The National Art Library’s holdings of modern bookbindings were recently enriched by a generous gift from the late British bookbinder, graphic designer, and typographer, John Westwood (c.1920-2018). The twenty-eight books he donated to the Library bear covers of his own design and date from 1937 to the 1970s. They represent his varied career in book design: some are bound by his own hand, others have painted paper covers, and several are case bindings commercially produced by the publisher.
From his traditional training as a bookbinder in the 1930s, Westwood’s career gradually developed into that of a modern professional designer of the 20th century. Throughout his life he was a passionate advocate for the national need for creative design and the V&A Museum is therefore a fitting home for a collection of his work.
The National Art Library’s Senior Librarian and the Curator of Special Collections visited Westwood at his home in Oxfordshire shortly before he gave the books to the National Art Library. This blog quotes Westwood’s own words, taken from a recorded interview which was made on that visit.
The mid-20th century was a pivotal time in the field of bookbinding design with new styles emerging. The prettily arranged flowers of the Arts and Crafts movement – which Westwood himself described as “archaic” (“The Society of Bookbinders: Newsletter”, December 2005) – were giving way to the bold designs of French bookbinders such as Paul Bonet. As a student at London’s Royal College of Art, Westwood was inspired by these powerful French compositions and recalled seeing examples on display in London and at the V&A which commissioned and bought French bindings in the late 1940s and 50s. On presenting his gift of books he explained, “Everything you see here is derived from that moment of knowing about the French work.” (Interview with John Westwood, recorded on a visit to his home in July 2016).
Westwood’s own work soon received acclaim and won awards. In 1951 two of his bookbindings were selected by the Design Council to be exhibited in a show on London’s South Bank as part of the 1951 Festival of Britain. The festival was a celebration of British industry, arts and science and aimed to inspire creativity in post-war Britain. It also coincided with the centenary of the 1851 Great Exhibition of All Nations which had led to the establishment of the South Kensington Museum, now the V&A. Both bindings selected by the Design Council are included in Westwood’s gift to the Library: Sir Walter Scott’s New Love Poems and Eric Gill’s Essay on Typography.
Westwood later moved into commercial cover designing and worked closely with The Folio Society who since 1947 had been producing collectable illustrated books on a commercial scale. His first cover design for them was for a 1954 edition of Hamlet, the first in a series of Shakespeare publications by Folio. His design was re-used for the subsequent titles in the series, stamped in black and gold on a different coloured cloth each time.
Besides his own practice, Westwood also taught at regional art schools in Carlisle and Coventry. His recollections of time spent there reflect his fondness for the art school environment, providing tuition for professionals and amateurs alike and opportunities for discussion and collaboration. In later life he was concerned by the closures of many art schools across the UK and the potential loss of opportunities that this would result in. The gap left by these closures has had a knock-on effect for museums like the V&A, prompting a renewed and pressing role for them in art and design education.
The nurturing environment of the art school was something that Westwood strove to emulate in the workplace. In 1960 he was appointed as Manager of Design and Production at Her Majesty’s Stationer’s Office (HMSO), the British government department responsible for printing official documents. Their output included everything from fine illustrated hardbacks to letter heads and official forms. Westwood started with just five staff members on his team but as he proudly explains, “I gradually built up the reputation of HMSO on the design side and by the 1970s I had twenty-four staff there. We had the best book design studio in London!” (Westwood 2016). During his time at HMSO, UK Government publications gradually became presented with readable, modern typography and attractive cover designs produced by a team of professional creative designers. Among their output were some wonderful publications and posters produced for the V&A in the 1960s, 70s and 80s.
Westwood felt strongly that the history and development of book design in the 20th century was a subject that demanded more research (Westwood 2016). His gift of books has enriched the National Art Library’s holdings on this subject and will, I hope, act as a stimulus for such research to take place. Joining examples that inspired his own early work, his designs can now be studied and enjoyed in the Reading Room by future generations of researchers and designers.
These books are available to view in the National Art Library and can be requested through our catalogue, the full selection can be found here.
How wonderful that John Westwood’s gift found its way to the National Art Library: moments like that really show how personal passion can ripple out into something lasting for everyone. I’ve always believed artwork and books connect us in ways that feel deeply human, like shared stories through time. When I first started visiting museums regularly, I even called the culpeper star exponent customer service once to track down an article about a local exhibit, and that little exchange made me appreciate how communities preserve history. Gifts like this remind us that preserving culture and creativity isn’t just about objects, it’s about inspiration and connection for generations.