Book Bindings

Many books in the historical collection of the State Library still have their original bindings, which were designed with the techniques and in the style of their respective time periods. Precious gold-work and ivory reliefs, as well as intricately decorated leather bindings and paper envelopes clearly display the worth of the books and their contents.

This brocade paper serves as an endpaper in a book about the history of Japan. A group of figures in Asian clothing between foliage are printed in gold on the colourful paper. 18th century | SBB, 47 C 21
This brocade paper serves as an endpaper in a book about the history of Japan. A group of figures in Asian clothing between foliage are printed in gold on the colourful paper. 18th century | SBB, 47 C 21
Calfskin-bound volume, gilded and painted with lacquer, ca. 1600 | SBB, Bibl.q.76
Calfskin-bound volume, gilded and painted with lacquer, ca. 1600 | SBB, Bibl.q.76
G. A. Suckow's "Oekonomische Botanik", 1777, in a brown calfskin renaissance binding with flourishing vines printed in gold | SBB, Bip.Bot.o.31
G. A. Suckow's "Oekonomische Botanik", 1777, in a brown calfskin renaissance binding with flourishing vines printed in gold | SBB, Bip.Bot.o.31
On the spine of a calfskin binding he crafted, François Gaudreau, court bookbinder of Queen Marie Antoinette (1755–1793), immortalised himself with a golden stamp: Gaudreau Relieur De La Reine (Gaudreau, the Queen's bookbinder) | SBB, Bip.H.As.q.2(1-12
On the spine of a calfskin binding he crafted, François Gaudreau, court bookbinder of Queen Marie Antoinette (1755–1793), immortalised himself with a golden stamp: Gaudreau Relieur De La Reine (Gaudreau, the Queen's bookbinder) | SBB, Bip.H.As.q.2(1-12
The label of Nicolas-Denis Derôme (1731–1788), also called Derôme le Jeune, the most significant master of the famous French bookbinding family Derôme, is pasted onto the inner page of the front flyleaf of a volume from the Bibliotheca Bipontina | SBB, Bip.L.fr.o.346
The label of Nicolas-Denis Derôme (1731–1788), also called Derôme le Jeune, the most significant master of the famous French bookbinding family Derôme, is pasted onto the inner page of the front flyleaf of a volume from the Bibliotheca Bipontina | SBB, Bip.L.fr.o.346
A bright, late Gothic pigskin binding decorated with blind embossings of flower pistils and pointed oval vines. Early 16th century | SBB, Inc.typ.M.III.8
A bright, late Gothic pigskin binding decorated with blind embossings of flower pistils and pointed oval vines. Early 16th century | SBB, Inc.typ.M.III.8
The spine of a renaissance binding for Sebald Welser (1557–1589), painted with lacquer and further decorated with golden single and panel stamps | SBB, JH.Ma.q.3
The spine of a renaissance binding for Sebald Welser (1557–1589), painted with lacquer and further decorated with golden single and panel stamps | SBB, JH.Ma.q.3
The threads used to stitch the text block and limp parchment binding together are tied together in a star pattern. Start of the 16th century | SBB, Inc.typ.Ic.I.55
The threads used to stitch the text block and limp parchment binding together are tied together in a star pattern. Start of the 16th century | SBB, Inc.typ.Ic.I.55
The green-and-yellow footband binding made by Adam Metzner, bookbinder in Bamberg. The volume's edge is coloured red, partly gilded, and punched in star shapes. Ca. 1900 | SBB, L.art.o.8-aa
The green-and-yellow footband binding made by Adam Metzner, bookbinder in Bamberg. The volume's edge is coloured red, partly gilded, and punched in star shapes. Ca. 1900 | SBB, L.art.o.8-aa
Gilded edge of a lacquer volume crafted in the Weischner bookbinding workshop in Jena. Punched and coloured winged angel heads as well as coats of arms are painted on it. Ca. 1580 | SBB, L.gr.o.307-a
Gilded edge of a lacquer volume crafted in the Weischner bookbinding workshop in Jena. Punched and coloured winged angel heads as well as coats of arms are painted on it. Ca. 1580 | SBB, L.gr.o.307-a
