<![CDATA[
<body>
<h2>Newbold & Collins</h2>
<h2>Carapace</h2>
<h2>Carapace Covers</h2>
<h2>Bookbinders</h2>
<h2>Australian Bookbinders</h2>
<h2>Book Restoration</h2>
<h2>Rebinding</h2>
<h2>Book repairs</h2>
<h2>Paper Conservation</h2>
<h2>Deluxe binding</h2>
<h2>Photo Albums</h2>
<h2>PortfoliosNewbold & Collins </h2>
<h2> </h2>
<h2> </h2>
<h2>Australian Bookbinders</h2>
<h2> </h2>
<h2>PHOTO ALBUMS AND PORTFOLIOS</h2>
<p>
Professional Photographers, and those wishing to display creative work in a portfolio or album worthy
of its contents, use this facet of our business. We custom make to order,
and can advise on styles and materials for specific purposes. Wedding
albums are a part of this range and we have samples of our products on
display at the workshop.<p>
Our standard covering materials
include leather, bookcloths and linens, and reconstituted leather in a
range of colours. Covers can be padded if required, and stamped with logos
or names simply by supplying us with the artwork to suit.<p>
Portfolios requiring Mylar
or PVC welded pockets can also be ordered. Page formats can be made to
order from a variety of archival materials.
<h3> CARAPACE COVERS</h3>
<p>
DESIGN, INNOVATION & CRAFTSMANSHIP<p>
A beautifully designed, anodized aluminium portfolio allowing a variety of
page formats and display possibilities. Each page opens perfectly flat, from
the first page through to the last, exactly as you would expect from a well
bound book.</p>
<p>Designed and 'road tested' in Australia, the <b>Carapace Cover</b> leads the
field in contemporary presentation books.</p>
<p>Fabricated from 2mm anodized aluminium, the chosen material minimises finger
marks while affording the contents protection in an appealing format. The substrate
can easily be engraved, laser-cut, powder coated or silk screen printed. The
design features of the product prevent the lateral movement usually associated
with interscrews, post or ring binder mechanisms. Museums and Archival Repositories
also appreciate the qualities of a perfectly inert storage medium for precious
material housed in a strong binder system.</p>
<p>This elegant hand-crafted portfolio has been created in conjunction with <b>Newbold
& Collins Pty.Ltd</b>., Australia's leading Antiquarian Book Restorers,
whose sound knowledge and understanding of book construction and functionality
has made possible this unique design.</p>
<p>The <b>Carapace Cover</b> has already gained acceptance by leading-edge photographers,
architects, advertising agencies and creative people. It is a 'state of the
art' presentation medium and method of reflecting a company's standing. This
product provides an eye catching, though functional way to present photographs,
samples, drawings, architectural plans, board papers and archival material.
Corporate uses are virtually limitless for those companies wishing to project
an image worthy of a sucessful business entering the new millennium.
CLOTH BINDING<p>
The workshop carries a comprehensive
selection of bookcloths in stock, and sample swatches of cloths can be
ordered in when specially required. Our cloth stocks include rolls of
original old fabric which we have acquired from our contacts in the trade,
allowing authentic period bindings to be produced and accurate repairs
to be performed on old books. Older volumes, bound in cloth or buckram,
sympathetic to the period, lettered and finely tooled in gold, can greatly
enhance a collection.
