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The British Bindings in the Henry Davis Gift

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The British Bindings in the Henry Davis Gift THE BRITISH BINDINGS IN THE HENRY DAVIS GIFT MIRJAM M. FOOT WHEN Henry Davis, C.B.E. died on io January 1977 the majority of his magnificent collection of bookbindings joined those already on exhibition in the British Library. The Gift, which comprises approximately 800 decorated bookbindings and 260 reference books is too extensive and too varied to receive proper justice in a series of articles, but while a full-dress catalogue is in preparation, a few high spots may be worth a preliminary airing. The earliest of the Enghsh bindings comes from Fountains Abbey in Yorkshire and covers a 'Liber Ezechialis' written there in the latter part ofthe twelfth century. It is made of white whittawed skin over wooden boards and has a brass clasp on a long leather thong which fastens almost in the centre of the lower cover. A thirteenth-century manuscript 'Biblia Sacra' was bound in Canterbury c. 1470 by John Kemsyn^ and a London binding of c. 1475 by the Scales binder covers Jean Charlier de Gerson, De passionibus animae [and other works], [Cologne]: Ulrich Zell [and others], [r. 1470-3] and is illustrated here (fig. i). It shows a different design on each cover, built up of small tools among which is a pelican in her piety depicted twice on one stamp and by herself on another. The initials r s, cut in the leather, are probably those of the original owner. A blind-tooled brown calf binding on Vocabularius utriusque iuris (Basel: N. Kessler, 1488) was made in Cam- bridge in the late fifteenth century and is signed W G and one other late-fifteenth- century binding was made in London by Henry Cony, whose name is hidden in a stamp showing a rabbit and the initials h c.^ It covers Publius Virgilius Maro, Opera (Nurem- berg: A. Koberger, 1492). The sixteenth century starts with a binding on Thordynary ofChrysten Man (London: W. de Worde, 1506), made by the binder who worked for Wynkyn de Worde after he moved to Fleet Street. It is decorated with bHnd panels, showing the Mass of St. Gregory on the upper cover and St. Barbara on the lower. When Wynkyn de Worde was still at Westminster he used the binder who worked for Wilham Caxton and an example of his work covers Eusebius, Historia ecclesiasttca (Hagenau: H. Gran, 1506).^ English bindings ofthe first half of the sixteenth century are most commonly decorated in blind either with rolls or with panels. A number of these come from known shops, such as a 151 o Paris Bible with a panel depicting two entwined dragons, signed Pierre Auctorre 4 There are four bindings made in the 1520s and 1530s by the London publisher and book- binder John Reynes, tooled either with his signed roll or with various panels; two signed 114 Fig. I. Jean Charlier de Gerson, De passionibus animae [and other works], [Cologne, c. 1470-3.] 225 X 150X50 ram. Bound by the Scales binder panel-stamped bindings ofthe 1540s by Martin Dature and various panels with initials, such as a rose panel and an Annunciation panel signed A H and used c. 1515, another rose panel and one with the English royal arms signed H I on a binding of c. 1530, and panels with the initials M E and depicting St. Paul, used at about the same time. A Cambridge panel-stamped binding of c. 1523 comes from the shop of Garrett Godfrey and one decorated with rolls was made c. 1535 by Nicholas Spierinck. Gerard Pilgrim of Oxford bound a 1535 Cologne Clichtoveus and his townsman GK used a signed roll about twenty years later on a 1516 Paris Missal. The gold-tooled bindings ofthe century are more obviously appealing. A fine example made c. 1550 by the Medallion binder for King Edward VI covers a Bible in Greek (Basel, 1545)5 and the King Edward and Queen Mary binder bound Vittoria Colonna, Rime spirituali (Venice, 1548) and two other works, printed in Venice in 1531 and 1544, together for William Bill^ at the time that he was Master of St. John's College, Cambridge and one of King Edward VI's itinerary chaplains. Queen Mary disapproved of Bill's dedicated Protestantism, but Queen Elizabeth installed him as Dean of Westminster shortly before his death in 1561. The same binder bound Actes Made in the Parliament (London, 1554) for Queen Mary,*^ and her successor's arms and portrait occur on [Elizabeth I], 'Royal Charter of Confirmation in favour ofthe town of Dunwich', MS. [c. 1575] bound by the Huguenot immigrant Jean de Planche (fig. 2). As well as the corner pieces used on this binding he possessed a set of signed corner blocks and the various hatched tools he used give his work a distinctly French look. Queen Elizabeth's favourite, Robert Dudley, Earl of Leicester, owned several bindings now in the Davis Gift, all but one of which have his badge of a bear and a ragged staff in the centre. One of these was made c. 1577 of brown calf, with gold-blocked corners signed E D, over a sunk panel of punched purple velvet,^ a striking combination, which is also found on a Nouveau Testament (Lyons, 1564) and Pseaumes [and] Kalendrier (Geneva, 15^5) bound dos-d-dos by the MacDurnan Gospels binder.