Close-up of a binding decorated with a plate printing painted with lacquer, crafted in the Weischner bookbinding workship in Jena, ca. 1580 | SBB, L.gr.o.307-a
Close-up of a binding decorated with a plate printing painted with lacquer, crafted in the Weischner bookbinding workship in Jena, ca. 1580 | SBB, L.gr.o.307-a
The coloured and framed coat-of-arms supralibros of Julius Echter von Mespelbrunn, Prince-Bishop in Würzburg (1545/1573–1617), is embedded in a frame of slate knife lines and figures embossed with roller handstamps | SBB, M.q.113
The coloured and framed coat-of-arms supralibros of Julius Echter von Mespelbrunn, Prince-Bishop in Würzburg (1545/1573–1617), is embedded in a frame of slate knife lines and figures embossed with roller handstamps | SBB, M.q.113
Upper left-hand corner of an Evangeliary's front board. It is covered with dark blue silk and features an ornamented brazen frame as well as Sol and little stars. Late 15th century | SBB, Msc.Bibl.97
Upper left-hand corner of an Evangeliary's front board. It is covered with dark blue silk and features an ornamented brazen frame as well as Sol and little stars. Late 15th century | SBB, Msc.Bibl.97
Consecrating Christ child with a scroll. Detail on a Byzantine ivory relief of the Hodegetria (2nd half of the 10th century), set into the front cover of the Fulda sacramentary | SBB, Msc.Lit.1
Consecrating Christ child with a scroll. Detail on a Byzantine ivory relief of the Hodegetria (2nd half of the 10th century), set into the front cover of the Fulda sacramentary | SBB, Msc.Lit.1
The brazen corner, adorned by flowers and leaves, and upper clasp of a white pigskin volume from the Benedictine monastery St. Michael in Bamberg, 1612 | SBB, Msc.Hist.141
The brazen corner, adorned by flowers and leaves, and upper clasp of a white pigskin volume from the Benedictine monastery St. Michael in Bamberg, 1612 | SBB, Msc.Hist.141
One of two cast brazen clasps belonging to an Antiphonary from the Cistercian monastery in Langheim. The clasp takes the form of a lion's head with tripartite mane, behind which the pin is visible. Ca. 1500 | SBB, Msc.Lit.30
One of two cast brazen clasps belonging to an Antiphonary from the Cistercian monastery in Langheim. The clasp takes the form of a lion's head with tripartite mane, behind which the pin is visible. Ca. 1500 | SBB, Msc.Lit.30
A part of the horn plate remains on the title label "Summa virtutem", which is kept in place by nailed-on brazen rail on the front cover of a manuscript dating to ca. 1400 | SBB, Msc.Theol.60
A part of the horn plate remains on the title label "Summa virtutem", which is kept in place by nailed-on brazen rail on the front cover of a manuscript dating to ca. 1400 | SBB, Msc.Theol.60
The red, calfskin-bound eulogy for King Charles II of Spain (d. 1700) was in the possession of Theresa Kunegunda Sobieska, second wife of Maximilian II Emanuel, Elector of Bavaria, in 1704. Maximilian's son from his first marriage, Joseph Ferdinand, had been named Charles II's heir. The supralibros, printed in gold, shows the Elecotral Bavarian coat of arms and electoral hat. The veined paste paper seen in the background is the volume's endpaper | SBB, 47 D 15
The red, calfskin-bound eulogy for King Charles II of Spain (d. 1700) was in the possession of Theresa Kunegunda Sobieska, second wife of Maximilian II Emanuel, Elector of Bavaria, in 1704. Maximilian's son from his first marriage, Joseph Ferdinand, had been named Charles II's heir. The supralibros, printed in gold, shows the Elecotral Bavarian coat of arms and electoral hat. The veined paste paper seen in the background is the volume's endpaper | SBB, 47 D 15
Leather bookmarks, protruding over the fore edge of the "Graduale Bambergense," permanently mark specific chants and thus help finding them fast. 1st quarter of the 14th century | SBB, RB.Msc.169
Leather bookmarks, protruding over the fore edge of the "Graduale Bambergense," permanently mark specific chants and thus help finding them fast. 1st quarter of the 14th century | SBB, RB.Msc.169

