(Bible Latin)ABAA
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 books
réf. 66827Romae Rome: In Typographia Medicea 1591. FIRST EDITION. Folio 33 x 21.5 cm. pp.9-4621 colophon as issued without title and preliminaries. Contemporary limp vellum with manuscript title on spine. With 149 text woodcuts by Leonardo Parassole c.1570-c.1630 after Antonio Tempesta 1555-1630 their monograms appearing on a number of the illustrations. The woodcuts are remarkable examples of Tempesta's work notable for their clarity of composition and their didactic narrative of the episodes depicted. Some occasional toning as usual and occasional light scattered foxing remnants of old paper label to spine vellum with some light soiling and rubbing to edges generally a very good copy in a handsome contemporary binding. First edition of the Gospels in Arabic and Latin - a landmark cultural encounter - and the editio princeps of the Arabic translation of the New Testament widely accepted as being the first successful printing of any Arabic text using moveable type and the first book ever published by the Medici Press in Rome. In 1584 the last year of the papacy of Gregory XIII who had constantly endeavoured to effect a union between the Church of Rome and the eastern Christians Cardinal Ferdinando de' Medici the brother and later the successor of the Grand Duke of Tuscany founded a printing press in Rome with a vast selection of oriental types cut by the French typographer Robert Granjon. Run by a versatile orientalist Giovan Battista Raimondi the press had various aims. One was to produce propaganda which would attract the eastern Christians to Roman Catholicism. Another was to corner the publishing market in an area where typography was prohibited and to make a financial profit from the sale in the east of books printed in Arabic. The third aim was to further European knowledge and to provide good editions of Arabic versions of certain standard non-religious texts. These included the writings of Avicenna al-Idrisi's geographical compendium al-Tusi's adaptation of Euclid's text on geometry and various works on Arabic grammar and syntax. The first major publication was the 1591 edition of the Gospels. This copy has an interlinear Latin translation but the work was also issued solely in Arabic. It contains 149 fine woodcut illustrations made by Leonardo Parasole mainly after designs by one of the best known Florentine artists of his day Antonio Tempesta who owed much of his fame to the frescoes he painted in the Vatican and in a number of Roman palaces. The woodcut in the Gospel of St Mark of the presentation of the head of John the Baptist to Salome Mark 6:28 by a man in Turkish dress reminds us of the common association between the great enemy of Christendom in the sixteenth century and the ancient heathens. The Arabic text is printed in Robert Granjon's famous large fount generally considered the first satisfactory Arabic printing type; as all early printed editions of the Arabic Gospels it is based on the Alexandrian Vulgate cf. Darlow/M. 1636. The Latin version is by Leonardo Sionita. The work begins with page 9 without a title-page or any preliminary matter at all: "the intended prefatory matter was apparently never published" Darlow/M.; these first eight pages were not supplied until the 1619 re-issue. Brunet 1122-1123 Romae [Rome]: In Typographia Medicea, 1591. hardcover
réf. ST17767BEGermany second quarter of ninth century. Each leaf approximately 305 x 205 mm 12 x 8". Single column 29-30 lines in a large and extremely legible Caroline minuscule. Rubrics in red each leaf with one or more large initials in red. Text with a few contemporary corrections and erasures. Accompanied by a copy of a letter from Bernhard Bischoff dating the manuscript leaves. ◆Vellum a little toned and soiled one leaf with an old repair to the bottom third of the outer margin minor folds small stains and other trivial imperfections but IN EXTREMELY FINE CONDITION the lettering clear and legible the vellum in excellent shape and the margins surprisingly comfortable. These are nothing short of magnificent specimens and remarkable survivals with wide borders all around with entirely clear and distinct script with only minimal overall dust soiling and with strength and freshness to the vellum; the leaves present a powerful redolence of a time as far in the past as one could optimistically hope to encounter among Western manuscript artifacts in the marketplace. The script here is an outstanding example of the highly legible Caroline minuscule that dominated Europe in the ninth century characterized by clear letter forms ample spacing between letters and between lines and very few abbreviations the most common occurrence being "&" for "et" occurring anywhere in a word. The parent manuscript was almost certainly a Homiliary containing sermons by various Christian authors to be said throughout the year with the present leaves containing passages from part of Leo I Sermo XCV and parts of a tractatus on Luke by Ambrose as well as other lections readings for the Vigil of the Feast of St Peter and the Feast of the Octave of Pentecost and the opening of a sermon of Leo I for Feria IV mensis IV; four other sister leaves are known and contain additional passages from Leo I and Ambrose as well as Pope Gregory I and readings for various feast days. The presence of these texts suggest that the leaves might have come from a Homiliary originally composed by Paul the Deacon at the behest of Charlemagne a version that was widely circulated throughout the Carolingian Empire in the