Information
Charenton, A. Cellier, 1664. Finely decorated title page, light browning. Tied with. Le Pseaumes de David. Charenton, Cellier, 1660. Musical staves, restorations with loss of text in the last pages. In the 12th. SPLENDID FRENCH BINDING à la fanfare, slight abrasions on the foot of the spine.
Specialist Notes
THE BINDING A LA FANFARE
"With small irons, in compartments of various sizes and shapes, all covered with small designs, except the mirror which often presents the owner's weapons This type of binding began to spread during the reign of Henry III, son of Catherine de' Medici, in the second half of the sixteenth century and was also very fashionable in Italy in the seventeenth century they are drawn with three fillets, two close together and one further away. The volutes create spaces in which branches and foliage are placed. In the center there is a void, where a coat of arms, a plaque or other can be placed more charged than in the taste of Grolier and Maioli, however, he had a binding of this type made at the end of his life, between 1558 and 1565, demonstrating openness to modern taste and experimenting with unusual forms of decoration. to its traditional style. The conventional designation of binding à la fanfare, however, dates back to the last century: in 1829 the bookseller and bibliophile Charles Nodier had the well-known binder Thouvenin bind an example of Jean Presvot's work, Fanfares et courvées abbadesques, printed in Chambéry in 1613." (Pietro Rotelli, on line).
"With small irons, in compartments of various sizes and shapes, all covered with small designs, except the mirror which often presents the owner's weapons This type of binding began to spread during the reign of Henry III, son of Catherine de' Medici, in the second half of the sixteenth century and was also very fashionable in Italy in the seventeenth century they are drawn with three fillets, two close together and one further away. The volutes create spaces in which branches and foliage are placed. In the center there is a void, where a coat of arms, a plaque or other can be placed more charged than in the taste of Grolier and Maioli, however, he had a binding of this type made at the end of his life, between 1558 and 1565, demonstrating openness to modern taste and experimenting with unusual forms of decoration. to its traditional style. The conventional designation of binding à la fanfare, however, dates back to the last century: in 1829 the bookseller and bibliophile Charles Nodier had the well-known binder Thouvenin bind an example of Jean Presvot's work, Fanfares et courvées abbadesques, printed in Chambéry in 1613." (Pietro Rotelli, on line).
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Condition report
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