We take beautiful book covers for granted these days. Subtly or blatantly, they tell us so much about books' content and mood. It's hard to imagine browsing without them! But as Martin Salisbury explains in the introduction to his own beautiful book, The Illustrated Dust Jacket, 1920 to 1970, just published by Thames & Hudson, book covers were once simply protective wrappings, designed to be discarded.
Salisbury says, "It was not really until the 1920s that the jacket as we know it today became a familiar sight in bookshops and the art of book jacket design became an important branch of the applied arts and an area of opportunity for artists." And what artists they were, from the Bloomsbury painters Vanessa Bell and Duncan Grant to Milton Glaser, N.C. Wyeth, Rockwell Kent, Tomi Ungerer, and Edward Gorey.
We hope you'll enjoy the following excerpt from The Illustrated Dust Jacket. This big, colorful book would make a wonderful gift for your favorite bibliophile (perhaps that's you?)
Introduction, by Martin Salisbury
In 1949, the then editor of Graphis, Charles Rosner, curated the first international exhibition of book-jacket design at the Victoria and Albert Museum in London. Of around 8,000 jackets in the museum’s collection, 460 were selected that were “deemed to be worthy of hanging on the walls of a national museum.” Presumably, such a statement addressed the possibility of the illustrated dust jacket’s aspirations to the status of art. The jacketed books in question were selected for the outstanding quality of the artwork that adorned them and the extent to which each one fulfilled its function in exciting interest in the book itself. The word “illustrated” of course embraces the use of a variety of forms of imagery, including photographic, hand drawn or painted. This book is particularly concerned with the last of these—the work of artists whose hand-rendered pictorial illustrations were reproduced on book jackets over a period of fifty years, from a time when publishers were beginning to see the possibilities of high-quality artwork in this context around 1920, to one when photography increasingly began to usurp the traditional artist’s skills at the end of the 1960s. The purely typographic tradition, exemplified by the work of Berthold Wolpe at Faber and Faber in these years, is also outside this book’s remit.
In Rosner’s later publication, The Growth of the Book Jacket (1949), he quotes from a deliciously pompous comment on the exhibition in the Observer newspaper by the essayist, caricaturist and general wit Sir Max Beerbohm. Writing from his home in Italy Beerbohm pronounces:
I gather that to many other arts has now been added the art of the book-jacket, and that there is an exhibition of it in the Victoria and Albert Museum. I doubt whether, if I were in England, I would visit this, for I have in recent years seen many such exhibitions. To stand by any book-stall or to enter any book-shop is to witness a terrific sense of internecine warfare between the innumerable latest volumes, almost all of them violently vying with one another for one’s attention, fiercely striving to outdo the rest in crudity of design and color. It is rather like visiting the parrot-house in the Zoological Gardens, save that there one can at least stop one’s ears with one’s fingers, whereas here one merely wants to shut one’s eyes.
Beerbohm, by then in his late seventies, was of a generation that had seen the book jacket grow from its humble origins as a purely functional plain protective bookseller’s wrapping in the nineteenth century, to something closer to the illustrated jacket with which we are familiar today. Beerbohm was not alone in being somewhat underwhelmed by the virtues of this emerging area of the graphic arts. In his Dent Memorial Lecture in 1936, Richard de la Mare, a member of the board of Faber and Faber, commented that:
The history of the book jacket is a strange one. The wretched thing started as a piece of plain paper, wrapped round the book to protect it during its sojourn in the bookseller’s shop; but it has become this important, elaborate, not to say costly and embarrassing affair, that we know today, and of which we sometimes deplore the very existence. How much better might this mint of money, that is emptied on these ephemeral wrappers—little works of art though some of them may be—be spent upon improving the quality of the materials that are used in the making of the book itself!
Such skepticism about this nascent field of creative endeavor was clearly not uncommon despite the contribution of a number of outstanding artists, who were beginning to apply their talents in this direction. Among those doing so in the UK were Edward Bawden, John Piper, Barnett Freedman and Edward Ardizzone, while in the USA, jackets designed by N. C. Wyeth, Rockwell Kent, Arthur Hawkins, Jr. and Cleonike Damianakes were adorning some of the great works of literature. In fact, far from working to the “fallacious doctrine that the loudest shout brings in the most customers,” these and other artists were contributing to the development of a new art form that the Book Jacket Designers Guild defined in terms of “successful integration of concept with graphic means, taste in design and idea, and expression of the spirit of the book.” The Guild had been formed in New York in 1947 by a group of graphic artists who were applying their talent to this field. They were keen to raise its profile and to gain wider recognition for designers and illustrators who were creating something a little more subtle than a squawking parrot.