eighth and ninth centuries. Although the scriptorium in which these leaves were produced has yet to be determined we can say with confidence that they date to the second quarter of the ninth century due to the style of the script as stated in the accompanying letter by esteemed paleographer Bernard Bischoff. Much of their history over the last 12 centuries remains a mystery but we do know that three of the extant leaves were in the possession of dealer Bruce Ferrini by 1989 with his stock number beginning "VM" and two bear the stock numbers and price codes of Quaritch. All were acquired by Martin Schøyen and became part of the renowned Schøyen collection MS 587. Very early leaves such as these often survive only because they come from manuscripts that were dismembered with the leaves then being reused as binding scrap; when later recovered they are typically in lamentable condition. The present leaves by contrast met no such fate--they have always been intact and untouched by the binder and so show none of the staining and trimming that are almost always present with repurposed leaves from demolished manuscripts. This notably fine state of preservation is rarely seen on the market. As a consequence these specimens are not only among the earliest leaves we have ever offered for sale but also some of the most extraordinary survivals we have ever acquired. We have bought and sold only a handful of ninth century leaves in our 45 years in business; in the present case because we were extremely lucky to acquire a small collection of six leaves from a single source we are able to offer them here at an advantageous price point. unknown
réf. ST17767BEGermany second quarter of ninth century. Each leaf approximately 305 x 205 mm 12 x 8". Single column 29-30 lines in a large and extremely legible Caroline minuscule. Rubrics in red each leaf with one or more large initials in red. Text with a few contemporary corrections and erasures. Accompanied by a copy of a letter from Bernhard Bischoff dating the manuscript leaves. ◆Vellum a little toned and soiled one leaf with an old repair to the bottom third of the outer margin minor folds small stains and other trivial imperfections but IN EXTREMELY FINE CONDITION the lettering clear and legible the vellum in excellent shape and the margins surprisingly comfortable. These are nothing short of magnificent specimens and remarkable survivals with wide borders all around with entirely clear and distinct script with only minimal overall dust soiling and with strength and freshness to the vellum; the leaves present a powerful redolence of a time as far in the past as one could optimistically hope to encounter among Western manuscript artifacts in the marketplace. The script here is an outstanding example of the highly legible Caroline minuscule that dominated Europe in the ninth century characterized by clear letter forms ample spacing between letters and between lines and very few abbreviations the most common occurrence being "&" for "et" occurring anywhere in a word. The parent manuscript was almost certainly a Homiliary containing sermons by various Christian authors to be said throughout the year with the present leaves containing passages from part of Leo I Sermo XCV and parts of a tractatus on Luke by Ambrose as well as other lections readings for the Vigil of the Feast of St Peter and the Feast of the Octave of Pentecost and the opening of a sermon of Leo I for Feria IV mensis IV; four other sister leaves are known and contain additional passages from Leo I and Ambrose as well as Pope Gregory I and readings for various feast days. The presence of these texts suggest that the leaves might have come from a Homiliary originally composed by Paul the Deacon at the behest of Charlemagne a version that was widely circulated throughout the Carolingian Empire in the eighth and ninth centuries. Although the scriptorium in which these leaves were produced has yet to be determined we can say with confidence that they date to the second quarter of the ninth century due to the style of the script as stated in the accompanying letter by esteemed paleographer Bernard Bischoff. Much of their history over the last 12 centuries remains a mystery but we do know that three of the extant leaves were in the possession of dealer Bruce Ferrini by 1989 with his stock number beginning "VM" and two bear the stock numbers and price codes of Quaritch. All were acquired by Martin Schøyen and became part of the renowned Schøyen collection MS 587. Very early leaves such as these often survive only because they come from manuscripts that were dismembered with the leaves then being reused as binding scrap; when later recovered they are typically in lamentable condition. The present leaves by contrast met no such fate--they have always been intact and untouched by the binder and so show none of the staining and trimming that are almost always present with repurposed leaves from demolished manuscripts. This notably fine state of preservation is rarely seen on the market. As a consequence these specimens are not only among the earliest leaves we have ever offered for sale but also some of the most extraordinary survivals we have ever acquired. We have bought and sold only a handful of ninth century leaves in our 45 years in business; in the present case because we were extremely lucky to acquire a small collection of six leaves from a single source we are able to offer them here at an advantageous price point. unknown books
