examples seen in the catalog rightly declare pride in the fine work that he has accomplished while forming a complementary ingredient to the volumes.
The catalog is wonderfully formatted to give the reader not only an introduction to the bookbinder, but also to lay out the details of his design sensitivity and to exhibit his technical skill. Other bookbinders could use this catalog as an inspirational resource for their own work, in addition to viewing it as a stellar example of how to promote design bookbindings to potential collectors.
Barbara Adams Hebard was trained in bookbinding at the North Bennet Street School. She was Book Conservator at the Boston Athenaeum for 18½ years and became the Conservator of the John J. Burns Library at Boston College in 2009. Ms. Hebard writes book related articles and book reviews, gives talks and presentations, exhibits her bookbindings nationally and internationally, and teaches book history classes. She is a Fellow of IIC, a Professional Associate of AIC, Board member of the New England Conservation Association, and an Overseer of the North Bennet Street School.