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Missale Romanum ex decreto sacrosancti Concilii Tridentini restitutum. Pii V. Pont. Max. iussu editum

1600rif. 2945Paris: the Associated Booksellers to the Church 1600. Folio 362 x 245 mm. Collation: ã6 ê6 î4 i4 blank õ6 ũ6 ãã6 êê4; A-Z Aa-Yy6. 38 228 42 leaves. Double column printed in red and black double rule page-borders throughout. 57 pages with printed music staves red-printed. Woodcut title illustration of Saints Peter and Paul seven full-page woodcuts the first in two blocks: a woodcut border and small Annunciation cut five small woodcut vignettes including two repeats and approximately 368 historiated initials in various sizes and from various series. Small tear to corner of title-leaf occasional foxing very occasional offsetting of red ink small stains in gutters in quire O finger-soiling in Canon quire X small rust-hole in f. 212 NN2 affecting 3 letters last few leaves with narrow marginal dampstain and slight creasing to upper fore-corners. Bound in contemporary French gold-tooled and -stamped light brown goatskin covers paneled with double fillets inner panel with fleurons at outer corners inner corners with large stamp of leafy branches emerging from a small medallion with winged cherub’s head large central oval medallion of the Crucifixion on upper cover and Annunciation on lower cover smooth spine with recessed cords decorated with overall double fillet panel with tiny fleurons at corners gilt edges plain endpapers remains of numerous fore-edge tabs in paper pale green or pink silk and black silk for the Mass for the Dead. Corners bumped slight wear front cover slightly rubbed a few small holes to lower cover foxing to endpapers. Provenance: contemporary inscription in French on front flyleaf listing “Messes pour tous les iours de la sepmaine” Masses for every day of the week; loosely inserted armorial papercut unidentified arms lion rampant on a chief three roses. Unrecorded issue of an imposing post-Tridentine Missal in a fine Parisian gold-tooled binding. The woodcut illustrations of this copy differ from the other known copies of this edition which are illustrated with engravings. The binding tools appear on other books published by the same publishing consortium and have been associated with religious lay confraternities founded by Henri III in the 1580s. This exceptional copy is of interest for the history of publishing printing illustration and binding; it raises questions about the very concept of an edition about the transmission of images and about the relations between printer-publishers bookbinders and book buyers in the hand-press period. In 1570 with the papal bull “Quo primum” Pope Pius V imposed uniformity on the rites of Mass previously a hodge-podge of different local traditions. That bull was printed in all subsequent missals; it is accompanied here by papal and royal privileges which supply crucial information concerning the publishing history of this edition. Jacques Kerver was the first French libraire to obtain a privilege for the publication of liturgical works. When he died in 1583 the privilege passed to his widow who ceded it to a consortium of booksellers: Sebastian Nivelle Guillaume Chaudière Guillaume de la Noue Michel Sonnius and Thomas Brumen cf. Renouard Imprimeurs et libraires parisiens du XVIe siècle IV 22. That privilege expired on 22 December 1595. This edition includes Papal and Royal renewals of the Kerver privilege for the printing of “sacred books” Missals Breviaries and Offices of the Virgin granted respectively by Clement VIII and Henri IV both on 4 April 1596. For Thomas Brumen who had died in 1588 the Royal privilege substitutes his son-in-law and heir Jean Corbon II and adds the names of Claude Chapelet identified as bookseller to the Academy and Jamet Mettayer and Pierre L’Huillier respectively Royal printer and Royal bookseller Mettayer was also the official printer for the Royal confraternities. The preliminary matter further includes the reformed Gregorian Paschal calendar for the years 1582 to 1700 a table of moveable feasts for 1589 to 1621 the Rubricae generalis missae the Ritus servandus in celebratione Missae and an index of Saints’ names. The second part of the Missal separately paginated contains the Commune Sanctorum. The subjects of the full-page illustrations are: the Annunciation: a small cut within an historiated woodcut border in twelve compartments showing four scenes from the life of the Virgin alternating with angels and the four Evangelists fol. êê4v; the Nativity B4v Crucifixion T6v opening the Canon Resurrection X4v Pentecost AA1v Last Supper BB3r and Last Judgment PP2v. These monumental woodcuts influenced by Italian and Flemish mannerism derive from various engraved sources including at least one engraving the Resurrection used by Jamet Mettayer in an Office of the Virgin published in 1586. The five smaller woodcuts printed from three blocks include a Crucifixion showing Longinus piercing the side of Jesus repeated twice the Last Supper and a smaller primitive Crucifixion cut. Noteworthy are the many historiated initials. Ruth Mortimer describing an edition by Kerver from 1574 noted that the elaborate historiated initials containing “figures of the saints the Evangelists and . New Testament scenes may be attributed to the same artists who worked on the illustrations. The blocks are so detailed as to give the impression of additional illustrations rather than initials.” As in previous editions the initials