1698réf. H4GD9LIIY5STPadova: Typographia Seminaria 1698. Blind-tooled vellum ca. 1800 reusing and retooling vellum from a slightly earlier blind-tooled binding sewn on 6 double cords each board with a large scrollwork centrepiece over traces of the old one in a panel design made of fillets and corner pieces with the title finely lettered in pen and ink in the 2nd of 7 compartments the old title still faintly visible underneath it and the old volume number VIII faintly visible in the 3rd compartment. Folio 35.5 x 25 cm. With 2 title pages 1 primary and 4 secondary divisional titles in volume 1 more than a dozen woodcut head- and tailpieces plus numerous repeats and dozens of woodcut decorated initials about 9 series plus numerous repeats. Set in roman italic and Arabic types 3 sizes of Arabic with incidental Greek and Hebrew. 2 volumes bound as 1. The first scholarly printed Quran prepared by the anti-Islamic Catholic Ludovico Marracci with a much more accurate Arabic text than any previously printed and the first accurate Latin translation also including extensive notes based on the Islamic commentaries as well as the editor's extensive "refutations" of each sutra. Each sura is given first in Arabic then in Latin translation followed by notes and then the refutation. The entire first volume of about 430 pages is taken up with preliminary matter including a 24-page life of Muhammad one of the first detailed biographies ever printed and again more accurate than its predecessors an 8-page profession of faith with the Arabic and Latin in parallel columns and additional commentaries and introductory matter. The fact that this edition was produced explicitly as an attempt to refute the views of Islam has naturally led Islamic scholars to dismiss it but both the Arabic text and the Latin translation were far better than any previously printed and had no serious rival until the Leipzig edition of 1834. The commentaries also made a great deal of Islamic scholarship available to a European audience for the first time and both the Arabic and the Latin text influenced nearly every edition for the next 150 years.With two bookplates and an occasional early manuscript note and a few letters or numbers inscribed in the foot margin of one leaf. With a tear running into the text of one leaf repaired but otherwise in very good condition. With generous margins. The boards are slightly bowed and there is a small tear repaired at the foot of the spine. A ground-breaking work of Quranic scholarship a valuable source for the study of the Quran and an essential source for European views of Islam.l Cat. Bibl. A.-R. Courbonne dont la vent . 1er février 1842 30 this copy; A. Hamilton Europe and the Arab world 34; Schnurrer 377; O. A. Sheikh Al-Shabab The place of Marraccis Latin translation of the Holy Quran: . in: Journal of King Saud University: language & tanslation 13 2001 pp. 57-74; USTC 1736471/1737617/1748538; not in Atabey; Blackmer; Philologia orientalis but cited in 225g 360a 380b 381c. Typographia Seminaria, hardcover
1527réf. 372109Coloniae: Petrus Quentel excudebat 1527. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. Manuscript marginal glosses in red chiefly calling out names names in Kings. 1 vols. Folio. Contemporary blindstamped pigskin over bevelled wooden boards clasps perished. Some soiling repairs to hinges painted fore-edge tabs. Very good. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. Manuscript marginal glosses in red chiefly calling out names names in Kings. 1 vols. Folio. The first Protestant Bible in Latin edited by Johan Rüdel Rudelius printed in Cologne by Peter Quentel or Quentell and notable for the wood engraved illustrations by Anton Woensam Anton von Worms particularly those at the head of each of the four gospels. Matthew faces an angle who is touching his stylus; a lion is seated beside Mark; a bull with Luke; and an eagle stands beside John. Quentel was the printer of Tyndale's quarto Cologne English New Testament known from a single surviving fragment in the Grenville Collection where this same illustration to Matthew appears. It is a reasonable inference that each of the four gospels would have carried an illustration. The project which had "'got as far as the letter K' the signature that would have taken the work well into Mark" ODNB was unfinished at the time of Tyndale's flight from Cologne in 1525. Quentel's print shop was raided but sheets of the first gospel translated from the original Greek and printed in English soon began to circulate in England. Tyndale settled in Worms where Schöffer completed an octavo printing of the first complete English New Testament in 1526 a facsimile of the Grenville fragment and its illustration were published in 1871. The blocks for the illustrations evidently survived the raid on the Quentel's shop and are used here at the head of each of the four gospels. A notable edition in the history of the printing of the Bible. Adams B1007; Darlow & Moule 6107 note; VD16 B2589; Copinger 210. Provenance: Cartusiae Buxiana Buxheim inscription on title; Thomas Raffle early signature on title; General Theological Seminary blindstamps bookplate Petrus Quentel excudebat unknown
