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66:, on display, and his interest was piqued. Soon after, he invited several women binders to exhibit their work in his London shop; this "Exhibition of Artistic Bookbinding by Women," which ran from November 1897 to February 1898, garnered a substantial amount of interest from the public, and convinced him that promoting women's bookbindings could be a profitable venture, if perhaps partially for the novelty. Whatever his motivations, Karslake soon began acting as an agent to women binders already practicing, such as Annie MacDonald and Edith and Florence de Rheims.
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taking on more students than teachers, and expecting too much out of his teaching staff. Some professional bookbinders suspected that the bindings were too sophisticated to have been produced by women, especially recently trained ones; a few even accused
Karslake of passing off the work of the Hampstead Bindery as Guild work. Potential buyers began to mistrust Karslake and the guild's products (with some justification, as Karslake and his workshops had little knowledge of sound bookbinding techniques such as those practiced by other
73:. Karslake "saw that more money could be made by teaching to bind than by only binding and selling books. He maintained that women were well-suited to be bookbinders, due to their "inborn reverence for the beautiful" and their deftness of hand. He focused on both promoting the work of women already engaged in bookbinding, and training additional women to create bindings. Every member of the Guild received training in hand-bookbinding, and were offered employment after they completed this training.
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Karslake's daughter
Constance, near the Hampstead Bindery in 1899. The Guild accepted for training only women with an art school background, likely limiting them to a small pool of middle-class women; by 1903, they had an estimated 25-30 students. In keeping with the artistic styles of the time, many of the bindings featured
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The Guild promoted and sold not only its own bindings, but also those of other groups such as the
Chiswick Art Guild. Consequently, the presence of a stamp of the Guild of Women Binders on a book may not necessarily mean that it was created by the Guild unless the individual binder can be identified,
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Members and associates of the Guild of Women
Binders carved out a niche for themselves at the end of the 19th century by producing fine, artistic bindings by hand in an era when bookbinding was becoming increasingly mechanized. As part of its training efforts, the Guild set up a workshop, headed by
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Ultimately, the Guild was not a successful business venture, possibly due to
Karslake's inexperience in the professional bookbinding world (despite his associations with several binding operations, he had never worked as a binder himself). Karslake had tried to grow the Guild too far and too fast,
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binders of the time), and many bindings went unsold. The Guild was shuttered in 1904, leaving
Karslake bankrupt and many of the women who had worked with him tainted by the controversy (though some did go on to continue independent careers as bookbinders).
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at the turn of the 20th century. It was founded by Frank (Francis) Karslake in 1898, and disbanded in 1904. It helped sell bindings produced by women binders already practicing, and instituted training programs to teach other women.
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patterns, with sweeping lines and elegantly curved shapes. Karslake's advertising claimed that each binding was decorated with a unique pattern, though several patterns seem to have been variations of others.
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By May 1898, the Guild of Women
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The bindings of to-morrow: a record of the work of the Guild of Women-Binders and of the
Hampstead Bindery
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Private Press, Children's & Illustrated Books Modern First
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was a
British organization founded to promote and distribute the work of women
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This is an incomplete list of women binders associated with the Guild.
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An edition of "Poems descriptive of rural life and scenery" by
530:. Dominic Winter Auctioneers. June 17, 2021. p. 62.
547:(London: Printed for the Guild of Women-Binders, 1902)
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and may mean "little more than a bookseller's stamp."
84:, produced by the Guild of Women Binders, held at the
62:, he encountered several bindings by women, including
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produced by the Guild of Women Binders, held at the
233:Fincham, Ernest C. (1901). "Women as bookbinders".
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316:. New Castle, DE: Oak Knoll Press. pp.
502:. New Castle, DE: Oak Knoll Press. p.
471:. New Castle, DE: Oak Knoll Press. p.
440:. New Castle, DE: Oak Knoll Press. p.
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262:. New Castle, DE: Oak Knoll Press. p.
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287:"Bookbinding as a profession for women".
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581:Women's organisations based in England
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591:Organizations disestablished in 1904
47:. Likely bound by Gwladys Edwards.
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601:1904 disestablishments in England
586:Organizations established in 1898
596:1898 establishments in England
214:. American Bookbinders' Museum
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499:Women bookbinders 1880-1920
496:Tidcombe, Marianne (1996).
468:Women bookbinders 1880-1920
465:Tidcombe, Marianne (1996).
437:Women bookbinders 1880-1920
434:Tidcombe, Marianne (1996).
406:Women bookbinders 1880-1920
403:Tidcombe, Marianne (1996).
375:Women bookbinders 1880-1920
372:Tidcombe, Marianne (1996).
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341:Tidcombe, Marianne (1996).
313:Women bookbinders 1880-1920
310:Tidcombe, Marianne (1996).
259:Women bookbinders 1880-1920
256:Tidcombe, Marianne (1996).
235:Hearth and Home (Reprinted)
210:American Bookbinders Museum
205:"The Bindings Of To-Morrow"
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184:References
126:Hélène Cox
82:John Clare
56:bookseller
566:Book arts
179:H. W. Sym
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291:. 1901.
218:8 March
29:History
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