More generally, the illustrated dust jacket as an integral aspect of the hardback book has been variable and patchy in its evolution around the world. In many cultures, including China and Japan, the jacket seems to have been something of a rarity. In Japan, the obi, a wraparound paper band much smaller and narrower than a full jacket, is used to give most of the textual information about the book, and folds over the printed boards, or sometimes over a jacket. Within mainland Europe there has been variation too, with some countries tending towards the use of illustrated stiff-card wraps as part of the binding, extended to form flaps that fold in and contain further information. For many years in France, certainly until the mid-1930s, the ubiquitous yellow paper jacket printed with black letterpress type prevailed. In Eastern Europe, the richly inventive graphic traditions were often applied in the form of printed, paper-covered boards rather than the detachable jacket. An exception was during the Weimar Republic. In that period, Germany, and Berlin in particular, was at the epicenter of avant-garde experimentation in book art and design, with richly varied approaches, including photomontage, pictorial typography and painting.
There is thus an inevitable bias in this overview towards the English language book. Though even here there can be found differences between British and American developments, as greater emphasis was placed on formatted series with consistent visual identity in Europe, whereas US publishers tended towards a more individualist approach to commissioning jacket designs. From the illustrators’ perspective, the emergence of the dust jacket opened up a new source of freelance employment. It would be rare, however, for an artist to be seen as specializing in jacket design; most would need to work across many other areas of commercial art. Nonetheless, the critic Steven Heller has observed that jacket design in America in the late 1940s “was still practiced by a small tight-knit group.” He quotes Ben Feder, one of the founding members of the Book Jacket Designers Guild, as recalling that, “There were probably no more than thirty artists working on a regular basis.”
In view of its origins as a plain protection to be discarded on purchase, and the relatively recent acceptance of the detachable jacket as an integral part of the book and its identity, it is ironic that for today’s book collectors the jacket is key—the presence of an original jacket on a sought-after first edition now greatly adds to its value. And if the design of the jacket is by a highly acclaimed artist, then that value will often increase further, at a time when awareness and appreciation of the book as a designed artifact is growing.
Before attempting to trace a brief history of the dust jacket, it might first be advisable to untangle the terminology, which has become confusing. The first “jackets” were generally referred to as “dust wrappers” and were exactly that, plain paper wrappings that protected the booksellers’ wares from the dust and dirt of the city up until the point of purchase. At which time the buyer would immediately discard it in order to enjoy the often ornately decorated leather binding that it had protected. The term “jacket” specifically describes the detachable paper cover that wraps around the hardback book, extending beyond its overall length and folding in at either end. These “flaps” hold the jacket in place and are usually printed with information relating to what the book is about. The jacket’s role as a protector has diminished over the years as it has become primarily a form of display and promotion, a mini-poster that gives a taste of the contents, catches the eye and, once picked up, leads us to a “blurb” about the author and perhaps advertisements for other titles from that author and/or the publisher. Although book jacket would seem the more proper term now for this object, dust jacket has clung on tenaciously in everyday language, long after its role in protecting the book from dust and dirt has become redundant. And although opinions vary among scholars, bibliophiles and the general public as to whether the jacket should be seen as part of the book itself or as an entirely separate, ephemeral addition, it would seem clear that the jacket is a historically important indicator of, and contribution to, contemporary graphic style and visual culture.
Although the almost universal early tendency to discard the jacket has hampered later scholarly research, it used to be generally accepted that the first printed dust jacket was for The Keepsake of 1833 for the publishers Longmans in London. Until 2009, this was considered to be the earliest surviving example of a designed wrapper printed front and back, with a title design on the front (including border and decorative fleurons) and text on the back advertising other titles in print. Then a librarian at Oxford’s Bodleian Library unearthed an example from 1830: a printed wrapper for a book called Friendship’s Offering. However, in general through the nineteenth century publishers were slow to see the possibilities of the jacket as a promotional tool. The jacket itself became an increasingly common phenomenon as leather bindings were gradually superseded by cloth-covered boards, but most of them continued to be in the form of plain paper. Occasionally, transparent glassine coverings were supplied, which allowed a view of a pictorial binding. Plain jackets were also produced with die-cut “windows,” giving a glimpse of what was underneath.
By the early twentieth century jackets were becoming increasingly common but design tended to be limited to the addition of an image taken from the interior of the book or some form of random decoration. It was not really until the 1920s that the jacket as we know it today became a familiar sight in bookshops and the art of book-jacket design became an important branch of the applied arts and an area of opportunity for artists.