1527réf. 372109Coloniae: Petrus Quentel excudebat 1527. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. Manuscript marginal glosses in red chiefly calling out names names in Kings. 1 vols. Folio. Contemporary blindstamped pigskin over bevelled wooden boards clasps perished. Some soiling repairs to hinges painted fore-edge tabs. Very good. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. Manuscript marginal glosses in red chiefly calling out names names in Kings. 1 vols. Folio. The first Protestant Bible in Latin edited by Johan Rüdel Rudelius printed in Cologne by Peter Quentel or Quentell and notable for the wood engraved illustrations by Anton Woensam Anton von Worms particularly those at the head of each of the four gospels. Matthew faces an angle who is touching his stylus; a lion is seated beside Mark; a bull with Luke; and an eagle stands beside John. Quentel was the printer of Tyndale's quarto Cologne English New Testament known from a single surviving fragment in the Grenville Collection where this same illustration to Matthew appears. It is a reasonable inference that each of the four gospels would have carried an illustration. The project which had "'got as far as the letter K' the signature that would have taken the work well into Mark" ODNB was unfinished at the time of Tyndale's flight from Cologne in 1525. Quentel's print shop was raided but sheets of the first gospel translated from the original Greek and printed in English soon began to circulate in England. Tyndale settled in Worms where Schöffer completed an octavo printing of the first complete English New Testament in 1526 a facsimile of the Grenville fragment and its illustration were published in 1871. The blocks for the illustrations evidently survived the raid on the Quentel's shop and are used here at the head of each of the four gospels. A notable edition in the history of the printing of the Bible. Adams B1007; Darlow & Moule 6107 note; VD16 B2589; Copinger 210. Provenance: Cartusiae Buxiana Buxheim inscription on title; Thomas Raffle early signature on title; General Theological Seminary blindstamps bookplate Petrus Quentel excudebat unknown books
1415réf. ST17763Paris ca. 1415-20. Leaf: 160 x 110 mm. 6 1/4 x 3/8"; Frame: 232 x 185 mm. 9 1/8 x 7 1/4". Recto with three lines single column in a gothic book hand verso not inspected due to frame. Mounted in a wooden frame. Recto with a three-line initial in blue on gold ground embellished with ivy leaves A HALF-PAGE MINIATURE DEPICTING THE MASS OF ST. GREGORY the recently crucified Christ depicted emerging from a tomb supported by an angel and surrounded by the Arma Christi St. Gregory kneeling at the corner of the image the text and miniature framed by thick bar borders of pink blue and gold on three sides all SURROUNDED BY A FULL BORDER of hairline vines gilt ivy leaves and bezants and a few colorful flowers and acanthus. A little faint smudging in top and bottom borders very small scarcely noticeable area of blue background retouched not affecting the figures but A BEAUTIFUL LEAF the colors bright and the detail in the miniature very well preserved. Featuring carefully realized detail intriguing iconography and artistry that shows a very high degree of skill this is an important and early example of the work of the Master of the Harvard Hannibal. The subject of the present work is a well-known story about the sixth century Pope Gregory ca. 540-604 commonly known as St. Gregory the Great. According to legend Gregory was saying Mass when one of his deacons expressed a doubt in the doctrine of Transubstantiation whereby the communion bread actually becomes the body of Christ. Gregory prayed to God for a verifying sign whereupon Christ appeared in the guise of the Man of Sorrows clad in a loincloth and displaying the bloody wounds he incurred during the Crucifixion. Most Medieval miniatures depict Gregory kneeling before an altar as he says Mass accompanied by one or more deacons or assistants who bear witness to the miraculous event. In a notable departure from this norm the present miniature depicts the saint alone at the edge of the picture plane; in place of the chalice host and altar that would normally occupy the center of the scene is a considerable open tomb from which a larger-than-life-size Christ emerges. With blood still rushing from his wounds he places one hand on the edge of the tomb to steady himself while an angel supports him from behind. Christ's expression conveys both physical and mental pain as he struggles to support his own bodyweight; the angel who assists him spreads his wings protectively around the body of Christ while looking down at Gregory with a sorrowful expression knitted into his brow. The fine detail work seen in the figures' faces the angel's wings and the careful delineation of each slender finger is also carried over into more than a dozen objects crammed into the spaces in and around the tomb the rope is especially remarkable in the representation of its detail. Known as the "Arma Christi" or "Instruments of the Passion" these objects are meant to symbolize Christ's suffering. Seen here are: the cross nails and hammer that were used to crucify Christ the ladder used in the Deposition the disembodied hand symbolizing the one which slapped Christ's face the dice used by soldiers to see who would claim his seamless robe a lantern used by the soldiers who arrested Christ the 30 pieces of silver from Judas' betrayal a purple robe used in the mockery of Christ and other items that appear as part of the Passion narrative. It is also interesting to note that although a St. Gregory miniature usually appears at the beginning of the Hours of the Cross the Penitential Psalms or before the Seven Prayers of St. Gregory here rather unusually it opens a reading from John chapter 19 beginning "In illo tempore adprehendit Pilatus Iesum et flagellavit" describing the events of the Passion. This miniature can be attributed to an artist known as the Master of the Harvard Hannibal so-named for a splendid miniature painting of the "Coronation of