27 364 résultats
1505réf. ST21080Northern France probably Paris ca. 1505-10. 213 x 137 mm. 8 3/8 x 5 3/8". Single column 25 lines in a gothic hand. i 123 leaves. COMPLETE. Contents: blank f. i; Calendar f. 1r; Gospel Lessons f. 13r; Passion according to John f. 17r; "Obsecro te" and "O Intemerata" f. 23v; Hours of the Virgin f. 28r; Hours of the Cross f. 69r; Hours of the Holy Spirit 71v; Seven Penitential Psalms f. 75r; Litanies f. 82r; Office of the Dead f. 88r; Suffrages 114r; ruled blank f. 123. SPECTACULAR NEAR-CONTEMPORARY LYONNAISE BINDING OF POLISHED CALF VERY DENSELY GILT covers with a central oval filled with diamond-shaped tools surrounded by an intricate strapwork pattern incorporating acanthus and three heads at the top and bottom two with helmets looking sideways one more prominent staring ferociously straight on the negative space densely azured appearing from a distance as if entirely filled with gold raised bands spine compartments gilt with door-handle tools floral motifs and sawtooth borders edges gauffered and gilt later 17th century endpapers lacking ties. Rubrics in deep pink line fillers in red and blue with gilt embellishments numerous one-line initials in gold on red or blue ground many two-line initials in mauve or blue with white embellishment most enclosing a flower or two on painted gold ground EACH PAGE WITH A FULL BORDER consisting of a plain gold bar on three sides and a painted gold panel containing colorful flowers acanthus and the occasional banner WITH 21 SMALL MINIATURES each measuring between 30-50 mm. tall and 18 FULL-PAGE MINIATURES framed by a gilt and painted architectural border and accompanied by a three- or four-line initial with opening text on a banner the initial painted mauve or blue with white embellishment enclosing colorful flowers on painted gold ground the subjects of the large miniatures being: St. John on Patmos f. 13r; Agony in the Garden f. 17r; The Temptation of Adam and Eve f. 27v; Annunciation f. 28r; Visitation f. 34v; Nativity 41v; Annunciation to the Shepherds f. 44v; Adoration of the Magi f. 47v; Presentation in the Temple f. 50r; Flight into Egypt f. 52v; Coronation of the Virgin f. 57r; Christ Carrying the Cross f. 68v; Crucifixion f. 69r; Pentecost f. 71v; Bathsheba Bathing f. 74v; David and Uriah f. 75r; Job on the Dung Heap f. 88r; Trinity f. 114r. Front pastedown with book label of W. H. Corfield armorial label of "H C M" or perhaps "F C M" and a pasted-in piece of paper with early 19th century notes about the manuscript written in French. Joints with a little wear and flaking minor rubbing to edges and corners but the binding entirely sound and in a remarkable state of preservation glistening with gilt. A few small marginal holes where the vellum has thinned a couple miniatures with light flaking or rubbing to the architectural border a handful of trivial smudges to borders but the contents in fine condition being extraordinarily clean and fresh and the miniatures extremely well preserved. IN EXCEPTIONALLY FINE AND PLEASING CONDITION INSIDE AND OUT. Complete in a memorable 16th century binding and boasting a large and particularly appealing program of miniatures this splendid Parisian Book of Hours was produced by a highly skilled workshop for a patron of means and comes down to us in extraordinarily fine condition. The style of the miniatures closely resembles that of Jean Coene IV active ca. 1490-1520 an artist who hailed from a long line of manuscript illuminators originally from Bruges but active in Paris from the early 15th century. Identified by Isabelle Delaunay and Eberhard König and dubbed the "Master of the Paris Entries" Coene was a prolific artist who according to Peter Kidd "was perhaps particularly known to contemporary patrons for his ability to create new compositions." His versatility as an artist is demonstrated by the variety of volumes to which he contributed including histories voyages and Royal Entry books the latter earning him his sobriquet in addition to devotional works such as the Book of Hours seen here. Although the artist is known to have collaborated with famed Parisian illuminator Jean Pichore on several occasions see for example British Library MS Sloane 2418 Coene had his own style readily identifiable through his unique use of rich colors; sharp black outlines; modeled faces with half-closed eyes; thin eyebrows; pert mouths that turn slightly downward; and the generous application of liquid gold highlights particularly on garments and hair. Like most professional workshops of the period the Coene atelier was capable of producing work of varying quality which often depended on the wealth and needs of the patron; this work clearly a premium production shows none of the shortcuts one might expect in a more hurried execution. The consistently accomplished level of painterly skill as well as the harmony of the compositions here indicate a highly practiced hand. We can see the painter's proficiency for example in considerable delicacy and detail showing up in various places: the lace-like angel's wings in the Annunciation the carefully delineated sheep in the Annunciation to the Shepherds the various headdresses of earthly and heavenly rulers and particularly in the meticulously defined and intricately realized architectural frames. Additional pleasing features include the liquid gold application highlighting tresses and garments throughout the manuscript as well as the frequent and immensely agreeable appearance of an intensely rich red-orange. Of special note are the three openings in which miniatures face each other in logical pairs: Adam and Eve about to fall from grace facing the Annunciation where birth of mankind's savior is announced Carrying the Cross facing the Crucifixion and the bathing Bathsheba facing the lustful David who is apparently plotting the death of Bathsheba's luckless husband Uriah in battle. Pairings such as these are rarely encountered they make quite a grand statement they provide a reinforcing element to the biblical narrative and they highlight both the artist's talents and the patron's deep pockets. While many of the miniatures contain traditional subject matter we are also treated to some less frequently encountered scenes including the Garden of Gethsemane and the aforementioned Temptation of Adam and Eve. In addition the miniatures feature some noteworthy visual moments that demonstrate the artist's willingness to push beyond traditional iconography. In John on Patmos for example the Virgin and child unexpectedly appear in the sky bathed in brilliance; in the Nativity the ox and ass are front and center their heads bent nearly to the ground their mouths half open and within inches of the Christ Child a combination of curiosity and menace; and in the Flight into Egypt the Virgin whose central emotion is surely fear for her child has a sunhat almost rakishly tied around her neck. This last detail seems surely to derive from the Dürer engraving of the same subject done in 1503/04--a connection that is useful in more precisely dating the manuscript. What sets this manuscript apart even more than the nature and accomplishment of its decoration is its exceptionally fine condition with next to no signs of use internally and with an entirely unrestored period binding with its antique appeal undimmed by time. Probably dating to around 1550 the Lyonnaise binding is of very special interest brimming with gold and featuring an elaborate design incorporating unusual glowering faces. The earliest indication of ownership of this manuscript is seen in its 19th century armorial bookplate with the motto "Audentes Fortuna Juvat" "Fortune Favors the Brave" and the monogram "H C M" or "F C M". A Breviary at the Huntington mssHM 1077 with the same bookplate they say "H C M" is attributed to the Mackinnon family. A more certain provenance comes from the bookplate of W. H. Corfield 1843-1903 the first professor of hygiene and public health at University College London. Given his ownership of the present manuscript it is unsurprising that as a bibliophile he was recognized especially as a connoisseur of early bindings. Quaritch purchased our manuscript for the handsome sum of £126 at the auction of Corfield's library on 21 November 1904 lot 257 and we have been able to trace subsequent ownership to Thomas Fechnay Harvey 1879-1970 of Pennsylvania who gave the manuscript to his daughter Margaret J. Harvey 1910-84 of Philadelphia who in turn gave it as a wedding gift in 1972 to the person who sold it to us. We have found no record after 1904 or in fact before that date of the manuscript's being offered for public sale suggesting that it has been in private hands for well over a century. unknown
1505réf. ST21080Northern France probably Paris ca. 1505-10. 213 x 137 mm. 8 3/8 x 5 3/8". Single column 25 lines in a gothic hand. i 123 leaves. COMPLETE. Contents: blank f. i; Calendar f. 1r; Gospel Lessons f. 13r; Passion according to John f. 17r; "Obsecro te" and "O Intemerata" f. 23v; Hours of the Virgin f. 28r; Hours of the Cross f. 69r; Hours of the Holy Spirit 71v; Seven Penitential Psalms f. 75r; Litanies f. 82r; Office of the Dead f. 88r; Suffrages 114r; ruled blank f. 123. SPECTACULAR NEAR-CONTEMPORARY LYONNAISE BINDING OF POLISHED CALF VERY DENSELY GILT covers with a central oval filled with diamond-shaped tools surrounded by an intricate strapwork pattern incorporating acanthus and three heads at the top and bottom two with helmets looking sideways one more prominent staring ferociously straight on the negative space densely azured appearing from a distance as if entirely filled with gold raised bands spine compartments gilt with door-handle tools floral motifs and sawtooth borders edges gauffered and gilt later 17th century endpapers lacking ties. Rubrics in deep pink line fillers in red and blue with gilt embellishments numerous one-line initials in gold on red or blue ground many two-line initials in mauve or blue with white embellishment most enclosing a flower or two on painted gold ground EACH PAGE WITH A FULL BORDER consisting of a plain gold bar on three sides and a painted gold panel containing colorful flowers acanthus and the occasional banner WITH 21 SMALL MINIATURES each measuring between 30-50 mm. tall and 18 FULL-PAGE MINIATURES framed by a gilt and painted architectural border and accompanied by a three- or four-line initial with opening text on a banner the initial painted mauve or blue with white embellishment enclosing colorful flowers on painted gold ground the subjects of the large miniatures being: St. John on Patmos f. 13r; Agony in the Garden f. 17r; The Temptation of Adam and Eve f. 27v; Annunciation f. 28r; Visitation f. 34v; Nativity 41v; Annunciation to the Shepherds f. 44v; Adoration of the Magi f. 47v; Presentation in the Temple f. 50r; Flight into Egypt f. 52v; Coronation of the Virgin f. 57r; Christ Carrying the Cross f. 68v; Crucifixion f. 69r; Pentecost f. 71v; Bathsheba Bathing f. 74v; David and Uriah f. 75r; Job on the Dung Heap f. 88r; Trinity f. 114r. Front pastedown with book label of W. H. Corfield armorial label of "H C M" or perhaps "F C M" and a pasted-in piece of paper with early 19th century notes about the manuscript written in French. Joints with a little wear and flaking minor rubbing to edges and corners but the binding entirely sound and in a remarkable state of preservation glistening with gilt. A few small marginal holes where the vellum has thinned a couple miniatures with light flaking or rubbing to the architectural border a handful of trivial smudges to borders but the contents in fine condition being extraordinarily clean and fresh and the miniatures extremely well preserved. IN EXCEPTIONALLY FINE AND PLEASING CONDITION INSIDE AND OUT. Complete in a memorable 16th century binding and boasting a large and particularly appealing program of miniatures this splendid Parisian Book of Hours was produced by a highly skilled workshop for a patron of means and comes down to us in extraordinarily fine condition. The style of the miniatures closely resembles that of Jean Coene IV active ca. 1490-1520 an artist who hailed from a long line of manuscript illuminators originally from Bruges but active in Paris from the early 15th century. Identified by Isabelle Delaunay and Eberhard König and dubbed the "Master of the Paris Entries" Coene was a prolific artist who according to Peter Kidd "was perhaps particularly known to contemporary patrons for his ability to create new compositions." His versatility as an artist is demonstrated by the variety of volumes to which he contributed including histories voyages and Royal Entry books the latter earning him his sobriquet in addition to devotional works such as the Book of Hours seen here. Although the artist is known to have collaborated with famed Parisian illuminator Jean Pichore on several occasions see for example British Library MS Sloane 2418 Coene had his own style readily identifiable through his unique use of rich colors; sharp black outlines; modeled faces with half-closed eyes; thin eyebrows; pert mouths that turn slightly downward; and the generous application of liquid gold highlights particularly on garments and hair. Like most professional workshops of the period the Coene atelier was capable of producing work of varying quality which often depended on the wealth and needs of the patron; this work clearly a premium production shows none of the shortcuts one might expect in a more hurried execution. The consistently accomplished level of painterly skill as well as the harmony of the compositions here indicate a highly practiced hand. We can see the painter's proficiency for example in considerable delicacy and detail showing up in various places: the lace-like angel's wings in the Annunciation the carefully delineated sheep in the Annunciation to the Shepherds the various headdresses of earthly and heavenly rulers and particularly in the meticulously defined and intricately realized architectural frames. Additional pleasing features include the liquid gold application highlighting tresses and garments throughout the manuscript as well as the frequent and immensely agreeable appearance of an intensely rich red-orange. Of special note are the three openings in which miniatures face each other in logical pairs: Adam and Eve about to fall from grace facing the Annunciation where birth of mankind's savior is announced Carrying the Cross facing the Crucifixion and the bathing Bathsheba facing the lustful David who is apparently plotting the death of Bathsheba's luckless husband