The process of arriving at a design for a book’s jacket is and has always been a collaborative one. Those involved include some or all of publisher, designer, illustrator and printer. Once the brief for the work is agreed, accommodating whatever house/series style or other ingredients are required, the design begins. A jacket might be purely typographic or may combine typography and image, photographic or illustrative. As indicated, this book is concerned with the latter and aims to spotlight the high-quality pictorial art and design that adorned the jackets of books through much of the twentieth century and, more particularly, the contribution of the artists and illustrators who created that work. Terminology is again an issue here and, happily, for a considerable portion of the period under discussion, the words “artist” and “illustrator” were not quite as irreconcilable as they are today. Some of the leading gallery artists of the time engaged with the design of book jackets, particularly in the immediate postwar years, notably John Craxton, John Piper, Graham Sutherland and Keith Vaughan. In many instances “artist” and “designer” were one and the same person.
A well-designed jacket requires close synthesis between type and image. Some of the best designs therefore have been by artists who were comfortable working with type themselves, often in the form of hand-rendered lettering, or by artists with an empathy for type and able to consider the overall balance of the design in relation to the ideas of the typographic designer. As Steven Heller has observed, “successful cover design requires the expertise of an artist, typographer, poster designer and logo maker,” For much of the period surveyed by this book, the artists also needed to have a thorough grasp of the reprographic processes by which their work would be transferred to paper if they were to achieve the best results. Understanding and exploiting the limitations of, for example, letterpress line-block separations or autolithography was a feature of the work of a number of artists who became particularly influential in Great Britain, notably John Minton, John Nash and Barnett Freedman.
The legendary American designer George Salter outlined some of the key skills of the pictorial jacket designer in his article The Book Jacket in 1950:
The question whether a jacket can be designed by one artist and lettered by another may be answered in various ways. As it is possible to use an old print or photograph for a certain function in a jacket it must also be possible to combine the work of two artists in one jacket. Both drawing and lettering are a means to an end: the jacket.
Salter goes on to make it clear that the design process must always come first and that lettering and image must be considered in harmony from the outset. Equally important is the artist’s sensitivity to the text. An ability to absorb fully a book’s meanings and “tone” is essential:
Two elements not necessarily interrelated establish today the basic requirements for the makings of a good book jacket: graphic interpretation of the book’s intrinsic character and the method by which the publisher wishes to promote the title.
And on the importance of reading the full manuscript rather than submitting to publishers’ instructions or designing on the basis of a plot synopsis, he is even more unequivocal:
It seems utterly paradoxical to think that a person who makes it his profession to promote reading should voluntarily claim exemption from it for himself.
Salter was the chairman of the Book Jacket Designers Guild and he and his fellow founders were keen to counter the rise in sensationalist and titillating pulp-fiction design. Salter’s writings in the catalogues of the annual exhibitions have a somewhat evangelical and at times puritanical tone, perhaps reflecting the ongoing battle to gain acceptance of their work as a serious area of creative endeavor. Eventually, however, the importance of maintaining a record for scholars was acknowledged by the Library of
Congress in the USA in the form of an archive of almost every published example. In the UK, what is now called the British Library Dust Jacket Collection had been started in the 1920s, initially in the form of a selection of jackets that were chosen on the basis of being of particular artistic interest.
As in most areas of the commercial arts, the graphic style of dust jackets through the twentieth century generally mirrored the fashions and movements of the times, and some are outlined on the pages that immediately follow. However, in the case of the more pictorial, illustrative jackets featured in this book, an artist’s unique personal visual vocabulary could often transcend fashion and in some instances lead to a long career. Artists such as Boris Artzybasheff, Edward Bawden and Victor Reinganum employed their instantly recognizable talents across many decades without needing to reinvent themselves artistically in order to accommodate changing graphic trends and motifs. But others came and went or cleverly developed multiple visual personalities that brought them commercial reward but perhaps less cultural, critical acclaim. What was clear as the century wore on was that the pictorial design of dust jackets was becoming an increasingly appealing and prestigious area of employment for the illustrator. Having your name on the dust-jacket flap (or perhaps even a discreet signature on the front of the jacket) could mean considerable exposure for the artist and, on occasion, close association in the public’s mind with great works of literature. Conversely, for some authors it would be seen as a major boost to have the work of certain high-profile artists gracing their covers or jackets. Regrettably, many dust-jacket designs also appeared with no acknowledgment of the artist, with some publishers being more routinely guilty of this crime than others. Of course, ultimately, as the writer Jhumpa Lahiri observes in The Clothing of Books, “What is the perfect book jacket? It doesn’t exist. The great majority of covers, like our clothes, don’t last forever.” Nonetheless, I hope we can extend the lives of a few in this book.
Excerpted from The Illustrated Dust Jacket, 1920-1970, by Martin Salisbury
© 2017 Martin Salisbury
Reproduced by permission of Thames & Hudson Inc., www.thamesandhudsonUSA.com