Hannibal" prefacing a Livy in the Harvard College Library. Active from about 1415-30 in Paris and later possibly Rouen it is believed that our illuminator was a pupil of the Boucicaut Master with whom he is thought to have collaborated on several manuscripts both secular and religious. The present miniature would probably have been executed early in his career and while it certainly shows the influence of his teacher it also reveals certain stylistic tendencies that would become staples of the Master of the Harvard Hannibal's more mature work such as his preference for rich colors heavy molding of the faces and interest in decorative details. With its clever composition meticulous detail work and emotive figures that engage the viewer the present miniature is not only a beautiful work of art it also documents the precocious talent of an emerging master early in his professional career. unknown
1415réf. ST17763Paris ca. 1415-20. Leaf: 160 x 110 mm. 6 1/4 x 3/8"; Frame: 232 x 185 mm. 9 1/8 x 7 1/4". Recto with three lines single column in a gothic book hand verso not inspected due to frame. Mounted in a wooden frame. Recto with a three-line initial in blue on gold ground embellished with ivy leaves A HALF-PAGE MINIATURE DEPICTING THE MASS OF ST. GREGORY the recently crucified Christ depicted emerging from a tomb supported by an angel and surrounded by the Arma Christi St. Gregory kneeling at the corner of the image the text and miniature framed by thick bar borders of pink blue and gold on three sides all SURROUNDED BY A FULL BORDER of hairline vines gilt ivy leaves and bezants and a few colorful flowers and acanthus. A little faint smudging in top and bottom borders very small scarcely noticeable area of blue background retouched not affecting the figures but A BEAUTIFUL LEAF the colors bright and the detail in the miniature very well preserved. Featuring carefully realized detail intriguing iconography and artistry that shows a very high degree of skill this is an important and early example of the work of the Master of the Harvard Hannibal. The subject of the present work is a well-known story about the sixth century Pope Gregory ca. 540-604 commonly known as St. Gregory the Great. According to legend Gregory was saying Mass when one of his deacons expressed a doubt in the doctrine of Transubstantiation whereby the communion bread actually becomes the body of Christ. Gregory prayed to God for a verifying sign whereupon Christ appeared in the guise of the Man of Sorrows clad in a loincloth and displaying the bloody wounds he incurred during the Crucifixion. Most Medieval miniatures depict Gregory kneeling before an altar as he says Mass accompanied by one or more deacons or assistants who bear witness to the miraculous event. In a notable departure from this norm the present miniature depicts the saint alone at the edge of the picture plane; in place of the chalice host and altar that would normally occupy the center of the scene is a considerable open tomb from which a larger-than-life-size Christ emerges. With blood still rushing from his wounds he places one hand on the edge of the tomb to steady himself while an angel supports him from behind. Christ's expression conveys both physical and mental pain as he struggles to support his own bodyweight; the angel who assists him spreads his wings protectively around the body of Christ while looking down at Gregory with a sorrowful expression knitted into his brow. The fine detail work seen in the figures' faces the angel's wings and the careful delineation of each slender finger is also carried over into more than a dozen objects crammed into the spaces in and around the tomb the rope is especially remarkable in the representation of its detail. Known as the "Arma Christi" or "Instruments of the Passion" these objects are meant to symbolize Christ's suffering. Seen here are: the cross nails and hammer that were used to crucify Christ the ladder used in the Deposition the disembodied hand symbolizing the one which slapped Christ's face the dice used by soldiers to see who would claim his seamless robe a lantern used by the soldiers who arrested Christ the 30 pieces of silver from Judas' betrayal a purple robe used in the mockery of Christ and other items that appear as part of the Passion narrative. It is also interesting to note that although a St. Gregory miniature usually appears at the beginning of the Hours of the Cross the Penitential Psalms or before the Seven Prayers of St. Gregory here rather unusually it opens a reading from John chapter 19 beginning "In illo tempore adprehendit Pilatus Iesum et flagellavit" describing the events of the Passion. This miniature can be attributed to an artist known as the Master of the Harvard Hannibal so-named for a splendid miniature painting of the "Coronation of Hannibal" prefacing a Livy in the Harvard College Library. Active from about 1415-30 in Paris and later possibly Rouen it is believed that our illuminator was a pupil of the Boucicaut Master with whom he is thought to have collaborated on several manuscripts both secular and religious. The present miniature would probably have been executed early in his career and while it certainly shows the influence of his teacher it also reveals certain stylistic tendencies that would become staples of the Master of the Harvard Hannibal's more mature work such as his preference for rich colors heavy molding of the faces and interest in decorative details. With its clever composition meticulous detail work and emotive figures that engage the viewer the present miniature is not only a beautiful work of art it also documents the precocious talent of an emerging master early in his professional career. unknown books