Uriah in battle. Pairings such as these are rarely encountered they make quite a grand statement they provide a reinforcing element to the biblical narrative and they highlight both the artist's talents and the patron's deep pockets. While many of the miniatures contain traditional subject matter we are also treated to some less frequently encountered scenes including the Garden of Gethsemane and the aforementioned Temptation of Adam and Eve. In addition the miniatures feature some noteworthy visual moments that demonstrate the artist's willingness to push beyond traditional iconography. In John on Patmos for example the Virgin and child unexpectedly appear in the sky bathed in brilliance; in the Nativity the ox and ass are front and center their heads bent nearly to the ground their mouths half open and within inches of the Christ Child a combination of curiosity and menace; and in the Flight into Egypt the Virgin whose central emotion is surely fear for her child has a sunhat almost rakishly tied around her neck. This last detail seems surely to derive from the Dürer engraving of the same subject done in 1503/04--a connection that is useful in more precisely dating the manuscript. What sets this manuscript apart even more than the nature and accomplishment of its decoration is its exceptionally fine condition with next to no signs of use internally and with an entirely unrestored period binding with its antique appeal undimmed by time. Probably dating to around 1550 the Lyonnaise binding is of very special interest brimming with gold and featuring an elaborate design incorporating unusual glowering faces. The earliest indication of ownership of this manuscript is seen in its 19th century armorial bookplate with the motto "Audentes Fortuna Juvat" "Fortune Favors the Brave" and the monogram "H C M" or "F C M". A Breviary at the Huntington mssHM 1077 with the same bookplate they say "H C M" is attributed to the Mackinnon family. A more certain provenance comes from the bookplate of W. H. Corfield 1843-1903 the first professor of hygiene and public health at University College London. Given his ownership of the present manuscript it is unsurprising that as a bibliophile he was recognized especially as a connoisseur of early bindings. Quaritch purchased our manuscript for the handsome sum of £126 at the auction of Corfield's library on 21 November 1904 lot 257 and we have been able to trace subsequent ownership to Thomas Fechnay Harvey 1879-1970 of Pennsylvania who gave the manuscript to his daughter Margaret J. Harvey 1910-84 of Philadelphia who in turn gave it as a wedding gift in 1972 to the person who sold it to us. We have found no record after 1904 or in fact before that date of the manuscript's being offered for public sale suggesting that it has been in private hands for well over a century. unknown books
1477réf. 25127Nuremberg: Anton Koberger 30 July 1477. Very Early Printing of the Bible and only the second Latin Bible printed by Koberger 51 lines and headline double column canon marginalia in the Gospels. With manuscript headlines in red a beautiful opening initial of 10 lines with elaborate flourishes that flow from the very top to very bottom of the page in red blue and green numerous 6 line initials in red and blue some with much longer extensions or flourishes a profusion of 3 line initials in red or blue red paragraph marks and additional rubricating throughout primarily in red. Royal folio 375 x 265mm approx in contemporary German blind-stamped pigskin over thick wood boards probably a Nuremberg binding the boards center-paneled and decorated in blind with a central tool within multiple borders remnants of brass catches on the fore-edge. Manuscript lettering to the spine with wide tall bands. 468 leaves complete. An unusually fine copy especially well preserved and very handsome indeed. An important copy with full contemporary binding intact and in great likelihood coming directly from Koberger’s workshop. A RARE AND EXTREMELY HANDSOME COPY ESPECIALLY WELL PRESERVED. THIS BOOK REPRESENTS ONLY THE SECOND TIME THAT KOBERGER PRINTED THE LATIN BIBLE. This printing was issued in the second year after the first printing of 1475. Anton Koberger was for a number of years the leading publisher/printer of his time. The total list of his printings for the forty years from 1473 to 1513 when he died comprises no less than two-hundred and thirty-six separate works including fifteen impressions of the Biblia Latina eight of which presented material differences of notes and commentaries which entitled them to be considered as distinct editions. "In the actual number of separate works issued Koberger was possibly equaled by one or more of his contemporaries but in respect to literary importance and costliness and in the beauty and excellence of the typography the Koberger publications were not equaled by any books of the time excepting the issues of Aldus in Venice" Putnam II p. 150. This printing of Koberger’s Latin Bible was printed again in 1478 and is largely based on the Fust and Schoeffer edition of 1462. The tractate of Menardus is included which is a summary of the books of the Bible with a guide on how to best study them. It was first printed not after 1474. A beautiful example of the magnificent productions during the first generation of printed Bibles the state of preservation and the impressive German binding making it all the more so. Anton Koberger hardcover
réf. ST20295Northern France probably Paris third quarter of 15th century. 130 x 100 mm. 5 1/8 x 3 7/8". Single column 15 lines in an elegant gothic book hand. 280 leaves. First four leaves misbound lacking at least seven leaves five of which probably contained miniatures. Contents: Devotion to the Passion f. 1r; blank f. 4; Calendar f. 5r; Gospel Lessons f. 17r; "Obsecro te" and "O intemerata" f. 23r; blank f. 23; Hours of the Virgin lacking opening leaves for Terce Nones and Vespers f. 33r; Penitential Psalms and Litany f. 100r; Hours of the Cross lacking preliminary leaf f. 120r; Hours of the Holy Spirit p. 123r; Office of the Dead lacking preliminary leaf f. 127r; "Sept Vers de Saint Bernard" and Suffrages f. 176v; series of devotional prayers in Latin and French including the Hours of the Conception an indulgence devotional poems in French prayers for specific occasions such as when facing tribulations going to confession protection against storms and for friends abroad the Stabat Mater the Seven Joys of the Virgin Gospel sequences "Le chemin de paradis" and many others f. 199r; blank f. 280. ESPECIALLY BEAUTIFUL MID-19TH CENTURY LIGHT BROWN MOROCCO LAVISHLY GILT IN THE "FANFARE" STYLE BY CAPÉ stamp-signed in gilt on front turn-in covers with large green and red morocco inlaid panels gilt strapwork scrolling and small star tools raised bands spine compartments with red or green morocco inlay surrounded by gilt scrolling embellishments gilt lettering RED MOROCCO DOUBLURES gilt in the style of Duodo with repeating pattern of flowers encircled by vines marbled endleaves modern paper and vellum flyleaves all edges gilt. Housed in a fine suede-lined pebble-grained leather pull-off case with gilt lettering on spine. Light red ruling and rubrics numerous line-fillers in blue and pink with gilt embellishments many one- and two-line initials in burnished gold on pink and blue ground three four-line initials in pink or blue filled with ivy leaves on a burnished gold ground two of these with a gilt and painted baguette along the outer edge of text and all with a three-quarter border of hairline vines flowers acanthus and gold leaves the majority of the leaves with a panel border of hairline vines and flowers on one side one historiated initial painted blue on a burnished gold ground depicting the Virgin accompanied by a gilt and painted baguette and three-quarter border FOUR SMALL MINIATURES DEPICTING THE APOSTLES each with a gilt and painted baguette and surrounded by a three-quarter border and EIGHT LARGE ARCH-TOPPED MINIATURES above a three-line initial painted blue or pink on gold ground a gilt "L" shaped bar border incorporating colorful flowers and a full border of border of hairline vines flowers acanthus and gold leaves and A HALF-PAGE RECTANGULAR MINIATURE with a border along the lower half. The subjects of the large miniatures include: the Mass of St. Gregory f. 1r; Annunciation f. 33r; Visitation f. 57r; Nativity f. 70r; Adoration of the Magi f. 80v; Crowning of the Virgin f. 94v; David in Prayer f. 100r; Pentecost f. 123r; and a rectangular miniature of the Holy Wound or perhaps the Bleeding Host of Dijon f. 241v. Isolated light rubbing and negligible chips to miniatures the dark blue paint appearing slightly worn in places as is often the case occasional faint smudges to borders and other imperfections but all of these trivial. IN THOROUGHLY FINE CONDITION INTERNALLY--the paint fresh the vellum clean and the margins quite comfortable--AND THE EXTRAORDINARILY FINE BINDING FLAWLESS. In a spectacular 19th century binding this lovely thick little Book of Hours was executed by a talented follower of Maître François and the Master of Jean Rolin and contains a large number of prayers and devotional texts many of them in French. The manuscript includes a fine array of large and small miniatures executed with a colorful palette and careful attention to detail. Particularly noteworthy is the excellent molding of faces. Each figure--no matter their station or importance to the scene--displays unique characteristics that give us a sense of their age sentiments and demeanor. This is an impressive feat given the small scale of the compositions and this individualization adds a great deal of value to the miniatures as well as the viewer's emotional experience connecting to the images. Our artist owes much to the work of the so-called Maître François and slightly before him the Master of Jean Rolin the latter an eponym attached to the illuminator of missals done for Rolin cardinal-bishop of Autun d. 1483. Perhaps of Burgundian origin the Master of Jean Rolin completed his artistic education in Paris probably in the workshop of the Bedford Master and afterward established his own atelier in Burgundy. There he played a key role in the transition from the Bedford Master's slightly more gothic style to the more thoroughly Renaissance style of Maître François who ran the most successful Parisian workshop during the years between 1460 and 1480 producing illuminated manuscripts small and large sacred and secular. Characteristic of Maître François's style are richly colored scenes interiors depicted with considerable detail women and children with pale porcelain complexions and male figures with darker weathered flesh tones--all of which can be seen in the present work. The final miniature present in this work however seems to have been executed by a different artist altogether being rather more flat in appearance and without the detailed facial molding noted earlier. About two-thirds of the manuscript follows fairly regular arrangement of texts with the exception of the Mass of St. Gregory which is misbound at the beginning of the volume. Then following the Suffrages are approximately 80 leaves of devotional texts in Latin and French including popular verses such as the "Seven Joys of the Virgin" and the "Stabat Mater" as well as more unusual texts such as the Hours of the Conception prayers for specific occasions or protections--for example against storms "Contre tempeste" and when one passes over water "Quant on passe par eaue"--indulgences and other related texts. Two of the more interesting passages are "Le chemin de paradis" a French prayer beginning "Qui en paradis veult aller" and a series of Latin poems that claim to be copied from originals found at the church of St. Paul in Rome. These copious additional prayers suggest a high degree of customization for a client who may have been particularly religious or at least very concerned with self-preservation! and they present intriguing possibilities for further study. The manuscript was rebound sometime in the middle years of the 19th century by Capé d. 1867 one of the most distinguished binders in France in his day. He was especially well known for the delicacy of his work which can be observed to great effect in the present example. He was the binder to the Empress Eugenie and Béraldi calls him "the Bozérian of the second Empire." His work has always been highly sought after and it resides in all of the great collections where bindings are considered important. This volume seems to have been sold to bookseller Francis Edwards as lot no. 95 at Sotheby's sale on 3 April 1957 and has been in private hands ever since. The manuscript is a little jewel inside and out and has obviously been a treasured vessel of prayer and art for generations of owners. unknown