<h4> We bind collections of <b>periodicals</b> and <b>journals</b>, <b>university
theses</b>, <b>dissertations</b> and <b>projects</b>, <b>law books</b>, <b>corporate
submissions</b> etc. and are able to gold tool and letter books to match existing
editions. Rubbings and records of your books' spines are retained to ensure
uniform duplication. </h4>
<h4>GENERAL BOOKBINDING SERVICES</h4>
<p>
<p><font face="Times New Roman, Times, serif"><b>Collection Maintenance
Advice</b></font></p>
<p><font face="Times New Roman, Times, serif">With the constant degradation
of our environment, it is becoming increasingly important to protect book
and paper collections from atmospheric pollutants.</font></p>
<p><font face="Times New Roman, Times, serif">Modern paper manufacturers
are now becoming more aware of the need to ensure the longevity of printed
matter with the use of 'acid free' (neutral pH) papers. Complete protection
from outside influences can be assured by safeguarding material in custom
made and lined folding boxes. We are able to supply a full range of archival
storage options, from leather backed folding boxes, which give the shelf
appearance of a bound book, to slip cases, solander boxes and chemise
wrappers.</font></p>
<p><font face="Times New Roman, Times, serif">Newbold & Collins can
advise on, and produce, all your book and document storage requirements..</font></p>
<p><font face="Times New Roman, Times, serif"><b>Book Edge Gilding</b></font></p>
<p><font face="Times New Roman, Times, serif">Arrangements can be made to
produce gilt-edged volumes when required.</font></p>
<p><font face="Times New Roman, Times, serif">Books with damaged gilding
can also be sucessfully repaired without damage to the binding.</font></p>
<p><font face="Times New Roman, Times, serif"><b>Gold Embossing</b></font></p>
<p><font face="Times New Roman, Times, serif">We are often asked to add
initials or names onto items for presentation. This can usually be done
on the same day that we receive the goods.</font></p>
<h4><font face="Times New Roman, Times, serif"><b>Restoration</b></font></h4>
<p><font face="Times New Roman, Times, serif">*See separate page</font></p>
<h4><font face="Times New Roman, Times, serif"><b>Cloth Binding</b></font></h4>
<p><font face="Times New Roman, Times, serif">*See separate page</font></p>
<p><font face="Times New Roman, Times, serif"><b>Leather Binding</b></font></p>
<p><font face="Times New Roman, Times, serif">*See separate page</font></p>
<p><font face="Times New Roman, Times, serif"><b>Paper Conservation</b></font></p>
<p><font face="Times New Roman, Times, serif">*See separate page</font></p>
<p><font face="Times New Roman, Times, serif"><b>Albums and Portfolios</b></font></p>
<p><font face="Times New Roman, Times, serif">*See separate page</font></p>
<h4>HISTORY OF BOOKBINDING</h4>
<p>
<p> The history of bookbinding proudly predates printing by many centuries,
and although we can now use highly advanced machinery to bind books, we
still follow the same basic form and construction.</p>
<p> The varying forms of recording events and ideas changed from age to
age with the development of civilization. Long before an alphabet was
conceived, and writing developed, man had been recording his thoughts
and events on cave walls or rock outcrops with great effect. Later, using
hieroglyphics and varying alphabets, man started to use other bases for
his writings including stone, wood, animal skins and papyrus.<br>
<br>
Papyrus was rolled into scrolls which eventually gave way to the flat
sheet of the codex, or the flat book of the Christian era. As vellum superseded
papyrus, the written sheets were folded, gathered into sections and sewn
together. From this point, the codex, or book as we know it today, with
its structure and form, emerged.<br>
<br>
History and its recording usually only shows the visual changes to the
outside of the book, the style of decoration and its changes through time,
the shape, the materials used, the use of gold and metal. Construction
methods including natural round, sewing styles, sewing supports, attachment
of boards and the many styles of corners and headbands are not generally
recorded but are just as important to the modern book restorer.<br>
<br>
The codex as we know it today emerged as early as the 2nd century AD,
at first using papyrus then the stronger but more serviceable parchment/vellum.
The bindings from the first to the fifth century were by todays standards,
rough in their execution but definitely an important stage of the evolution.
Early vellum pages were illuminated and bound into books in monasteries
by the monks. The use of paper in books generally coincides with the introduction
of printing in the late fifteenth century. <br>
<br>
Thick leather thongs were used as sewing supports, and were attached into
the wooden boards by means of holes and small wooden wedges. Leather thongs
later gave way to fibre cords and even later to woven tapes. The early
sewing supports, being raised from the spine surface became part of the
spine design and are refered to as raised bands. The introduction of recessed
sewing in the sixteenth century resulted in a smooth spine devoid of bands
and panels. This also allowed for the introduction of the hollow back
which allowed books with heavy paper to open more easily, and gave the
binder the whole spine on which to apply an overall design. The French
used this style of tooling with great successs, but most binders kept
to the orthodox style of paneling by tooling the bands in gold. Tradition
has kept the raised bands, either by them being sewn on, or by applying
them as false bands. Today, we can apply leather strips as false raised
bands over the most modern sewing methods to retain that look of a “real
book”. <br>
<br>
In early bindings, wood was the usual material employed as cover boards
as the emergence of pulped boards later coincided with papermaking. Wood
and its weight was found to be a good way of containing the “yawning”
of the vellum leaves, caused by atmospheric changes. Heavy metal decorations
and clasps were popular for this very same reason. Boards have changed
over time, pasteboard, rope filled board, tar board,strawboard, mill board
and boxboard, although modern mill board is the one recommended for use
by todays binders.<br>
<br>
Early books were generaly large and cumbersome compared to those bound
after the introduction of printing. As more books could be printed, more
books needed to be bound. Books became smaller in size, so binding methods
were refined. <br>
<br>
Leather has been in constant use as a covering material since the earliest
times. The use of Vellum, Alum tawed pig and goat skins, Calf, Deer, Sheep
and Russia leather have all been part of the books history. Covering styles
have also changed over time to include full, half and quarter styles,
the latter two progresivly introduced to save costs. </p>
<p> 1821 heralded the emergence of bookcloth as a major competitor to leather.To
use this new material economically, a new binding style was introduced,
where the cover is made seperately from the book. The introduction some
ten years later of the arming press, allowed beautiful designs to be blocked
on these covers, in many colours including gold. A major proportion of
bound books from this point were of this style until the paperback was
introduced, which has since become the prominent style. </p>
<p> Prior to the 1840’s, paper was made from rag and is usually still
in good condition. This period heralded the use of wood as the base for
paper with sometimes disasterous results. Paper manufacturers today are
trying to find a favorable balance between the two. <br>
<br>
The tooling on the covers of books followed fashion and technology. Early
books had the design hammered or pressed into the leather using punch
like tools, most effective, but plain. The fifteenth century is generally
accepted as the period where gold was first used for the decoration of
books, Engraved brass tools and rolls were used to work the many styles
including Aldine. Dentelle, Harlian, Le Gascon and Derome. These styles
were influenced by the printers, publishers or collectors of the period.