1590réf. 372093Rome: Ex Typographia Apostolica Vaticana 1590. First edition of the Sixtine Vulgate Bible. Engraved illustrated title-page. Title in red and black text in double columns. 8 479 1; 5 482-899; 5 902-1141pp. Lacks the 4ff preface i.e. the papal bull of Sixtus V beginning "Aeternus ille caelestium terrestriumq. rerum omnium conditr ac moderator Deus ." as often. Folio 13-1/2 x 9-1/2 inches. Later red morocco spine darkened corners bumped some repairs at head and tail of spine marbled endpapers gilt edges. Engraved title and title page paper-backed. Red quarter morocco clamshell box. First edition of the Sixtine Vulgate Bible. Engraved illustrated title-page. Title in red and black text in double columns. 8 479 1; 5 482-899; 5 902-1141pp. Lacks the 4ff preface i.e. the papal bull of Sixtus V beginning "Aeternus ille caelestium terrestriumq. rerum omnium conditr ac moderator Deus ." as often. Folio 13-1/2 x 9-1/2 inches. 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. 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. As often e.g. the Brooker copy this copy without the preface the Bull of Sixtus declaring the text to be immutable and forbidding any reprint without papal permission. Copinger 521; Darlow & Moule 6181; Adams B1098; BM STC Italian 1465-1600 p. 93; EDIT16 CNCE 5805. Provenance: Henry John Farmer Atkinson his sale Sotheby Wilkinson & Hodge March 1896 lot 2752 sold for £18.15s to; Bernard Quaritch; General Theological Seminary bookplate Ex Typographia Apostolica Vaticana unknown
1590réf. 372093Rome: Ex Typographia Apostolica Vaticana 1590. First edition of the Sixtine Vulgate Bible. Engraved illustrated title-page. Title in red and black text in double columns. 8 479 1; 5 482-899; 5 902-1141pp. Lacks the 4ff preface i.e. the papal bull of Sixtus V beginning "Aeternus ille caelestium terrestriumq. rerum omnium conditr ac moderator Deus ." as often. Folio 13-1/2 x 9-1/2 inches. Later red morocco spine darkened corners bumped some repairs at head and tail of spine marbled endpapers gilt edges. Engraved title and title page paper-backed. Red quarter morocco clamshell box. First edition of the Sixtine Vulgate Bible. Engraved illustrated title-page. Title in red and black text in double columns. 8 479 1; 5 482-899; 5 902-1141pp. Lacks the 4ff preface i.e. the papal bull of Sixtus V beginning "Aeternus ille caelestium terrestriumq. rerum omnium conditr ac moderator Deus ." as often. Folio 13-1/2 x 9-1/2 inches. 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. 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. As often e.g. the Brooker copy this copy without the preface the Bull of Sixtus declaring the text to be immutable and forbidding any reprint without papal permission. Copinger 521; Darlow & Moule 6181; Adams B1098; BM STC Italian 1465-1600 p. 93; EDIT16 CNCE 5805. Provenance: Henry John Farmer Atkinson his sale Sotheby Wilkinson & Hodge March 1896 lot 2752 sold for £18.15s to; Bernard Quaritch; General Theological Seminary bookplate Ex Typographia Apostolica Vaticana unknown books
1400réf. ABC_48074Northern Germany 1400. 8vo. Early 19th-century gold-tooled vellum showing a gold-tooled floral frame on both boards with a leather closing tie on the front gold-tooled board edges gilt edges. Written in Latin on relatively thin parchment leaf 11.5 x 8.5 cm text block 7.8 x 5.2 cm in a gothic hand "semi-textualis" in one column of 17 lines per page using black/dark brown ink. The manuscript is rubricated throughout with a 3-line red and blue initial at the start of each part and 2- or 1-line lombards alternating in red and blue at the start of each smaller section ruled in pencil. 131 ll. This small prayer and hymn book which was likely made in Northern Germany can be related to the veneration of Saint Joseph which was popular in the 15th century. The manuscript was meant for personal use by a layperson either during mass or at home. It includes the verses of Saint Bernard a short text by Jean Gerson 1363-1429 hymns and prayers for the Elevation and the Eucharist hymns and prayers relating to Easter Pentecost and the Feast of Corpus Christi prayers to the archangels John the Baptist and Francis and Clare of Assisi and suffrages addressed to various saints including Saint Joseph Saint Joachim Saint Anne Saint Stephen Saint Onuphrius and Saint Maurice.Personal prayer books like the present work were very popular in the late Middle Ages as they allowed laypeople to develop a routine of personal devotion. These works were often adapted to the needs and wishes of the owner and can therefore offer a lot of insight into their beliefs. The present work is somewhat unusual because it places more focus on Joseph than on Mary. A large portion at the end is made up of the suffrages or short prayers to various saints. The suffrages were always in order of importance starting with the Trinity and Mary and ending with female martyrs. However in the present manuscript Mary is not included in the suffrages while Joseph is one of the first to be mentioned even before the Apostles. In addition Joseph is described as "nutritoris domini" English: nurturer of the Lord which is what he was called by those who worshipped him.The present manuscript offers a unique insight into the spread of the Cult of St. Joseph and what his veneration might have looked like in daily life. A complete list of contents is available upon request.With a manuscript owners inscription on the front pastedown some pencil annotations on the front pastedown and some loose paper scraps showing manuscript prayers after leaf 131v. The vellum on the binding is artificially darkened and the closing tie on the back board is missing. Quires a-e8 the first three leaves of quire f and possibly a leaf in quire k are lacking otherwise the text is complete according to the catchwords between the present quires. With a small hole on leaf 3 with partial loss of one letter portions of text primarily rubrication have been crossed out on leaves 8 15r 26 28r 33v 35v and 36r the ink on some of the leaves is rubbed. Otherwise in very good condition. hardcover
