CATALOGU E of an 
 
 Exhibition of Nineteenth 
 Century BOOKBINDINGS 
 By the Caxton Club^ Chicago 
 December, MDCCCXCVII
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 OF CALIFORNIA 
 
 LOS ANGELES
 
 
 t . &-i-#~ 
 
 * '
 
 The Publication Committee of the Caxton Club 
 certifies that this copy is one of an edition of one 
 hundred and twenty-seven copies on hand-made 
 paper, and three copies on Japanese vellum, printed 
 in the month of January, i8c)8.
 
 Catalogue of Bookbindings
 
 CATALOGUE of an 
 Exhibition of Nineteenth 
 Century BOOKBINDINGS 
 
 BY THE CAXTON CLUB (IN 
 THE ART INSTITUTE) DECEM- 
 BER XVI TO XXX, MDCCCXCVII
 
 Art 
 Library 
 
 
 LIST OF ILLUSTRATIONS 
 
 No. 10. ZAEHNSDORF 
 
 No. 1 6. COBDEN SANDERSON 
 
 No. 23. DE SAMBLANCX-WECKESSER 
 
 No. 32. MEUNIER 
 
 No. 41. CLUB BINDERY 
 
 No. 42. Miss S. T. PRIDEAUX 
 
 No. 45. ZAEHNSDORF 
 
 No. 47. THE DOVES BINDERY 
 
 No. 51. COBDEN SANDERSON 
 
 No. 73. ZAEHNSDORF 
 
 No. 77. CHAMBOLLE DURU 
 
 No. 78. RIVIERE & SON 
 
 No. 84. THE DOVES BINDERY 
 
 No. 91. THE DOVES BINDERY 
 
 No. 100. ZAEHNSDORF 
 
 No. I 10. RIVIERE & SON 
 
 No. 115. (DOUBLE) BRADSTREETS 
 
 No. 1 1 6. CUZIN 
 
 No. 134. SIR EDWARD SULLIVAN 
 
 No. i 80. RIVIERE & SON 
 
 No. 197. THE DOVES BINDERY 
 
 No. 200. Cox 
 
 No. 205.- ZAEHNSDORF 
 
 No. 206. CHAMBOLLE DURU 
 
 939493
 
 EXTRACT FROM 
 
 BOOKBINDING, ITS PROCESSES AND 
 IDEAL 
 
 {Fortnightly Review, August, 1894.^) 
 
 Binding may be divided into two main divisions : 
 
 1. Bindings for use. 
 
 2. Bindings for beauty's sake. 
 
 I do not mean to say that the useful may not be 
 beautiful, or that the beautiful may not be useful. 
 I mean only that of a certain class the utility of the 
 binding is the characteristic or the main considera- 
 tion, and that of a certain other class not the utility 
 of the binding, but the beauty of the decoration, is 
 the prominent feature. 
 
 The first class bindings for use is divisible 
 into the following sub-classes: 
 
 1 I ) Temporary bindings, or bindings for temporary 
 use only, such as the paper covers of our magazines, and 
 the cloth covers in which books are issued in England to 
 the public; and 
 
 (2) Permanent bindings, or bindings intended to last 
 as long as the binder can make them to last. These
 
 Catalogue of Bookbindings 
 
 bindings are usually covered with leather, wholly or in 
 part, giving rise to the further subdivision of (<?) whole 
 bindings and (<) half bindings. 
 
 All these bindings may be, and usually are, dec- 
 orated in some way or other. In cloth binding 
 we have some beautiful designs invented by con- 
 temporary artists. But I cannot admire the exe- 
 cution of such designs in gold on so poor a material 
 as cloth, nor is the kind of binding suitable for 
 elaborate invention. The gold soon wears away, 
 the cloth wears out, the sewing gives, and the 
 joints break, and I know not anything more piti- 
 able in art of the kind than to see such lovely pat- 
 terns subjected to such indignities. It is a true 
 principle in art that nothing should be so made as 
 to degrade in the use, and I should be glad if 
 artists would cease to design for cloth, and if pub- 
 lishers would cease to ask them ; and, most im- 
 portant of all, as most effective, if the public 
 would cease to patronise them by selection. Nor 
 would I decorate highly, or at all, half-bound 
 books. A half-bound book is an economy, and 
 economy is incompatible with decoration. Deco- 
 ration in all its affluence and as a distinctive mark 
 of appreciation is, or should be, reserved exclu- 
 sively for bindings of the best kind, and for books
 
 Catalogue of Bookbindings j 
 
 that are in themselves beautiful and worthy of 
 conspicuous honor. The community does not 
 or, to speak more exactly, should not dedicate 
 statues to the memory of the commonplace; nor 
 should we enshrine to perpetuity in a beautiful 
 binding the ephemeral productions of the moment. 
 The beautiful book, then, the work of genius, the 
 immortal in literature, that is, or should be, the 
 exclusive object of the binder's craft when height- 
 ened by the art of the decorator. And the deco- 
 ration should be done for the delight of it, and it 
 should be done in honor of him whose genius it 
 should be a delight to honor. This much I 
 premise in explanation of the kind of book to be 
 bound and made outwardly beautiful, that the labor 
 of the artist may not seem to be thrown away, nor 
 the aim of his endeavor to be mistaken. 
 
 I now proceed to describe how such a book 
 may be bound, and how, when bound, it may be 
 decorated. 
 
 1 . The first operation of the modern binder is to fold 
 or refold the printed sheet into a section, and to gather the 
 sections, numbered or lettered at the foot, in their proper 
 order into a volume. 
 
 2. Then "end-papers" sections of plain or colored 
 paper added at the beginning and end of the volume to
 
 Catalogue of Bookbindings 
 
 protect the first and last, the most exposed, sections of 
 printed matter constituting the volume proper having 
 been prepared and added, the sections are beaten, or 
 rolled, or pressed, to make them "solid." 
 
 3. The sections are then taken, one by one, placed 
 face downwards in a frame, and sewn through the back 
 by a continuous thread running backwards and forwards 
 along the backs of the sections to upright strings fastened 
 at regular intervals in the sewing frame. 
 
 This process unites the sections to one another in 
 series, one after the other, and permits the perusal of the 
 book by the simple turning of leaf after leaf upon the 
 hinge formed by the thread and the back of the section. 
 
 A volume, or series of sections, so treated, the ends of 
 the strings being properly secured, is essentially "bound;" 
 all that is subsequently done is done for the protection 
 or for the decoration of the volume or of its cover. 
 
 4. When sewn and it is usually sewn by a woman 
 the volume passes into the hands of the "forwarder," 
 who "makes" the back, beating it round, if the back is 
 to be round, and "backing" it, or making it fan out from 
 the centre to right and left, and project at edges to form 
 a kind of ridge to receive and to protect the back edges 
 of the boards which form the sides of the cover. 
 
 5. The back having been "made," the "boards" 
 (made of millboard now, but originally of wood) for the 
 protection of the sides are made and cut to shape, and 
 attached by lacing into them the ends of the strings upon 
 which the book has been sewn.
 
 Catalogue of Bookbindings 
 
 6. The boards having been attached, the edges of the 
 book are now cut smooth and even at the top, bottom, and 
 fore-edge, the edges of the boards being used as guides 
 for the purpose. In some cases the order is reversed, 
 and the edges are first cut, and then the boards to match 
 them. 
 
 7. The edges may now be colored or gilt, or both 
 colored and gilt, and if it is proposed to "gauffer" them, 
 or to decorate them with tooling, they are so treated at 
 this stage. 
 
 8. The headband is next worked on at head and tail, 
 and the back lined with paper or leather or other material 
 to keep the headband in its place, and to strengthen the 
 back itself. 
 
 The book is now ready to be covered. 
 
 9. If the book is covered with leather, the leather is 
 carefully pared all round the edges and along the line of 
 the back, to make the edges sharp and the joints free. 
 
 10. The book having been covered, the depression on 
 the inside of the boards caused by overlapping of the 
 leather is filled in with paper, so that the entire inner 
 surface may be smooth and even and ready to receive the 
 first and last leaves of the end-papers, which finally are 
 cut to shape and pasted down, leaving the borders only 
 uncovered. 
 
 Sometimes, however, the first and last leaves of 
 the " end-papers " are of silk and the "joints " of 
 leather, in which case, of course, the end-papers
 
 i o Catalogue of Bookbindings 
 
 are not pasted down, but the inside of the boards 
 is independently treated, and is covered sometimes 
 with silk, as the case may be. 
 
 The book is now completely "forwarded," and 
 passes into the hands of the "finisher" to be tooled 
 or decorated, or "finished," as it is called. 
 
 The decoration in gold on the surface of a 
 bound book is wrought out, bit by bit, by means 
 of small engraved brass stamps, called " tools." 
 The steps of the process are shortly as follows : 
 
 1. The pattern is first worked out with the tools, 
 blackened in the smoke of a candle or lamp, upon a piece 
 of paper cut to the exact size of the portion of the book 
 to be decorated. 
 
 2. The piece of paper with the pattern upon it is then 
 applied to the surface to be decorated, and the pattern is 
 re-impressed on the paper, and so through on to the sur- 
 face of the book. 
 
 3. The paper is now removed and the pattern on the 
 book is re-impressed with hot tools to make the impres- 
 sion crisp and distinct. 
 
 4. At this stage a different process begins. The sur- 
 face of the cover, with the pattern impressed upon it 
 as described, is taken, bit by bit, and treated as fol- 
 lows : 
 
 1 . First it is moistened with water or vinegar. 
 
 2. Then the pattern is penciled over with "glaire,"
 
 Catalogue of Bookbindings 1 1 
 
 which is a liquid composed of the white of an egg beaten 
 up and drained off. 
 
 3. Then when the glaire is dry, the surface is lightly 
 touched with oil or grease to give a hold to the gold leaf 
 next to be applied. 
 
 4. Then the gold leaf, cut to the size and shape of 
 the portion of the cover to be operated on, is applied by a 
 flat brush called "a tip," and pressed down by a pad of 
 cotton wool to reveal the pattern underneath. 
 
 5. Then, and finally, the pattern with the gold upon 
 it is gone over again with hot tools, and the gold is 
 impressed into it. The rest of the gold is rubbed away 
 with an oiled rag and the pattern is now displayed per- 
 manently in gold, and "finished." 
 
 T. J. COBDEN-SANDERSON.
 
 THE INTERPRETATION OF STYLES 
 
 AND TECHNICAL TERMS IN 
 
 FINE BINDINGS. 
 
 STYLES. 
 
 Aldine or Italian. Ornaments of solid face with- 
 out any shading whatever, such as used by Aldus 
 and other early Italian printers. The ornaments 
 are of Arabic character. A style appropriate for 
 early printed literature. 
 
 Maioli. A style prior to and contemporary with 
 the early (Italian) examples of the Grolier. Gen- 
 erally composed of a framework of shields or me- 
 dallions, with a design of scrollwork flowing through 
 it. Portions of the design are usually studded with 
 gold dots. Ornaments are of Moresque character. 
 
 Grolier. An interlaced framework of geomet- 
 rical figures circles, squares, and diamonds with 
 scrollwork running through it, the ornaments of 
 which are of Moresque character, generally azured 
 in whole or in part, sometimes in outline only. 
 Parts of the design are often studded with gold 
 dots. Time, first half of the sixteenth century.
 
