Silver Binding (12 results)

Agenda-format, binding size 155 x 78 x 24 mm. Contents: 143 small engravings (all but the first 48-50 x 35-37 mm., the first, mounted sideways, measuring 50 x 97 mm.), consisting of 11 engravings for each saint, trimmed to borders and mounted on 78 leaves of wove paper. 18th-century German silver-gilt embossed binding (regilt in the 19th century), both covers with a large oval cartouche, containing a scene of the Crucifixion on the upper cover and the Resurrection on lower cover, both covers with cherubs within ornamental foliage at the four corners, the pair at top holding a cartouche with a scene of the Entombment on upper cover, and the Ascension on lower cover, the pair at the foot holding laurel wreaths and flanking a winged angel?s head; spine with embossed flowers, ribbons and foliate ornaments above and below a central scene of Moses with the brazen serpent, at top a monogram of the letters CJ; two chased metal fore-edge clasps, attaching on upper cover; lined in later (19th-century) green watered silk, edges gilt and gauffered. Housed in a folding cloth felt-lined folding case, upper cover with morocco gilt label with Abbey?s named coat of arms; his paper shelf-mark label JA 2680 on lower cover. Provenance: unidentified monogram on binding; Major John Roland Abbey (1894-1969), bookplate on case; see Hayward, Silver Bindings, no. 17; Bernard Breslauer, anonymous sale, Sotheby?s, 10 May, 1985, ?Silver and Enamel Bindings,? lot 26 (unsold).*** A stunning embossed silver-gilt binding, almost certainly produced in Augsburg, from the collection of Major Abbey. The binding dates from the ?last phase of baroque and the fully developed rococo? (Hayward), the final, culminating period of Augsburg craftsmanship in embossed silver. Describing this binding and two others from the collection, Hayward wrote: ?the most finely worked book-covers in the Abbey Collection date from the second quarter of the Eighteenth Century. The subjects are the familiar scenes from the life of Christ, but treated even in the small compass of a book-cover with extraordinary dramatic force. The designs were probably derived from a contemporary illustrated Bible, but their effectiveness is greatly enhanced by the relief in which they are rendered, and by the strong contrasts of light and shade? (p. [3]). To accentuate the pathos, the silversmith or designer chose to highlight minor characters: in the dramatic Crucifixion scene the most deeply embossed figures, occupying the foreground, are two soldiers throwing dice at the foot of the cross; similarly the centurion is the largest and most solid figure in the Resurrection scene on the lower cover. The binding encloses an album of 143 fine small unsigned 17th-century, probably Flemish engravings of Franciscan saints, neatly mounted on wove paper. The Antwerp engraver and print publisher Philips Galle had initiated the vogue for ?Franciscan? prints with his series of engravings of the Life of St. Francis, first produced before 1580 (cf. Sellink, pp. 129-131). The present suite contains 13 series, each with 11 small engravings depicting a saint or group of saints, as follows: St. Francis, The 5 Martyred Saints, the 7 Martyred Saints, Anthony of Padua, Bonaventura, Ludovicus Episcopius, Bernardino of Siena, John of Capestrano, Didacus (Diego of Alcalá), Clare of Assisi, Elizabeth of Hungary (S. Elizabeth vidua), Louis (of France) and Elzear. With one exception (John of Capestrano instead of St. Ivo of Brittany), these were the saints chosen by Hendrik Sedulius, guardian of the Antwerp Franciscans, for his Imagines Sanctorum Francisci, printed and illustrated by Philips Galle in 1602, but that quarto-format work only includes one large engraving per saint, each accompanied by a page of text. The exact source of this more extensive small format suite remains to be identified. Each engraving has a caption citing a chapter number. Major John Roland Abbey assembled the largest English book collection of his generation. His first love was bindings, and among these he brought together an exceptional group of silver bindings, some of which were described and illustrated by John F. Hayward in an article published in The Connoisseur in 1952. The present binding is number 17; Hayward noted its earlier regilding, as well as the ?fine quality? of the embossing. Bernard Breslauer later bought the collection en bloc from Abbey?s widow, ?and in 1985 Bernard consigned the collection (with some additions from his own stock) to Sotheby?s London. Despite Sotheby?s well-illustrated and informative catalogue, the sale was calamitous: of the fifty-eight silver and enamel bindings, only fourteen met the reserve? (Laird, p. 67). This binding was not one of them. Cf. M. S. Sellink, Philips Galle (1537-1612): engraver and print publisher in Haarlem and Antwerp (PhD Thesis,Vrije Universiteit Amsterdam, 1997, online).J. F. Hayward, Silver Bindings from the J. R. Abbey Collection, offprint from The Connoisseur, October 1952. Cf. M. Laird, ?Bernd (Bernard) Hartmut Breslauer (1918-2004): A Personal Memoir,? Gazette of the Grolier Club 72 (2023), 59-92. Thanks to Mr. Laird for sharing the sale results from B. Breslauer?s own catalogue, in his possession.