1863réf. R115350Parisiis [Paris] (& Bruxelles), Palmé 1863-1940 Complete series of 68 parts in 70 physical volumes including the volume containing the indices, together ca. 65.000 pp. + some plates out of text, 41x26cm., this Palmé-editon (1863-1887) is the third edition and completed by the volumes published in Brussels from 1894 till 1940, The AASS is a monument in the Christian tradition containing an overwhelming amount of critical texts regarding the catholic saints (in chronological order, from January till December), In 2026 it has been recognized by UNESCO as part of the Memory of the World Register : it is celebrated as one of the most significant scholarly enterprises of the Ancien Régime documenting the lives of saints and influencing historical criticism // All volumes are in solid and uniform black hardcover bindings (spines in black leather with gilt lettering, few minor defects at some volumes (bumped corners, few loss of paper at edges of boards), most volumes have marbled edges, marbled endpapers, small ex-librisstamp at title page, text is clean and bright except for some occasional foxing mainly at first and last pages, text in Latin, A nice and very complete set, total net weight is ca. 370kg. (for shipping options please inquire), [Content: January: volumes 1-3, February: vols.4-6, March: vols.7-9, April: vols.10-13 (13: Propylaeum), May: vols.14-20, June: vols.21-27, July: vols.28-34, August: vols.35-40, September: vols.41-48, October: vols.49-61 (vol.55 in two physical volumes), November: vols.62-66 (including Propylaeum, vol.63 in two physical volumes), December: 67 (= Propylaeum), + vol.68: Ad Acta Sanctorum.. supplementum volumen complectens Auctaria Octobris et Tabulas Generales by L.M. Rigollot], R115350
1844Complete series of 221 volumes (bound in 222 physical volumes) + 5 volumes of supplement published by Garnier in Paris (I (1958) - V (1974), bound in 6 physical volumes) so totally 228 physical volumes, original edition of 1844-1903, the PL is a marvellous collection - the largest and most exhaustive ever published - of writings of the Church Fathers and other ecclesiastical writers in Latin from the 3rd till the 13th century, together ca. 150.000 pages, with illustrations in text in some volumes, 27cm., text printed in 2 columns, 20th cy. firm uniform hardcover bindings in black cloth (fully intact, with white numbering on spine), small stamp on title page, some occasional foxing and slight browning of paper (text always well readable), rare complete series of 221 volumes + 5 supplements, in good condition, weight is ca. 330 kg. (for shipping options please inquire), [Volumes 218 to 221 contain the indices. Other details regarding the content: please inquire], Please note: this series is offered as as set only (individual volumes are not for sale), R108398
1524réf. 12313Bologna: Heirs of B. Hector di Faelli 1524. 18th-century vellum over boards soiled flat spine gilt with gilt-lettered tan and blue morocco labels old gilt blue edges gauffered yellow silk marker. FIRST EDITION: THE FIRST PRINTED LATIN-ITALIAN PSALTER AND THE FIRST NEW ITALIAN TRANSLATION OF THE TEXT TO BE PUBLISHED SINCE NICOLÒ MALERMI'S 1471. The Ferrarese painter and poet Luigi Bigi called Pittorio; 1454-1525 presents each verse of the Latin Vulgate Psalms then paraphrases it in simple Italian. He frequently adds his own short vernacular commentary - from a few words to a few lines - to sharpen the reader's understanding and guide their private meditation. On the title and in the dedication BIGI EXPLICITLY ADDRESSES NON-LATIN LITERATE CONVENTUAL AND LAY WOMEN as well as the broader public. To forestall criticism of his vernacular text he sought and received the approval of the vice-inquisitor of Ferrara Father Domenico da Reggio. This luxury copy has the painted arms of its first owner who had the book block edges colored tooled and gilt. I have found two examples in U.S. libraries. In excellent condition early signature on the title of di Sa Simonetta bookplates of George Dunn Wooley Hall in Wm. Morris' "Golden Type" and of Arrighi Casmellani. ¶La Bibbia. Edizioni del XVI secolo ed. Lumini no. 164; Boillet "La Fortune du 'Psalterio Davitico' de Luigi Pittorio en Italie" in La Bibliofilia 115 2013 621-8; Darlow & Moule Historical Catalogue of the.Holy Scripture 5575n.; Sander Le Livre à figures italien 1018; EDIT16 CNCE 5884. Heirs of B. Hector di Faelli unknown
1583In-folio, two volumes. Later vellum over pasteboards with handwritten title on spine, slightly stained. Leaves [70], pp.583; pp. 772, ll.[6]. Roman, italic and Greek character. With a full-page woodcut portrait of Mattioli, 3 printer's devices and over 900 three-quarter-page figures (cm. 22x16) engraved in wood in the text, depicting plants, herbs, animals, insects and distillation procedures, of which two are colored by contemporary hand. Edit16 CNCE 35759 - Nissen BBI 1395 - Pritzel 5985 - Adams D 675 - Hunt 145.