 Catalogue of Bookbindings i 3 
 
 Eve. A framework of various geometrical- 
 shaped compartments linked together by interlaced 
 circles ; the centres of the compartments are filled 
 with small floral ornaments, and the irregular spaces 
 surrounding them with circular scrolls and branches 
 of laurel and palm. An elaborate style of the end 
 of the sixteenth and beginning of the seventeenth 
 century. 
 
 Le Gascon. The distinguishing feature of this 
 style is the dotted face of the ornaments instead 
 of the continuous or solid line. Wherever these 
 dotted ornaments are used the style is called Le 
 Gascon. Time of the first half of the seventeenth 
 century, immediately following that of Nicholas and 
 Clovis Eve. 
 
 Derome. This style has ornaments of a leafy 
 character, with a more solid face, though lightly 
 shaded by the graver. The ornaments are often 
 styled Renaissance, being an entire change from 
 the Gascon. The Derome is best exemplified in 
 borders, Vandyke in design ; it is simple in con- 
 struction but rich in effect, and is appropriate for 
 art publications. Time, eighteenth century. 
 
 Roger Payne. The ornaments of this style are 
 easily identified, being free and flowing in stem and
 
 14 Catalogue of Bookbindings 
 
 flower; whereas before Payne's time they had been 
 stiff and formal. The honeysuckle is a customary 
 ornament. The impressions of the tools are usually 
 studded round with gold dots, whether used in bor- 
 ders, corners, or centre pieces. The style is well 
 suited for early nineteenth century literature, espe- 
 cially poetry. 
 
 Mosaic. A design inlaid with different colors. 
 The cover may be of any shade, but the style is 
 especially beautiful when the cover is of white vel- 
 lum in imitation of illuminated manuscripts. Suit- 
 able for ancient manuscripts and the higher grade 
 books printed in colors. 
 
 Jansen. Without line or ornament either in 
 blank or gold. It permits decoration on the inside 
 of cover, but demands absolute plainness on the 
 outside, with the exception of lettering. It is only 
 appropriate for crushed levant, it being dependent 
 for its beauty on the polished surface of the leather. 
 
 Cobden-Sanderson. An arrangement of graceful 
 curves or stems, flowers, buds, and leaves, treated 
 conventionally, the background often powdered 
 with nebulae of gold stars or dots in whole or in 
 part. The lettering of title, etc., on back and sides 
 treated fancifully and often made an integral part
 
 Catalogue of Bookbindings 1 5 
 
 of the design. The letters used by Mr. Cobden- 
 Sanderson, and in The Doves Bindery, are said to 
 be designed by one of the daughters of the late 
 William Morris. 
 
 TERMS. 
 
 Arabesque. A fanciful mixture of animals, birds, 
 and insects; and of plants, fruits, and foliage, 
 involved and twisted. 
 
 Azured. Ornamentation outlined in gold and 
 crossed with horizontal lines in the manner of indi- 
 cating azure in heraldry. 
 
 Blind Tooling. Impressions of the finisher's 
 tools without gold. 
 
 Dentelle Border. A tool-pointed border with 
 finely dotted gold or Gascon ornaments in imitation 
 of lace. 
 
 Double. When the inside of the cover is lined 
 with leather it is termed double. 
 
 Fanfare. When the compartments formed by 
 fillets or curves or both are filled with little branches, 
 vines, etc., the style of decoration is said to be 
 fanfare from its first having been used on a book 
 of which this word formed the principal part of the 
 title.
 
 i 6 Catalogue of Bookbindings 
 
 Fillet. An engraved line impressed on the back, 
 side, or border of a book cover. 
 
 Gaufr'e Edges. Impressions made with the tools 
 of the finisher on the gilt edges of the book. 
 
 Gouge. A curved line or segment of a circle 
 impressed upon the leather. 
 
 Mosaic. A decoration formed by inlaid leathers 
 of various colors and designs. 
 
 Petit s Fers. The small tools used for decoration 
 by the finisher. 
 
 Pointille. Designs worked in gold dots are said 
 to be a pointill'e. 
 
 Roulette Border. A border design produced by 
 a wheel on the circumference of which is engraved 
 a pattern that reproduces itself as the wheel is 
 revolved. 
 
 Roundlet. A small circle in gold. 
 
 Semis (or Powder}. Ornamentation in which the 
 device is repeated at regular intervals.
 
 BINDERS REPRESENTED 
 
 Amand. Hayday. 
 
 Bedford. Hedberg. 
 
 Belz-Niedree. Holloway. 
 
 Bosquet. Lewis. 
 
 Bozerian. Lortic. 
 
 Bradstreet's. Lortic Freres. 
 
 Cape. Mackenzie. 
 
 Chambolle-Duru. Marius Michel. 
 
 Champs. Matthews, Alfred. 
 
 Claessens. Matthews, William. 
 
 Clement. Mercier. 
 
 Club Bindery. Meunier. 
 
 Cobden-Sanderson. Morley. 
 
 Cox. Miss Irene Nichols. 
 
 Cuzin. Pawson & Nicholson. 
 
 David. Petit. 
 
 De Coverly. Pratt. 
 
 De Nardo. Miss S. T. Prideaux. 
 
 De Samblancx-Weckesser. Purgold. 
 
 Doves Bindery. Q ar i Abdurrahman's 
 
 Duru. Sons. 
 
 Fritzsche. Ramage. 
 
 Gruel. Raparlier.
 
 1 8 Catalogue of Bookbindings 
 
 Ringer. 
 
 Ritter. 
 
 Riviere. 
 
 Riviere & Son. 
 
 Rousselle. 
 
 Ruban. 
 
 Sanford. 
 
 Simier. 
 
 Staderini. 
 
 Stikeman & Co. 
 
 Sir Edward Sullivan. 
 
 Thierry. 
 
 Thouvenin. 
 
 Tout. 
 
 Trautz-Bauzonnet. 
 
 Zaehnsdorf. 
 
 Zahn. 
 
 NAMES OF EXHIBITORS 
 
 George A. Armour. 
 
 E. E. Ayer. 
 
 C. B. Cleveland. 
 
 A. J. Cox. 
 
 James W. Ellsworth. 
 
 George Higginson, Jr. 
 
 Gen. Alex. C. McClurg 
 
 George Merryweather. 
 
 George S. Payson. 
 S. Clifford Payson. 
 H. G. Selfridge. 
 F. B. Smith. 
 J. A. Spoor. 
 W. Irving Way. 
 Henry J. Willing. 
 John H. Wrenn.
 
 CATALOGUE OF BOOKBINDINGS 
 
 i RIVIERE & SON. Walton. COMPLETE 
 ANGLER. London, mdcccxliv. 
 
 Dark green morocco, with border fillet on sides 
 and back, enclosing, on the sides, centre orna- 
 ments of fish and flies in solid tools, in pools 
 indicated by curved lines, and, on the back, fish in 
 solid tools, in water indicated by curved lines. 
 Lettering in gold on the back, enclosed in panel 
 of fillets. 
 
 2 ZAEHNSDORF. Shelley. MASQUE OF 
 ANARCHY. London. 1832, 
 
 Blue morocco ; diaper pattern of fillet compart- 
 ments enclosing leaves and flowers, all enclosed in 
 border of fillets and dotted lines. Blank diamond 
 space in centre. Title in gold on back, enclosed in 
 panel of fillets, with ornaments at ends.
 
 2o Catalogue of Bookbindings 
 
 3 DE COVERLY. Pater. STUDIES IN 
 
 THE HISTORY OF THE RENAISSANCE. 
 London. 1873. 
 
 Light blue crimped morocco, with corner orna- 
 ments enclosed in fillets and curves on sides, and 
 with title in gold, and panels between raised bands 
 tooled in Roger Payne's manner. 
 
 4 RAPARLIER. William Morris. OF 
 
 THE FRIENDSHIP OF AMIS AND AMILE. 
 Kelmscott Press, London. 1894. 
 
 Reddish brown morocco, with broad border 
 design, tooled in blind, enclosing triple panel, with 
 title in gold in centre, and upper and lower panels 
 tooled in blind and gold dots. Back design also 
 tooled in blind and gold. Double of blue morocco 
 with border of fillets, dots, and small ornaments, 
 enclosing panel of arabesques arranged in diaper 
 pattern. Reddish brown silk brocade ends. Chamois 
 lined slip case, with marbled paper outsides.
 
 Catalogue of Bookbindings 21 
 
 5 DOVES BINDERY. William Morris. 
 
 THE TALE OF THE EMPEROR COUSTANS 
 AND OF OVER SEA. Kelmscott Press, 
 London. 1894. 
 
 Dark green morocco, with border of triple 
 fillets and dots enclosing corner compartments of 
 leaves and dots. Title in gold on back, with 
 panels of Tudor roses, leaves, and dots between 
 raised bands. 
 
 6 ZAEHNSDORF. Tennyson. IDYLLS 
 
 OF THE KING. London. 1859. 
 Red morocco, with panel of two fillets enclos- 
 ing compound semis of gold dots and florets. Back, 
 of irregular compartments of fillets and curves 
 enclosing gold lettering, dots, and flower. 
 
 7 CLUB BINDERY. Lemuel Gulliver 
 
 [Swift]. TRAVELS INTO SEVERAL 
 REMOTE NATIONS OF THE WORLD. 
 London, m.dcc.xxvi. 
 
 Dark olive morocco, with border of triple fillets 
 enclosing panel of single fillet and corner orna- 
 ments. Raised bands with panels tooled and let- 
 tered in gold.
 
 22 Catalogue of Bookbindings 
 
 8 ZAEHNSDORF. [Edward Fitz 
 
 Gerald.~\ RUBAIYAT OF OMAR KHAY- 
 YAM. London. 1896. 
 
 Reddish brown morocco, with broad dentelle 
 border of roses, tulips, hearts, leaves, curves, and 
 dots. Panels on back of gold lettering, and of 
 same ornaments as used on sides. 
 
 9 JOHN BUMPUS (BOUND FOR). 
 
 Swinburne. ASTROPHEL AND OTHER 
 POEMS. London. 1894. 
 
 Light olive morocco, with border design of 
 straight and curved lines and leaves on front cover. 
 Same ornaments, with lettering in gold, used on 
 back. 
 
 10 ZAEHNSDORF. Eugene Field. 
 LOVE SONGS OF CHILDHOOD. New 
 York, mdcccxciv. 
 
 Blue morocco, with broad borders differing on 
 the two sides. Rococo design of shells, dots, and 
 arabesques of intertwining leaved branches form- 
 ing two compartments on front cover for title and
 
 ,,f;!;. > 
 
 
 
 /.. 
 
 ; 
 
 No. 10.-ZAEHNSDORF
 
 Catalogue of Bookbindings 23 
 
 author's name. Upper and lower half of back 
 tooled in similar manner, with title and author's 
 name between. Motive taken from the etched 
 title-page of the book. 
 
 ii DOVES BINDERY. Morris, Ros- 
 sefti, and Others. THE GERM. Lon- 
 don. 1850. 
 
