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Collection: Six Centuries of Master Bookbinding at Bridwell Library
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…
Latin and French on opposite pages. The main design element is the poet's attribute, the laurel wreath. Characteristic of Creuzevault's late work, the design depends less on gold fillets and concentrates more on the bold geometry and subtle color…
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…
Katharine Adams (1862–1952) made this elegant gold-tooled goatskin binding for Charles H. St John Hornby, the founder of the Ashendene Press. Largely self-trained, Adams enjoyed the patronage of several private presses, including the Doves Press, the…
Jeweled binding by Sangorski and Sutcliffe. The art style is influenced by the floral opulence of Islamic art.
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…
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.
"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…
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…
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…
The binding is stamped with gilt borders and a central roundel depicting the "Investiture of St. Ildefonsus."
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…
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…
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…
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,…
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.
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…
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 covers of this Psalter are decorated with a delicately embroidered rose tree of coiled silver thread with green leaves and two pink flowers on the lower branches. The covers of this Psalter are decorated with a delicately embroidered rose tree 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…
Gilt calfskin binding. The ornate centerpiece block, dotted background, elegant cornerpieces, and the leafy hatched tool that extends out of the centerpiece indicate that it may be the work of the still-unidentified "MacDurnan Gospels Binder" (named…
Bound in Mexico using gold-tooled bindings. The gilt central armorial device on both covers belonged to the Franciscan Convent of Mexico City.
Binding made for Thomas Wotton, the "English Grolier". Binding features interlacing strapwork that is gilded and painted or enameled.
This goatskin binding has a circular cameo of the Pietà.
Binding by Garrett Godfrey. Calfskin binding has Godfrey's panel stamp with the monogram "GG" among the design on the front cover.