réf. ST20295Northern France probably Paris third quarter of 15th century. 130 x 100 mm. 5 1/8 x 3 7/8". Single column 15 lines in an elegant gothic book hand. 280 leaves. First four leaves misbound lacking at least seven leaves five of which probably contained miniatures. Contents: Devotion to the Passion f. 1r; blank f. 4; Calendar f. 5r; Gospel Lessons f. 17r; "Obsecro te" and "O intemerata" f. 23r; blank f. 23; Hours of the Virgin lacking opening leaves for Terce Nones and Vespers f. 33r; Penitential Psalms and Litany f. 100r; Hours of the Cross lacking preliminary leaf f. 120r; Hours of the Holy Spirit p. 123r; Office of the Dead lacking preliminary leaf f. 127r; "Sept Vers de Saint Bernard" and Suffrages f. 176v; series of devotional prayers in Latin and French including the Hours of the Conception an indulgence devotional poems in French prayers for specific occasions such as when facing tribulations going to confession protection against storms and for friends abroad the Stabat Mater the Seven Joys of the Virgin Gospel sequences "Le chemin de paradis" and many others f. 199r; blank f. 280. ESPECIALLY BEAUTIFUL MID-19TH CENTURY LIGHT BROWN MOROCCO LAVISHLY GILT IN THE "FANFARE" STYLE BY CAPÉ stamp-signed in gilt on front turn-in covers with large green and red morocco inlaid panels gilt strapwork scrolling and small star tools raised bands spine compartments with red or green morocco inlay surrounded by gilt scrolling embellishments gilt lettering RED MOROCCO DOUBLURES gilt in the style of Duodo with repeating pattern of flowers encircled by vines marbled endleaves modern paper and vellum flyleaves all edges gilt. Housed in a fine suede-lined pebble-grained leather pull-off case with gilt lettering on spine. Light red ruling and rubrics numerous line-fillers in blue and pink with gilt embellishments many one- and two-line initials in burnished gold on pink and blue ground three four-line initials in pink or blue filled with ivy leaves on a burnished gold ground two of these with a gilt and painted baguette along the outer edge of text and all with a three-quarter border of hairline vines flowers acanthus and gold leaves the majority of the leaves with a panel border of hairline vines and flowers on one side one historiated initial painted blue on a burnished gold ground depicting the Virgin accompanied by a gilt and painted baguette and three-quarter border FOUR SMALL MINIATURES DEPICTING THE APOSTLES each with a gilt and painted baguette and surrounded by a three-quarter border and EIGHT LARGE ARCH-TOPPED MINIATURES above a three-line initial painted blue or pink on gold ground a gilt "L" shaped bar border incorporating colorful flowers and a full border of border of hairline vines flowers acanthus and gold leaves and A HALF-PAGE RECTANGULAR MINIATURE with a border along the lower half. The subjects of the large miniatures include: the Mass of St. Gregory f. 1r; Annunciation f. 33r; Visitation f. 57r; Nativity f. 70r; Adoration of the Magi f. 80v; Crowning of the Virgin f. 94v; David in Prayer f. 100r; Pentecost f. 123r; and a rectangular miniature of the Holy Wound or perhaps the Bleeding Host of Dijon f. 241v. Isolated light rubbing and negligible chips to miniatures the dark blue paint appearing slightly worn in places as is often the case occasional faint smudges to borders and other imperfections but all of these trivial. IN THOROUGHLY FINE CONDITION INTERNALLY--the paint fresh the vellum clean and the margins quite comfortable--AND THE EXTRAORDINARILY FINE BINDING FLAWLESS. In a spectacular 19th century binding this lovely thick little Book of Hours was executed by a talented follower of Maître François and the Master of Jean Rolin and contains a large number of prayers and devotional texts many of them in French. The manuscript includes a fine array of large and small miniatures executed with a colorful palette and careful attention to detail. Particularly noteworthy is the excellent molding of faces. Each figure--no matter their station or importance to the scene--displays unique characteristics that give us a sense of their age sentiments and demeanor. This is an impressive feat given the small scale of the compositions and this individualization adds a great deal of value to the miniatures as well as the viewer's emotional experience connecting to the images. Our artist owes much to the work of the so-called Maître François and slightly before him the Master of Jean Rolin the latter an eponym attached to the illuminator of missals done for Rolin cardinal-bishop of Autun d. 1483. Perhaps of Burgundian origin the Master of Jean Rolin completed his artistic education in Paris probably in the workshop of the Bedford Master and afterward established his own atelier in Burgundy. There he played a key role in the transition from the Bedford Master's slightly more gothic style to the more thoroughly Renaissance style of Maître François who ran the most successful Parisian workshop during the years between 1460 and 1480 producing illuminated manuscripts small and large sacred and secular. Characteristic of Maître François's style are richly colored scenes interiors depicted with considerable detail women and children with pale porcelain complexions and male figures with darker weathered flesh tones--all of which can be seen in the present work. The final miniature present in this work however seems to have been executed by a different artist altogether being rather more flat in appearance and without the detailed facial molding noted earlier. About two-thirds of the manuscript follows fairly regular arrangement of texts with the exception of the Mass of St. Gregory which is misbound at the beginning of the volume. Then following the Suffrages are approximately 80 leaves of devotional texts in Latin and French including popular verses such as the "Seven Joys of the Virgin" and the "Stabat Mater" as well as more unusual texts such as the Hours of the Conception prayers for specific occasions or protections--for example against storms "Contre tempeste" and when one passes over water "Quant on passe par eaue"--indulgences and other related texts. Two of the more interesting passages are "Le chemin de paradis" a French prayer beginning "Qui en paradis veult aller" and a series of Latin poems that claim to be copied from originals found at the church of St. Paul in Rome. These copious additional prayers suggest a high degree of customization for a client who may have been particularly religious or at least very concerned with self-preservation! and they present intriguing possibilities for further study. The manuscript was rebound sometime in the middle years of the 19th century by Capé d. 1867 one of the most distinguished binders in France in his day. He was especially well known for the delicacy of his work which can be observed to great effect in the present example. He was the binder to the Empress Eugenie and Béraldi calls him "the Bozérian of the second Empire." His work has always been highly sought after and it resides in all of the great collections where bindings are considered important. This volume seems to have been sold to bookseller Francis Edwards as lot no. 95 at Sotheby's sale on 3 April 1957 and has been in private hands ever since. The manuscript is a little jewel inside and out and has obviously been a treasured vessel of prayer and art for generations of owners. unknown books
1470réf. ST20836Western France Angers ca. 1470. 122 x 88 mm. 4 3/4 x 3 1/2". Single column 15 lines in a neat bâtarde hand. 152 leaves first and last three are ruled blank leaves; leaf count does not include the first blank endleaf erroneously included in the modern pencil foliation. COMPLETE. Contents: early ownership inscriptions f. 2v Calendar f. 5r Hours of the Virgin f. 17r Extract from the Gospel of John f. 55v Obsecro Te f. 57r Penitential Psalms and Litany f. 61r Office of the Dead f. 78r series of devotional prayers in Latin to the Virgin Mary Christ and the Archangel Michael f. 115r O Intemerata f. 134v series of devotional prayers in Latin f. 138r ruled blank leaves with family records of Jacques Bille f. 150v. Pleasing early 19th century caramel colored straight-grain morocco covers bordered with a double gilt rule smooth spine gilt in compartments divided with a double gilt rule and dotted roll and cross centerpieces neat early repair to head of spine turn-ins gilt marbled endpapers all edges gilt. Housed in a 20th century felt-lined slipcase with a gilt monogram on front. Ruled in red rubricated in red and blue two one-line burnished gold initials on a blue or pink ground one three-line blue and red penwork initial eight three- to four-line initials in pink and blue filled with ivy leaves on a burnished gold ground these pages with three-quarter borders of acanthus leaves dense rinceaux colorful fruit and flowers gold ivy leaves and bezants and WITH FOUR ARCH-TOPPED MINIATURES above a three- or four-line initial painted blue or pink on gold ground each surrounded by a full border of painted gold and brightly colored acanthus leaves vines and flowers studded with burnished gold bezants three borders inhabited with fantastical creatures the subjects of the miniatures including the Annunciation f. 17r; King David in Prayer f. 61r; a funeral procession f. 78r; and the Pietà f. 115r. Verso of first leaf with signature of Jacques Bille or Billes and the following page with a note in a different contemporary hand with the day and year erased and written over: "Ces presentes heures sont a iaques bille qui les trouvera si les luy Rende et il paiera voluntriers le VIII le jour de la sainct martin. Tesmoion son seign manuel cy mis le huytiesme jour de Avril L'an mil cinqcens et seze" "These present hours belong to Jaques Bille; whoever finds them should return them to him and he will gladly pay on the eighth the day of Saint Martin. Witness his manual signature placed here on the eighth day of April in the year one thousand five hundred and sixteen" followed by Bille's signature; third blank leaf with the ownership inscription "Tussanus Philippus Adeline Presbyter anno 1763"; verso of final text leaf and next three blanks with family records see below. Superficial crease to spine other insignificant signs of use to the leather but the binding sound and attractive. A hint of thumbing at lower corners of first half of the manuscript miniatures with a few isolated minor spots of rubbing not affecting faces otherwise in very fine condition internally the paint bright and fresh and the vellum clean. Almost certainly made in western France and with early ownership inscriptions tying it to that area this Book of Hours contains four extraordinarily high-quality miniatures by an accomplished artist very likely related to one of the greatest French manuscript illuminators of the period. Stylistic markers here include drapery with crisp folds figures with pale skin and high foreheads simple but perfectly executed scenery and a flair for detail. The latter talent is particularly evident on the various textiles and garments which include almost impossibly fine gold trimmings and sophisticated draping. It was in fact on the basis of the extraordinary drapery that the manuscript had previously been associated with the circle of Jean Fouquet called by Avril and Reynaud "the greatest French painter and illuminator of the 15th century." In a case of twin summits recent scholarship suggests an alternative attribution to the similarly illustrious circle of Maître de Jouvenel des Ursins a contemporary of Fouquet who according to Avril and Reynaud was "the most important illuminator of the mid 15th century in western France." Around him sprung up a group of artists collectively referred to as the "Jouvenel group" who were based primarily in the area between Tours Nantes and Angers. The illuminations in the present work are so skillful that with additional research it may be possible to pin down an attribution with more certainty; whatever the identity of the artists the level of finishing in these illuminations--from the careful molding of the faces and bodies to the expertly balanced compositions and elegant brushwork--are the hallmarks of a superior hand. When this item was sold at Sotheby's on 13 July 1977 the auction catalogue said that the miniatures "are painted with fine clear colours with great delicacy in the modelling of faces and costumes. The finest miniature is that of the Pietà set against a deep green hill with a fiery sun setting behind dark mountains and buildings and lighting up the evening sky." Indeed this image is a quiet masterpiece of illumination and an excellent example of this artist's work. The naked figure of Christ exhibits a real command of anatomy and proportion while subtle details such as the foreshortening to Christ's face and the whisper-thin cloth clinging to the lower body are done with an exquisite touch. The miniature of the funeral procession also stands out for its superior quality. The composition is quite different from the Pietà being a large group of people rather than an intimate portrait of two figures but it is approached with equal rigor and devotion to detail. The faces turning toward the viewer all show impressive individualization with the figure dressed in blue being particularly well formed and highly differentiated from the crowd--so much so that this could possibly be considered a patron portrait. Three of the miniatures in this work contain borders with delightful examples of marginalia including a court jester a hedgehog a male and female centaur wielding weapons a monkey riding a camel another monkey rubbing his posterior and other whimsical hybrid creatures. These stand out because they are rendered with the characteristic skill and attention to detail found in the larger miniatures so it is possible that they could also be the work of the miniature artist. Although the Calendar in this manuscript is fairly sparse at least two unusual entries in red point toward western France: St. Julian Bishop of Le Mans 27 January; and St. Maurilius patron saint of Angers 13 September. Significantly the Translation of St. Maurilius also appears on both 16 August and 19 of October in black. Strengthening this association with the west are the early ownership inscriptions tying to the Bille family from at least the early 16th century and possibly before. The final three leaves contain family records that include the date of Jacques Bille's wedding 8 April 1516 and the births of 15 children written in two or three hands between approximately 1520 and 1549. The name of our former owner was difficult to trace with certainty but we find mention of a Jacques Bille in the French National Archives where he is listed as a notary in Bourg in southwestern France. This would make sense given Bille's complex signatures found on the first two leaves--the extra flourishes may well reflect notarial signatures that he used in his work. In modern times our manuscript was sold at Sotheby's on 25 February 1946 lot 57 to Maggs who may well have sold it to Sven Ericcson who is listed as the owner of this and four other 15th century illuminated Books of Hours when it was sold at Sotheby's in 1977 for £3200. According to RBH it was purchased at that auction by "Malle" almost certainly Bernard Malle 1929-2008 brother of filmmaker Louis Malle and an eminent collector and bibliographer. In an elegant tribute to his late friend and mentor Bernard Clavreuil calls Malle "one of the most discerning . . . collectors of the postwar era" someone who "never ceased to refine and improve in order to achieve an impossible perfection." Malle also acted as a private advisor to more than one major collection and it is possible that he purchased the present manuscript on behalf of an unknown collector rather than his own library. These former owners clearly looked after this Book of Hours carefully over the years and for good reason: it is a work of considerable craftsmanship and beauty with illuminations distinguished by very substantial artistic skill. unknown
