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Collection: Six Centuries of Master Bookbinding at Bridwell Library
Bound by a follower of skilled master Conradus de Argentina. This book has eighteen blind stamps which are attributed to de Argentina's followers. The binding might have been done by a follower who later utilized de Argentina's tools.
This "sombre" binding of about 1680 encloses two much earlier books, the first quarto edition of the King James Bible (1612) and aBook of Psalmsof 1620. The books were trimmed significantly for this binding, and the edges of their leaves were stained…
Crowded with a great variety of simple stamps and painted in garish pigments, this type of vellum binding is known in German as "Bauern Einbände" (peasant bindings). The binding for this Lutheran Bible in German, tinted with light orange, yellow, and…
Binding made for Thomas Wotton, the "English Grolier". Binding features interlacing strapwork that is gilded and painted or enameled.
Morris wanted a fifteenth-century style binding for the Chaucer, but Cobden-Sanderson, declining to produce a retrospective pastiche, convinced Morris to design it himself for the Doves Bindery to execute. This copy was presented by the book's…
This notably extravagant binding is the work of an unknown binder employed by Napoleon III (1808–1873). It is heavily decorated, using nearly every nineteenth-century technique of moulding and tooling. This binding is copy number 89 of 103 of…
All four of the decorated borders on this binding were made with a single roll containing antique masks, flourishes, and the initials "NS." Found on several Oxford bindings, this roll doubtless originally belonged to Nicholas Smith (c. 1565–1609), an…
The style of the "Harleian" bindings is exemplified nicely by this impressive volume. Although records kept by the Harleian Librarian, Humfrey Wanley (d. 1726), cannot prove that this vellum copy of the 1459 Durandus was owned by the Earl of Oxford,…
Binding by Garrett Godfrey. Calfskin binding has Godfrey's panel stamp with the monogram "GG" among the design on the front cover.
Bound in Mexico using gold-tooled bindings. The gilt central armorial device on both covers belonged to the Franciscan Convent of Mexico City.
Both the binding and the illuminations in this book are by Ulrich Schreier. Decoration on the central panel of the upper cover was done using the cuir-ciselé process. Design on the lower cover utilizes Schreier's Kopfstempel around the perimeter of…
Panel stamp depicting "Ecce Homo" scene on the front cover. The back cover has dragons, falcons, and monstrous dogs framed by vegetal ornament.
The author of this book, Jonas Hanway, gave away specially bound presentation copies of wholesome literature in an effort to fortify the morals of English society. Hanway employed two unidentified binders for his presentation copies, and the second…
Binding by Richenbach. He blind-stamped and painted the title "Discipulus" on the cover. Additionally he added red and dark brown pigment to blind-tooled emblems. Three border rolls have a repeated floral motif, hunters and birds, and running…
This goatskin binding has a circular cameo of the Pietà.
"Illuminated" in neo-Gothic style with chromolithographs designed by the noted calligrapher Owen Jones (1809–1874). The light wooden relievo covers, designed by Jones and made by Edmonds & Remnants, London, were produced by heat stamping in a…
Bound by Samuel Mearne. This dyed goatskin binding, one of three by Mearne in the library's collection, bears the monogram of Charles II - two opposed C's with palm branches, crowned - which marked it for use in a Chapel Royal.
The binding is stamped with gilt borders and a central roundel depicting the "Investiture of St. Ildefonsus."
Intended for private use, this pocket-sized edition of musical settings of the Huguenot Psalter was bound à la fanfare. This tiny calfskin binding exhibits all seven of the essential characteristics that define "fanfare" bindings.
A genuine binding by Icilio Federico Joni, who was known for his forgeries. This binding wasn't intended as a forgery. Binding is inspired by Alessandro Piccolomini.
Parisian design with a central panel of five vertical floral rolls and parallel fillets set within two outer borders of fleurs-de-lis and flowers within lozenges.
Bound in Russia leather with gold line tooling and gilt edges by Roger Payne. Simple yet attractive, it dispenses with Payne's familiar array of small tools in favor of plain gold fillets comprising paired lozenges with semicircular lobes at the…
Binding by Georges Cretté who favored geometric Art Deco designs. One of the hallmarks of his style was his faultless use of gold fillets, which earned him the nickname "mare des filets." It is copy 75 from an edition of 110, inscribed to Cretté by…
The first edition of John Ruskin's The Stones of Veniceis an incomparable association copy. Inscribed by Ruskin "To John Everett Millais, with the author's sincere and respectful regards. Glenfinlas, 22 October, 1853," it was presented to the…
The "pear" is covered in green and yellow painted buckskin surmounted by a stem, while the torso is in crushed white buckskin. Within the two-part leather "box" is a manuscript by the calligrapher Michael Sull, the leaves of which echo the shape of…