Mediaeval Book Art

Book covers decorated with ivory reliefs are an important and notable example of Mediaeval cover art. Byzantine carvings from the 10th century protect liturgical texts such as the two cantatoria from the Bamberg cathedral treasury (so-called prayer books of Emperor Henry II and Empress Cunigunde, Msc.Lit.7 and Msc.Lit.8) and a sacramentary from Fulda (Msc.Lit.1). Silk fabrics were sometimes used to protect more richly-decorated volumes (Msc.Lit.131 and Msc.Bibl.95).

A horn-plate binding covers the Bamberg Psalter (Msc.Bibl.48), a splendidly illuminated manuscript from the 13th century. The miniatures on the book covers are protected by transparent horn plates with silver mountings.

Decorative Leather Bindings

As early as in the Romanesque period, leather was embossed using decorative stamps without additional color or gold. One such example is a manuscript from the 12th century whose front and back covers are densely covered with blind-tooled ornaments (Msc.Bibl.30).

The technique of cutting leather (cuir ciselé) allowed to create individual designs of book bindings. Coats of arms, allegorical scenes, and other ornaments were cut into the moistened leather with a knife, and then the pictures were highlighted with punches. In Franconian book-making centres such as Bamberg and Nuremberg, notable pieces representative of this technique were produced in the 15th century; 17 copies are preserved in the Bamberg State Library (see Msc.Can.87, Msc.Bibl.148).

The Michaelsberg Benedictine abbey had its own bookbindery, which furnished manuscripts and prints with covers in Gothic style (e.g. Msc.Patr.34).

The original bindings of the mediaeval manuscripts of the chapter library were replaced between 1611 and 1614 by new bindings, which were crafted from white pigskin and have the gold-embossed crest of the Bamberg bishopric with an image of an enthroned Emperor Henry II in the middle of the upper cover. The back cover is decorated with the coat of arms of the cathedral dean Erasmus Neustetter and the cathedral capitular Hektor von Kotzau, who financed this restoration work.

Literature

Ferdinand Geldner: Bamberger und Nürnberger Lederschnittbände. Festgabe der Bayerischen Staatsbibliothek für Karl Schottenloher. Munich, 1953 (catalog).

 

Gilded Books

A selection of 18th century leather bindings, belonging to the Bibliotheca Bipontina of Charles II August, Duke of Zweibrücken (1746–1795) | SBB
A selection of 18th century leather bindings, belonging to the Bibliotheca Bipontina of Charles II August, Duke of Zweibrücken (1746–1795) | SBB

A rich collection of books decorated with gold-tooled spines and covers can be found in the Bibliotheca Bipontina, which came to Bamberg from the possession of the Duke of Wittelsbach Charles II Augustus of Pfalz-Zweibrücken (1746–1795). This collection also contains numerous examples of French art of bookbinding. The Bipontina room, a showroom in the State Library, still recreates the original display of a part of the Zweibrücken library.

Bindings decorated with painted portraits of Saxon electors (Bibl.q.76, L.gr.o.307-a), coats of arms for patricians (JH.Ma.q.3) and cardinals (JH.Bg.o .154) as well as silver covers (RB.Th.lit.d.33-m, Sel.365) are other impressive highlights of the Bamberg collection. Special skills on the part of the bookbinder as well as the reader were required for a book that could be opened from six different sides, a so-called vexation binding (L.th.c.q.5). Many books are only decorated with artfully designed covers but also with richly decorated and gilded edges (Coll.leg.d.28, Ph.o.483, Th.dp.o.117-g, RB.Th.mor.o.6, Bibl.o.221, JH.Inc.typ.IV.316).

Parchment and Paper Envelopes

Since wooden book covers made transport more difficult, lighter materials were used already in the Middle Ages for books which should be easily transportable, such as those for students and preachers. They mostly carried flexible envelopes, the so-called limp vellum binding (Kopert). For this purpose, a parchment sheet was placed around the book block and the stitching threads were strung through the looped back, which was often reinforced with horn plates. A flap attached to a button with a cord protected the contents from becoming dirty (Msc.Phil.3, JH.Msc.Phil.2, Inc.typ.Ic.II.58, JH.Msc.Hist.98, Msc.Hist.160, Msc.Med.13).

Already in the 15th century, printers produced simple paper envelopes decorated with woodcuts. The State Library preserves the oldest known example of this type of cover, of which only about 20 have survived to date (Inc.typ.Ic.II.2).

Colorful paper envelopes were especially popular in the 18th century for smaller volumes. The most important centre of production was in Augsburg; however, such envelopes were created elsewhere in Franconia with a wealth of different decors. In the case of calico paper, the paint was applied by wooden or calico models (RB.Msc.31). Brocade papers were provided with delicate patterns in imitation gold or silver print (XII M 104).