1470réf. ST20836Western France Angers ca. 1470. 122 x 88 mm. 4 3/4 x 3 1/2". Single column 15 lines in a neat bâtarde hand. 152 leaves first and last three are ruled blank leaves; leaf count does not include the first blank endleaf erroneously included in the modern pencil foliation. COMPLETE. Contents: early ownership inscriptions f. 2v Calendar f. 5r Hours of the Virgin f. 17r Extract from the Gospel of John f. 55v Obsecro Te f. 57r Penitential Psalms and Litany f. 61r Office of the Dead f. 78r series of devotional prayers in Latin to the Virgin Mary Christ and the Archangel Michael f. 115r O Intemerata f. 134v series of devotional prayers in Latin f. 138r ruled blank leaves with family records of Jacques Bille f. 150v. Pleasing early 19th century caramel colored straight-grain morocco covers bordered with a double gilt rule smooth spine gilt in compartments divided with a double gilt rule and dotted roll and cross centerpieces neat early repair to head of spine turn-ins gilt marbled endpapers all edges gilt. Housed in a 20th century felt-lined slipcase with a gilt monogram on front. Ruled in red rubricated in red and blue two one-line burnished gold initials on a blue or pink ground one three-line blue and red penwork initial eight three- to four-line initials in pink and blue filled with ivy leaves on a burnished gold ground these pages with three-quarter borders of acanthus leaves dense rinceaux colorful fruit and flowers gold ivy leaves and bezants and WITH FOUR ARCH-TOPPED MINIATURES above a three- or four-line initial painted blue or pink on gold ground each surrounded by a full border of painted gold and brightly colored acanthus leaves vines and flowers studded with burnished gold bezants three borders inhabited with fantastical creatures the subjects of the miniatures including the Annunciation f. 17r; King David in Prayer f. 61r; a funeral procession f. 78r; and the Pietà f. 115r. Verso of first leaf with signature of Jacques Bille or Billes and the following page with a note in a different contemporary hand with the day and year erased and written over: "Ces presentes heures sont a iaques bille qui les trouvera si les luy Rende et il paiera voluntriers le VIII le jour de la sainct martin. Tesmoion son seign manuel cy mis le huytiesme jour de Avril L'an mil cinqcens et seze" "These present hours belong to Jaques Bille; whoever finds them should return them to him and he will gladly pay on the eighth the day of Saint Martin. Witness his manual signature placed here on the eighth day of April in the year one thousand five hundred and sixteen" followed by Bille's signature; third blank leaf with the ownership inscription "Tussanus Philippus Adeline Presbyter anno 1763"; verso of final text leaf and next three blanks with family records see below. Superficial crease to spine other insignificant signs of use to the leather but the binding sound and attractive. A hint of thumbing at lower corners of first half of the manuscript miniatures with a few isolated minor spots of rubbing not affecting faces otherwise in very fine condition internally the paint bright and fresh and the vellum clean. Almost certainly made in western France and with early ownership inscriptions tying it to that area this Book of Hours contains four extraordinarily high-quality miniatures by an accomplished artist very likely related to one of the greatest French manuscript illuminators of the period. Stylistic markers here include drapery with crisp folds figures with pale skin and high foreheads simple but perfectly executed scenery and a flair for detail. The latter talent is particularly evident on the various textiles and garments which include almost impossibly fine gold trimmings and sophisticated draping. It was in fact on the basis of the extraordinary drapery that the manuscript had previously been associated with the circle of Jean Fouquet called by Avril and Reynaud "the greatest French painter and illuminator of the 15th century." In a case of twin summits recent scholarship suggests an alternative attribution to the similarly illustrious circle of Maître de Jouvenel des Ursins a contemporary of Fouquet who according to Avril and Reynaud was "the most important illuminator of the mid 15th century in western France." Around him sprung up a group of artists collectively referred to as the "Jouvenel group" who were based primarily in the area between Tours Nantes and Angers. The illuminations in the present work are so skillful that with additional research it may be possible to pin down an attribution with more certainty; whatever the identity of the artists the level of finishing in these illuminations--from the careful molding of the faces and bodies to the expertly balanced compositions and elegant brushwork--are the hallmarks of a superior hand. When this item was sold at Sotheby's on 13 July 1977 the auction catalogue said that the miniatures "are painted with fine clear colours with great delicacy in the modelling of faces and costumes. The finest miniature is that of the Pietà set against a deep green hill with a fiery sun setting behind dark mountains and buildings and lighting up the evening sky." Indeed this image is a quiet masterpiece of illumination and an excellent example of this artist's work. The naked figure of Christ exhibits a real command of anatomy and proportion while subtle details such as the foreshortening to Christ's face and the whisper-thin cloth clinging to the lower body are done with an exquisite touch. The miniature of the funeral procession also stands out for its superior quality. The composition is quite different from the Pietà being a large group of people rather than an intimate portrait of two figures but it is approached with equal rigor and devotion to detail. The faces turning toward the viewer all show impressive individualization with the figure dressed in blue being particularly well formed and highly differentiated from the crowd--so much so that this could possibly be considered a patron portrait. Three of the miniatures in this work contain borders with delightful examples of marginalia including a court jester a hedgehog a male and female centaur wielding weapons a monkey riding a camel another monkey rubbing his posterior and other whimsical hybrid creatures. These stand out because they are rendered with the characteristic skill and attention to detail found in the larger miniatures so it is possible that they could also be the work of the miniature artist. Although the Calendar in this manuscript is fairly sparse at least two unusual entries in red point toward western France: St. Julian Bishop of Le Mans 27 January; and St. Maurilius patron saint of Angers 13 September. Significantly the Translation of St. Maurilius also appears on both 16 August and 19 of October in black. Strengthening this association with the west are the early ownership inscriptions tying to the Bille family from at least the early 16th century and possibly before. The final three leaves contain family records that include the date of Jacques Bille's wedding 8 April 1516 and the births of 15 children written in two or three hands between approximately 1520 and 1549. The name of our former owner was difficult to trace with certainty but we find mention of a Jacques Bille in the French National Archives where he is listed as a notary in Bourg in southwestern France. This would make sense given Bille's complex signatures found on the first two leaves--the extra flourishes may well reflect notarial signatures that he used in his work. In modern times our manuscript was sold at Sotheby's on 25 February 1946 lot 57 to Maggs who may well have sold it to Sven Ericcson who is listed as the owner of this and four other 15th century illuminated Books of Hours when it was sold at Sotheby's in 1977 for £3200. According to RBH it was purchased at that auction by "Malle" almost certainly Bernard Malle 1929-2008 brother of filmmaker Louis Malle and an eminent collector and bibliographer. In an elegant tribute to his late friend and mentor Bernard Clavreuil calls Malle "one of the most discerning . . . collectors of the postwar era" someone who "never ceased to refine and improve in order to achieve an impossible perfection." Malle also acted as a private advisor to more than one major collection and it is possible that he purchased the present manuscript on behalf of an unknown collector rather than his own library. These former owners clearly looked after this Book of Hours carefully over the years and for good reason: it is a work of considerable craftsmanship and beauty with illuminations distinguished by very substantial artistic skill. unknown books
1590réf. 371036Rome: Ex Typographia Apostolica Vaticana 1590. First edition of the Sixtine Vulgate Bible large paper copy. Engraved illustrated title-page. Title in red and black text in double columns. 3 vols. Folio. Italian full red morocco binding of the seventeenth or early eighteenth century elaborately gilt with triple floral scrollwork borders stars in cornerpieces about a central motif stencilled paste paper endsheets a.e.g. Boxed. First edition of the Sixtine Vulgate Bible large paper copy. Engraved illustrated title-page. Title in red and black text in double columns. 3 vols. Folio. The engraved title reads: Biblia sacra vulgatae editionis ad concilii Tridentini praescriptum emendata et a Sixto V.P.M. recognata et approbata. With the preliminary document the Bull of Sixtus V beginning 'Aeternus ille caelestium terrestriumq. rerum omnium conditr ac moderator Deus .". This is often lacking. An extraordinary copy of the Sixtine Bible containing the Vulgate text as edited by Pope Sixtus V intended as the first ecclesiastically authorized text to be used throughout Christendom. "In its text it comes closer to R. Stephanus' Bible of 1538-40 than to the Louvain editions" Darlow & Moule who discuss the textual variations. This copy includes examples of the printed overslips required to correct hurried printing. The association with Aldus II suggested by Renouard and lasting long thereafter is spurious. Pope Sixtus V died soon after the book was printed and was followed by three short-lived popes. The Sixtine Bible had "aroused antagonism among both clergy and laity" and was swiftly condemned; the edition was withdrawn by Pope Clement VIII soon after his elevation to the papal throne in 1592 and many copies were destroyed. Preparations began in 1591 for a new edition of the Vulgate printed in 1592 and known as the Clementine Bible which long remained the standard Vulgate text. The ordinary issue of this printing measures 13-3/8 inches tall as in the Brooker copy sold 2024; the present copy measures 15-3/4. AN OUTSTANDING LARGE PAPER COPY OF A NOTABLE EDITION. Copinger 521; Darlow & Moule 6181; Adams B1098; BM STC Italian 1465-1600 p. 93; EDIT 16 CNCE 5805. Provenance: Vincenzo Maria Carafa 1739-1814 Prince of Roccella and Duke of Bruzzano engraved bookplates MS shelfmark :H 5; Douglas Maxwell Moffat bought of Quaritch in Dec. 1939; General Theological Seminary Ex Typographia Apostolica Vaticana unknown
1590réf. 371036Rome: Ex Typographia Apostolica Vaticana 1590. First edition of the Sixtine Vulgate Bible large paper copy. Engraved illustrated title-page. Title in red and black text in double columns. 3 vols. Folio. Italian full red morocco binding of the seventeenth or early eighteenth century elaborately gilt with triple floral scrollwork borders stars in cornerpieces about a central motif stencilled paste paper endsheets a.e.g. Boxed. First edition of the Sixtine Vulgate Bible large paper copy. Engraved illustrated title-page. Title in red and black text in double columns. 3 vols. Folio. The engraved title reads: Biblia sacra vulgatae editionis ad concilii Tridentini praescriptum emendata et a Sixto V.P.M. recognata et approbata. With the preliminary document the Bull of Sixtus V beginning 'Aeternus ille caelestium terrestriumq. rerum omnium conditr ac moderator Deus .". This is often lacking. An extraordinary copy of the Sixtine Bible containing the Vulgate text as edited by Pope Sixtus V intended as the first ecclesiastically authorized text to be used throughout Christendom. "In its text it comes closer to R. Stephanus' Bible of 1538-40 than to the Louvain editions" Darlow & Moule who discuss the textual variations. This copy includes examples of the printed overslips required to correct hurried printing. The association with Aldus II suggested by Renouard and lasting long thereafter is spurious. Pope Sixtus V died soon after the book was printed and was followed by three short-lived popes. The Sixtine Bible had "aroused antagonism among both clergy and laity" and was swiftly condemned; the edition was withdrawn by Pope Clement VIII soon after his elevation to the papal throne in 1592 and many copies were destroyed. Preparations began in 1591 for a new edition of the Vulgate printed in 1592 and known as the Clementine Bible which long remained the standard Vulgate text. The ordinary issue of this printing measures 13-3/8 inches tall as in the Brooker copy sold 2024; the present copy measures 15-3/4. AN OUTSTANDING LARGE PAPER COPY OF A NOTABLE EDITION. Copinger 521; Darlow & Moule 6181; Adams B1098; BM STC Italian 1465-1600 p. 93; EDIT 16 CNCE 5805. Provenance: Vincenzo Maria Carafa 1739-1814 Prince of Roccella and Duke of Bruzzano engraved bookplates MS shelfmark :H 5; Douglas Maxwell Moffat bought of Quaritch in Dec. 1939; General Theological Seminary Ex Typographia Apostolica Vaticana unknown books