Beautiful, richly decorated early 18th-century Dutch silver binding. The large silver covers, together weighing about 750 grams, bear no silver marks. Although no spine is present, the clasps show that the binding was made for a book about 2 cm thick, suggesting 200 or 300 pages, so most likely made for a folio missal. The clasps are hinged to the back cover, each with a round hole that fastens to a round-headed pin on the fore-edge of the front cover.With a 1 cm crack on the fore-edge of the back cover, another slightly affecting the arm of one guard and a few tiny holes where the tips of the noses of some figures have worn, but still generally in good condition. A lovely and unusually large pair of embossed silver book covers.l Cf. J.W. Frederiks, Dutch silver, vol. 4 (1961), nos. 238-239 & plates 235-237 (vaguely similar silver bindings from 1732 & 1738); nothing similar in J.F. Hayward, Silver bindings from the J.R. Abbey collection. Pair of embossed silver book covers (34 x 25 x 3 cm); each cover with a large scrollwork cartouche surrounded by extensive vine and flower decorations and with medallion portraits in each of the four corners, the front showing the crucifixion flanked by Mary and St. John (with an "INRI" scroll above, flanked by a crescent moon and a sun, and a skull and crossbones below), with portraits of four saints, each with a blank scroll (above left bearded with a regal crown; above right clean-shaven with a round-topped mitre; below left and right bare-headed and bearded), the back showing the resurrection with an angel and two astonished guards, with portraits of the four Evangelists.

Paris, Belin-Leprieur et Morizot, s.d. (ca. 1850-1860), in-12°, 124 x 80 mm , 764 pp, with a steel-engraved frontispiece , a chromolithographic title + 3 steel-engraved plates. Binding; Bound in contemporary (most probably publisher's binding) dark blue velvet, with silver clasp and silver frame work around both covers, tail and top of spine also with a silver lining, all edges gilt, title (Paroissien) in silver letters mounted on smooth spine, kept in a simple board box. Exceptionally fine preserved velvet binding on a French mid 19th century devotional book. Nearly mint copy, in a delicate velvet-silver binding. Rare in this mint state of preservation.

Mechliniae (Mechelen), P.J. Hanicq, for the Sacra Congregatio de Propaganda Fide, 1847 in-folio, (39 x 26,5 cm) 60 nn pp including title, lithographic front. and fullpage woodcut (Brown-Lies) + 496 pp + cxciv pp + 4 pp (Missae Sanctorum Dioecesi Brugensi) + (8) additions from 1853 (e.g. missa in festo S. Francisci de Hieronymo ; concessa S.J. ; in Festo S. Godelieve) with 10 full page wood engravings (engraver T. Brown) each opposite a subtitle page with large woodengraved border., All pages printed in red and black , in two columns, and within typographicals fillets. With pages of music scores. Missal has been in use up till the 1920's. Proof of that is an inserted printed addition of 1919. The book has been bound in 1853 or somewhat later (One addition is dated 1853, bound in at the end) Notwithstanding some very sparse foxing spots , a very good copy . BINDING Spine in contemporary red leather, raised and with gilt decoration and gilt title., covers in red velvet over wooden boards. Both covers decorated with large embossed silver roccoco ornaments, including silver border with corner pieces and 8 bosses. The frontal central cartouche figures the crowned Virgin Mary holding Jesus. The cartouche at the back represents Saint John the Evangelist. Endpapers in white satin, ,All edges chiselled and gilt. The lower silver border punched with the capilal letter B ( Brussels ?) and a double faced Janus head hallmark.The upper silver border punched with the capital letter B ( Brussels ?) and a Minerva head hallmark. Excellently preserved silver binding. According the previous owner the binding should be ascribed to the Mechelen silversmith F. Van Beveren. We have been unable to corroborate this. Fine example of a silver altar missal, in fine condition with hardly any traces of use, which is rare because these missals were in daily use during mass service in the Roman Catholic church. This missal can be considered as a sumptous highlight of the Roman Catholic church litugical books, a church which had regained strenght after the debacle of the French Revolution .