The State Library holds a separate collection dedicated to Buntpapier wrappers (XII A–P) which comprises around 330 items. In addition, hand-decorated papers were used for flyleaves in high-quality leather bindings.

A gold-embossed, red leather volume with a flap containing an Arabian manuscript, and its matching leather bag, made of embroidered velvet | SBB, Msc.Add.1003
A gold-embossed, red leather volume with a flap containing an Arabian manuscript, and its matching leather bag, made of embroidered velvet | SBB, Msc.Add.1003
Two invory plates (Constantinople, 2nd half of 10th century) cover a manuscript containing liturgical chants; the front plate is assumed to show Christ Pantocrator with name inscription. The book's spine is covered in silken cloth (ca. 1500) | SBB, Msc.Lit.8
Two invory plates (Constantinople, 2nd half of 10th century) cover a manuscript containing liturgical chants; the front plate is assumed to show Christ Pantocrator with name inscription. The book's spine is covered in silken cloth (ca. 1500) | SBB, Msc.Lit.8
Contemporary horn-plate binding of the Bamberger Psalter (Bamberg Psalterium), dated to ca.1220/1230. Its front and back cover are decorated with opaque paintings on parchment, adorned with gold-foil and kept under transparent horn-plates; the latter are held in place by nailed-on silver bars which are partly engraved | SBB, Msc.Bibl.48
Contemporary horn-plate binding of the Bamberger Psalter (Bamberg Psalterium), dated to ca.1220/1230. Its front and back cover are decorated with opaque paintings on parchment, adorned with gold-foil and kept under transparent horn-plates; the latter are held in place by nailed-on silver bars which are partly engraved | SBB, Msc.Bibl.48
A dark brown, blind-embossed Romaneque cover from the end of the 12th century. The stamps are exactly placed to form circulatory rows as well as some rosettes | SBB, Msc.Bibl.30
A dark brown, blind-embossed Romaneque cover from the end of the 12th century. The stamps are exactly placed to form circulatory rows as well as some rosettes | SBB, Msc.Bibl.30
A former treasure binding, robbed of its jewellery stones. It was part of Bamberg Cathedral's treasury and contains a 10th-century manuscript | SBB, Msc.Bibl.38
A former treasure binding, robbed of its jewellery stones. It was part of Bamberg Cathedral's treasury and contains a 10th-century manuscript | SBB, Msc.Bibl.38
Cover of a Roman Gradual assumed to have belonged in Bamberg Cathedral, dated to 1465. The iron rails attached to the lower part of the cover are meant to support the volume when it is stored atilt on top of a lectern | SBB, Msc.Add.3002
Cover of a Roman Gradual assumed to have belonged in Bamberg Cathedral, dated to 1465. The iron rails attached to the lower part of the cover are meant to support the volume when it is stored atilt on top of a lectern | SBB, Msc.Add.3002
Volume bound in silken cloth, coloured in two shades of red, over parchment; two oppositely arranged pairs of birds sit on small trees. Woven in an imperial workshop in Constantinople to the end of the 10th century | SBB, Msc.Bibl.95
Volume bound in silken cloth, coloured in two shades of red, over parchment; two oppositely arranged pairs of birds sit on small trees. Woven in an imperial workshop in Constantinople to the end of the 10th century | SBB, Msc.Bibl.95
Binding with surviving fragments of oriental silk brocade on wooden board covers, and nailed-on silver plates showing throning apostles. 1st quarter of the 11th century | SBB, Msc.Lit.131
Binding with surviving fragments of oriental silk brocade on wooden board covers, and nailed-on silver plates showing throning apostles. 1st quarter of the 11th century | SBB, Msc.Lit.131
Only the dark blue silken cloth, the decorated brazen frame as well as Sol, Luna and a couple of stars remain on the covers of this late 15th century Evangeliary; a Crucifixion scene remains missing | SBB, Msc.Bibl.97
Only the dark blue silken cloth, the decorated brazen frame as well as Sol, Luna and a couple of stars remain on the covers of this late 15th century Evangeliary; a Crucifixion scene remains missing | SBB, Msc.Bibl.97