1516réf. ST20620Northern France late 15th or early 16th century. 176 x 128 mm. 7 x 5". Single column 23 lines in a neat batârde hand. i blank 101 ii blank leaves. Lacking one leaf after f. 87 possibly containing a miniature otherwise complete. Contents: Calendar f. 1r; Gospel Lessons f. 7r; Passion according to John f. 10v; Hours of the Virgin f. 15v; Penitential Psalms and Litany f. 45r; Office of the Dead f. 54v; Hours of the Cross f. 68v; Hours of the Holy Spirit f. 70v; Prayers to the Trinity St. Veronica "Obsecro Te" "O Intemerata" and "Stabat Mater" f. 72v; Suffrages f. 79r; Prayers in French to be said on various occasions f. 86v; verse prayer in French beginning "Royne des cieulx glorieuse" f. 90r; additional prayers in French and Latin f. 93v. Attractive 19th century vellum with lacy gilt border raised bands ruled in gilt gilt lettering tan silk endleaves all edges gilt. Housed in a felt-lined reddish-brown pebbled morocco clamshell box with gilt lettering on spine. Rubrics in red numerous one- and two-line initials in painted gold on burgundy or blue ground WITH 27 SMALL MINIATURES one miniature of Christ Carrying the Cross measuring 60 x 68 mm. the rest depicting saints and measuring between eight and nine lines each surrounded by a full border of acanthus flowers and small dots on bare or painted vellum and 14 LARGE MINIATURES EACH OPENING WITH A FULL BORDER either with acanthus and flowers as before or architectural some borders embellished with figures animals or hybrids two with a small scene in the lower margin and about a dozen with the added coats of arms and/or mottos of Jean Boutin. The subjects of the large miniatures include the following: St. John of Patmos f. 7r; Annunciation f. 15v; Visitation f. 23r; Nativity f. 27v; Annunciation to the Shepherds f. 29v; Adoration of the Magi f. 31v; Presentation in the Temple f. 33v; Flight into Egypt f. 35v; Death of the Virgin f. 38v; Bathsheba bathing f. 45r; Funeral Mass f. 54v; Crucifixion f. 68v; Pentecost f .70v; Trinity f. 72v. See: Fairfax-Murray "French" p. 265-266. Vellum binding soiled but perfectly sound. Small portions of some border figures and perhaps three or four miniatures touched up in the 16th century see below occasional chipping to white paint small hole in the border of ff. 11 & 29 light scattered spotting fading thumb soiling and other minor issues but an attractive and substantially complete manuscript the illumination extensive and mostly well preserved. This heavily illustrated Book of Hours is a lovely example of provincial illumination; it calls attention in an interesting way to the influence of printed books on manuscript art; and it contains intriguing traces of an early prominent owner. Our manuscript contains a total of 41 large and small miniatures by a skilled artist who clearly had some training and familiarity with the prevailing styles of the time. The overall appearance of the work suggests the artist or workshop was located in Northern France and although the figures and backgrounds are indicative of a provincial hand the rich colors profuse use of liquid gold and sumptuous borders are unmistakable marks of luxury. The image of the Trinity is particularly lovely demanding the viewer's attention with God the Father's piercing gaze and conveying the majesty of the subject with a patterned throne set against a starry sky. Of special interest here are the compositions of the large miniatures many of which seem to have been copied from printed Books of Hours of the period. When we talk about the transition from manuscripts to print culture in the late-15th and 16th centuries the discussion often focuses on how the art of manuscripts influenced the appearance of printed works. There is no better example than Books of Hours which in printed editions often mimic the look of their manuscript predecessors in appearance and the way many were finished by hand. However as the present example demonstrates the opposite was also true as printed works inevitably made their way into the hands of manuscript artists. Some even worked simultaneously both as illustrators for publishers working with metal- and woodcuts and as manuscript painters. As a reflection of this point in the present work we find distinct similarities between our miniatures and a series of metalcuts used by Philippe Pigouchet for the publisher Simon Vostre beginning in 1496 Fairfax-Murray's set 2. According to Fairfax-Murray "These cuts . . . were evidently very favourably received by Pigouchet's rivals and imitators for one finds several close copies and adaptations in the various productions of other presses" including a very close imitation of woodcut images commissioned by the publisher Antoine Vérard. Evidently the popularity of these plates extended to manuscript artists and it is fascinating to see the adaptation of each composition to suit the painter's own style and the patron's needs. Most of the compositions in our manuscript are essentially simplified versions of the printed miniatures retaining the central figures their gestures garments and props but with complex backgrounds eschewed as are extra figures deemed unnecessary to fulfill the narrative. The resulting miniatures are far less busy than their printed counterparts allowing the viewer to focus on the central story. In a few instances the artist has added small scenes beneath the large miniatures. An example on f. 35 depicts the so-called "Miracle of the Wheat" featuring harvesters misleading Herod's soldiers by truthfully saying that the fleeing Holy Family passed by when their now miraculously matured crop was just being sown. This kind of inclusion may have been influenced by the copious small metalcut scenes that decorate the borders of numerous printed Books of Hours of this period. The text here follows a fairly typical structure but includes prayers in French to be said for each day of the week and on various occasions such as when one awakens or when one leaves a house. Also in French are additional verses to the Virgin--one of which is credited to the Franciscan preacher Jean Tisserand d. 1497 who founded an order for repentant women. Another accessory prayer included here f. 98 appeared in both prayer books and conjuring manuals of the period straddling the line between religion and popular magic. Based on an apocryphal encounter between Pope Leo III and Charlemagne during the Battle of Roncevaux this prayer was often used as a protective amulet against all manner of evil; here it is said to "conquer demons and one's enemies." Although we do not know for whom this manuscript was originally made the book shows a number of marginal customizations in the form of different coats of arms the motto "Soit avenu" "Let it come to pass" and the name of Jean Boutin written on ff. 23 and 35. This owner could have been Jean Boutin Sieur de la Court et de Chamballan and Mayor of Nantes from 1575-76. In addition to the marginal customizations the manuscript may possibly have some very neat replenishing of white facial paint in a handful of marginal figures and perhaps in a very small number of the miniatures. Using magnification and strong light we are unable to find convincing evidence that this retouching took place at least in the miniatures and if it was we think it was done quite early perhaps in the 16th century. Worst case it would necessarily be termed subtle and skillful enough to cause uncertainty now and whatever the verdict is in this respect the manuscript remains very fresh and attractive features attractively executed paintings is complete but for one leaf and would provide ample room for additional research. unknown
1516réf. ST20620Northern France late 15th or early 16th century. 176 x 128 mm. 7 x 5". Single column 23 lines in a neat batârde hand. i blank 101 ii blank leaves. Lacking one leaf after f. 87 possibly containing a miniature otherwise complete. Contents: Calendar f. 1r; Gospel Lessons f. 7r; Passion according to John f. 10v; Hours of the Virgin f. 15v; Penitential Psalms and Litany f. 45r; Office of the Dead f. 54v; Hours of the Cross f. 68v; Hours of the Holy Spirit f. 70v; Prayers to the Trinity St. Veronica "Obsecro Te" "O Intemerata" and "Stabat Mater" f. 72v; Suffrages f. 79r; Prayers in French to be said on various occasions f. 86v; verse prayer in French beginning "Royne des cieulx glorieuse" f. 90r; additional prayers in French and Latin f. 93v. Attractive 19th century vellum with lacy gilt border raised bands ruled in gilt gilt lettering tan silk endleaves all edges gilt. Housed in a felt-lined reddish-brown pebbled morocco clamshell box with gilt lettering on spine. Rubrics in red numerous one- and two-line initials in painted gold on burgundy or blue ground WITH 27 SMALL MINIATURES one miniature of Christ Carrying the Cross measuring 60 x 68 mm. the rest depicting saints and measuring between eight and nine lines each surrounded by a full border of acanthus flowers and small dots on bare or painted vellum and 14 LARGE MINIATURES EACH OPENING WITH A FULL BORDER either with acanthus and flowers as before or architectural some borders embellished with figures animals or hybrids two with a small scene in the lower margin and about a dozen with the added coats of arms and/or mottos of Jean Boutin. The subjects of the large miniatures include the following: St. John of Patmos f. 7r; Annunciation f. 15v; Visitation f. 23r; Nativity f. 27v; Annunciation to the Shepherds f. 29v; Adoration of the Magi f. 31v; Presentation in the Temple f. 33v; Flight into Egypt f. 35v; Death of the Virgin f. 38v; Bathsheba bathing f. 45r; Funeral Mass f. 54v; Crucifixion f. 68v; Pentecost f .70v; Trinity f. 72v. See: Fairfax-Murray "French" p. 265-266. Vellum binding soiled but perfectly sound. Small portions of some border figures and perhaps three or four miniatures touched up in the 16th century see below occasional chipping to white paint small hole in the border of ff. 11 & 29 light scattered spotting fading thumb soiling and other minor issues but an attractive and substantially complete manuscript the illumination extensive and mostly well preserved. This heavily illustrated Book of Hours is a lovely example of provincial illumination; it calls attention in an interesting way to the influence of printed books on manuscript art; and it contains intriguing traces of an early prominent owner. Our manuscript contains a total of 41 large and small miniatures by a skilled artist who clearly had some training and familiarity with the prevailing styles of the time. The overall appearance of the work suggests the artist or workshop was located in Northern France and although the figures and backgrounds are indicative of a provincial hand the rich colors profuse use of liquid gold and sumptuous borders are unmistakable marks of luxury. The image of the Trinity is particularly lovely demanding the viewer's attention with God the Father's piercing gaze and conveying the majesty of the subject with a patterned throne set against a starry sky. Of special interest here are the compositions of the large miniatures many of which seem to have been copied from printed Books of Hours of the period. When we talk about the transition from manuscripts to print culture in the late-15th and 16th centuries the discussion often focuses on how the art of manuscripts influenced the appearance of printed works. There is no better example than Books of Hours which in printed editions often mimic the look of their manuscript predecessors in appearance and the way many were finished by hand. However as the present example demonstrates the opposite was also true as printed works inevitably made their way into the hands of manuscript artists. Some even worked simultaneously both as illustrators for publishers working with metal- and woodcuts and as manuscript painters. As a reflection of this point in the present work we find distinct similarities between our miniatures and a series of metalcuts used by Philippe Pigouchet for the publisher Simon Vostre beginning in 1496 Fairfax-Murray's set 2. According to Fairfax-Murray "These cuts . . . were evidently very favourably received by Pigouchet's rivals and imitators for one finds several close copies and adaptations in the various productions of other presses" including a very close imitation of woodcut images commissioned by the publisher Antoine Vérard. Evidently the popularity of these plates extended to manuscript artists and it is fascinating to see the adaptation of each composition to suit the painter's own style and the patron's needs. Most of the compositions in our manuscript are essentially simplified versions of the printed miniatures retaining the central figures their gestures garments and props but with complex backgrounds eschewed as are extra figures deemed unnecessary to fulfill the narrative. The resulting miniatures are far less busy than their printed counterparts allowing the viewer to focus on the central story. In a few instances the artist has added small scenes beneath the large miniatures. An example on f. 35 depicts the so-called "Miracle of the Wheat" featuring harvesters misleading Herod's soldiers by truthfully saying that the fleeing Holy Family passed by when their now miraculously matured crop was just being sown. This kind of inclusion may have been influenced by the copious small metalcut scenes that decorate the borders of numerous printed Books of Hours of this period. The text here follows a fairly typical structure but includes prayers in French to be said for each day of the week and on various occasions such as when one awakens or when one leaves a house. Also in French are additional verses to the Virgin--one of which is credited to the Franciscan preacher Jean Tisserand d. 1497 who founded an order for repentant women. Another accessory prayer included here f. 98 appeared in both prayer books and conjuring manuals of the period straddling the line between religion and popular magic. Based on an apocryphal encounter between Pope Leo III and Charlemagne during the Battle of Roncevaux this prayer was often used as a protective amulet against all manner of evil; here it is said to "conquer demons and one's enemies." Although we do not know for whom this manuscript was originally made the book shows a number of marginal customizations in the form of different coats of arms the motto "Soit avenu" "Let it come to pass" and the name of Jean Boutin written on ff. 23 and 35. This owner could have been Jean Boutin Sieur de la Court et de Chamballan and Mayor of Nantes from 1575-76. In addition to the marginal customizations the manuscript may possibly have some very neat replenishing of white facial paint in a handful of marginal figures and perhaps in a very small number of the miniatures. Using magnification and strong light we are unable to find convincing evidence that this retouching took place at least in the miniatures and if it was we think it was done quite early perhaps in the 16th century. Worst case it would necessarily be termed subtle and skillful enough to cause uncertainty now and whatever the verdict is in this respect the manuscript remains very fresh and attractive features attractively executed paintings is complete but for one leaf and would provide ample room for additional research. unknown books