Mechliniae (Mechelen), H. Dessain, successor P.J. Hanicq, for the Sacra Congregatio de Propaganda Fide, 1855 in-folio, (39,5 x 26,8 cm) 42 nn pp including title, lithographic front. and fullpage woodcut (Brown-Lies) + 514 pp + clv pp + 2 pp (Pro Soc. Iesu) + 40 pp (Missae Propriae Sanctorum Belgii) with 10 full page wood engravings (engraver T. Brown), All pages printed in red and black and within typographicals fillets. With pages of music scores. Missal has been in use up till the 1920's. Proof of that are some additions of 1927 which have been inserted. Notwithstanding some very sparse foxing spots ,some offsetting of the inserted leaves and some damaged or missing tabs (bookmarks) still a very good copy . BINDING Bound in contemporary deep red velvet over wooden boards. Both covers decorated with large embossed silver roccoco ornaments, including silver border with corner pieces and 8 bosses. The frontal central cartouche figures Saint Vincentius à Paolo with the baby child Jesus. The cartouche at the back represents Mary queen of heaven with child. Both cartouches , as the two clasps , have the hallmark of master silversmith Auguste Joseph Gavier (Courtrai- Flanders 1814 - 1863). Endpapers in white satin, ,All edges gilt. Apart from a small loss of velvet at the tail cap the binding is excellently preserved, not in the least due to the good functioning of the well designed eight bosses. Fine example of a silver altar missal, in fine condition with hardly any traces of use, which is rare because these missals were in daily use during mass service in the Roman Catholic church. This missal can be considered as a sumptous highlight of the Roman Catholic church litugical books, a church which had regained strenght after the debacle of the French Revolution .