The Aldine style was named after Aldus Manutius the famous Venitian printer
who’s influence also reduced the size of books to a more managable
“pocket size”. The Harlian style is named after Lord Harley,
an English collector who insisted on the newly discovered pineapple being
included in the design tooled on his books.</p>
<p> The twentieth century has seen many changes in book construction, due
mainly to machinery , new adhesives, new materials and the never ending
need to produce more and cheaper books. During the last half of the 20th
century we accepted the need to use permanent materials in our books,
but sadly at this point, they are not in general use. </p>
<p> As we move into the twenty first century, Newbold & Collins are
committed to the use of sound materials and practices in our bindings,
and believe that whichever of history’s styles we use, we will be
assessed favourably by future historians.</p>
<h2>Leather Binding</h2>
<p>
<p><font face="Times New Roman, Times, serif">Our most prestigious works
are leather bindings tooled in gold. The most popular leather is either
goatskin of calf, with both avaliable in a wide range of colours.</font></p>
<p><font face="Times New Roman, Times, serif">Full bindings are books which
are completely covered in leather. Half bound books have the spine and
corners covered in leather, with front and back boards infilled with either
cloth or marbled paper to match. Quarter bound books have a leather spine
with cloth or paper sides.</font></p>
<p><font face="Times New Roman, Times, serif">Our leather bound books receive
a good foundation, with sections hand sewn on cords or tapes. Edge gilding
can be carried out prior to the book receiving silk, hand sewn, head and
tail bands.</font></p>
<p><font face="Times New Roman, Times, serif">We frequently leather bind
publishers' de-luxe Limited Editions in runs up to 1000 copies, and are
often consulted in the selection of the materials used.</font></p>
<p><font face="Times New Roman, Times, serif">Sometimes, aspects of the
job, such as specific hand marbling or calligraphy are commissioned to
trusted artisans on our clients' behalf.</font></p>
<p>
<font face="Times New Roman, Times, serif">Exotic materials such as Alum Tawed
leather, vellum, silks and hand cut velvets are imported when the need arises.
MOVIE PROPS
<p>
<p><font face="Times New Roman, Times, serif">Newbold & Collins also offer
a service to film and television production companies in supplying period bindings
and technical advise to those seeking authentic looking books for film props.</font></p>
<p><font face="Times New Roman, Times, serif">Our list of credits is set out below.</font></p>
<ul>
<li><font face="Times New Roman, Times, serif">TUSITALIA</font></li>
<li><font face="Times New Roman, Times, serif">G.P.</font></li>
<li><font face="Times New Roman, Times, serif">RECKLESS KELLY</font></li>
<li><font face="Times New Roman, Times, serif">SIRENS</font></li>
<li><font face="Times New Roman, Times, serif">LILLIAN'S STORY</font></li>
<li><font face="Times New Roman, Times, serif">BABE</font></li>
<li><font face="Times New Roman, Times, serif">PASSION</font></li>
<li><font face="Times New Roman, Times, serif">IN A SAVAGE LAND</font></li>
<li><font face="Times New Roman, Times, serif">MATRIX</font></li>
<li><font face="Times New Roman, Times, serif">THE POTATO FACTORY</font></li>
<li><font face="Times New Roman, Times, serif">MISSION IMPOSSIBLE II</font></li>
<li><font face="Times New Roman, Times, serif">SYDNEY......Story of a city (IMAX)</font></li>
<li><font face="Times New Roman, Times, serif">CATS</font></li>
<li><font face="Times New Roman, Times, serif">AUSTRALIAN RUGBY (Television
advertisment)</font></li>
<li><font face="Times New Roman, Times, serif">AUSTRALIAN CRICKET (Television
advertisment)</font></li>
<li><font face="Times New Roman, Times, serif">MOULIN ROUGE</font></li>
</ul>
</font>
<h2><font face="Times New Roman, Times, serif">Paper Conservation</font></h2>
<p></p>
<p><font face="Times New Roman, Times, serif">The exacting procedures associated
with the conservation of works on paper require a great deal of patience
and expertise. Fortunately the results are well worth the effort, and
clients are always impressed with what can be achieved. Dealers and collectors
who know what we can achieve don't let paper-based imperfections prevent
