Bindings to Treasure
Binding miniature of embossed, gilded and painted tin by Thomas Compigné
Painted and gold-tooled white calf, the covers overlaid with gold-tooled red morocco cut out to reveal in the interstices a bright magenta blind-stamped metallic ground; at center a large silver oval medallion enclosing on each cover a different miniature of embossed, gilded and painted tin under glass. On front cover a harbor scene of two fishermen clamming, with sailboats and a building in the background, on back cover a different seaside scene with ducks and a port village; blue silk endleaves. Housed in a two-part blue morocco gilt slipcase by Riviere & Son.
The bindings in this case are all crafted in the tradition of the medieval “treasure binding”—luxurious bindings covered in tooled gold or silver and often studded with jewels and gemstones, or decorated with detailed narrative scenes. Treasure bindings get their name not only for the value of the materials used to make them, but also because they, along with saints’ relics, vestments and plate, once formed part of a church’s treasury. Treasure bindings undoubtedly lend prestige to the texts that they envelop—in the medieval period these texts were typically liturgical and devotional manuscripts—as well as to the person or institution that possesses them.
Paris: Chez le Sr. Boulanger, 1780
ARREARAGE 2020-127
Mother-of-pearl and silver-gilt hinged case binding
Paris: Chex le Sr. Desnos, 1781?
ARREARAGE 2020-133
Embroidered and painted white silk over binder’s board, covers with scrolling vine borders of couched metallic thread and sequins enclosing a different gouache painting on each cover: a strolling gentleman playing a bagpipe on upper cover and a lady in a lavish pink dress and pouf coiffure on lower cover, spine with undulating thread and sequins (a few lacking), blue silk liners; recased. Robert de Beauvillain, bookplate bound at front. With blue silk endpapers.
