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skepticaloccultist · 7 years

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Hell Fire Club Books

Hell Fire Club Books is a rather remarkable, very old school approach to book binding and publishing. Helmed by Eamonn Loughran they have released an astounding collection of esoteric and occult volumes over the last two decades. Individually hand craft leather and vellum bound volumes, hand worked tooling and incredible editions and folio bindings are a hallmark of HFCB work.

After reviewing his incredible edition of the Keys of Rabbi Solomon I thought that a chat about the work his is doing would be enlightening to those who, like myself, have a love for fine bindings and beautiful books.

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Lets start off with a bit of background on Hell Fire Club. When did you start publishing fine bindings? What was your first volume?

Well 'Hell Fire Club Books' really began about 20-21 years ago with my interest in the PGMs (Greco Egyptian Magical Papyri) where I produced a facsimile of one document with suggested new readings, it was the legendary 'Headless God' invocation, something that I am working on completing for this year (yes 21 years later!). The real intent of Hell Fire Club Books was to provide a window into the magical current of an old incarnation of Thelema and to link that with the modern world. I was living in Buckinghamshire (UK) at the time and had been simultaneously researching Crowley's techniques in Liber Samekh and the history of the 18th century Hell Fire Club. Behind 'Hell Fire Club Books' is actually a small circle which keeps the legends and symbolism of the original Hell Fire Club alive, thats what makes it unique!

Fine binding is having a renaissance at the moment, with deluxe editions becoming the norm for most publishers of the esoteric. HFCB on the other had is all fine bindings. How do you choose which works you feel need the special bindings you create?

Things jump at me! I literally get a big charge from the creative and magical work I'm handling and from there its a daemonic rush to the bindery where something physical takes shape! I was trained in a bindery in Nottingham UK which was established in 1903, the old guys had never worked anywhere else and binding in leather by hand was a daily practice. My first real test there was a run of over 450 leather bound books in silk lined boxes for the Houses of Parliament, a row of highly skilled craftsmen working like steam engines drinking tea all day and chatting about fishing and cricket with me in the middle trying to keep up! I learned from working with them and soaked it all up with enthusiasm every minute! I suppose I'm a visual and tactile thinker really, I've never understood the concept of a non-physical magic, for me everything is inherently physical and where the manifestation of a book touches people not only in distant places but across time then we can be sure that their experience is a more powerful one, a book literally initiates a new current.

Leather and vellum binding and sourcing high quality papers are increasingly difficult. Where do you acquire the variables for your productions?

Fortunately the best producers are all still in business! In the UK there are a number of bookbinder suppliers both trade and conservation etc plus good tanneries both here and in France and Germany. I have to say that from long experience there is only one supplier of vellum I would use and thats William Cowleys of Buckinghamshire, they have been in business over a hundred years and their work is perfection every time. I have used many paper-marblers and toolmakers over the years and have ventured into using letterpress a few times, we have two large format vintage presses here which I hope to use more of this year.

As our readers are aware I am a lover of beautiful bindings and consider it an art. Each of your works being made by hand and not outsourced means they are practically art objects. How do you feel about the sometimes eye watering secondary market valuations of your work?

Well to an extent the 'dealer' market can help to keep things in the public eye for many years, I do believe that many dealers are simply looking at the math and pricing accordingly, but yes there are a few examples of unfriendly pricing which is a pity. Personally I get more satisfaction in knowing that somebody out there got the one thing they really wanted than that a small number of people have one of everything. Im a bit of an idealist and would like to feel that handling a book or other object made by hand inspires people to really get into something, to really live it and for that magical act to reverberate throughout their lives.

Having done a bit of binding myself one hurdle has been finding the tools required to do the gold tooling for the covers, particularly the brass text pieces. How did you come on to the tool set you have?

I literally built it up over the last 10-15 years, I did inherit a significant collection of 19the and 20th century brass letters and tools (including sets in Greek and Hebrew) from the bindery I worked for, otherwise I have had tools designed and cut for each individual project. Theres a tray cabinet in the bindery with over a hundred drawers of tools and blocks which is a goldmine of ideas, sometimes I just spend an hour browsing!