them from acquiring a scarce piece. As well as appreciating the standard
of our workmanship, they value our fair prices.</font></p>
<ul>
<li><font face="Times New Roman, Times, serif">What can be done?</font></li>
<li><font face="Times New Roman, Times, serif">Consolidation</font></li>
<li><font face="Times New Roman, Times, serif">Deacidification</font></li>
<li><font face="Times New Roman, Times, serif">Dry Cleaning</font></li>
<li><font face="Times New Roman, Times, serif">Encapsulation</font></li>
<li><font face="Times New Roman, Times, serif">Flattening</font></li>
<li><font face="Times New Roman, Times, serif">Hole filling</font></li>
<li><font face="Times New Roman, Times, serif">Insect treatment</font></li>
<li><font face="Times New Roman, Times, serif">Matting & Framing</font></li>
<li><font face="Times New Roman, Times, serif">Mending tears</font></li>
<li><font face="Times New Roman, Times, serif">Mould removal</font></li>
<li><font face="Times New Roman, Times, serif">Pulp filling</font></li>
<li><font face="Times New Roman, Times, serif">Removal of prior repairs</font></li>
<li><font face="Times New Roman, Times, serif">Retouching</font></li>
<li><font face="Times New Roman, Times, serif">Stain removal</font></li>
<li><font face="Times New Roman, Times, serif">Surface cleaning</font></li>
<li><font face="Times New Roman, Times, serif">Washing</font></li>
</ul>
<p><font face="Times New Roman, Times, serif">Once conservation of the piece
is complete we can advise on preservation and archival storage, in order
to best protect our clients' investments. Providing a good environment,
and safe storage conditions are critical to preserving paper based collections.</font></p>
<p><font face="Times New Roman, Times, serif">The science and art of Paper Conservation
requires that practitioners constantly upgrade their knowledge and understanding
of procedures. As new methods and treatments become accepted, it is our policy
at Newbold & Collins to keep our staff abreast of current standards, and
undertake ongoing education. </font></p>
<h2><font face="Times New Roman, Times, serif">Book Restoration</font></h2>
<h2><font face="Times New Roman, Times, serif">Rebinding</font></h2>
<h2><font face="Times New Roman, Times, serif">Book Repairs</font></h2>
<p><font face="Times New Roman, Times, serif">Our policy when restoring
damaged books follows the archival principle of strengthening the construction
of the piece, while retaining as much of the original material as possible.
Volumes may only require re-backing and the remounting of the original
spine. If the original spine is missing or damaged we can letter and tool
the new spine to match, and retain the period look. If this is not possible,
rebinding in quarter, half or full bound in leather, in materials similar
to the original, can replicate the original binding in a sympathetic manner.
We can reproduce lettering and tooling styles for each period in binding
history from our extensive collection of period tools and typefaces. We
have an extensive reference library, and can advise on the correct procedure
to faithfully reproduce volumes left with us.</font></p>
<p><font face="Times New Roman, Times, serif">Books of purely sentimental
value will benefit from a simple, sympathetic repair. This will ensure
that a broken or damaged volume remains intact while continuing to be
serviceable.</font></p>
<p><font face="Times New Roman, Times, serif">The finest materials available
are used to ensure that clients' collections will provide years of pleasure
for generations to come. We hold a good collection of 'old style cloths'
that help us match colour and grain, allowing correct repairs to your
treasures. Our leather staining experience also allows for close colour
matching in rebacking and repairs. Stain colours, when applied correctly,
can also give a new binding that look of the original. Our never-ending
search for the finest materials has given us a most comprehensive network
of suppliers worldwide who cater to our exacting needs.</font></p>
<p><font face="Times New Roman, Times, serif">Our interest and expertise
in the traditional techniques of bookbinding, along with our knowledge
and recognition of archival principles, has earned us a reputation as
leaders in the field of book repair and restoration.
</body>]]>