Loose Leather binding serving as additional protection for an Arabian manuscript (ca. 1485) bound in paper | SBB, Msc.Hist.16(1
Loose Leather binding serving as additional protection for an Arabian manuscript (ca. 1485) bound in paper | SBB, Msc.Hist.16(1
This Gothic cuir-ciselé binding made by Meir Jaffe shows several scenes of the Old and New Testament; to the top, a depiction of the Fall of Men; and at the bottom, a stag chased by three dogs, an allegory of the passion of Jesus Christ | SBB, Msc.Bibl.148
This Gothic cuir-ciselé binding made by Meir Jaffe shows several scenes of the Old and New Testament; to the top, a depiction of the Fall of Men; and at the bottom, a stag chased by three dogs, an allegory of the passion of Jesus Christ | SBB, Msc.Bibl.148
A Gothic binding manufactuered in Bamberg. Rosetta stamps frame the coat of arms of the Unbehaun family of Nürnberg as well as ornamental vines, both carved into the leather | SBB, Msc.Can.87
A Gothic binding manufactuered in Bamberg. Rosetta stamps frame the coat of arms of the Unbehaun family of Nürnberg as well as ornamental vines, both carved into the leather | SBB, Msc.Can.87
The front edge of a manuscript written in the Clarissine Convent of Nuremberg in the late 14th century. Its red colour and painted black ornaments are partly covered by the binding's leather straps | SBB, Msc.Hist.146
The front edge of a manuscript written in the Clarissine Convent of Nuremberg in the late 14th century. Its red colour and painted black ornaments are partly covered by the binding's leather straps | SBB, Msc.Hist.146
A Byzantine ivory relief of the Hodegetria (2nd half of the 10th century) adorns this volume's binding, allegedly crafted in Bamberg after 1007/1021. The ivory plate is framed by vines, animals, and the personifications of the cardinal virtues, all engraved in silver | SBB, Msc.Lit.1
A Byzantine ivory relief of the Hodegetria (2nd half of the 10th century) adorns this volume's binding, allegedly crafted in Bamberg after 1007/1021. The ivory plate is framed by vines, animals, and the personifications of the cardinal virtues, all engraved in silver | SBB, Msc.Lit.1
Limp bindings (Kopert) are noticeably lighter and more flexible than wooden board bindings. This leatherbound copy, dating back to the 17th century, had the back of its binding lengthened to wrap around the edge for protection | SBB, JH.Msc.Hist.98
Limp bindings (Kopert) are noticeably lighter and more flexible than wooden board bindings. This leatherbound copy, dating back to the 17th century, had the back of its binding lengthened to wrap around the edge for protection | SBB, JH.Msc.Hist.98
A pen-and-ink drawing of an orthodox crucifix with Greek inscription decorates these leather covers belonging to a 16th century Greek liturgy manuscript | SBB, Msc.Lit.43
A pen-and-ink drawing of an orthodox crucifix with Greek inscription decorates these leather covers belonging to a 16th century Greek liturgy manuscript | SBB, Msc.Lit.43
Pigskin volume of a Strasbourgian manuscript (ca. 1500), tied up with leather straps | SBB, Msc.Lit.110
Pigskin volume of a Strasbourgian manuscript (ca. 1500), tied up with leather straps | SBB, Msc.Lit.110
Dark brown, blind embossed binding of a 16th century manuscript, with crossed brazen staves and mounted borders | SBB, Msc.Lit.153
Dark brown, blind embossed binding of a 16th century manuscript, with crossed brazen staves and mounted borders | SBB, Msc.Lit.153
All manuscripts belonging to the library of Bamberg Cathedral were uniformly bound between 1611 and 1614. The pigskin volumes are decorated at the front with the cathedral chapter's gold-embossed coat of arms, which shows Emperor Henry II on his throne | SBB, Msc.Bibl.1
All manuscripts belonging to the library of Bamberg Cathedral were uniformly bound between 1611 and 1614. The pigskin volumes are decorated at the front with the cathedral chapter's gold-embossed coat of arms, which shows Emperor Henry II on his throne | SBB, Msc.Bibl.1
Dark brown leather-bound volume with gold-embossed decorations, two clasps and studded metal corners; it contains a legend of St. Otto, written in the Bamberg monastery St. Michael in 1499 | SBB, RB.Msc.122