Your recent publication of Peterson's translation of the Honorius looks to be another exceptional work. As you move forward with HFC do you foresee more contemporary works and translations being released?

Yes absolutely, in fact over the last year I have expanded the bindery and whether for my own imprint or for others I have been involved in at least one new publication per week. Over the last 9 years I was mostly involved in running a village pub in a place called Castle Bytham in Lincolnshire, the bindery then was a converted barn at the rear of the main building. To be honest I had outgrown it in the first few months and was looking for a larger workspace either within the village or nearby. About 12 months ago I took on a huge space in a Victorian malthouse which has since been filled with more benches, presses and so forth, a simply enormous studio but I love it!

Are you doing all of the bindery work yourself or do you have assistants? A run of hundreds of volumes is an incredible amount of work for an individual.

I am doing all the work myself I do have a bit of help with hand sewing one day a week but apart from that it's me myself and I! I was trained in a bindery established in 1903 and the prevailing attitude was pretty Victorian, the company was considered old fashioned on the 1960s and hadn't changed a bit when I worked there! I worked with a bunch of old guys who had either been letterpress trade apprentices or had gone up in the trade as bookbinders, one even had his original indenture (a form of apprentices' contact which goes back over 100 years). I actually own a set of presses and hand tools which were bought by the company when they stared as a stationers shop in the early 1900s, one of the hand tools is dateable to the 18th century (it was in a biscuit tin!) and was a treasured talisman until the company moved premises and I inherited it.

I do often hear the voices of the old binders I used to work with, turning the same presses daily that they worked at for forty years, old chaps who loved cricket, fishing and weekends away in caravans. What always tickled me was the way they gently poked fun at each other about things that happened over thirty years previously! I'm the late 1960s one of the guys had fancied himself as a songwriter and even appeared on an early television talent show, he was beaten to the prize by a singing dog, his workmates never let him forget it and thirty years later they all still sang the song on his birthday!

Do you have a particular work you feel is your masterpiece so far? One that stands out to you as an exemplar of your fantastic skills?

I guess I would have to say that the vellum edition of The Holy Books of Thelema in a leather clamshell box was pretty damn good! I got a real kick out of making all the books and boxes for all the different sets, it was over 1000 books handmade plus boxes etc so a huge commitment for one person but to think that it was the first time (since Crowley's own 1909 edition) that the Holy Books had been produced in the manner he specified, arranged exactly as the A.'.A.'. students ought to receive it. After that I think that 'The Sacred Magic of Abramelin' edited by Georg Dehn (both vellum and calfskin editions) and the 'Honorius' by Joseph Peterson are rather special.

Tell me about the re-release of "Secret Symbols of The Hell Fire Club". What type of binding and edition size can we look forward to?

The Secret Symbols of The Hell Fire Club has been an important publication for us since its first release seven years ago, it went out of print very quickly and copies are extremely difficult to find even for our members. An electronic version was made available but since then both new information and original sources have come to light which make a new edition essential. I should imagine we will produce a limited number of leather copies and a trade edition which will be sent out mainly through the United States.

The book traces the ideas and history behind the Hell Fire Club of the 18th century and gives an insight into its survival today, following clues left in the caves at West Wycombe and architecturally in the house and surrounding area, an initiatory journey is unfolded which throws light on the nature of the current of Thelema before Crowley, a mystery school with a symbolism otherwise unknown.

Have you done commission work or custom volumes for individuals or other publishers? Is that something you are open to doing?

I have done many commissions over the years and am working on a few now, mostly private manuscripts that require archival boxes or some manner of conservation but occasionally rebinding older printed books and creating blank books and artists books. Large format work is a particular favourite of mine and I love using the bigger presses to produce monsters!

I have worked with other publishers on a number of occasions and there are some well known esoteric works I have had a quiet hand in, I think in time the bindery will expand again as we continue to publish and to accept archival and private work. Who knows what the future holds...

Explore the many creations of Eamonn's Hell Fire Club Books here:

www.hellfireclubbooks.co.uk

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magicspecialist-blog · 4 years

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