Silver filigree binding (82 x 60 mm., including spine). The covers of filigree volutes and curling tendrils with inset painted enamel oval centerpiece and heart-shaped corner-pieces showing putti in pastoral settings below love-related mottos in French (central plaque on front cover slightly damaged), both covers decorated with ten glass ?amethysts?; hollow tubular filigree spine, pair of fore-edge clasps and catches, the silver binding mounted over later yellow silk-covered thin pasteboards, the yellow silk liners with pockets front and back; preserved in a modern morocco case. Containing a 20th-century illustrated manuscript on parchment, pasted in (partly loose).*** This silver binding with painted enamel plaques belongs to a group of similarly decorated late 17th- or 18th-century miniature bindings. Several are on late 17th-century printed books or 18th-century manuscripts which have an Italian connection, and although their style may have been imitated in various centers of book production, it seems likely that most of the bindings were produced in Italy. I know of 15 such bindings, including this one. Most are found on various late 17th-century editions of the Office of the Virgin, printed in Paris from the 1670s to the early 1690s, but including editions in Italian; these little Offices seem to have been produced at least in part for the Italian market. Two of the bindings were used for Hebrew manuscript prayerbooks produced in Italy. (A census is available on request: it expands on that drawn up and kindly shared by Dr. Jan Storm van Leeuwen, who published an earlier version in the catalogue of Patricia Pistner?s miniature book collection, A Matter of Size, no. 123.) All but one of the bindings are miniature (measuring approximately 82 x 55/58 mm.) and are adorned with 12 to 20 cut-glass ?jewels.? The silverwork is of two types: ten are filigree, with spiraling volutes, as in this binding, and five are in a floral ajouré or openwork design with stems, leaves and blossoms (as in the Pistner example). The enamel plaques are also of two types (not correlated with the two different silverwork types). The majority, eleven, show Christian religious figures, with no inscriptions; these are in at least two different styles, and were probably produced in different workshops. They are all found on editions of the Office of the Virgin, printed between 1672 and 1693, all but one in Paris. Four bindings (including this one) have secular plaques, painted in a rough, folk-art style, with putti and archaically spelled mottos relating to love. The other three bindings with secular motifs are the Pistner binding (which is empty), and two other filigree examples, both bound over Jewish or Hebrew manuscripts: one is in a private Swiss collection, and the other (in which the plaque inscriptions are in Italian) is held by Penn State University (acquired from us). All four of these ?secular? bindings have oddly shaped spines, some slightly deformed. This seems to be the result of reworking the spines to accommodate thinner text blocks than those for which they were originally intended. The design of the catches and joints of the present binding, and its filigree silverwork, are similar to the other filigree secular bindings. The plaques especially resemble those of the example in the Swiss collection; one of the central plaques shares the same inscription (here Rien m[?]arrest; in the other binding Rien m[?]arreste). However, the fine condition and perfectly rounded spine of this binding may also point to some 19th-century restoration. Bookbindings of silver and previous metal were kept and reused through generations, and thus often appear on much later books or manuscripts. This binding presently houses a 20th-century mildly erotic manuscript in French, on 10 vellum leaves, the title Cantique de Salomon in a crowned frame, the 9 following leaves containing amateurish pencil and watercolor drawings with one- or two-line captions, on rectos only. Originally glued in, most of the leaves are now loose. The manuscript is disposed in the style of a Hebrew codex, with the page order from left to right, and the Hebrew transcription of the name of God (YHWH) appears at the top of the title. For examples of the analogous bindings, see A Matter of Size: Miniature bindings and texts from the collection of Patricia J. Pistner (2019), no. 123 (referring to 7 such bindings); F. Malaguzzi, Collezioni del Museo civico d'arte antica di Torino: legature (Turin, 2011), no. 92; Luigi Mallé, Smalti - Avori del Museo d?Arte Antico (Turin, 1969), pp. 113-114; G. Fletcher, Judging a Book by its Cover: Bookbindings in the Collections of the Grolier Club (NY, 2023), no. 3.13; Musinsky Rare Books, Catalogue 28, item 7; Patrick Olson, NY Book Fair List 2024.

S.l. s.d. (Flemish, around 1900), format in-folio (38 x 24,5 cm), containing ca. 240 unnumered leaves, blank but for a faint printed blue ruling.Bound in full black morocco with one gilt fillet on both covers, all edges gilt. Paste down and first fly leaf in real green silk. The album is closed with a large silver, ciselled clasp (3 parts 50 + 40 + 50 mm ; height 75 mm). The fixed parts carry the initials E.J (front) and D.L. (back) with the dutch words: Opoffering-Arbeid , and, Vreugde-Beproeving? The moveble part shows a sailing ship named ''Ter Liefde Gods'' with a banner ''in Cruce Vita''. The reverse of the moveble clasp shows the holy Mary with folding hands. Carefull inspection did not reveal any markings of the binder nor the silversmith of this highly artistic binding. The binding is in perfect condition. Not a single letter has been written on the blank pages.

Ratisbonae ( Regensburg ), Sumtibus, chartis et typis Friderici Pustet, 1863, in-folio, 40 x 26,5 cm, (34) nn pp (with chromolithograpic title; typographical title, calender.) + 548 pp (with several full page steel engraved plates ) + (179) pp + (1)nn pp ((ad Lectori) + xlviii pp (appendix missarum) + 16 pp (Missae Proproae Sanctorum.Dioecesis Leodiensis). The last part (16pp) is printed in the same typography by the Mechlin publisher-printer Dessain and indicates that the missal was intended for use in the Diocese of Liège (Southern Belgium). All pages printed in red and black with intricate typographical border. Printed in two columns, with numerous picturial initioals. , . BINDING : Full red-brown morocco, smooth spine with engraved silver title., both covers decrated with important silver decoration: frontcover ''the last supper'' ; backcover ''nativity scene'', two working silver clasps ; corners with large silver triangle protections (9cm). All silver decorations with the silver marking ''J)(D'' (unidentified, probably Liège) All edges gilt. With end papers in red colored silk. Fine silver binding in fine condition with hardly any traces of use,(the outer joints are expertly restored). Interior fine and without stains or foxing. which is rare because these missals were in daily use during mass service in the Roman Catholic church. The missal, always in Latin, was the most important book in the Roman catholic liturgy and served during mass (Eucharist celebration). It was made universal for the Church at the Council of Trent (1545-1563) and virtually made redundant at the Second Vatican Council in the 1960's. Finely preserved missal in a spectacular and wel preserved silver bindin.