were chosen carefully here to match the text: for example the four Rs opening the word Requiem in the Mass for the Dead incorporate a skeleton and funeral scenes. The full-page woodcuts had appeared previously in the Kerver-consortium’s 1588 edition cf. an illuminated copy offered by Breslauer in 1981 cat. 104/II no. 192. Only a few copies of these repeatedly printed Paris post-Tridentine Missals survive in public collections and precise descriptions are few. The most thorough description is that by Ruth Mortimer of the Harvard copy of the 1574 Kerver edition. Both that edition and the 1583 edition of which there is a copy at the Newberry Library are illustrated with only two full-page woodcuts including the canon cut of the Crucifixion used here and numerous smaller woodcuts. The title of the 1574 edition bears the same Peter and Paul cut while the 1583 edition has Kerver’s device. The present copy represents a previously unrecorded variant issue of the 1600 edition. I have located two other copies of the edition at the Austrian National Library digitized and with Sokol Books catalogue 65/64; they are illustrated with engravings instead of woodcuts all but one of which differ iconographically from the woodcuts in our copy. The exception is the aforementioned Resurrection woodcut which is copied in reverse from the engraving. The typesetting other than the title appears to be identical but rather than a letterpress title-page and seven woodcut full-page illustrations the other copies have an engraved title and seven full-page engravings. Another variant setting occurs in quires M and N: both issues have the small Longinus woodcut on M1v but the spaces here filled by 3 small woodcuts one used twice are left blank in those copies. The existence of multiple editions of these post-Tridentine Paris Missals has been documented; Mortimer for example noted that in 1574 Kerver printed two folio editions as well as quarto and octavo editions. From the early 1570s to the end of the century these liturgical books now rare were churned off the presses to meet the needs of priests and clerics throughout France and beyond several copies of the Kerver or Kerver-consortium editions survive in Spanish and Italian libraries. Under these circumstances the existence of multiple editions and variant issues is not surprising though the outright replacement of engravings with woodcuts or vice-versa seems unusual. The attractive Parisian binding shows signs of hasty finishing: the cornerpieces using a popular cherub’s head and leafy branch motif are single stamps and those on the upper cover are unevenly placed so that three of them overlap the double fillet panel. It is however a luxury binding of high-quality goatskin and its decoration is charged with meaning which remains to be completely teased out. Several variants of the Crucifixion and Annunciation medallions were used on the bindings of a number of devotional books published by the present publishing consortium or by its individual members. A few of those bindings bear a motto Spes mea Deus used by members of the Confraternity of Penitents of the Annunciation founded by Henri III in 1583. Possibly by extension the Crucifixion stamp itself has been associated with the confraternity and with the three other “congregations” established by that devout monarch in 1583-85. The same large Crucifixion and Annunciation medallion stamps were used in a similar center- and cornerpiece design on the aforementioned Breslauer copy of the 1588 edition of this Missal and in a dated binding from 1599 covering a 1508 Verard book of hours in the British Library shelfmark c29f16 reproduced in the BL Database of Bookbindings. In both cases the corner feuillage stamps are different but the central medallions appear to be identical to those on this binding. Similar but not identical stamps besides those cited in the sources below are found on: a copy of Mettayer’s 1586 Pseaultier de David recently offered by the Paris booksellers Laurent Coulet and Ariane Adeline in their catalogue “1586: Jamet Mettayer et les Confréries de Pénitents”; an Officium beatae Mariae Virginis Paris: apud Societatem Typographicum 1586 using both the Annunciation and Crucifixion medallions set within a fanfare design Bibliothèque Sainte Geneviève Réserve 8 Z 6685 INV 9940; and an Office de La Vierge published by Mettayer in 1586 BnF Réserve B. 1654 Lacombe 486. A book of hours for the use of Amiens Paris: for Guillaume de La Noue 1589 bound with several devotional tracts BnF Réserve B-27949; Lacombe 492 has a different Annunciation stamp but apparently the same Crucifixion stamp. Coulet and Adeline established a typology of 9 different Crucifixion stamps or 8 stamps and one variant the one used here being no. 8. Given these facts the possibility cannot be excluded that the publishers were involved in commissioning the bindings of this copy and of the other “Crucifixion medallion” bindings found on their imprints. USTC 137500 Austrian National Library only variant issue - not in their OPAC. Cf. Harvard/Mortimer French 378 8 June 1574 edition. Not in Weale-Bohatta or Amiet. On the binding cf. Hobson & Culot Italian and French 16th-century Bookbindings 1991 62; Claude La Charité “Henri III Le miroir des religieux 1585 de Louis de Blois et `la troisiesme couronne à frere Henri de Valoisâ€™” Revue de Bibliothèques et Archives du Québec no. 2 2010 online; Needham Twelve Centuries of Bookbindings 1979 82. the Associated Booksellers to the Church unknown books

