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                <text>La Bulle d'Or, suivie De la Sanction Pragmatique et Loi perpétuelle</text>
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                <text>In the 20th century, in addition to the pasted-in ex-libris bookplate, we find many different styles and formats of ex-libris indications. The stamped ex-libris turns out to be not only a less onerous form but also one that is much more practical. We find them chiefly in library materials (don’t hesitate to search for the stamp of the University of Ottawa in its collections, chiefly found in pink), but they were also used by private owners, as in this example, Jean-Claude Dubé. M. Dubé used many ways to signal ownership of his items, one of these being this stamp with stylized letters. </text>
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                <text>Luxembourg, Chez André Chevalier &amp; Marchand Librairie</text>
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                <text>Fulviae Moratae foeminae doctissimae ac plane divinae Opera omnia quae hactenus inueniri potuerunt […]</text>
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                <text>Leathers and parchments could be dyed so as to add colour to their external covers; they could also be painted. This third edition of the works of Olympia Morata, humanist, poet and linguist, of Italian origin, is an example of a parchment that has actually been painted green, by hand, which was a technique much used in the Germanic lands. This is a lace-cased binding of limp parchment, perhaps originally meant to be a temporary binding. However, it has been much embellished and clearly meant by it owners to remain in this particular housing.</text>
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                <text>Le festin nuptial dressé dans l'Arabie heureuse au mariage d'Esope, de Phèdre &amp; de Pilpai avec trois fées</text>
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                <text>Bringing to life the adage of “waste not, want not”, this book’s binding is made of parchment that originally was someone’s correspondence. With paper and leather being expensive commodities due to the ever-increasing amount of titles being published and the demand by binders for materials to cover these in, it makes perfect sense for binders to reuse materials whenever possible. In general, bindings made of “recycled” materials were generally so chosen by the person requesting an item be bound. The owner of this item may have even supplied this piece of used parchment himself. The book owner ordering such a binding would have had economy at the top of list of priorities. </text>
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                <text>Bruslé de Montpleinchamp, Jean Chrysostôme (1641-1724)</text>
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                  <text>The Rare Book Collection includes  over 14,000 printed books from the 15th to the 20th centuries which cover subjects such as medicine, law, literature, philosophy, natural sciences, geography, science, architecture, history, arts, etc. The collection includes books published in Europe and America, but there is also a significant collection  of Canadiana, including periodicals.</text>
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                <text>Les gestes et faictz merveilleux du noble Huon de Bordeaulx […]</text>
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                <text>This exquisite binding in red morocco is a modern binding, probably dating to 350-400 years after the book was initially printed. Tooled and stamped in gilt, with elaborately gilded edges, this was a binding executed for someone with a love of luxury and a disposable income of note. Its interior also sports a spectacular endpapers with embossed gold, an image of which can be seen in image 15 in the “Printers and Marblers” frame. </text>
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                <text>Huon de Bordeaux</text>
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