 Green morocco, with corner designs of flowers, 
 leaves, dots, and curves, all enclosed in fillet 
 border. Panels between raised bands on back of 
 lettering in gold, and flowers, leaves, dots, and 
 curved lines. 
 
 12 ZAEHNSDORF. Erander Matthews. 
 BOOKBINDINGS, OLD AND NEW. New 
 York. 1895. 
 
 Brown morocco, tooled in Grolieresque manner 
 with scrollwork, and moresque ornaments azured 
 in part, all enclosed in double fillet border. Back 
 panels, between bands, also of scrolls, and mo- 
 resque ornaments.
 
 24 Catalogue of Bookbindings 
 
 13 . Andrew Lang. AUCASSIN AND 
 
 NICOLETE. London. 1887. 
 
 Green morocco, with border of fillets on front 
 cover, enclosing dotted and floriated base (a field 
 of daisies) surmounted by a spray of roses. On 
 back cover a border of water lilies and water 
 lines, enclosing a filleted compartment in whose 
 centre rises a floriated spray, surmounted by 
 twining hearts formed of water lily leaves. 
 Three words of title on back in compartments 
 formed of curved lines and leaves. Linings of 
 white vellum with floral design in centre, and 
 sprays of rose leaves around the corners. 
 
 14 ZAEHNSDORF. Coleridge. POEMS. 
 
 Kelmscott Press, London. 1896. 
 
 Red morocco ; a border, within fillets, of laurel 
 and palm ovals, enclosing a field of ovals, 
 diaper pattern, in the manner of the Eves. The 
 small floral oval compartments each contains a 
 marguerite or other flower repeated in open spaces, 
 and same pattern in panels between bands of 
 back. The ends of green watered silk, with 
 tooled moresque joints and borders.
 
 No. 1C. COHDEN-SANDKRSON
 
 Catalogue of Bookbindings 25 
 
 15 QARI ABDURRAHMAN'S SONS 
 
 (Ulwar, India]. Kdliddsa. SAKOON- 
 TALA, TRANSLATED BY MONIER WIL- 
 LIAMS. Hertford, m. dccc.lvi. 
 
 Red morocco, with broad border of native de- 
 signs stamped in low relief, and brilliantly colored 
 by hand in blue and gold the portions in black, 
 between low relief figures, with scrolls in gold. 
 The panel enclosed by border also with three 
 native designs stamped in low relief and colored 
 by hand in blue and gold. Both sides alike. 
 Double of red morocco with broad borders and 
 leather joints, without other decoration than fillets. 
 
 1 6 COBDEN- SANDERSON. Shake- 
 
 speare. SONNETS, AND A LOVER'S 
 COMPLAINT. London. 1870. 
 
 Brown morocco, with broad border of Tudor 
 roses, leaves, and dots, enclosing semis of gold 
 dots. Title on back in vertical arrangement be- 
 tween raised bands. Leafy borders inside, with 
 vellum ends. Following inscription on a fly-leaf: 
 " Shakespeare's Sonnets bound by me at Goodyers, 
 Hendon, 1890. T. J. Cobden-Sanderson."
 
 26 Catalogue of Bookbindings 
 
 17 MERCIER. Andrew Lang, Editor. 
 
 CUPID AND PSYCHE. London. 
 
 m.d.ccclxxxvii. 
 
 Red morocco, border of fillets on sides, floret 
 panels between bands on back. Double of green 
 morocco, with outside border of fillets and dots 
 enclosing a panel design of greater elaboration, 
 formed of fillets and dotted lines, with floriated 
 corners. 
 
 18 ZAEHNSDORF. Eugene Field. 
 
 SECOND BOOK OF VERSE. Chicago. 
 1892. 
 
 Green morocco, with broad leafy border pow- 
 dered with gold dots, and with mosaics of red roses 
 at corners and lower half of panel. Two panels 
 of back with roses a mosaique and leafy and dotted 
 ornamentation in gold. 
 
 19 ZAEHNSDORF. William Morris. 
 
 THE DEFENCE OF GUENEVERE AND 
 OTHER POEMS. Kelmscott Press, 
 London. 1892. 
 
 Brown morocco, with broad border of irregu- 
 larly spaced fillets forming narrow panel in which
 
 Catalogue of Bookbindings 27 
 
 is printed the title. Back similarly treated, except 
 that lines are broken to leave spaces for title. 
 Linings and ends of red watered silk, with filleted 
 border. 
 
 20 CLUB BINDERY. [Logan.'] M. 
 
 T. CICERO'S CATO MAJOR. Benjamin 
 Franklin, Philadelphia, mdccxliv. 
 
 Red morocco, with floret border, enclosed 
 within single rectangular fillet, and full floret panels 
 between raised bands on back, Roger Payne style. 
 
 21 RAPARLIER. Fossetier. BATTAILLE 
 
 DE PAVIE. Harlem. 1869. 
 
 Brown morocco, with centre panels in blind 
 tooling, and devices of modeled and colored 
 morocco, differing on the two sides. 
 
 22 CLUB BINDERY. Erander Mat- 
 
 thews. BOOKBINDINGS, OLD AND 
 NEW. New York. 1895. 
 
 Wine colored morocco, with rectangular fillet, 
 seal of Grolier Club as centre, and monogram of 
 owner as corner and back panel ornaments.
 
 28 Catalogue of Bookbindings 
 
 23 DE SAMBLANCX-WECKES- 
 
 SER. Shakespeare. ANTONY AND 
 CLEOPATRA. New York. 1891. 
 
 Dark blue morocco, with broad border on each 
 cover of nine parallel rectangular fillets, and inlaid 
 Egyptian emblematical devices in colored mo- 
 roccos within the fillets. 
 
 24 (MISS) S. T. PRIDEAUX. S. <T. 
 
 Prideaux. HISTORICAL SKETCH OF 
 BOOKBINDING. London. 1893. 
 
 Orange morocco, with border of fillets, in gold 
 and blind, with conventional floral design between 
 the fillets. 
 
 25 CHAMBOLLE-DURU. De Nerval. 
 SYLVIE. Paris. 1886. 
 
 Light blue morocco, with border of fillets and 
 semi-circles, and intertwining leafy sprays at the 
 angles and the breaks. Double of red morocco, 
 with border fillets, Renaissance, and floral orna- 
 ments.
 
 No. 23. DE SAMBLANCX-WECKESSER
 
 Catalogue of Bookbindings 29 
 
 26 ZAEHNSDORF. Tennyson. IDYLLS 
 
 OF THE KING. London. 1859. 
 
 Light brown morocco, with Maioli framework 
 of interlacing strap-work in red, green, and black 
 mosaics, and flowing scrolls of moresque design 
 interlacing freely with it the compartments stud- 
 ded with gold dots. Double of morocco with 
 Le Gascon ornamentation. 
 
 27 G. HEDBERG. Tennyson. IDYLLS 
 
 OF THE KING. London. 1859. 
 Lemon morocco, with mosaics of rose trees, 
 foliations, and floriations, rising from clover-field 
 the designs differing on two sides. 
 
 28 DE NARDO. Rogers. POEMS. Lon- 
 
 don. 1834. 
 
 Vellum, with centre panels of diamond-shape 
 deeply impressed and gold tooled, and with corners 
 of painted scrollwork. 
 
 29 STADERINI. Rogers. ITALY. Lon- 
 
 don. 1830. 
 
 Flexible vellum, with circuit edges, and with 
 elaborate Grolier design in gold on front cover, 
 the ornaments azured.
 
 30 Catalogue of Bookbindings 
 
 30 FRITZSCHE. William Morris. 
 
 GOTHIC ARCHITECTURE. London. 
 
 1893- 
 
 Fawn-colored calf, the title on front cover in 
 carved and painted letters of various colors, lined 
 out in gold. 
 
 31 MARIUS MICHEL (HENRI). 
 
 Charles Dickens. TALE OF Two CITIES. 
 
 London. 1859. 
 
 Dark green morocco, with border of parallel 
 fillets, enclosing panel of fillets, with broken joints 
 ornamented with leafy sprays. 
 
 32 MEUNIER. Robida. VOYAGE DE 
 
 FiAN9AiLLEs. Paris. 1892. 
 Light green morocco, with mosaic emblematical 
 design representing clouds and the symbols of 
 Time, and the flight of air-ships from the earth, in 
 gold and silver toolings. 
 
 33 DE COVERLY. Dickens. CHRISTMAS 
 
 CAROL. London. 1860. 
 Light bluish-green morocco, with Derome 
 (dentelle) border.
 
 No. 32. MEUNIER
 
 Catalogue of Bookbindings 3 1 
 
 34 CLEMENT. Tennyson. THE HOLY 
 GRAIL. London. 1870. 
 
 Drab morocco, the front cover with title in 
 gold and mosaics, and with emblematical design 
 also in mosaic, all enclosed within a mosaic band 
 which is tooled in gold. Back cover with gold 
 tooled band inlaid in colored leather. 
 
 35 F. BEDFORD. Pindar. OPERA. 
 
 Frankfort. 1542. 
 
 Dark brown morocco, blind tooled with double 
 fillets crossing in diamond form, and with fleur-de- 
 lis in each compartment. Blind border around 
 outer edge of cover. 
 
 36 ZAEHNSDORF. Joseph W. Zaehns- 
 dorf. THE ART OF BOOKBINDING. 
 London. 1890. 
 
 Brown morocco, with back and sides bearing 
 parallel rectangular fillets, the intervening spaces 
 decreasing as they approach centres.
 
 32 Catalogue of Bookbindings 
 
 37 DOVES BINDERY. William 
 
 Morris. KING FLORUS AND THE FAIR 
 JEHANE. Kelmscott Press, London. 
 1893. 
 
 Olive-green morocco, with double border fillet 
 and conventional flower decoration in the corners. 
 Panels between raised bands on back tooled in 
 similar design. 
 
 38 ZAEHNSDORF. William Morris. 
 
 THE TALE OF THE EMPEROR Cou- 
 
 STANS AND OF OVER SEA. KellTlSCOtt 
 
 Press, London. 1894. 
 
 Apple-green morocco, with intertwining vine 
 border forming compartment for title on front 
 cover, and two panels of back tooled with floral 
 ornaments. Reverse side with floral ornaments 
 in upper left and lower right hand corners. 
 
 39 DE COVERLY. William Morris. 
 
 GOTHIC ARCHITECTURE. Kelmscott 
 Press, London. 1893. 
 
 Apple-green morocco, with conventional floral 
 decoration, a pointille.
 
 No. 41. CLUB BINDKRV
 
 No. ^2. MISS S. T. PRIDEAUX
 
 Catalogue of Bookbindings 33 
 
 40 RIVIERE & SON. William Morris. 
 
 OF THE FRIENDSHIP OF AMIS AND 
 AMILE. Kelmscott Press, London. 
 1894. 
 
 Brown morocco, with three sets of double 
 fillets, the outer in gold, the inner in blind, with 
 fleurons at corners, and blind stamped Renais- 
 sance design in centre surrounded by single gold line. 
 Back panels with single tooled ornament in gold. 
 
 41 CLUB BINDERY. Ugo Foscolo. 
 
 ESSAYS ON PETRARCH. London. 1823. 
 
 Apple-green morocco, with border design of 
 intertwining laurel enclosing semis of violet blos- 
 soms and centre ornament of laurel wreath. Back 
 ornamentation of laurel leaves. White corded silk 
 linings and ends. 
 