"Speculum Poenitentiae, in quo, ad peccatores convertendos, praecipui tam veteris quam novi Testamenti poenitentes per tabulas exhibentur []. Very finely worked, French binding in the style of the Régence. The scene on the front cover with master's mark "T.G. under lily" and (probably) hallmarks. According to the assessment of a silver expert, they point to France and date to the time before the Revolution of 1789. The binding of impeccable condition. With a copper-engraved frontispiece and 20 copper plates. 9 fol., 390 pp. (incomplete, end missing). Ornamentally pierced, finely gauffered, and embossed silver binding over red velvet. Front and back cover with central biblical scenes: "Finding of the Moses Boy" and "Moses and Aaron as Warriors", in the background the "Dance around the Golden Calf". Back with three putti as allegories for faith, love, and hope. Rocailles, ribbon work, and rich floral and figural decoration surround the motifs. Two openwork cast clasps. H. 14.4 x W. 8 x D. 3.3 cm.".

London, George Virtue, 1846, in-8°, 21,5 x 13,5 cm, (12)nn pp (title, engraved portait, manuscript ex-libris leaves) + 672 pp. Binding ; Silver binding over black velvet with large silver supra libro with the initials HH (130 x 80 mm), silver decoration and silver title label on spine. Both covers completely bordered with an elaborate silver frame with two large clasps. All edges gilt and decorated with a blindtooled pattern. The binding is in very good shape. Only a tiny fragment of one of the spine ornaments is missing. Provenance; Bound before the title are two vellum paper leaves containing quotes from the bible and the opening sentence ; '' Harriet Hamilton, her book, june 1854''. Also the initials HH on the front cover refer to Harriet Hamilton. Most probably (*) this book belonged to Lady Harriet Hamilton (*6.7.1834 , +23.4.1913) daughter of James Hamilton 1st Duke of Abercom. She is depicted as a baby in a famous painting by Landeer. There exists a picture by Roger Fenton of her which would have been taken during the time when she purchased this book ; 12 May 1854 ; Lady Harriet Hamilton as Mary Queen of Scots, for Countess Walewska's Ball. In this picture she is portrayed with one book on her lap and two books on a nearby table (Royal Collection RCIN 2906578). Fenton depicted her also as Lady Jane Grey in the same year, in a similar pose, also surrounded by books (San Francisco AMICA library ID FASF.6065). (*)We can not ascribe this book with absolute certainty to the library of Lady Harriet Hamilton because several persons with her name lived in England around 1854. However the luxurious execution of the binding which would have been very expensive, together with the fact that she was in her prime in 1854 and socially very active makes her the most likely candidate.

Antverpiae, (Antwerpen), Ex Architypographia Plantiniana , 1738 , in-folio, 35.5 x 23 cm, title with engraved vignette + (66) nn pp + 624 pp + cxxiiii pp + (4)(index) , inserted at some pages and bound at the end some later additions pertaining to the diocese of Gent , with 7 full page copper engraved plates, entirely printed in red and black, with numerous woodcut ornamental initials. Fine interior allthough there is a tiny hole in the title, without loss of text. Silver Binding; late18th or early 19th century full red morocco, both sides with identical gilt tooling consisting of a large floral fillet ; width 28 mm, edges gilt, marbled endpapers, all edges gilt. With important silver central cartouches on both covers and 4 large cornerpieces, with two clasps mounted on silver strips which completely cover the board edges. Binding in late baroque style, with illegible silver marks. Finely preserved.

15. In-folio, 33 x 21 cm, full black leather, on the covers decoration with floral fillets, and four corner pieces in silver, two silver clasps. The clasps are stamped with the Cologne town stamp and the stamp of Wilhelm Sittmann (Köln 1725 -1778) (Signed silver binding, Köln). Only a binding, no text.