1450réf. ST20835Flanders ca. 1450. 109 x 81 mm. 4 1/4 x 3 1/8". Single column 14 lines in a gothic book hand. 161 leaves. COMPLETE. Contents: Calendar f. 1r; Mass of the Holy Spirit f. 14r; Mass of the Holy Cross f. 23r; Requiem Mass f. 30r; Prayer on the Seven Last Words of Christ by the Venerable Bede f. 36v; Passion according to John f. 40v; blank f. 53; Hours of the Holy Cross f. 55r; Mass of the Virgin Mary f. 60r; Gospel Lessons f. 66v; Hours of the Virgin f. 73r; Penitential Psalms f. 126r; Litany f. 138r; Office of the Dead f. 144r. PLEASING NEAR-CONTEMPORARY BLIND-ROLLED CALF apparently with some old skilled restoration to joints spine and corners covers with rolled vine border surrounding a panel of three columns bearing a roll with parts of the inscription "AVE MARIA GRACIA PLENA" each word separated by one of four small motifs a flower a human profile the lamb of god and a sitting animal--perhaps a lion raised bands compartments with part of the same inscription roll. Lacking the original ties. Housed in a very attractive custom-made brown calf folding case with blind-stamped lettering on the spine interior lined in suede the whole within a calf-lipped suede-lined matching slipcase. Rubrics in red numerous one-line initials in blue with red penwork or gold with dark blue penwork many two-line initials in burnished gold on pink and blue ground with white embellishments several larger "I" initials between four and 11 lines in burnished gold on pink and blue ground with white embellishments 12 six- to seven-line initials some painted pink or blue with white embellishments and filled with flowers and tendrils on a gold ground or the initial in burnished gold on pink and blue ground with white embellishments EIGHT LARGE MINIATURES each inside a thin gold frame and with a three-quarter border of gilt leaves hairline vines and floral spays each facing page with a similar three-quarter border the subjects of the miniatures being: the Holy Spirit in the form of a dove f. 13v; St. Helena and the True Cross f. 22v; Raising of Lazarus f. 29v; Crucifixion f. 54v; Virgin and Child Enthroned f. 59v; Annunciation f. 72v; Last Judgment f. 125v; Funeral Mass f. 143v. Prickings visible in fore margins. See: Defoer et. al "The Golden Age of Dutch Manuscript Illumination" pp. 75-86. Just minor wear to the solid very pleasing early binding. A little chipping almost always mild to four of the miniatures with square frames the fifth the Annunciation somewhat rubbed and faded the three domed miniatures perfectly intact vellum with minor soiling and thumbing in places especially in lower corners of leaves in second half other trivial imperfections but overall a very well-preserved manuscript with no major issues. This enchanting little prayer book features eight attractive miniatures large gleaming burnished gold initials and a pleasing period binding--all in an excellent state of preservation. The miniature program here can be attributed to the so-called Masters of Otto van Moerdrecht the name given to a variety of Dutch artists active in the 1430s and '40s all working in a similar mode rather than to a specific master or workshop. According to Defoer et al. the work of these miniaturists "exhibit varied compositional formulas and bright highly contrasting colors . . . . The small somewhat doll-like figures appear rather wooden but their expressive gestures give the scenes a varied and vivid character." Two artistic hands are responsible for the present miniatures. The artist behind the first three miniatures all set within domed gilt frames the Holy Spirit St. Helena and Raising of Lazarus shows particular skill with a very smooth application of color figures with long eloquent hands and faces with subtle white highlighting. A second artist was responsible for the remaining five miniatures set within square golden frames Crucifixion Virgin and Child Enthroned Annunciation Last Judgment and Funeral Mass. Though this hand is less polished and the miniatures slightly smaller in size the scenes are all quite charming and attractively colored with vivid splashes of bright orange bubblegum pink sky blue and pale green. It is worth noting that the miniatures differ not only because of the artists' degree of success but also because of their condition: whereas the five are generally well preserved the other three are in a virtually perfect state. In addition to the central text of the Hours of the Virgin this manuscript contains several Masses each of which is preceded by a miniature. Perhaps the most interesting of these is the Mass of the Holy Cross which is paired with a miniature of St. Helena mother of Constantine the Great. According to Christian tradition Helena found the wooden cross used in the Crucifixion while she was travelling in Jerusalem in the fourth century. Constantine built the Basilica of the Holy Sepulchre in its honor and installed the relic there to be venerated. Britannica says that the adoration of the True Cross led to wide-spread sale of its fragments sought after as objects of devotion. It is unusual to find St. Helena depicted in a Book of Hours and this image is especially appealing with Helena in a beautiful red robe crown and halo embracing a large wooden cross in the center of the composition. The background is reminiscent of the work of the Gold Scrolls group with small swirls of liquid gold swimming in a scarlet sky the same scrolling motif graces the Holy Dove miniature. There is no indication of former ownership in this manuscript although the Calendar presents a few unusual saints that confirm a Flanders connection. These include St. Amandus in red known as the "Apostle of Flanders" on 2 February; St. Guido known as the "Poor Man of Anderlecht" on 9 September; St. Bavo in red patron saint of Ghent where a Cathedral is named in his honor on 10 October; and St. Eligius patron saint of goldsmiths and metalworkers on 1 December. The binding here is very close to contemporary and probably dates to the late 15th century. Neither the floral roll nor the "Ave Maria" roll seems to appear in EBDB. Similar rolls include r001954 r000623 and r000670 but ours is the only one with four different and charming tools one of each used between every "Ave" and "Maria." For a manuscript only slightly bigger than the palm of one’s hand this Book of Hours has a great deal to offer. In addition to its early binding and lovely illumination by an influential group of artists great care has been put into its preservation so that it resolutely endures for our pleasure and for owners in the centuries to come. unknown
1450réf. ST20835Flanders ca. 1450. 109 x 81 mm. 4 1/4 x 3 1/8". Single column 14 lines in a gothic book hand. 161 leaves. COMPLETE. Contents: Calendar f. 1r; Mass of the Holy Spirit f. 14r; Mass of the Holy Cross f. 23r; Requiem Mass f. 30r; Prayer on the Seven Last Words of Christ by the Venerable Bede f. 36v; Passion according to John f. 40v; blank f. 53; Hours of the Holy Cross f. 55r; Mass of the Virgin Mary f. 60r; Gospel Lessons f. 66v; Hours of the Virgin f. 73r; Penitential Psalms f. 126r; Litany f. 138r; Office of the Dead f. 144r. PLEASING NEAR-CONTEMPORARY BLIND-ROLLED CALF apparently with some old skilled restoration to joints spine and corners covers with rolled vine border surrounding a panel of three columns bearing a roll with parts of the inscription "AVE MARIA GRACIA PLENA" each word separated by one of four small motifs a flower a human profile the lamb of god and a sitting animal--perhaps a lion raised bands compartments with part of the same inscription roll. Lacking the original ties. Housed in a very attractive custom-made brown calf folding case with blind-stamped lettering on the spine interior lined in suede the whole within a calf-lipped suede-lined matching slipcase. Rubrics in red numerous one-line initials in blue with red penwork or gold with dark blue penwork many two-line initials in burnished gold on pink and blue ground with white embellishments several larger "I" initials between four and 11 lines in burnished gold on pink and blue ground with white embellishments 12 six- to seven-line initials some painted pink or blue with white embellishments and filled with flowers and tendrils on a gold ground or the initial in burnished gold on pink and blue ground with white embellishments EIGHT LARGE MINIATURES each inside a thin gold frame and with a three-quarter border of gilt leaves hairline vines and floral spays each facing page with a similar three-quarter border the subjects of the miniatures being: the Holy Spirit in the form of a dove f. 13v; St. Helena and the True Cross f. 22v; Raising of Lazarus f. 29v; Crucifixion f. 54v; Virgin and Child Enthroned f. 59v; Annunciation f. 72v; Last Judgment f. 125v; Funeral Mass f. 143v. Prickings visible in fore margins. See: Defoer et. al "The Golden Age of Dutch Manuscript Illumination" pp. 75-86. Just minor wear to the solid very pleasing early binding. A little chipping almost always mild to four of the miniatures with square frames the fifth the Annunciation somewhat rubbed and faded the three domed miniatures perfectly intact vellum with minor soiling and thumbing in places especially in lower corners of leaves in second half other trivial imperfections but overall a very well-preserved manuscript with no major issues. This enchanting little prayer book features eight attractive miniatures large gleaming burnished gold initials and a pleasing period binding--all in an excellent state of preservation. The miniature program here can be attributed to the so-called Masters of Otto van Moerdrecht the name given to a variety of Dutch artists active in the 1430s and '40s all working in a similar mode rather than to a specific master or workshop. According to Defoer et al. the work of these miniaturists "exhibit varied compositional formulas and bright highly contrasting colors . . . . The small somewhat doll-like figures appear rather wooden but their expressive gestures give the scenes a varied and vivid character." Two artistic hands are responsible for the present miniatures. The artist behind the first three miniatures all set within domed gilt frames the Holy Spirit St. Helena and Raising of Lazarus shows particular skill with a very smooth application of color figures with long eloquent hands and faces with subtle white highlighting. A second artist was responsible for the remaining five miniatures set within square golden frames Crucifixion Virgin and Child Enthroned Annunciation Last Judgment and Funeral Mass. Though this hand is less polished and the miniatures slightly smaller in size the scenes are all quite charming and attractively colored with vivid splashes of bright orange bubblegum pink sky blue and pale green. It is worth noting that the miniatures differ not only because of the artists' degree of success but also because of their condition: whereas the five are generally well preserved the other three are in a virtually perfect state. In addition to the central text of the Hours of the Virgin this manuscript contains several Masses each of which is preceded by a miniature. Perhaps the most interesting of these is the Mass of the Holy Cross which is paired with a miniature of St. Helena mother of Constantine the Great. According to Christian tradition Helena found the wooden cross used in the Crucifixion while she was travelling in Jerusalem in the fourth century. Constantine built the Basilica of the Holy Sepulchre in its honor and installed the relic there to be venerated. Britannica says that the adoration of the True Cross led to wide-spread sale of its fragments sought after as objects of devotion. It is unusual to find St. Helena depicted in a Book of Hours and this image is especially appealing with Helena in a beautiful red robe crown and halo embracing a large wooden cross in the center of the composition. The background is reminiscent of the work of the Gold Scrolls group with small swirls of liquid gold swimming in a scarlet sky the same scrolling motif graces the Holy Dove miniature. There is no indication of former ownership in this manuscript although the Calendar presents a few unusual saints that confirm a Flanders connection. These include St. Amandus in red known as the "Apostle of Flanders" on 2 February; St. Guido known as the "Poor Man of Anderlecht" on 9 September; St. Bavo in red patron saint of Ghent where a Cathedral is named in his honor on 10 October; and St. Eligius patron saint of goldsmiths and metalworkers on 1 December. The binding here is very close to contemporary and probably dates to the late 15th century. Neither the floral roll nor the "Ave Maria" roll seems to appear in EBDB. Similar rolls include r001954 r000623 and r000670 but ours is the only one with four different and charming tools one of each used between every "Ave" and "Maria." For a manuscript only slightly bigger than the palm of one’s hand this Book of Hours has a great deal to offer. In addition to its early binding and lovely illumination by an influential group of artists great care has been put into its preservation so that it resolutely endures for our pleasure and for owners in the centuries to come. unknown books
réf. TM 796MEDIEVAL ILLUMINATED MANUSCRIPT IN ITALIAN ON PAPER Northeastern Italy Veneto Venice c. 1474. Dimensions 328-332 x 230 mm. 188 folios missing at least three leaves written in brown ink in an Italian cursiva libraria script EIGHT ILLUMINATED INITIALS of seven lines one-line paraphs in red or blue simple two- to four-line in red or blue initials. BINDING: re-cased using original binding materials of brown half leather over bevelled wooden boards with three double bands remains of four straps present. TEXT: Italian translation of Gregory the Great's Moralia in Job one of the most important and widely copied texts of the Middle Ages. Though forty copies of this translation survive this volume is unusual in its incorporation of Venetian dialectal forms. All other copies are in European institutions and have not been on the market for the last century. PROVENANCE: scribal colophon on f. 190v provides a date for this manuscript's completion and helps localize its production within Italy: "Scripto per mi zuane de zane zoielier condam per simon et chi li lezeranno priegi dio per lo scriptore. MCCCCLXXIIII" Written by me Zuane de Zane jeweler once for Simon and may whoever will read it pray to God for the writer. 1474. There is no Zuane de Zane on record elsewhere as a scribe; the name itself is Venetian and evidence of the manuscript's watermark and decoration also suggest an origin in the region of Veneto and possibly Venice specifically. The manuscript was later acquired by a private European collection. CONDITION: slight tears in the lower margin of f. 25 and upper margin of ff. 37 and 160 from f. 161 to the end there is a slight loss to the upper outer corner slight water staining visible parchment reinforcement present prickings visible. Full description and images available. TM 796 Northeastern Italy, Veneto (Venice?), dated 1474