 42 (MISS) S. T. PRIDEAUX. SELECT 
 
 LETTERS OF SHELLEY. London. 1882. 
 
 Olive-green morocco, with double border fillet 
 enclosing in gold and blind a panel of flaming 
 seed-pods, foliated. Back finished in design from 
 same tools as used on sides.
 
 34 Catalogue of Bookbindings 
 
 43 COBDEN- SANDERSON. Shake- 
 
 speare. SONGS AND SONNETS. Lon- 
 don. 1887. 
 
 Light olive morocco, with maple-leaf and 
 dotted corners, and maple-leaf centre ornament, 
 all enclosed by single fillet border. Gaufre edges. 
 
 44 ZAHN. Oliver Wendell Holmes. THE 
 
 POET OF THE BREAKFAST TABLE. Bos- 
 ton. 1872. 
 Red morocco, with floriated corners and open 
 
 centre. Top and bottom panels of back, and title, 
 
 in gold. 
 
 45 ZAEHNSDORF. HORATIUS. Pick- 
 
 ering. London, mdcccxxiv. 
 Brown morocco, with border of double fillets, 
 enclosing a framework of interlacing double fillets 
 forming compartments, and with moresque orna- 
 ments, azured, at angles, all in the style of Grolier. 
 
 46 ZAEHNSDORF. W. J. Linton. 
 
 TIMES AND SEASONS. Appledore 
 Press. 1*94. 
 
 Green morocco, with alternating semis of cooing 
 doves, bees, and florets, all enclosed by single
 
 No. 45. ZAEHNSDORF
 
 No. 47. -THE DOVES BINDERY
 
 Catalogue of Bookbindings 35 
 
 rectangular border fillet. Inside border of bees, 
 leafy sprays, and fillets. 
 
 47 DOVES BINDERY. THE SAYINGS 
 
 OF THE LORD JESUS CHRIST AS RE- 
 CORDED BY His FOUR EVANGELISTS. 
 Arranged by J. W. Mackail. Lon- 
 don. 1894. 
 
 Red morocco, with single border fillet, enclosing 
 a broad decorative design of scrollwork little 
 hearts used to represent leaves forming three 
 compartments, two with tulips, the other an oblong 
 panel in which is the lettering, and above which is 
 a dove with extended wings. The back panels 
 between bands decorated with same tools, the 
 whole design, which is in gold, being relieved by 
 the use of gold dots. 
 
 48 DOVES BINDERY. Francis T. 
 
 Pa/grave. TREASURY OF SACRED SONG. 
 Oxford, mdccclxxxix. 
 
 Red morocco, with border fillet, and oval floral 
 centrepiece. Panels of back of stars and poppies. 
 Morocco joints and borders, with silk brocade 
 linings.
 
 36 Catalogue of Bookbindings 
 
 49 PURGOLD. RECUEIL DE PIECES EN 
 PROSE ET EN VERSE. Caen, m.dc.lxxi. 
 
 Blue straight grained morocco, with border of 
 interlacing and rectangular fillets. Ex Libris 
 Caroli Nodier. 
 
 50 TRAUTZ-BAUZONNET. Horatii. 
 
 POEMATA. Elzevir. 1676. 
 
 Lemon morocco, with triple fillet border, enclos- 
 ing panel formed of fillets and segments of circles, 
 with Gascon ornaments at corners, and with 
 quatrefoil mosaic of red morocco surrounded by 
 Le Gascon ornaments. 
 
 51 COBDEN - SANDERSON. John 
 
 Ruskin. THE Two PATHS. London. 
 1859. 
 
 Brown morocco, with border of stems, leaves, 
 carnations, and dots, and a semis of triple dots. 
 Panels between bands on back of stems, leaves, 
 and bulbs, studded with gold dots.
 
 No. 51. COBDEN SANDERSON
 
 Catalogue of Bookbindings 37 
 
 52 DOVES BINDERY. \EdwardFitz 
 Gerald.~\ POLONIUS. London. 1852. 
 
 Brown morocco, with double fillet border, en- 
 closing panel of single fillet and dots. Panels 
 between bands of back, of bulbs and curves, studded 
 with gold dots. 
 
 53 DAVID. Horace. POEMATA. Aldus, 
 Venice, m.d.ix. 
 
 Blue morocco, with geometrical interlacements 
 of fillets and segments of circles, and Aldine cor- 
 ner ornaments of solid face, all enclosed within a 
 double border fillet. In Grolier's early manner. 
 
 54 COBDEN - SANDERSON. John 
 Ruskin. THE CROWN OF WILD OLIVE. 
 London. 1886. 
 
 Green morocco, with single fillet border and 
 oval centre ornament of laurel and dots. Panels 
 between bands of back, of laurel ovals, studded 
 with gold stars.
 
 38 Catalogue of Bookbindings 
 
 55 CAPE. Martialis. EPIGRAMMATA. 
 
 Aldus, Venice, m.d.i. 
 
 Dark olive green morocco, with decorative de- 
 sign of fillets and Aldine ornaments of solid face, 
 enclosed within border of fillets. 
 
 56 TRAUTZ-BAUZONNET. Tacitus. 
 
 Elzevir. 1640. 
 
 Red morocco over limp boards, with circuit 
 edges, and with monogram crowned, in corners on 
 sides, and between raised bands of back. 
 
 Sir Edwin Arnold. 
 ASIA. London. 
 
 57 ZAEHNSDORF. 
 
 THE LIGHT OF 
 
 mdcccxc. 
 
 Green morocco, with border of large lotus leaves 
 and flowers enclosed within fillets, and centrepiece 
 of full lotus plants rising out of the water. Leaves 
 and flowers in panels of back. 
 
 58 ZAEHNSDORF. Andrew Lang. 
 
 AUCASSIN AND NicoLETE. London. 
 
 1887. 
 
 Light green morocco, with sprays of daisies on 
 both sides of covers and between bands of back
 
 Catalogue of Bookbindings 39 
 
 the flowers being mosaics of orange morocco. 
 Pink silk linings and ends, with tooled inside 
 borders. 
 
 59 DE COVERLY. IONICA. London. 
 
 1858. 
 
 Olive morocco, with foliage and flowers in 
 mosaics on sides and back. Double of light blue 
 morocco, with tooled angles and centrepieces, and 
 inside borders of roses. 
 
 60 CHAMBOLLE-DURU. Jules 
 
 Claretie. BOUDDHA. Paris. 
 
 Brown morocco, with mosaic border com- 
 partments of gold lined orange morocco (bamboo 
 pattern), enclosed within rectangular fillet. Panels 
 between bands of back, with mosaics of orange. 
 Motive taken from frontispiece of the book. 
 
 6 1 DE COVERLY. Villon. POEMS. 
 Villon Society, London, mdccclxxviii. 
 
 Reddish brown morocco, with triple fillet border 
 enclosing fillet panel and design of frontispiece, 
 with lettering, on front cover, and a stanza of 
 Villon MS. on back.
 
 40 Catalogue of Bookbindings 
 
 62 DOVES BINDERY. [Edward Fitz 
 
 Gerald.~\ THE RUBAIYAT. London. 
 1859. ' 
 
 Red morocco, with broad border of fillets, roses, 
 foliage, and gold dots, and semis of dots in the field. 
 Lettering between bands on back interspersed with 
 rose leaves and stems. 
 
 63 LORTIC FRfiRES. Lamb. MRS. 
 
 LEICESTER'S SCHOOL. London. 1809. 
 
 Green morocco, with triple fillet border, enclos- 
 ing panel of fillets and dotted lines in oblong 
 octagon form, with Derome ornamentation on the 
 four sides next corners. Panels of double fillets, 
 enclosing single ornament on back. 
 
 64 RIVIERE & SON. John Keats. 
 
 POEMS. 1817. 
 
 Dark red morocco, with leafy and interlacing 
 fillet border, and Tudor roses in corners. Panels 
 between bands of back, of leaves, roses, and gold 
 dots, all in Cobden-Sanderson's manner.
 
 Catalogue of Bookbindings 41 
 
 65 RAMAGE. Robert Burns. POEMS. 
 
 Edinburgh, mdcclxxxvii. 
 
 Green morocco, with a semis of Scotch thistles 
 on sides and in panels on back, with border and 
 panel fillets. 
 
 66 SIMIER. Chateaubriand. MAISON 
 
 DE FRANCE. Paris. 1825. 
 
 Blue straight grained morocco, the backs deli- 
 cately tooled in gold, with small quatrefoil mosaics 
 of red, the sides with border blind tooled, enclos- 
 ing panel formed of eight rectangular fillets, with 
 stamped ornaments in angles and the Arms of the 
 Duchesse de Berry in centres in gold. Binder's 
 ticket on a fly-leaf reading, " Simier, Relieur du 
 Roi, de S. A. R. Madame Duchesse de Berry, et 
 de S. A. R., M r . le Due de Bordeaux, Rue S l . 
 Honore No. 152 a Paris." 
 
 67 COBDEN-SANDERSON. Shelley. 
 
 PROMETHEUS UNBOUND. London. 
 1820. 
 
 Spring willow green morocco, the sides and 
 back panels decorated in a floral design of fillets,
 
 42 Catalogue of Bookbindings 
 
 stems, leaves, and roses, with nebulae of gold stars 
 in background a small panel left in centre of each 
 side for lettering. Inscription on fly-leaf : "Bound 
 for Shelley Centenary, 1892, by T. J. Cobden- 
 Sanderson." 
 
 68 BELZ-NIEDREE. GVERRINO 
 
 DETTO IL MESCHINO. 1553. 
 
 Red morocco, with border fillets and elaborate 
 angle decorations in Derome tools. Centre orna- 
 ment of arms within a wreath. Derome panels 
 on back. 
 
 69 RUBAN. Austin Dobson. AT THE 
 
 SIGN OF THE LYRE. London, 
 mdccclxxxv. 
 
 Olive morocco, with bracket, or frame, support- 
 ing an escutcheon (in red mosaic) of Chippendale 
 form and decoration, with lyre stamped in gold in 
 the field. The bracket and shield are surrounded 
 by Derome ornamentation, and decorative treat- 
 ment is limited to front cover.
 
 Catalogue of Bookbindings 43 
 
 70 DAVID. LES MEMOIRES DE FEU 
 
 MONSIEUR LE Due DE GUISE. 
 Cologne, mdclxix. 
 
 Green morocco, with triple fillet border on sides, 
 and Le Gascon panels on back. Double of red 
 morocco with broad dentelle (Derome) border. 
 
 71 CUZIN. Antoine Hamilton. MEMOIRES 
 
 Du COMTE DE GRAMMONT. Paris. 
 
 Red morocco, with broad border of fillets, dotted 
 lines, and Derome ornaments at corners and at the 
 breaks in the sides. Fillets and Derome orna- 
 ments in panels on back. 
 
 72 (MISS) S. T. PRIDEAUX. S. <T. 
 Prideaux. HISTORICAL SKETCH OF 
 BOOKBINDING. London. 1893. 
 
 Brown morocco, with broad border fillet in 
 blind; and inner broad border of diaper pattern in 
 blind the relief portions stamped with gold dots 
 enclosed in triple blind fillet and dotted line in gold.
 