*^ This binder, who started work in London in the 1560s, bound for Queen Elizabeth, Archbishop Matthew Parker, Robert Dudley, William Cecil Lord Burghley, and others from the fashionable ranks of Elizabethan society, and his successor John Bateman became royal binder to James I in 1604. He bound The Statutes and Ordinaunces ofthe . Order of. .ye Garter, MS. [1616] for Robert Sidney, Viscount Lisle. It is well known that Archbishop Matthew Parker had a bindery working for him at Lambeth Palace. One of the products of this shop covers John Caius, De antiquitate Cantebrigiensis academiae and two other works, printed by John Day in 1574. This binder remained active after Arch- bishop Parker died in 1575 and some of his tools turn up as late as 1642 on five works by H. Hexham, printed in Delft and The Hague between 1614 and 1642. There are a number of very pretty embroidered bindings from the end ofthe sixteenth and the beginning ofthe seventeenth centuries. A canvas binding embroidered with gold and silver threads and coloured silks was made for Henry, Lord Norreys of Rycote and his wife Margaret and has their arms on the covers. A red velvet binding embroidered with silver thread covers a 1603 Dort New Testament and has the initials of Queen Elizabeth (fig. 3^). A folio Bible and Prayer Book (London, 1611) was lavishly embroidered to 116 Fig. 2. Dunwich Charter [MS. c.1575.] 292X202X20 mm. Bound by Jean de Planche 117 X X . U-I W u^ 1= .—V u u 0 10 . bO ort a pattern of vines, flowers, and angels for James Montague, Bishop of Bath and Later seventeenth-century embroidered bindings show the figures of Peace and Plenty on W. Camden's Britain (London, 1610); the figures of Taste and Sight on The Whole Booke of Davids Psalmes (London, 1628) (fig. 3^); King David on a 1635 London Psalter and an admonition to 'be wise as serpents and innocent as doves' on Samuel Smith, David's Repentance (London, 1637)." Some fine floral designs include one embroidered in gold and silver threads and coloured silks on purple satin made c. 1630 for John Daven- ant, Bishop of Salisbury, covering Biblia Sacra (London, 1585) [and] Psalmes (London, 1587),'^ and one embroidered in silver on red velvet on a 1632 London New Testament, bound dos-d-dos with a 1633 London Psalter. Velvet bindings could be tooled in gold like leather, and a binder who practised this technique several times was Daniel Boyse who worked in Cambridge from c. 1616 until 1630. He bound a 1629 Cambridge Bible and Prayer Book in gold-tooled blue velvet,^^ and a gold- and silver-tooled and red-painted brown goatskin binding covers E. Spenser, The Faerie Queene [and other works] (London, i6o9-ii-i2).^4 \ very attractive Cambridge binding of about thirty years later made of black goatskin, onlaid in red and citron and tooled in gold with tools very similar to those used by John Houlden, covers F. Quarles, Devine Poems [and] Emblemes (London, 1643). The 1660S herald the 'golden age of English bookbinding' and no major collection of bindings would be complete without a fair display of Restoration treasures. The Gift contains five bindings by Samuel Mearne. A 1659 Cambridge Bible in gold- and blind- tooled olive-brown goatskin, onlaid in various colours and decorated with paint, was probably together with its companion Prayer Book, now in the Broxbourne Library, supplied for use in the Chapel Royal in 1666;'^ a gold- and blind-tooled Book of Common Prayer (London, 1662), decorated with silver paint and with a fore-edge painting, under- neath the gold, of the Crucifixion, was probably supplied for use in one of the royal chapels in the same year;'^ a red goatskin binding of a more simple design, tooled in gold with the cypher of Charles II, covers A. A. Barba, The Art of Mettals (London, 1670); a Common Prayer ofthe same year, also bound in red goatskin, has the cyphers of Charles II and James II as Duke of York ;'^ and Bacon's Essays (London, 1680) is in gold- and blind- tooled dark brown goatskin. Mearne's contemporaries and successors are equally well represented. Charles Mearne bound T. Browne, Certain Miscellany Tracts (London, 1683)'^ in red goatskin onlaid in black and tooled in gold to a cottage-roof design.
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