réf. TM 796MEDIEVAL ILLUMINATED MANUSCRIPT IN ITALIAN ON PAPER Northeastern Italy Veneto Venice c. 1474. Dimensions 328-332 x 230 mm. 188 folios missing at least three leaves written in brown ink in an Italian cursiva libraria script EIGHT ILLUMINATED INITIALS of seven lines one-line paraphs in red or blue simple two- to four-line in red or blue initials. BINDING: re-cased using original binding materials of brown half leather over bevelled wooden boards with three double bands remains of four straps present. TEXT: Italian translation of Gregory the Great's Moralia in Job one of the most important and widely copied texts of the Middle Ages. Though forty copies of this translation survive this volume is unusual in its incorporation of Venetian dialectal forms. All other copies are in European institutions and have not been on the market for the last century. PROVENANCE: scribal colophon on f. 190v provides a date for this manuscript's completion and helps localize its production within Italy: "Scripto per mi zuane de zane zoielier condam per simon et chi li lezeranno priegi dio per lo scriptore. MCCCCLXXIIII" Written by me Zuane de Zane jeweler once for Simon and may whoever will read it pray to God for the writer. 1474. There is no Zuane de Zane on record elsewhere as a scribe; the name itself is Venetian and evidence of the manuscript's watermark and decoration also suggest an origin in the region of Veneto and possibly Venice specifically. The manuscript was later acquired by a private European collection. CONDITION: slight tears in the lower margin of f. 25 and upper margin of ff. 37 and 160 from f. 161 to the end there is a slight loss to the upper outer corner slight water staining visible parchment reinforcement present prickings visible. Full description and images available. TM 796 Northeastern Italy, Veneto (Venice?), dated 1474 books
1476réf. 372231Nuremberg: Johann Sensenschmidt and Andreas Frisner 1476. Second Sensenschmidt and Frisner Bible. Text in two columns 57 lines per page rubricated with many manuscript initials in red and blue and black some descenders with leafy flourishes and occasional touches of green; some initial spaces unaccomplished. 392 ff. bound without first and last blanks. Copiously annotated chiefly in O.T. in several early Germanic Latin hands; a lengthy gloss to Acts 18 is dated at end 1525. 1 vols. Folio. Original pigskin stamped in blind vellum manuscript waste supports used at inner hinges last four leaves strengthened at gutter. Corners and bosses perished edgeworn some worming entering text at end; upper joint cracked and first two gatherings loosened. Vestiges of marginal tabs; a few paper. A bit rough very good. Second Sensenschmidt and Frisner Bible. Text in two columns 57 lines per page rubricated with many manuscript initials in red and blue and black some descenders with leafy flourishes and occasional touches of green; some initial spaces unaccomplished. 392 ff. bound without first and last blanks. Copiously annotated chiefly in O.T. in several early Germanic Latin hands; a lengthy gloss to Acts 18 is dated at end 1525. 1 vols. Folio. The second Bible printed by Sensenschmidt and Frisner at Nuremberg dated 1476 at the end of the Notitia by Menardus with generous margins and some idiosyncratic flourishes and decorations to the manuscript. At the foot of the first text leaf the manuscript ownership note of a brotherhood of monks in Gmünd. The second gathering includes a leaf where text on the verso is printed only in 44 lines and an inserted half leaf stub printed one side only in one column. Four stubs of blanks are visible at the end of Esdra but the text is complete resuming with Tobias. This copy bound without the Interpretationes hebraicorum nominum as is often the case; that work appears frequently with Koberger editions of this period and "should perhaps be regarded as a separate work". And excellent and unsophisticated copy. ISTC ib00546000 four other locations in N. America; GW 4221; Goff B546; Delaveau & Hillard 696. Provenance: W. A. Copinger bookplate; General Theological Seminary gift of Cornelius Vanderbilt and Dean Augustus Hoffman bookplates and blindstamps Johann Sensenschmidt and Andreas Frisner unknown
1476réf. 372231Nuremberg: Johann Sensenschmidt and Andreas Frisner 1476. Second Sensenschmidt and Frisner Bible. Text in two columns 57 lines per page rubricated with many manuscript initials in red and blue and black some descenders with leafy flourishes and occasional touches of green; some initial spaces unaccomplished. 392 ff. bound without first and last blanks. Copiously annotated chiefly in O.T. in several early Germanic Latin hands; a lengthy gloss to Acts 18 is dated at end 1525. 1 vols. Folio. Original pigskin stamped in blind vellum manuscript waste supports used at inner hinges last four leaves strengthened at gutter. Corners and bosses perished edgeworn some worming entering text at end; upper joint cracked and first two gatherings loosened. Vestiges of marginal tabs; a few paper. A bit rough very good. Second Sensenschmidt and Frisner Bible. Text in two columns 57 lines per page rubricated with many manuscript initials in red and blue and black some descenders with leafy flourishes and occasional touches of green; some initial spaces unaccomplished. 392 ff. bound without first and last blanks. Copiously annotated chiefly in O.T. in several early Germanic Latin hands; a lengthy gloss to Acts 18 is dated at end 1525. 1 vols. Folio. The second Bible printed by Sensenschmidt and Frisner at Nuremberg dated 1476 at the end of the Notitia by Menardus with generous margins and some idiosyncratic flourishes and decorations to the manuscript. At the foot of the first text leaf the manuscript ownership note of a brotherhood of monks in Gmünd. The second gathering includes a leaf where text on the verso is printed only in 44 lines and an inserted half leaf stub printed one side only in one column. Four stubs of blanks are visible at the end of Esdra but the text is complete resuming with Tobias. This copy bound without the Interpretationes hebraicorum nominum as is often the case; that work appears frequently with Koberger editions of this period and "should perhaps be regarded as a separate work". And excellent and unsophisticated copy. ISTC ib00546000 four other locations in N. America; GW 4221; Goff B546; Delaveau & Hillard 696. Provenance: W. A. Copinger bookplate; General Theological Seminary gift of Cornelius Vanderbilt and Dean Augustus Hoffman bookplates and blindstamps Johann Sensenschmidt and Andreas Frisner unknown books
1518réf. 29908Paris: Germain Hardouyn. Colophon: "ont este imprimees a Paris pour Germain Hardouyn demorant entre les deux portes du Palais a lenseigne de Saincte Marguerite. 1518. First of the edition. Printed on vellum and beautifully illuminated with forty hand-painted miniatures. There are sixteen large and twenty four small miniatures i.e. metalcuts painted in blue red brown green yellow white and gold and numerous one- and two-line initials in gold and blue pictorial metal-cut borders throughout partly illuminated. With full page miniatures: Skeleton Maria with the infant Jesus Jesus on Mount of Olives Flight to Egypt The Three Magi Nativity Crucification etc. 8vo 17.8 x 11/0 cm handsomely bound in eighteenth century full marbled polished calf the edges gilt the spine with raised bands gilt decorated. 112 leaves printed on vellum in a Gothic typeface twenty-four lines per page. Almanach / Calendar for the years 1518 -1525. Signatures: A - O8 14 quires = 112 leaves complete. A handsome and well preserved copy complete. A FINE PRINTED BOOK OF HOURS FROM THE EARLY 16TH CENTURY PARIS. In the late fifteenth and early sixteenth century printed books of hours like the present copy were produced in greater numbers than manuscript horae in part in order to meet the demands of a bourgeoning middle class audience that could afford such items. RARE. Not in Brunet Bohatta Lacombe Mortimer French Adams Germain Hardouyn. (Colophon: "ont este imprimees a Paris pour Germain Hardouyn demorant entre les deux portes du Palais a lensei hardcover
1500réf. 12054Tours 1500. 19th-century blind-ruled crushed green morocco Niédrée; hinges slightly cracked at top and bottom gilt-lettered spine title all edges gilt green silk marker. THIS ELEGANT TRILINGUAL PRIVATE DEVOTIONAL WAS PREPARED FOR A HIGH-RANKING FRENCH MILITARY OFFICIAL likely a participant in the Italian Wars of 1494-1512. An identical suite of prayers appears in a manuscript Morgan M.292 made for maréchal de France Pierre de Rohan-Gié 1450-1513 who campaigned in Italy with Charles VIII and Louis XII. Our anthology is centered on the faithful's plea for military success and protection against the dangers of war. The opening prayers in French are rich in chivalric imagery. Next is an uncommon extended version of the Latin Abbreviated Psalter a series of extracts from the Psalms compiled for soldiers and others unable to recite the full daily Office. The texts that follow include a Latin prayer for victory in battle the placeholder n stands in for the name of the supplicant and unusually the long pseudo-Augustinian Prayer for the Troubled in its Italian version. This last concludes the work of the first scribe who in line with the contemporary trends of luxury manuscript production at Tours adopted a peculiar rounded bâtarde. His hand's nod to the shapes of humanistic Antiqua doesn't mitigate the striking mismatch of language and script in the italian prayer. In Latin the Gospel readings on the Passion occupy the second half of the manuscript executed in a more traditional hand by a second scribe. attractive uniform decoration unifies our intriguing manuscript. In very good condition. ¶Salmon "Psautiers abrégés du moyen âge" in Analecta liturgica 1974 80; Cottier "Psautiers abrégés et prières privées durant le haut Moyen Âge" in Recherches Augustiniennes 33 2003 215-30; Avril & Reynaud Les Manuscrits à peintures en France 165 173 & 177. Prayer Book in French Latin and Italian. TEXTS & ILLUSTRATIONS I. French prayers to the Virgin: pp. 1-8 p. 1 Inc. O glorieuse pure vierge pucelle Sinclair 6243; four-line illuminated initial in blue and white on red and gold ground infilled with flowers. p. 6 Inc. Je te salve tres chaste espouse Sonet 897; two-line boxed initial in gold ink on blue ground. p. 8 blank. II. Confession formula and Psalterium Abbreviatum: pp. 9-58 p. 9 Inc. Confitebor tibi domine deus omnipotens; four-line illuminated initial in grey and and white on gold ground infilled with flowers. p. 14 blank. p. 15 Inc. Beatifica me domine et peccatorum meorum; three-line illuminated initial in blue and white on red and gold ground infilled with flowers. p. 25 Inc. Miserere mei deus secundum magnam misericordiam; two-line boxed initial in gold ink on red ground. pp. 35-36 blank. p. 37 Inc. Domine exhaudi orationem meam; two-line boxed initial in gold ink on red ground. p. 48 blank. p. 49 Inc. Domine quid multiplicati sunt; two-line boxed initial in gold ink on red ground. p. 58 blank. III. Latin Prayers to Jesus and the Trinity: pp. 59-70 p. 59 Inc. Deus omnipotens pater filius et spiritus sanctus; two-line boxed initial in gold ink on red ground. p. 62 Inc. Iesu Nazarene respice ad meas miserias; two-line boxed initial in gold ink on red ground. p. 64 blank p. 65 Inc. Domine iesu christe qui septem verba; four-line illuminated initial in grey and white on gold ground infilled with flowers. p. 70 blank. IV. Pseudo-Augustine's Orazione per i Tribolati in Italian: pp. 71-84 p. 71 Inc. O dulcissime signore iesu cristo vero dio; four-line illuminated initial in blue and white on red and gold ground infilled with flowers. V. Psalm 117: pp. 85-90 p. 85 Confitemini domine quoniam bonus; three-line illuminated initial in blue and white on red and gold ground infilled with flowers and strawberries. p. 90 blank. VI. Gospel readings on the Passion: pp. 91-172 p. 91 rubric: Dominica in ramis palmarum. Text of Matthew 26-27 begins; four-line initial in blue and white on red and gold ground infilled with flowers. p. 116 rubric: Feria tercia post ramos palmarum. Text of Mark 14-15 begins; two-line boxed initial in gold ink on red ground. p. 136 rubric: Feria quarta post ramos palmarum. Text of Luke 22-23 begins; two-line boxed initial in gold ink on red ground. p. 156 rubric: Die veneris sancta. Text of John 18-19 begins; three-line illuminated initial in blue and white on red and gold ground infilled with flowers. p. 172 blank. unknown
1586réf. 08537Paris: A. L'Angelier 1586. CONTEMPORARY RICHLY GILT CALF DECORATED IN THE DUODO-STYLE WITH NINETEEN DIFFERENT TOOLS. The outer borders have three double-rules with olive branches trefoils curved rules and a floral roll between. Sewn with S fermés quatrefoils and open circles the central field has twenty ovals each with one of six small tools in it. A single compartment the flat spine presents the same decor but with additional tools its base and crown ruled on the bias; board edges ruled one slightly defective all edges gilt. THICK PAPER COPY. The binding by Clovis Ève adopts the design favored by the Venetian ambassador to Paris Pietro Duodo 1554-1611. The chic S fermé symbolizes love sage seul secret soucieux. Fresh inside and out one lower corner neatly restored. ¶Balsamo & Simonin A. L'Angelier 163; Delaveau & Hillard Bibles imprimées du XVe au XVIIIe siècle 3417; BnF Enrichissements 1961-1973 1974 1051; Brun Le Livre français illustré 130 & 278 "gravés très délicatement". For similar Duodo-style decor see Nixon's Sixteenth-Century Gold-Tooled Bookbindings 59 and Esmerian's Bibliothèque I 6.VI.1972 59-61 and Hobson & Culot's Italian and French 16th-Century Bookbindings 68-9. A. L'Angelier unknown