Dark brown leather-bound volume with gold-embossed decorations, two clasps and studded metal corners; it contains a legend of St. Otto, written in the Bamberg monastery St. Michael in 1499 | SBB, RB.Msc.122
Back cover of a Roman Gradual from Bamberg, bound in blind-embossed pigskin. The mounted corners' studs as well as the brazen rosette in the middle are heavily abraded. 1st quarter of the 14th century | SBB, RB.Msc.169
Back cover of a Roman Gradual from Bamberg, bound in blind-embossed pigskin. The mounted corners' studs as well as the brazen rosette in the middle are heavily abraded. 1st quarter of the 14th century | SBB, RB.Msc.169
A Kettenbuch (chained book) with chains attached to its back cover. In the medieval and early modern age, this method protected the volumes against theft | SBB, Inc.typ.H.II.6
A Kettenbuch (chained book) with chains attached to its back cover. In the medieval and early modern age, this method protected the volumes against theft | SBB, Inc.typ.H.II.6
This oldest known woodcut cover protects a 1482 Augsburg print. It features a hinted spine and is decorated with pomegranate patterns framed by pairs of leaf garlands and dragons | SBB, Inc.typ.Ic.II.2
This oldest known woodcut cover protects a 1482 Augsburg print. It features a hinted spine and is decorated with pomegranate patterns framed by pairs of leaf garlands and dragons | SBB, Inc.typ.Ic.II.2
Coloured 18th century leather bindings with gold embossing belonging to the Bibliotheca Bipontina of Charles II August, Duke of Zweibrücken (1746–1795) | SBB
Coloured 18th century leather bindings with gold embossing belonging to the Bibliotheca Bipontina of Charles II August, Duke of Zweibrücken (1746–1795) | SBB
Volume with green goatskin Morocco binding, featuring a contrasting endpaper in pink as well as gold embossings | SBB, Bip.Msc.4
Volume with green goatskin Morocco binding, featuring a contrasting endpaper in pink as well as gold embossings | SBB, Bip.Msc.4
This gilded calfskin volume painted with lacquer, dating around 1595, depicts Prince-Elector Johann Georg von Brandenburg as well as Friedrich Wilhelm I, Duke of Saxe-Weimar | SBB, Bibl.q.76
This gilded calfskin volume painted with lacquer, dating around 1595, depicts Prince-Elector Johann Georg von Brandenburg as well as Friedrich Wilhelm I, Duke of Saxe-Weimar | SBB, Bibl.q.76
Binding with elaborate silversmith's works over violet velvet and a long chain for carrying. The latter runs through two rings attached to the lower edge. Ca. 1630 | SBB, RB.Th.lit.d.33-m
Binding with elaborate silversmith's works over violet velvet and a long chain for carrying. The latter runs through two rings attached to the lower edge. Ca. 1630 | SBB, RB.Th.lit.d.33-m
Book bound in green velvet. The Rococo silver fittings, dating back to ca. 1760, are not part of the original binding an were only attached after 1970 | SBB, 41 C 2
Book bound in green velvet. The Rococo silver fittings, dating back to ca. 1760, are not part of the original binding an were only attached after 1970 | SBB, 41 C 2
Volume bound in gold-embossed calfskin and painted with lacquer. The coat-of-arms supralibros of the Welser family, patricians from Augsburg and Nuremberg, can be found in the middle.| SBB, JH.Ma.q.3
Volume bound in gold-embossed calfskin and painted with lacquer. The coat-of-arms supralibros of the Welser family, patricians from Augsburg and Nuremberg, can be found in the middle | SBB, JH.Ma.q.3
This small format paperback's front cover is decorated with a muse holding a lyre, framed by rose twigs and coniferous branches. Template by G. A. Meisner, 1802 | SBB, MvO.Bamb.o.136(1
This small format paperback's front cover is decorated with a muse holding a lyre, framed by rose twigs and coniferous branches. Template by G. A. Meisner, 1802 | SBB, MvO.Bamb.o.136(1
This red-coloured edge, partly punched and gilded, belongs to a copy of Gustav Ebe's work "Spät-Renaissance" (ca. 1900). Its binding was uniquely customised by Adam Metzner, bookbinder in Bamberg | SBB, L.art.o.8-aa