 44 Catalogue of Bookbindings 
 
 73 ZAEHNSDORF. John Keats. POEMS. 
 
 Kelmscott Press, London. 1894. 
 
 Green morocco, with border fillets and dotted 
 line, enclosing framework of geometrical-shaped 
 compartments linked by interlaced circles; the 
 compartments and circles filled with delicate tool- 
 ing (pointille), and irregular spaces with foliage 
 after the manner of Le Gascon. Panels of back 
 similarly decorated. Double of green morocco 
 with broad border of rectangular fillets and with 
 silk brocade ends. 
 
 74 ZAEHNSDORF. Shelley. PROME- 
 
 THEUS UNBOUND. London. 1820. 
 
 Green morocco, border a filets droits et courbes. 
 Double of green morocco, with broad floriated and 
 filleted border studded with gold dots. Green 
 watered silk ends. 
 
 Joseph W. Zaehns- 
 OF BOOKBINDING. 
 
 75 ZAEHNSDORF. 
 
 dorf. THE ART 
 London. 1880. 
 
 Red morocco, with border fillet enclosing a Gro- 
 lieresque design of interlacements, and moresque
 
 No. 73. ZAEHNSDORF
 
 No. 77. CHAMBOLLE-DURU
 
 Catalogue of Bookbindings 45 
 
 ornaments azured in part, with mosaics of green 
 morocco in the open spaces. Panels of back, 
 with green mosaics, tooled with moresque orna- 
 ments. 
 
 76 ZAEHNSDORF. [Edward Fitz 
 Gerald.'] THE RUBAIYAT. London. 
 1894. 
 
 Green morocco, with corners and centre orna- 
 ments of Persian design stamped in gold. 
 
 77 CHAMBOLLE- DURU. 
 
 AND 
 
 Andrew 
 
 NlCOLETE. 
 
 Lang. AUCASSIN 
 London. 1887. 
 
 Blue morocco, gold tooled in diaper pattern, 
 sides and back, the lozenge compartments formed 
 by fillets and dotted lines, and decorated with 
 mosaic florets in two colors and delicately tooled. 
 Double of red morocco with six medallions, 
 decorated with intertwining sprays of foliage, and 
 joined by interlacing fillets. Blue watered silk 
 ends. Very much in the manner of a famous 
 example by Padeloup.
 
 46 Catalogue of Bookbindings 
 
 78 RIVIERE & SON. {Edward Fitz 
 
 Gerald.~\ THE RUBAIYAT. London. 
 1896. 
 
 Green morocco, with Vedderesque Persian design 
 of palm leaves and dots, sides and back. Double 
 of green morocco, with red mosaics of palm leaves, 
 in corners and centres, tooled with florets and 
 foliage. Green watered silk ends. 
 
 79 LORTIC FRfiRES. Gerard de 
 
 Nerval. SYLVIE. Paris. 1886. 
 
 Claret morocco, with triple fillet border and 
 angle florets. Panels on back of fillets and florets. 
 
 80 ZAEHNSDORF. William Adlington. 
 
 MARRIAGE OF CUPID AND PSYCHE. 
 London, m.d.ccclxxxvii. 
 
 Red morocco, with semis of pierced hearts, 
 quiver and arrows, and florets, in alternation. 
 Tooled borders, inside, of foliage and fillets, with 
 gray silk ends and linings.
 
 No. 78. RIVIERE & SON
 
 Catalogue of Bookbindings 47 
 
 8 1 MERCIER. Eugene Field. WITH 
 
 TRUMPET AND DRUM. New York. 
 1892. 
 
 Red morocco, with triple fillet border and full 
 gold tooled back panels. Double of blue morocco, 
 with fillet and roulette border and floriated angle 
 decorations. 
 
 82 CHAMBOLLE - DURU. Eugene 
 
 Field. THE HOLY CROSS. Cambridge 
 and Chicago, mdcccxciii. 
 
 Blue morocco, with border of fillets, curves, 
 intertwining rose sprays floriated, and bees and 
 butterflies. Double of red morocco, with border 
 of rectangular fillets, and floriated rose sprays in 
 angles. Green silk brocade ends. 
 
 83 CHAMBOLLE - DURU. Eugene 
 
 Field. LOVE SONGS OF CHILDHOOD. 
 New York, mdcccxciv. 
 
 Red morocco, with two border fillets enclosing 
 panel design in Arabesque of great elaboration. 
 Panels of back with similar decorations of foliage, 
 bees, birds, etc. Double of blue morocco, and
 
 48 Catalogue of Bookbindings 
 
 broad border a filets droits et courb'es with inter- 
 twining foliage in dentelle style. Red watered 
 silk ends. 
 
 BINDERY. John. Keats. 
 Kelmscott Press, London. 
 
 84 DOVES 
 POEMS. 
 1894. 
 
 Olive green morocco, with foliated and floriated 
 sides forming centre ovals, enclosing wreaths of 
 laurel and the name KEATS on both covers. 
 Panels between bands of back also decorated with 
 daffodils and laurel. 
 
 85 DE COVERLY. William Morris. 
 KING FLORUS AND THE FAIR JEHANE. 
 Kelmscott Press, London. 1893. 
 
 Dark green morocco, with border of fillets and 
 dotted lines, light green mosaics in the angles, 
 tooled with moresque outline ornaments, dots, and 
 roundlets. Quatrefoil of red mosaic in centre 
 studded with gold dots, the field surrounding the 
 quatrefoil tooled with moresque outline ornaments, 
 dots, and roundlets. Back panels with delicate 
 tooling and mosaic quatrefoils in red. Inside
 
 No. 84. THE DOVKS BINDERY
 
 Catalogue of Bookbindings 49 
 
 borders and joints with fillets and moresque dec- 
 orations in outline. Red watered silk linings and 
 ends. 
 
 86 ZAEHNSDORF. D. G. Rossetti. 
 
 SONNETS AND LYRICAL POEMS. Kelm- 
 scott Press, London. 1894. 
 
 Blue morocco, a single gold fillet enclosing a 
 diaper pattern of compartments, with alternating 
 rose spray and dot decorations in gold, and wild 
 roses in blind. Similar decorations on back. 
 Double of red morocco with broad rectangular 
 fillet borders, enclosing stamped decoration in 
 centre panel reproduced from a design by the 
 author. Brown watered silk ends. The fore and 
 bottom edges gilded in the rough. 
 
 87 S. DAVID. Eugene Field. SECOND 
 BOOK OF VERSE. Chicago. 1892. 
 
 Blue morocco, with intertwining border of rose 
 vines, the roses and some of the buds being 
 mosaics of red, tooled in gold. Panels of back, 
 mosaics of red roses, with foliation in gold tool- 
 ings. Double of red morocco, with fillets and 
 gold dotted lines enclosing a border of forget-me- 
 nots and foliation in gold.
 
 50 Catalogue of Bookbindings 
 
 88 RIVIERE & SON. S. <T. Coleridge. 
 
 POEMS. Kelmscott Press, London. 
 1896. 
 
 Green morocco, with border of fillets and 
 roulettes enclosing floriated and foliated decora- 
 tions in gold waterlilies, and foliation in outline 
 studded with gold dots. Linings and ends of red 
 watered silk. 
 
 89 ZAEHNSDORF. Eugene Field. CUL- 
 
 TURE'S GARLAND. Boston. 1887. 
 
 Pig skin, natural color, with side and back dec- 
 orations of strings of sausage. 
 
 90 ZAEHNSDORF. J. W. Mackail. 
 
 BIBLIA INNOCENTIUM. Kelmscott 
 Press, London. 1892. 
 
 Royal purple morocco, with two border fillets, 
 one in blind, one in gold, enclosing a panel decora- 
 tion in diaper pattern, blind tooled, the compart- 
 ments bearing acorns, florets, and maple leaves in 
 alternation and in gold the panel surrounded by 
 floral decorations in gold. Red silk linings and 
 ends, edges gilded in the rough.
 
 No. 91. -THE DOVES HINDERY
 
 Catalogue of Bookbindings 5 1 
 
 91 DOVES BINDERY. Robert Her rick. 
 
 POEMS. Kelmscott Press, London. 
 1895. 
 
 Green morocco, with fillets and dotted lines 
 enclosing a diaper design the compartments with 
 roses and foliations, and having tulips at angles. 
 Back panels with roses and foliations. Inside 
 borders and joints with fillets and corner floral 
 decorations. White vellum ends. 
 
 92 RIVIERE & SON. P. B. Shelley. 
 
 POETICAL WORKS. Kelmscott Press, 
 London. 1895. 
 
 Red morocco, tooled in diaper design, the regular 
 compartments studded with gold dots, the irregular 
 with chrysanthemums and foliations. Back panels 
 and inside borders with foliations. Red watered 
 silk ends and linings. 
 
 93 ZAEHNSDORF. E. H. Garrett. 
 
 ELIZABETHAN SONGS IN HONOR OF 
 LOVE AND BEAUTY. Boston, mdcccxci. 
 
 Orange morocco, with mosaic border band of 
 red, lined with gold, enclosing panel of irregular
 
 52 Catalogue of Bookbindings 
 
 mosaics in red surrounded by foliations, and with 
 foliations and Le Gascon tooled centrepiece with 
 a medallion and red mosaic. Back panels with 
 quatrefoils in mosaic surrounded by foliations. 
 Double of dark red ground with mosaics of 
 medallions in green, gold tooled, surrounded by 
 band of orange morocco, and a further band of 
 dark red mosaic with Le Gascon tooling. Dark 
 red morocco ends with filleted border and angle 
 ornaments. 
 
 94 RINGER. Eugene Field. THE LOVE 
 
 AFFAIRS OF A BIBLIOMANIAC. New 
 
 York, m.dccc.xcvi. 
 
 Green morocco, with border of fillets and dotted 
 lines enclosing panel design of fillets and inter- 
 twining rose vines the flowers in mosaics of red 
 and yellow. Double of white morocco, with tooled 
 borders and angles. Dark green watered silk ends. 
 
 95 M. RITTER. L* Abbe Prevosf. 
 
 MANON LESCAUT. Edinburgh. 1886. 
 
 Blue morocco, with fillet and roulette borders 
 
 and broad foliations in angles. Double of salmon 
 
 morocco, with border fillets, bearing a semis of 
 
 billing and cooing doves. Silk brocade ends.
 
 Catalogue of Bookbindings 53 
 
 96 ZAEHNSDORF. Izaak Walton. 
 
 THE COMPLETE ANGLER. London. 
 
 mdcccxxiii. 
 
 Green morocco, with broad border in foliation, 
 and six medallions bearing symbolic decorations 
 differing on two sides. Double and ends of green 
 morocco with border fillets. 
 
 97 ZAEHNSDORF. John Ruskin. 
 
 SESAME AND LILIES. London. 1865. 
 Green morocco, with border fillets enclosing 
 diaper design with floriated decorations. 
 
 98 RIVIERE & SON. SYR PERECYVELLE 
 
 OF GALES. Kelmscott Press, London. 
 1895. 
 
 Brown morocco, with gold fillets enclosing 
 broad band of roses and foliage in blind tooling, 
 the relief portions of the leather sprinkled with 
 gold dots, and the field also with floral decorations 
 in blind. 
 
