Anonieme studies.

3 pencil drawings of faces.

Early 20th century, no signature.

8,2 cm. x 6,3 cm.

A flexible one – section binding in natural cow leather.

The leather was dyed on the fleshside to create a hazy effect.

Blind tooled lines over the whole binding, title on the front board, small accents and parts of lines tooled with Oesserfoils.

The book is kept in a pliable box of thin soft yellow board.

​Anonieme studies.

Raymond Quinot.

Ciel blue.

1953, “La Maison du Poète” at Van Doorslaer in Brussel.

19,6 cm x 16,9 cm.

The complete edition consist of 500 not numbered copies.

Handwritten dedication of the autor on the French title leaf.

“Edelpapband” in yellow Duvalpapier. On both boards a collage of self colored Cansonpaper laid in.

A same collage was cut in and put over the back in a hollow way. By using this method the back of the binding changes its form every time the binding is manipulated.

Title and name of the autor are tooled with Oesserfoil on the boards.

The book is bound on meeting guards, is finished with leather headbands and is kept in a pliable box of black Canford.

Ciel Blue

Raymond Quinot.

La IXe croisade.

1949, Aux Editions du C.E.L.F. au 92 de la rue Léopold à Malines en Belgique.

19,6 cm x 16,4 cm.

“Edition originale sur 500 exemplaires” this is copy 38/50 with a handwritten poem bound in and a handwritten dedication of the autor on the French title leaf.

“Edelpapband” in blue Duvalpaper. Boards in relief, on the lower part self colored paper (a combination of car lacquers, leather dey’s and chalk) on black Hahnemühle paper.

The self colored paper continues on the inside of the boards and the fly leaves.

Title and name of the autor are tooled with Oesserfoil on the boards in a vertical way. Small points tooled on the back and both boards complete the decoration.

The book is bound on meeting guards, is finished with leather headbands and is kept in a pliable box of black Canford.

La IXe Croissade

Raymond Quinot.

La lampe d’Aladin.

1952, Aux Editions du C.E.L.F. au 92 de la rue Léopold à Malines en Belgique.

Illustrations by Guy Vandenbranden.

19,6 cm x 16,4 cm.

This is copy 75/550.

Handwritten dedication of the autor on the French title leaf.

Bradel with a 1-millimetre joint in blue Duvalpaper. On both boards parts of self colored paper (a combination of plastic glue, car lacquers, leather dey’s and chalk).

Title and name of the autor are tooled with Oesserfoil on the boards between the inlays in a vertical way.

Small points tooled on the back and both boards complete the decoration.

The book is bound on meeting guards, is finished with leather headbands and is kept in a pliable box of black Canford.

"sold"

La Lampe d' Aladin

Binding based on the work of the 16th century “Fugger binder” or the “Venetian Apple Binder” kept in the Spanish Royal collection. His name was given to him because he worked almost exclusively for the Augsburg banker Johann Jakob Fugger. Johann Jakob Fugger was more interested in arts and literature than he was in taking care of his business. This imbalance led to bankruptcy and in 1571 he had to sell his bookcollection to King Albrecht V of Bayern. This collection forms today the base of the Bayerische Staatsbibliothek.

Book;

Abrégé des vies des principaux fondateurs des réligions de l’église, représentez dans le choeur de l’abbaie de S. Lambert de Liessies en Haynaut.

Anvers, Martin Nutius, 1634.
38 gravures de C. Et Th. Galle.

Binding;

Bound on 5 cow leather supports, showing as raised bands on the spine.
Blind tooled and with a gold line.
Primary sewed headband.
Natural cow leather over paste boards.
In the middle of the back a blind tooled line.
The upper cover and half of the back coloured in red, the other half of the back and the lower cover dark blue.
Panel designs guilded and blind tooled, in the corners leaf tools guilded.
Leaf tools and circles guilded on the back.
Title on the upper cover.

Fugger binder

Statiestraat 40 B-3290 DIEST - 0032 478 11 22 04 - info@boekbinderij-camps.be