This red-coloured edge, partly punched and gilded, belongs to a copy of Gustav Ebe's work "Spät-Renaissance" (ca. 1900). Its binding was uniquely customised by Adam Metzner, bookbinder in Bamberg | SBB, L.art.o.8-aa
Pigskin-bound volume made by Jakob Preisger for Julius Echter von Mespelbrunn (1545/1573–1617), Prince-Bishop of Würzburg. His coat-of-arms supralibros, set in colours, decorates the front | SBB, M.q.113
Pigskin-bound volume made by Jakob Preisger for Julius Echter von Mespelbrunn (1545/1573–1617), Prince-Bishop of Würzburg. His coat-of-arms supralibros, set in colours, decorates the front | SBB, M.q.113
Punched and painted onto the gilded edge, winged angel heads, a coat of arms as well as initials and a year can be seen, even when the volume is opened. Binding by the binder workshop Weischner, Jena, around 1580 | SBB, L.gr.o.307-a
Punched and painted onto the gilded edge, winged angel heads, a coat of arms as well as initials and a year can be seen, even when the volume is opened. Binding by the binder workshop Weischner, Jena, around 1580 | SBB, L.gr.o.307-a
A copy of Philipp Melanchton's "Loci praecipui theologici" served as a friendship album for Thomas Lieb of Kronach from 1582 to 1587. His initials are embossed on the contemporary binding, placed over the personification of faith with chalice and crucifix | SBB, Th.dp.o.117-g
A copy of Philipp Melanchton's "Loci praecipui theologici" served as a friendship album for Thomas Lieb of Kronach from 1582 to 1587. His initials are embossed on the contemporary binding, placed over the personification of faith with chalice and crucifix | SBB, Th.dp.o.117-g
Franconian miniature book decorated with two elaborately crafted, Baroque silver clasps and matching silver shield medallion | SBB, Sel.366
Franconian miniature book decorated with two elaborately crafted, Baroque silver clasps and matching silver shield medallion | SBB, Sel.366
The punched and gilded lower edge, painted with a flower and belongig to a Franconian miniature book | SBB, Sel.366
The punched and gilded lower edge, painted with a flower and belongig to a Franconian miniature book | SBB, Sel.366
Paperback binding of "Lebens-Ansichten des Katers Murr", volume one. It features glued-on Aquatinta engravings by Carl Friedrich Thiele, made after lost templates by E. T. A. Hoffmann. Berlin, 1820 | SBB, Sel.229(1
Paperback binding of "Lebens-Ansichten des Katers Murr", volume one. It features glued-on Aquatinta engravings by Carl Friedrich Thiele, made after lost templates by E. T. A. Hoffmann. Berlin, 1820 | SBB, Sel.229(1
Paperback binding (back cover and spine) of the first edition of "Master Flea" with glued-on Aquatinta engraving by Carl Friedrich Thiele, made according to a lost template by E. T. A. Hoffmann. Frankfurt, 1822 | SBB, Sel.240
Paperback binding (back cover and spine) of the first edition of "Master Flea" with glued-on Aquatinta engraving by Carl Friedrich Thiele, made according to a lost template by E. T. A. Hoffmann. Frankfurt, 1822 | SBB, Sel.240
This volume of "Kater Murr's Tagebuch" (Leipzig, 1885), bound in half-cloth, features a coloured illustration by Feder Flinzer (1832–1911) | SBB, L.g.o.391-e(B 167
This volume of "Kater Murr's Tagebuch" (Leipzig, 1885), bound in half-cloth, features a coloured illustration by Feder Flinzer (1832–1911) | SBB, L.g.o.391-e(B 167
Front cover for a portfolio of danse macabre drawings by the Bernese artist Niklaus Manuel (ca. 1484–1530), lithographed after copies by Wilhelm Stettler (1643–1708), ca. 1832 | SBB, Sel.662
Front cover for a portfolio of danse macabre drawings by the Bernese artist Niklaus Manuel (ca. 1484–1530), lithographed after copies by Wilhelm Stettler (1643–1708), ca. 1832 | SBB, Sel.662
The gilded copper plate "Zulema-Julia" by André Lambert is set into this 1925 Parisian Art Deco binding by Jean J. Bouvier. The binding is crafted from emerald green morocco and has morocco inlays in different colours | SBB, Sel.554
The gilded copper plate "Zulema-Julia" by André Lambert is set into this 1925 Parisian Art Deco binding by Jean J. Bouvier. The binding is crafted from emerald green morocco and has morocco inlays in different colours | SBB, Sel.554
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