 99 ZAEHNSDORF. Anne Eradstreet. 
 
 POEMS. The Duodecimos. 1897. 
 Blue morocco, with compartment formed of fil- 
 lets, foliated and studded with gold dots.
 
 54 Catalogue of Bookbindings 
 
 100 ZAEHNSDORF. William Loring 
 Andrews. THE OLD BOOKSELLERS 
 OF NEW YORK. New York. 1895. 
 
 Dark green morocco, with interlacing frame- 
 work of fillets and semi-circles, and interlacing 
 scrollwork with terminations of moresque orna- 
 mentation, azured and in outline, in Grolieresque- 
 Italian manner. 
 
 101 TRAUTZ-BAUZONNET. Fer- 
 nelii. DE VACVANDI. Lugduni. 1548. 
 
 Red morocco, with centrepieces on sides of 
 Arms surmounted by a crown, and surrounded by 
 two scrolls, the upper bearing, J. GOMEZ DE LA 
 CORTINA ET AMICORUM, the lower, FALLITUR 
 HORA LEGENDO. 
 
 102 DOVES BINDERY. Sterne. A 
 SENTIMENTAL JOURNEY. London. 
 1894. 
 
 Nile green morocco, with a semis of small 
 hearts, enclosed by a double border fillet, decorat- 
 ing the sides, and with tooled panels on back.
 
 No. 100. ZAEHNSDORF
 
 Catalogue of Bookbindings 55 
 
 103 ZAEHNSDORF (Pere). Goethe. 
 
 FAUST. London, mdcccxxxviii. 
 
 Green morocco, with triple border fillet, and 
 corner decorations with delicate mosaics of red. 
 Double of red morocco, with broad dentelle border 
 and corner medallions, a petits fers. White watered 
 silk gold tooled ends. 
 
 104 RIVIERE & SON. John Sterling. 
 
 STRAFFORD. London. mdcccxliii. 
 Turquoise blue morocco, Jansen style outside, 
 with double of red calf and dentelle (Derome) 
 borders. Red corded silk ends. 
 
 105 RAMAGE. Tennyson. THE PRIN- 
 
 CESS. London, mdccclxxx. 
 Red morocco, with a semis of violets on sides 
 and back enclosed by border of fillets. 
 
 106 BEDFORD. Thackeray. THE FOUR 
 
 GEORGES. London, m.dccc.lxi. 
 Red morocco, with fillet border, angle decora- 
 tions and back panels in Roger Payne style. Inside 
 borders, linings, and end-papers also in same 
 manner.
 
 56 Catalogue of Bookbindings 
 
 107 ZAEHNSDORF (Pere). [Beck- 
 
 ford.'] AN ARABIAN TALE, FROM AN 
 UNPUBLISHED MANUSCRIPT. Lon- 
 don, mdcclxxxvi. 
 
 Brown morocco, with border fillets and dots, 
 and angle decorations, with small medallions, in 
 Le Gascon's manner. Medallion back panels and 
 Gascon ornaments. 
 
 108 CHARLES LEWIS (?) Thomas 
 
 Zouch. THE LIFE OF ISAAC WALTON. 
 London, mdcccxxiii. 
 
 Red Russia leather, with panelled sides and sym- 
 bolic centre ornaments, and full tooled back panels. 
 
 109 BEDFORD. Hunt. A JAR OF 
 
 HONEY FROM MOUNT HYBLA. Lon- 
 don, mdcccxlviii. 
 
 Blue morocco, with filleted border, Roger Payne 
 angle ornaments, and centre decorations of a 
 wreath surrounding a jar, tooled, and studded with 
 gold dots. Bees stamped in centre and angle dec- 
 orations, also in full tooled back panels. Red 
 corded silk linings and ends, and gilt over blue 
 edges.
 
 ^J^Wra5Wi : 
 
 No. 110. RIVIERE & SON
 
 Catalogue of Bookbindings 57 
 
 no RIVIERE & SON. Austin Dobson. 
 OLD-WORLD IDYLLS. London, 
 m.d.ccclxxxiii. 
 
 Ruby red morocco, with border of single fillet, 
 sides, and back, and conventional design of lilies 
 flowers, leaves, and stems and with nebulae of 
 gold stars, and scroll with title at top on front 
 cover. Double of green morocco, with tooled 
 borders, and green watered silk ends. Outside 
 design by Batten, and tools cut to order for this 
 book. 
 
 in BEDFORD. Samuel Rogers. POEMS. 
 London. 1834. 
 
 Emerald green morocco, with broad dentelle 
 (Derome) border and back panels. 
 
 112 ALFRED MATTHEWS. Austin 
 
 Dobson. EIGHTEENTH CENTURY ES- 
 SAYS. London, mdccclxxxii. 
 
 Red morocco, with tooled corners, back panels, 
 dotted lines, and inside borders, Roger Payne style. 
 Blue watered silk linings and ends.
 
 58 Catalogue of Bookbindings 
 
 113 TOUT. Goldsmith. THE VICAR OF 
 
 WAKEFIELD. London, mdccclv. 
 Red morocco, with triple fillet border, and tooled 
 angle decorations and back panels. 
 
 114 TOUT. Horace and James Smith. 
 
 REJECTED ADDRESSES. London. 
 
 Green morocco, with dentelle border, enclosed 
 by double fillet. Tooled back panels. 
 
 115 BRADSTREET'S. Hawthorne. THE 
 
 SCARLET LETTER. Boston, mdcccl. 
 Green morocco, with double border fillet in 
 blind on sides, and Gascon ornaments in back 
 panels. Double of green morocco, with gold 
 dentelle border in Le Gascon tools, corner mosaics 
 of red, floriated, and letter A in mosaic in centre 
 surrounded by Le Gascon (pointille) tooling. Red 
 watered silk ends with gold tooled borders. 
 
 116 CUZIN. Gautier. EMAUX ET 
 
 CAMEES. Paris. 1887. 
 Sevres blue morocco, with border fillets and 
 dotted line enclosing broad panel design of solid
 
 No. 115. (DOUBLE) BRADSTREETS
 
 No. 11G. CUZIN
 
 Catalogue of Bookbindings 59 
 
 face corner decoration, joined by fillets. Full 
 tooled back panels. Double of sard red morocco, 
 with border of fillets, dotted lines, and florets. 
 Edges hand painted and gilded. 
 
 117 STIKEMAN & CO. Sir Philip 
 
 Sidney. MISCELLANEOUS WORKS. 
 
 Boston, mdccclx. 
 
 Dark green morocco, with tooled corners and 
 back panels, and with broad roulette inside borders 
 and joints. 
 
 118 MARIUS MICHEL. Gerard de 
 
 Nerval. SYLVIE. Paris. 1886. 
 Red morocco, with border fillets, twining foliage 
 corner ornaments, and centre decoration of twin- 
 ing rose sprays, the roses being in mosaics of white 
 morocco. Delicately tooled back panels, and with 
 mosaics of white roses. Linings and ends of blue 
 brocade of a pattern contemporary with the story. 
 
 119 STIKEMAN & CO. William 
 
 Blades. THE ENEMIES OF BOOKS. 
 London. 1880. 
 
 Green morocco, decorated with rats, front side, 
 and back panels.
 
 60 Catalogue of Bookbindings 
 
 120 ZAEHNSDORF (Pere). Joseph 
 
 W. Zaehnsdorf. THE ART OF BOOK- 
 BINDING. London. 1880. 
 
 Brown morocco, with fillet and roulette border, 
 tooled azured decorations in angles and back 
 panels, and centre ornaments of Grolier design. 
 
 121 MORLEY. \J. B. Inglis.] PHILO- 
 
 BIBLON, A TREATISE ON THE LOVE OF 
 BOOKS BY RICHARD DE BURY. Lon- 
 don, mdcccxxxii. 
 
 Dark olive morocco, with border of fillets and 
 roulette, quarter rose angle decorations, and centre 
 rose decorations surrounded by ornamentation a 
 petit s fers. 
 
 122 MATTHEWS. Horace. OPERA. 
 
 London, mdccclxxxii. 
 
 Dark green morocco, with fillet border enclos- 
 ing fillet panel and corner ornaments. Full tooled 
 back panels. Double of red morocco, with Le 
 Gascon dentelle borders, and red watered silk ends.
 
 Catalogue of Bookbindings 61 
 
 123 BRADSTREET'S. Eugene Field. 
 
 WITH TRUMPET AND DRUM. New 
 YORK. 1892. 
 
 Dark blue morocco, with border of interlacing 
 fillets and corner compartments, tooled with trum- 
 pet and drum, roundlets, stars, and dots. Back 
 panels similarly tooled. 
 
 124 RIVIERE & SON. Robert Brown- 
 
 ing. STRAFFORD. London. 1837. 
 
 Dark green morocco, with triple fillet border, 
 enclosing triple fillet panel with corner ornaments. 
 Full tooled back panels. 
 
 125 RINGER. Landor. CITATION 
 
 AND EXAMINATION OF SHAKSPEARE 
 TOUCHING DEER-STEALING. Lon- 
 don, m.dccc.xxxiv. 
 
 Green morocco, with roundlet and fillet border, 
 and tooled angle and back panel decorations in 
 Roger Payne's manner.
 
 62 Catalogue of Bookbindings 
 
 126 BRADSTREET'S. Ruskin. ETHICS 
 OF THE DUST. London. 1866. 
 
 Green morocco, with single blind fillet around 
 border, and double of red morocco, with dentelle 
 decoration. 
 
 127 HAYDAY. AlaricA.Watts. LYRICS 
 
 OF THE HEART. London. 1851. 
 
 Dark brown morocco, with border of two fillets 
 enclosing a panel design of fillets and roulettes. 
 Tooled back panels. 
 
 128 HOLLO WAY. Eden Warwick. 
 
 THE POETS' PLEASAUNCE. London, 
 mdcccxlvii. 
 
 Orange morocco, with mosaics in red, green, 
 and blue, sides and back, with elaborate Le Gascon 
 tooling. Bound for the Paris Exposition of 1876. 
 
 129 MATTHEWS. Walton. THE COM- 
 
 PLETE ANGLER. London. 1808. 
 
 Dark green morocco, with border fillets in blind, 
 and emblematic corner and back panel ornaments 
 in gold.
 
 Catalogue of Bookbindings 63 
 
 130 PAWSON & NICHOLSON. 
 
 Longhi. LA CALCOGRAPHIA. Milan. 
 1830. 
 
 Olive green morocco, with border of three 
 fillets enclosing a tooled panel decoration. Tooled 
 back panels enclosed in fillets. 
 
 131 RIVIERE & SON. Ovid. THE 
 
 ART OF LOVE. London. 1804. 
 
 Red morocco, with border of fillets and Greek 
 fret, and tooled back, all in manner of Kalthoeber, 
 an eighteenth century binder. 
 
 132 ZAHN. Hutchinson. BALLADS OF 
 
 A COUNTRY BOOKWORM. Derby and 
 Nottingham. 1888. 
 
 Red morocco, with border fillets, and angle 
 decorations in the manner of the Eves. 
 
 133 . John Hannett. BIBLIOPEGIA. 
 
 London. 1848. 
 