Musinsky Rare Books, Inc. · Stati Uniti14.000,00 USD≈ 12.507,82 €

A MEDIEVAL ILLUMINATED VELLUM MANUSCRIPT LEAF FROM THE BEAUVAIS MISSALABAA

TEXT FROM THE VIGIL OF STS. PETER AND PAUL 28 JUNE AND THE FEAST OF STS. PETER AND PAUL 29 JUNE

rif. ST20214Northern France perhaps Beauvais or Amiens late 13th or early 14th century. 286 x 199 mm. 11 1/4 x 7 3/4". Double column containing a mixture of staves and text approximately 21 lines in an excellent formal gothic book hand. Attractively matted. Rubrics in red chant text containing black penwork initials with red and yellow geometric elaboration BEAUTIFULLY ILLUMINATED with five two-line initials painted blue or pink with white tracery on a ground in the contrasting color two of the initials filled with grotesques and swirling vines and two with the filler design traced out but never completed each initial with blue and pink extensions terminating in orange leaves or spiky shapes; the verso featuring AN IMPRESSIVE SIX-LINE "N" 58 x 50 mm. in the same style filled with an intricate knotwork design and orange leaves with long extensions including a horizontal extension across the upper margin. Margins with light offsetting of the designs from the facing leaf; remnants of mounting tape on recto corners and bottom edge; verso apparently with a barely visible Medieval "14" in lower margin. An area measuring 5 mm. at edges just faintly yellowed from mat burn but IN FINE CONDITION the vellum otherwise quite bright the paint rich and the gold brightly glittering. This sumptuously decorated leaf--which is beautifully preserved and contains a particularly large and handsome initial--comes from the last volume of a three-volume Missal presented to Beauvais Cathedral by Canon Robert de Hangest d. 1356. The Missal remained at the cathedral at least through the 17th century when it is noted in an inventory but was removed from the church at some point likely in the aftermath of the French Revolution. The parent volume eventually entered the collection of Henri-Auguste Brölemann 1775-1854 of Lyon who passed it to his grand-daughter Etienne Mallet who then sold it at Sotheby's in 1926. It was then acquired for the collection of William Hearst where it remained for the next 25 years. In 1941 it was again sold at auction and subsequently dismembered. Though long thought to have been the work of famed biblioclast Otto Ege recent scholarship suggests that it was actually Phillip Duschnes who was responsible for breaking up the book keeping some leaves for himself and selling others on to his colleague Ege for inclusion in his portfolios of "Fifty Original Leaves from Medieval Manuscripts." The Beauvais Missal has been a subject of interest for many notable scholars chief among them being Christopher de Hamel--see: "Otto Ege and the Beauvais Missal" in "Gilding the Lilly: A Hundred Medieval and Illuminated Manuscripts in the Lilly Library" and it is currently the focus of a major effort to "reconstruct" the manuscript digitally--a project spearheaded by Lisa Fagin Davis. Other leaves from the parent volume are in the collections of the Morgan Library the Metropolitan Museum of Art the Cleveland Museum of Art and the Houghton Library at Harvard among many others. Although there is some dispute among art historians the illumination has been tentatively attributed to the artist of the Hours of Yolande of Soissons produced in Amiens ca. 1280 and now held by the Morgan Library MS M.729. It is worth noting that the town of Hangest home to the original owner is only 10 miles from Amiens and is a likely place of origin for the Missal. The present leaf contains a text for a major feast day and thus contains a large and extravagantly decorated initial for its opening "'Nunc scio vere." It is not too much to say that the decoration here is masterful but curiously--and of special interest to us from a modern perspective--the illuminators seem to have forgotten to put the finishing touches on the two smaller initials above which still contain sketches of the preliminary design. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · Stati Uniti14.560,00 USD≈ 13.008,14 €

Missel

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SEAWAY TO THE FUTURE; American social visions and the construction of the Panama Canal

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SEAWAY TO THE FUTURE; American social visions and the construction of the Panama Canal

TEXT FROM FERIA IV AFTER THE FOURTH SUNDAY OF LENT

TEXT FROM PASSION WEEK

Missale Romanum Ex Decreto Sacrosancti.S.PII V. Pontificis Maximi jussu editum Clementis VII & Urban VII

Missa Gothica seu Mozarabica et officium itidem Gothicum

Missale Romanum ex decreto sacrosancti Concilii Tridentini restitutum. Pii V. Pont. Max. iussu editum

TEXT FROM THE VIGIL OF STS. PETER AND PAUL 28 JUNE AND THE FEAST OF STS. PETER AND PAUL 29 JUNE

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