1510réf. 371469Leipzig: Wolfgang Stockel 1510. Title in red and black. A-DⶠEâ´ F-JⶠKâ´ L-Mâ¶. 68 leaves. Extensive annotations throughout in Latin in a contemporary Germanic cursive comprising both interlinear notes and marginal gloss. 1 vols. Folio 12x8-1/2 inches. Early pigskin and oaken boards a remboitage from a thicker volume worn front hinge split between A2 and A3. Housed in a blue cloth slipcase. Provenance: Duplum Bibliothecae Regiae Monacensis pencil annotation; John Pintard inscription presenting the book to; General Theological Seminary bookplate and inked stamps. Title in red and black. A-DⶠEâ´ F-JⶠKâ´ L-Mâ¶. 68 leaves. Extensive annotations throughout in Latin in a contemporary Germanic cursive comprising both interlinear notes and marginal gloss. 1 vols. Folio 12x8-1/2 inches. Edited by Johann Kusthuert this printing of the Epistles of Paul was intended for the student market with the introduction addressed to studiosis sacarum litterarum tyronibus. In addition the colophon reads: Impressum ad altissimi Dei laudem ac studiosorum Sacre Scripture tyronum perfectum in officina libraria prouidi viri Vuolffgangi Stockel ciuis Liptzensis anno Domini 1510 quarto kalendis Septembris. The annotations and marginal gloss are impressive and very similar though in a different hand to the copy described by Rosenthal now at the Beinecke suggesting they are by a student at the same institution: "The present copy comes with a vast manuscript apparatus in Latin covering the entire text from St. Jerome's general preface to the last sentence of the last epistle. The annotation . is uniformly intense throughout. The script is a very small at times microscopic Germanic cursive and there is evidence of careful layout especially in the marginal gloss." Estimating the annotations to be approximately 80000 words Rosenthal describes the interlinear notes as "frequently far more than simole reading aids." He continues: "The marginal gloss includes an argumentum for each chapter and its subdivisions . There are also occasional citations from authorities such as St. Thomas and Ambrose." It is a handsomely printed volume with the title in large red letters above an 11-line subtitle in black. The verso of the title comprises a table of contents of the Pauline epistles and is followed by an introduction by Kusthuert. On the duplicates sold by the Munich royal library including the present volume see: Wagner Bettina. "'Duplum Bibliothecae Regiae Monacensis': The Munich Court Library and Its Book Auctions in the Nineteenth Century." The Papers of the Bibliographical Society of America vol. 111 no. 3 2017 pp. 345-77. Pintard 1759-1844 was a prominent New Yorker of Huguenot origin patron of education and one of the earliest and staunchest advocates for the preservation and study of the history of New York and the United States. Pintard began to work towards the establishment of a historical society in the city in early 1804 and he was the leader in the organization of the New-York Historical Society in November 1804. He was also a patron of the old French Huguenot Church of St. Esprit and the General Theological Seminary to whom he donated this volume in 1826. Scarce. OCLC locates three copies in Germany the aforementioned copy at Yale described by Rosenthal and the present example. Rosenthal B.M. Printed books with manuscript annotations 105 for a similarly annotated copy of the same edition; Panzer vii p. 169; VD16 B 4980. Not in BM STC Germany Adams or Darlow & Moule [Wolfgang Stockel] unknown
1510réf. 371469Leipzig: Wolfgang Stockel 1510. Title in red and black. A-DⶠEâ´ F-JⶠKâ´ L-Mâ¶. 68 leaves. Extensive annotations throughout in Latin in a contemporary Germanic cursive comprising both interlinear notes and marginal gloss. 1 vols. Folio 12x8-1/2 inches. Early pigskin and oaken boards a remboitage from a thicker volume worn front hinge split between A2 and A3. Housed in a blue cloth slipcase. Provenance: Duplum Bibliothecae Regiae Monacensis pencil annotation; John Pintard inscription presenting the book to; General Theological Seminary bookplate and inked stamps. Title in red and black. A-DⶠEâ´ F-JⶠKâ´ L-Mâ¶. 68 leaves. Extensive annotations throughout in Latin in a contemporary Germanic cursive comprising both interlinear notes and marginal gloss. 1 vols. Folio 12x8-1/2 inches. Edited by Johann Kusthuert this printing of the Epistles of Paul was intended for the student market with the introduction addressed to studiosis sacarum litterarum tyronibus. In addition the colophon reads: Impressum ad altissimi Dei laudem ac studiosorum Sacre Scripture tyronum perfectum in officina libraria prouidi viri Vuolffgangi Stockel ciuis Liptzensis anno Domini 1510 quarto kalendis Septembris. The annotations and marginal gloss are impressive and very similar though in a different hand to the copy described by Rosenthal now at the Beinecke suggesting they are by a student at the same institution: "The present copy comes with a vast manuscript apparatus in Latin covering the entire text from St. Jerome's general preface to the last sentence of the last epistle. The annotation . is uniformly intense throughout. The script is a very small at times microscopic Germanic cursive and there is evidence of careful layout especially in the marginal gloss." Estimating the annotations to be approximately 80000 words Rosenthal describes the interlinear notes as "frequently far more than simole reading aids." He continues: "The marginal gloss includes an argumentum for each chapter and its subdivisions . There are also occasional citations from authorities such as St. Thomas and Ambrose." It is a handsomely printed volume with the title in large red letters above an 11-line subtitle in black. The verso of the title comprises a table of contents of the Pauline epistles and is followed by an introduction by Kusthuert. On the duplicates sold by the Munich royal library including the present volume see: Wagner Bettina. "'Duplum Bibliothecae Regiae Monacensis': The Munich Court Library and Its Book Auctions in the Nineteenth Century." The Papers of the Bibliographical Society of America vol. 111 no. 3 2017 pp. 345-77. Pintard 1759-1844 was a prominent New Yorker of Huguenot origin patron of education and one of the earliest and staunchest advocates for the preservation and study of the history of New York and the United States. Pintard began to work towards the establishment of a historical society in the city in early 1804 and he was the leader in the organization of the New-York Historical Society in November 1804. He was also a patron of the old French Huguenot Church of St. Esprit and the General Theological Seminary to whom he donated this volume in 1826. Scarce. OCLC locates three copies in Germany the aforementioned copy at Yale described by Rosenthal and the present example. Rosenthal B.M. Printed books with manuscript annotations 105 for a similarly annotated copy of the same edition; Panzer vii p. 169; VD16 B 4980. Not in BM STC Germany Adams or Darlow & Moule [Wolfgang Stockel] unknown books
réf. ST17766Probably Germany third quarter of ninth century. 285 x 245 mm. 11 1/4 x 9 3/4". Single column 25 lines in a Caroline minuscule book hand. Tipped into a paper folder and presented in a tan cloth binding with ink notation on spine and a small sticker on upper cover. Rubrics in red. Front pastedown of folder with the bookplate of the Schøyen collection. With several pages of typed and handwritten notes including Bernard Rosenthal's cataloguing and a copy of a letter from Bernhard Bischoff to Rosenthal concerning the dating of the leaf. ◆Recovered from a binding and thus with some expected browning staining and wrinkling a long vertical fold through the text touching a couple letters of each line recto with the first few words of each line roughened and somewhat obscured a couple of other words a bit hard to make out but the vast majority of text very legible with fore and tail margins very ample and in all quite a good specimen representing a remarkable survival. Featuring a lovely Caroline miniscule hand this very early leaf from a Lectionary may have been made for the use of a particular church or individual and comes with recent distinguished scholarship and provenance. Although the text here contains familiar passages from the Old and New Testaments their juxtaposition in this context presents a bit of a conundrum: as the enclosed cataloguing explains the story of the wicked husbandmen from Matthew followed by the story of Esau surrendering his birthright to Jacob from Genesis "is an irregular and indeed unrecorded liturgical sequence of texts and suggests that this particular collection of lections was compiled for a particular church or private chapel." It is also possible that the Lectionary was made for the use of an individual rather than an institution with certain needs or preferences—perhaps a scholar or theologian or even a Carolingian nobleman many of whom were literate and educated. The hand here is an excellent example of the legible and elegant Caroline minuscule that dominated Western Europe in this period; distinctive letter forms include clubbed ascenders such as on the letters "b" "d" and "l" a long "s" with the shaft on the line and the use of the ampersand as a general abbreviation for the letters "et" occurring anywhere in a word for example "conter&" for "conteret". Termed the "integrated ampersand" this usage is especially characteristic of Caroline minuscule manuscripts of the late eighth and ninth centuries. Our leaf comes with bookseller Bernard M. Rosenthal's catalogue description noting that it was "Purchased from Schab New York Feb. 1969." William H. Schab was a book and art dealer in the firm of Gilhofer and & Ranschburg in Vienna before fleeing Austria in 1938 and settling in New York where he founded his own business. Also included here is a copy of a handwritten note regarding the date of the present leaf from renowned paleographer Bernard Bischoff. The leaf was also featured in Quaritch's 1991 catalogue 1147 Bookhands of the Middle Ages V no. 25.5 and was until recently part of the Schøyen Collection their MS 623. Four additional pages of cataloguing are also included here. Despite having been used as binding scrap at some point in its life this leaf is very well preserved with no words lost from trimming with distinctly visible ink and in a clear and very pleasing hand. unknown
réf. ST17766Probably Germany third quarter of ninth century. 285 x 245 mm. 11 1/4 x 9 3/4". Single column 25 lines in a Caroline minuscule book hand. Tipped into a paper folder and presented in a tan cloth binding with ink notation on spine and a small sticker on upper cover. Rubrics in red. Front pastedown of folder with the bookplate of the Schøyen collection. With several pages of typed and handwritten notes including Bernard Rosenthal's cataloguing and a copy of a letter from Bernhard Bischoff to Rosenthal concerning the dating of the leaf. ◆Recovered from a binding and thus with some expected browning staining and wrinkling a long vertical fold through the text touching a couple letters of each line recto with the first few words of each line roughened and somewhat obscured a couple of other words a bit hard to make out but the vast majority of text very legible with fore and tail margins very ample and in all quite a good specimen representing a remarkable survival. Featuring a lovely Caroline miniscule hand this very early leaf from a Lectionary may have been made for the use of a particular church or individual and comes with recent distinguished scholarship and provenance. Although the text here contains familiar passages from the Old and New Testaments their juxtaposition in this context presents a bit of a conundrum: as the enclosed cataloguing explains the story of the wicked husbandmen from Matthew followed by the story of Esau surrendering his birthright to Jacob from Genesis "is an irregular and indeed unrecorded liturgical sequence of texts and suggests that this particular collection of lections was compiled for a particular church or private chapel." It is also possible that the Lectionary was made for the use of an individual rather than an institution with certain needs or preferences—perhaps a scholar or theologian or even a Carolingian nobleman many of whom were literate and educated. The hand here is an excellent example of the legible and elegant Caroline minuscule that dominated Western Europe in this period; distinctive letter forms include clubbed ascenders such as on the letters "b" "d" and "l" a long "s" with the shaft on the line and the use of the ampersand as a general abbreviation for the letters "et" occurring anywhere in a word for example "conter&" for "conteret". Termed the "integrated ampersand" this usage is especially characteristic of Caroline minuscule manuscripts of the late eighth and ninth centuries. Our leaf comes with bookseller Bernard M. Rosenthal's catalogue description noting that it was "Purchased from Schab New York Feb. 1969." William H. Schab was a book and art dealer in the firm of Gilhofer and & Ranschburg in Vienna before fleeing Austria in 1938 and settling in New York where he founded his own business. Also included here is a copy of a handwritten note regarding the date of the present leaf from renowned paleographer Bernard Bischoff. The leaf was also featured in Quaritch's 1991 catalogue 1147 Bookhands of the Middle Ages V no. 25.5 and was until recently part of the Schøyen Collection their MS 623. Four additional pages of cataloguing are also included here. Despite having been used as binding scrap at some point in its life this leaf is very well preserved with no words lost from trimming with distinctly visible ink and in a clear and very pleasing hand. unknown books
1483réf. 372104Venice: Johannes Herbort de Seligenstadt 1483. Text in two columns 56 lines per page. Initials mostly executed in red Psalms and a few other chapter headings with large color initial others empty. N.T. with printed marginal glosses. 398 leaves. 1 vols. Folio. Contemporary pigskin stamped in blind lower pastedown with manuscript waste re-inforcement. Binding worn and soiled spine darkened. Front pastedown with abundant annotations; flyleaf with tabulations of books of the Bible; occasional marginal annotations a bit more frequent in N.T. Pious abecedary poem in 23 lines in manuscript on blank verso of last leaf. Text in two columns 56 lines per page. Initials mostly executed in red Psalms and a few other chapter headings with large color initial others empty. N.T. with printed marginal glosses. 398 leaves. 1 vols. Folio. With additions by Franciscus Moneliensis and Quintius Aemilianus. This is grouped with the Fontibus ex Graecis editions of the corrected Latin text though this edition does not include the Latin verses. Leaf a1v prints a letter by Franciscus Moneliensis in which he praises the printer Johannes Herbort who got his start in Padua in the mid-1470s where he printed Avicenna's Canon medicinae. He came to Venice and worked with Jenson and others; he printed an edition of the Bible with Postilla of Nicolaus de Lyra in 1481; a quarto Bible was issued in 1484. Herbort produced some 50 works during his career. ISTC ib00579000; GW 4254; Goff B579; cf. Darlow & Moule 2:911 note. Provenance: W. A. Copinger bookplate; General Theological Seminary gift of Cornelius Vanderbilt and Dean Augustus Hoffman bookplates and blindstamps Johannes Herbort, de Seligenstadt unknown
