You describe the pages of ‘Catalogue Verzameling Boeken’ as ‘stab sewn’ when it came into your possession. Could you explain that technique and its impact on the work you could do in rebinding? ‘Stab sewn’ also known as ‘saddle stitch’ means to pierce the leaves through the section and not the fold, which makes opening difficult, if not impossible.

Your binding ‘APVLEI PSYCHE ET CYPIDO’ uses only natural materials, weaving and stitch to hold it together. Am I right in assuming then, that the whole binding can be reversed? How important to your practice or to a Tomorrow’s Past ethos that the work done is reversible? This text printed on handmade paper presented the opportunity to make a sample limp binding using natural materials, including red native dyed goatskin, vellum and alum-tawed calf for the sewing. There are no adhesives. My other auction catalogue ‘Romans’ is also of exclusive weave and slot construction. The whole construction of these bindings can be reversed, for me, this is an important element.

‘P.C.Hoofts Gedichten’ is the second binding you are showing whose volume was originally sold ‘uncut’ and so had to be top edge opened by hand. Are tomes in this original condition particularly fascinating to you? This condition occurs from time to time and it is not a problem, essentially the text should remain as original as possible. The sections were sewn on three cords with new acid free endleaves. The spine is pasted and lined with Japanese paper. The text block is covered in a decorative carton from the studio folded at the edges. The cords are woven through the cover and lie under the boards.

Your contextual objects are all found, natural items. How have they inspired your bindings? These objects are chosen because they have their own organic function. This fascinates me and I try to achieve a similar quality with my binding constructions.

Approximately how much time did the making of each of these bindings take? From making a decision on what to do, to completion? Time is not an issue for this kind of work.

1 P.C. Hoofts Gedichten, W. Bilderdijk (1832), 1999
Decorative paste, paper carton cover.

2 Romans (1853)
Vellum and decorative paper.

3 Catalogus Verzameling Boeken (1853), 2013
Carton board, tinted Tyvek, decorative paper.

4 APVLEI PSYCHE ET CYPIDO (1893), 2008
Native dyed goatskin, vellum board leaves, alum tawed sewing supports and ties.

Assorted natural objects.