 Red morocco, with broad Harleian border, hav- 
 ing cones and acorns at the terminations, and 
 angle ornaments of crests and crowns.
 
 64 Catalogue of Bookbindings 
 
 134 SIR EDWARD SULLIVAN. 
 
 Lord Herbert of Cherbury. POEMS. 
 
 London. 1881. 
 
 Coral pink morocco, with dotted and filleted 
 lines having mosaics at angles foliated and studded 
 with gold dots; a mosaic band panel surrounded 
 with foliations and dotted ornamentation, with bees 
 and birds in mosaic and gold toolings the field 
 within the band having angle and side decorations 
 studded with dots, and with leafy sprays and birds 
 in gold, and with mosaics of bees and flowers. 
 The linings and ends of white with a semis of 
 florets. 
 
 135 BOSQUET. VAnacreon. ODES. 
 
 Didot, Paris. 1864. 
 
 Red morocco, with blind fillet border, and 
 monogram in gold in centres. Double and ends 
 of light green morocco with tooled lace borders 
 and semis of acorns. 
 
 136 ZAHN. Ik Marvel. REVERIES OF 
 
 A BACHELOR. New York. 1850. 
 Red morocco, with tooled floret design on upper 
 half of front cover, and corner and back floret 
 decorations.
 
 No. l;',4. SIR EDWARD SULLIVAN
 
 Catalogue of Bookbindings 65 
 
 137 ZAEHNSDORF. {Edward Fit* 
 
 GeraldJ] THE RUBAIYAT. London. 
 1895. ' 
 
 Green morocco, with floriated and foliated panel 
 within border of florets and fillets. 
 
 138 CLAESSENS. T. Westwood. 
 
 TWELVE SONNETS. London. (1870). 
 
 Citron morocco, with border rectangular fillets, 
 and panel of interlacing fillets forming compart- 
 ments. 
 
 139 RIVIERE & SON. Mrs. Bury 
 
 Palliser. HISTORY OF LACE. Lon- 
 don. 1865. 
 
 Wine colored morocco, with double fillet border 
 enclosing a band composed of fillets and toolings 
 joined, with corner ornaments. 
 
 140 MACKENZIE. Northcote. FABLES. 
 
 London, mdcccxxxiii. 
 
 Dark green morocco, with double fillet, angle 
 decorations of scrolls, florets and stars, and full 
 tooled back panels.
 
 66 Catalogue of Bookbindings 
 
 141 BEDFORD. Henry Shaw. ILLU- 
 
 MINATED ORNAMENTS. London. 
 
 1833- 
 
 Red morocco, with border of fillets and rolls, 
 enclosing narrow border of Renaissance design 
 with angle decorations. Full tooled back panels. 
 
 142 RUB AN. Bret Harte. POETICAL 
 
 WORKS. Boston. 1887. 
 
 Red morocco, with frame of fillets supporting 
 morning-glory vine the flowers and leaves being 
 mosaics of various colors. 
 
 143 LEWIS. Alex. Brome. SONGS AND 
 
 OTHER POEMS. London. 1661. 
 
 Old calf, with double fillet, Renaissance angle 
 ornaments, and full tooled back panels. 
 
 144 RIVIERE. Oliver Goldsmith. THE 
 
 VICAR OF WAKEFIELD. London, 
 mdcccxliii. 
 
 Blue morocco, with Le Gascon borders enclosed 
 within fillets. Le Gascon centre ornamentation 
 with medallion of red mosaic.
 
 Catalogue of Bookbindings 67 
 
 145 RAMAGE. Alfred Tennyson. POEMS. 
 
 London, mdcccxlii. 
 
 Red morocco, with border fillets in gold and 
 blind tooling, and corner ornaments in gold. 
 Ex Libris Bishop Samuel Wilberforce. 
 
 146 . Samuel Butler. HUDIBRAS. 
 
 London. 1800. 
 
 Dark blue crimped morocco, with border of 
 fillets, and tooled back panels. 
 
 147 LORTIC. LES FLEURS ET MANIERES 
 
 DES TEMPS PASSEZ. Paris. 1513. 
 
 Red morocco, with double border fillet in blind, 
 panel band in blind with corner ornaments in gold 
 of monogram crowned, and centre ornaments of 
 Arms on front and genealogical tree on back 
 cover. 
 
 148 ROUSSELLE. Ovide. LES AMOURS. 
 
 Paris. 1879. 
 
 Blue morocco, with dentelle (Derome) border, 
 with mosaics of red in medallions at corners, and 
 in back panels.
 
 68 Catalogue of Bookbindings 
 
 149 TOUT. Lamotte- Fouque. PETER 
 
 SCHLEMIHL. London. 1824. 
 Dark green morocco, with double border fillet 
 in blind, and mosaics of white pansies, gold lined 
 and foliated, in angles and in back panels. 
 
 150 CHAMBOLLE-DURU. Andrew 
 
 Lang. AUCASSIN AND NICOLETE. 
 
 Portland, mdcccxcv. 
 
 Lemon morocco, with panel formed of roulette 
 side bands, diapered top and bottom, with twining 
 rose sprays, bees, and birds. Linings and ends of 
 silk brocade. 
 
 151 ZAEHNSDORF. Andrew Lang. 
 
 BALLADS IN BLUE CHINA. London. 
 
 mdccclxxxviii. 
 
 Blue morocco, with spray of ivy on front cover, 
 and ivy leaves in back panels, on back cover, and 
 on inside borders, all gold tooled. 
 
 152 ZAEHNSDORF. Christina G. Ros- 
 
 setti. VERSES. London. 1847. 
 Brown morocco, with fillet border, branches of 
 foliage in angles and on back.
 
 Catalogue of Bookbindings 69 
 
 153 AMAND. Gerard De Nerval. 
 
 SYLVIE. Paris. 1886. 
 
 Blue morocco, border of fillets and dotted line, 
 and interlacing foliations forming compartments, 
 with butterflies in spaces, all in gold toolings. 
 
 154 LEWIS (?). -. ESSAYS. Lon- 
 
 don. 1821. 
 
 Green crimped morocco, with border of five 
 fillets, and panel formed of fillets and fleuron 
 angle ornaments. v 
 
 155 ZAEHNSDORF. John Keats. 
 
 ENDYMION. London. 1818. 
 Olive green morocco, with framework in red 
 mosaic forming geometrical compartments, and 
 scrollwork, with azured moresque ornaments, flow- 
 ing through it, in the style of Grolier. 
 
 156 ZAEHNSDORF. Frank W. Gun- 
 
 saulus. PHIDIAS AND OTHER POEMS. 
 
 Chicago. 1891. 
 
 Blue morocco, with broad borders, and back 
 panels, of passion flowers, foliated, in gold tool- 
 ings. Inside floret borders studded with gold dots.
 
 jo Catalogue of Bookbindings 
 
 157 STIKEMAN & CO. DECREE OF 
 
 STAR CHAMBER CONCERNING PRINT- 
 ING. Grolier Club, New York. 
 1884. 
 
 Brown morocco, with a design representing the 
 ceiling of the Star Chamber tooled in gold. Broad 
 roulette inside borders, with additional toolings in 
 gold. 
 
 158 (MISS) IRENE NICHOLS. Dante 
 
 Gabriel Rossetti. POETICAL WORKS. 
 London. 1891. 
 
 Green morocco, with mosaics of red roses lined 
 and foliated in gold on sides and back. Inside 
 borders with mosaics of red rose-buds foliated in 
 gold. Gaufre edges. Silk brocade linings and 
 ends. 
 
 159 LORTIC. Firgilii. CARMINA 
 
 OMNIA. Parisiis. mdccclviii. 
 
 Dark blue morocco, with blind fillets, and angle 
 and centre ornaments in gold.
 
 Catalogue of Bookbindings 71 
 
 1 60 
 
 Demoustier. 
 
 LETTRES 
 
 A EMILIE. Paris. 1803. 
 Dark blue morocco, with broad dentelle border. 
 
 161 ZAEHNSDORF. Blake. SONGS 
 OF INNOCENCE AND OF EXPERIENCE. 
 London, i 
 
 Orange morocco, with semis of flaming hearts 
 and florets in alternation. 
 
 162 COB DEN-SANDERSON. A 
 GUEST BOOK. 
 
 Limp vellum, with circuit edges and brocade 
 ties, and with corner compartments of foliage and 
 flowers tooled in gold. 
 
 163 BRADSTREET'S. [Fitz-Greene 
 Halleck.~] FANNY. New York. 1819. 
 
 Red morocco, with dentelle (Derome) border.
 
 72 Catalogue of Bookbindings 
 
 164 STIKEMAN & CO. Edward Fit-z 
 
 Gerald. RUBAIYAT. Grolier Club, 
 New York, mdccclxxxv. 
 Blue morocco, with broad border of Persian 
 design tooled in gold. 
 
 165 STIKEMAN & CO. Thee. L. 
 
 Def^inne. CHRISTOPHER PLANTIN. 
 Grolier Club, New York. 1888. 
 
 Brown morocco, with border of fillets joining 
 angle compartments of Renaissance design the 
 open spaces with printing press stamped in. Back 
 panels tooled in gold a petits fers. 
 
 1 66 PETIT. Hordal. AVRELIANENSIS 
 
 PVELLM HISTORIA. m.dc.xii. 
 
 Blue morocco, with double fillet enclosing a 
 semis of fleurs-de-lys, and coat of arms as centre 
 ornament. 
 
 167 TOUT. ANACREONTIS ODARIA. 
 
 Londini. mdcccii. 
 Lemon morocco, with lace border.
 
 Catalogue of Bookbindings 73 
 
 168 RIVIERE & SON. M. M. Grimm. 
 
 GERMAN POPULAR STORIES. Lon- 
 don. 1823. 
 
 Green morocco, with fillet border, panel, corner 
 and angle decorations, and with full tooled back 
 panels. 
 
 169 ZAEHNSDORF. Martin Luther. 
 
 HULLA CONTRA ERROR. 1520. 
 
 Brown morocco, with border and panel of 
 fillets in gold, and blind and corner ornaments of 
 gold. 
 
 170 THIERRY. Joannis Pici. MIRAN- 
 
 DUL^E EPISTOL^:. 1495. 
 
 Brown morocco, with fillets in blind, corners in 
 gold, and Renaissance centre stamp in gold. 
 
 171 P. RAPARLIER. MARIUS 
 
 MICHEL, DOREUR. Doi 
 
 AUREI OPUSCOLI DI THOMASO DE 
 AQUINO. Perusia. 1510. 
 Green morocco, with black mosaic strapwork 
 interlacement, lined in gold, in style of Grolier.
 
 74 Catalogue of Bookbindings 
 
 172 STIKEMAN & Co. F. W. Bourdil- 
 lon. AUCASSIN AND NICOLETTE. Lon- 
 don. 1887. 
 
 Blue morocco, with double fillet border, and 
 angle and back panel decorations, in Roger Payne's 
 manner. 
 
 173 GRUEL. CEuvRES DE PLUTARQUE. 
 
 Paris, mdcccvii. 
 
 Dark purple morocco, with broad band of 
 mosaics in various colors joined by fillets. Centre 
 ornament of rose medallion in mosaics of various 
 colors, and small upper and lower trefoil mosaics 
 all lined out in gold. 
 
 174 SANFORD. C.W. A Two YEARS 
 
 JOURNAL IN NEW YORK. London, 
 mdcci. 
 
 Olive green morocco, with border of fillets, 
 roulettes and Le Gascon ornamentation.
 
 Catalogue of Bookbindings 75 
 
 175 LORTIC. Boucher. HISTOIRE 
 
 VERITABLE ET NATURELLE DES 
 MOEURS ET PRODUCTIONS DU PAYS 
 
 DE LA NOUVELLE FRANCE. Paris. 
 
 m.dclxiv. 
 
 Red morocco, with border and panel fillets, and 
 floret corner ornaments. Full tooled back panels. 
 
 176 BEDFORD. AMERICA AF SWED- 
 
 BERG. Skara. 1732. 
 
 Red morocco, with border and panel fillets in 
 blind and in gold, with corner ornaments in gold. 
 
 177 CHAMPS. Mavrlle de S. Michel 
 
 VOYAGE DES ILES CAMERCANES. 
 
 Wine colored morocco, with triple border fillets, 
 and full tooled back panels in gold. 
 
 178 LORTIC FRfeRES. MANIFEST 
 
 SUDER COMPAGNEY. Stockholm. 
 1626. 
 
 Red morocco, with border and panel fillets, 
 angle and corner ornamentation, with centrepiece, 
 in Le Gascon tooling.
 
 j6 Catalogue of Bookbindings 
 
 179 DAVID. John Pope. A TOUR, ETC. 
 
 Richmond, m.dcc.xcii. 
 
 Red morocco, with border and panel fillets, and 
 angle and corner ornamentation. 
 
 1 80 RIVIERE & SON. A SERMON 
 
 PREACHED AT PLIMMOTH. 
 
 Orange morocco, with double fillet enclosing 
 Grolieresque design of interlacing scrollwork, with 
 moresque, azured and outlined, ornaments at 
 terminations. At centre a mosaic of brown 
 morocco encloses compartments with title on front, 
 and place and date on back cover. 
 
 181 LORTIC FR&RES. HANDELS 
 
 COMPAGNIES CONTRACT. Stockholm. 
 1625. 
 
 Red morocco, with lace border of Le Gascon 
 design. 
 
 182 LORTIC FRfiRES. PRIVILEGIUM, 
 
 ETC. Stockholm. 1626. 
 
 Red morocco, with border fillets enclosing band 
 of Le Gascon ornamentation.
 
 No. 180. RIVIERK & SON
 
 Catalogue of Bookbindings 
 
 183 LORTIC FRfiRES. FORKLARING 
 
 OFWER HANDELS CONTRACTET. 
 Stockholm. 1626. 
 
 Red morocco, with broad dentelle border of Le 
 Gascon design. 
 
 184 PRATT. HISTORY OF THE FIVE 
 
 INDIAN NATIONS. Bradford, New 
 York. 1727. 
 
 Dark red morocco, with double fillet interlace- 
 ment forming geometrical compartments. Blue 
 morocco fireproof case with interlacing fillet de- 
 sign of the book repeated. 
 
 185 ZAEHNSDORF. [John Haywood.] 
 
 THE CHRISTIAN ADVOCATE. Nash- 
 ville. 1819. 
 
 Red morocco, with framework of interlacing 
 fillets forming compartments ornamented in the 
 manner of the Eves the irregular spaces with 
 sprays of foliage, a la fanfare. Back panels 
 and inside borders finished with same tools. Red 
 watered silk linings and ends.
 
 78 Catalogue of Bookbindings 
 
 186 ZAEHNSDORF. COPEDIS BREUE 
 DE LAS PROCESSIONES. Mexico. 
 1544. 
 
 Green morocco, with fillet compartments, and 
 pointille tooling in imitation of a Le Gascon de- 
 sign. Green watered silk linings and ends. 
 
 187 ZAEHNSDORF. MOURT'S RELA- 
 TION. London. 1622. 
 
 Green morocco, with band of eight fillets, 
 broken at the joints; double of brown morocco 
 with fillets and interlacing foliations of Indian 
 corn. Brown morocco ends. 
 
 1 88 ZAEHNSDORF. Benj. Church. 
 ENTERTAINING PASSAGES RELATING 
 TO PHILIP'S WAR. Boston. 1716. 
 
 Brown morocco, with Le Gascon dentelle 
 border and mosaics of light blue, surrounded by 
 mosaic band of darker brown bearing scrollwork 
 ornamentation. Double of dark brown with 
 Derome borders, brown morocco ends.
 
 Catalogue of Bookbindings 79 
 
 189 PRATT. Martyr and Oviedo. INDIE 
 OCCIDENTAL!. Vinegia. 1534- 
 
 Brown morocco, with border fillets, bands, and 
 other ornaments tooled in blind. 
 
 190 ZAEHNSDORF. Prescott. CON- 
 
 QUEST OF MEXICO. 1864. 
 
 Red morocco, with frame of interlacing fillets, 
 and moresque scroll ornamentation flowing through 
 it, in style of Grolier. Inside borders of inter- 
 lacing fillets and moresque ornaments. Red 
 watered silk linings and ends. 
 
 191 THIERRY. Horace. POEMS. 
 
 Plantin. Antwerp. 1564. 
 
 Dark olive green morocco, with double fillet 
 border enclosing panel design with corner orna- 
 ments all in blind tooling. 
 
 192 THOUVENIN. IL PASTOR FIDO. 
 
 Parigi. m dccc xxii. 
 
 Brown morocco, with single border fillet and 
 angle ornamentation.
 
 80 Catalogue of Bookbindings 
 
 193 SIMIER. Nostradamus. LES VRAYES 
 CENTURIES, ETC. Amsterdam. 1668. 
 
 Purple morocco, with border bands, and arms 
 in centre, all in gold. 
 
 194 ZAEHNSDORF. E. A. Poe. 
 
 POEMS. London, mdcccxcii. 
 
 Olive morocco, with foliations, and with flowers 
 in mosaics of various colors. 
 
 195 . Champagny. RAPPORT DU 
 
 JURY. Paris. 1806. 
 
 Red straight grained morocco, with border 
 roulette and fillets, and with centre ornament of 
 arms of NAPOLEON I. on both sides. 
 
 196 BOZERIAN JEUNE. CELSUS ET 
 
 SERENUS. Aldus, Venice, m.d.xxviii. 
 
 Red morocco, with border of fillets, vine inter- 
 lacement, and corner ornaments. Full tooled back 
 panel.
 
 ,*. s> ,% 
 
 ;*\ - 
 
 ROEMS B 
 
 . 
 |TAYLOR 
 
 No. 197. THE DOVES BINDERY
 
 No. 200. COX
 
 Catalogue of Bookbindings 8 1 
 
 BINDERY. Coleridge. 
 Kelmscott Press, London. 
 
 197 DOVES 
 
 POEMS. 
 
 1896. 
 
 Red morocco, with fillets and heavy dotted and 
 leaf ornamentation forming centre panel for title 
 on front cover. Back cover uniform, but without 
 title. 
 
 198 THOUVENIN. Moliere. CEuvREs. 
 
 Paris, m dccc xxv. 
 
 Reddish brown morocco, with border fillets in 
 gold and blind, and large centre ornament stamped 
 in blind the relief portions slightly dotted in gold. 
 
 I 99 
 
 SIMIER. ANNALS 
 Paris. 1822. 
 
 DU MlJSEE. 
 
 Green morocco, with borders in blind and gold, 
 arms of ADELAIDE OF FRANCE in centres. 
 
 2OO 
 
 COX. William Matthews. MODERN 
 BOOKBINDING PRACTICALLY CONSID- 
 New York, mdccclxxxix. 
 
 ERED. 
 
 Blue morocco, with border fillets broken at 
 angles and with mosaics and foliations in angles
 
 82 Catalogue of Bookbindings 
 
 and centre on front cover ; with fillet interlace- 
 ment forming compartments on back cover; 
 doubles of white morocco ovals and dark morocco 
 medallion in centre, with elaborate toolings, the 
 designs differing slightly. 
 
 201 COX. Uzanne. LA RELIURE 
 
 MODERNE. Paris. 1887. 
 
 Dark olive morocco, with border bands, com- 
 partments, centre rose, quatrefoils, trefoils, etc., 
 in mosaics of various colors, and with toolings, 
 differing on two sides. Inside border bands of 
 mosaics in various colors, with toolings, differing 
 on two sides, and with brocade linings and ends. 
 
 202 COX. Mm. Marius Michel. LA RELI- 
 
 URE FRAN^AISE. Paris, m.dccc.lxxxi. 
 
 Red morocco, with mosaic and corner border 
 bands and gold toolings, centre compartment of 
 basket pattern in blind, on front cover; mosaic 
 border bands and centre panel of white, with inlays 
 and gold toolings, on back; doubles of white with 
 gold toolings and broad mosaic band and toolings 
 on front and back, designs differing slightly.
 
 No. 205. ZAEHNSDORF
 
 Catalogue of Bookbindings 83 
 
 203 COX. Eouchot. THE BOOK, ETC. 
 
 London. 1890. 
 
 Dark blue morocco, with interlacing fillet bands 
 forming compartments which are floriated at cor- 
 ners. Doubles of two volumes all differing in 
 design and color. 
 
 204 COX. Baldwin. THE BOOK-LOVER. 
 
 Chicago. 1885. 
 
 Red morocco, with dentelle borders. Doubles 
 of blue with mosaics of red interlacing strapwork, 
 and scrollwork with mosaic ornaments in outline 
 of moresque design in various colors. 
 
 205 ZAEHNSDORF. Matthew Arnold. 
 EMPEDOCLES ON ETNA. London, 
 mdcccxcvi. 
 
 Brown morocco, with interlacing fillets, sides 
 and back panels.
 
 84 Catalogue of Bookbindings 
 
 206 CHAMBOLLE-DURU. JOUTEL'S 
 JOURNAL OF LASALLE'S LAST VOY- 
 AGE. Caxton Club, Chicago. 1896. 
 
 Blue morocco, with double fillet border enclos- 
 ing panel design composed of interlacing fillets, 
 foliations, and Renaissance ornamentation, all in 
 gold. Double of red morocco, with strapwork 
 mosaic and fillet interlacements, and with Renais- 
 sance ornamentation. Silk brocade ends. This 
 is the first copy of the first book issued by the 
 Caxton Club to be honored with a worthy dress.
 
 
 I ! I 
 
 I 
 
 -"* i w 
 
 1 I 
 
 No. 206.-CHAMBOLLE-DURU
 
 PRINTED FOR THE CAXTON CLUB BY 
 R. R. DONNELLEY AND SONS CO. AT THE 
 LAKESIDE PRESS, CHICAGO, MDCCCXCVIII
 
 University of California Library 
 Los Angeles 
 
 /< 
 
 KtC'D 
 
 95.9188
 
 UCLA-Art Library 
 
 Z 266.5 C31C 
 
 L 006 226 408 
 
 A 001 199246 8
 
 CATALOGUE of an 
 
 Exhibition of Nineteenth 
 Century BOOKBINDINGS 
 By the Caxton Club^ Chicago 
 December, MDCCCXCVII