1500réf. ST20810SParis ca. 1500. 163 x 115 mm. 6 1/2 x 4 1/2". 12 leaves. Single column 18 lines in a gothic book hand. Feast days in alternating blue and burnished gold script two-line "KL" initials painted blue with white tracery and embellished with orange and blue ivy on a burnished gold ground each with a spray of gilt leaves and painted flowers one-line "A" initials in burnished gold over a pink and blue ground each page with a panel border of colorful flowers berries and acanthus over a painted gold ground with 24 SMALL MINIATURES depicting the labor of the month on rectos and zodiacal signs on versos. Some moderate smudging and soiling in bottom and fore margins January and February with tiny wormhole in head margin the miniature for January conceivably improved by a later hand but all in all a very lovely Calendar the high-quality paintings very well preserved and the whole with vibrant colors and brightly gleaming gold. Vibrantly illustrated and shimmering with gold this is an excellent example of a complete Calendar that would have appeared at the beginning of a luxuriously appointed Book of Hours. Each month is illustrated with the labor or occupation appropriate for the moment. These are in turn: warming by the fire feasting pruning picking flowers courting threshing hay harvesting wheat baking bread treading grapes sowing feeding hogs and slaughtering a hog. Our artist chose to compose these scenes more as portraits than depictions of actual tasks framing the image around each figure's face and sometimes only including small details that might indicate their occupation. In the month of June for example which depicts threshing hay we see only a sliver of the farmer's sickle and nothing at all of the hay. Instead the farmer himself is the primary focus here: and he is particularly well-executed with gentle shading on his downcast features careful brushstrokes highlighting the gleam of his hair and brushed gold suggesting the sun beating down on a bright June day. In addition to the labor or occupation of the month on the recto the 12 signs of the zodiac are depicted on the verso of each leaf these executed with equal charm and care. In cheerful bright colors our artist has depicted Leo's preening pose and glimmering mane the drama of Sagittarius' drawn bow and the cherubic plumpness of Aquarius molded in bluish shadows. In addition to the aesthetic achievements of its various parts the whole is desirable as a so-called composite Calendar with the name of a saint or special celebration occupying every day of the year. The origin of the composite Calendar is uncertain but the general opinion is that it was formalized in the early 14th century. The Parisian Hours of Jeanne d'Evreaux copied in ca. 1330 has been put forth as an early example. In any case the Calendar was subject to numerous changes in the course of time as various saints were canonized and supplanted those who while still recognized as saintly were deemed to be less favored residents for a particular calendar date. The saints' days on this Calendar are fairly typical for the Use of Paris and given the high-quality illumination liberal use of gold and robust borders it is likely that the parent manuscript was produced by an accomplished atelier in that city. Although single Calendar leaves regularly come on the market complete Calendars--particularly ones with extensive visual programs as here--are much more difficult to acquire. unknown
1500réf. ST20810SParis ca. 1500. 163 x 115 mm. 6 1/2 x 4 1/2". 12 leaves. Single column 18 lines in a gothic book hand. Feast days in alternating blue and burnished gold script two-line "KL" initials painted blue with white tracery and embellished with orange and blue ivy on a burnished gold ground each with a spray of gilt leaves and painted flowers one-line "A" initials in burnished gold over a pink and blue ground each page with a panel border of colorful flowers berries and acanthus over a painted gold ground with 24 SMALL MINIATURES depicting the labor of the month on rectos and zodiacal signs on versos. Some moderate smudging and soiling in bottom and fore margins January and February with tiny wormhole in head margin the miniature for January conceivably improved by a later hand but all in all a very lovely Calendar the high-quality paintings very well preserved and the whole with vibrant colors and brightly gleaming gold. Vibrantly illustrated and shimmering with gold this is an excellent example of a complete Calendar that would have appeared at the beginning of a luxuriously appointed Book of Hours. Each month is illustrated with the labor or occupation appropriate for the moment. These are in turn: warming by the fire feasting pruning picking flowers courting threshing hay harvesting wheat baking bread treading grapes sowing feeding hogs and slaughtering a hog. Our artist chose to compose these scenes more as portraits than depictions of actual tasks framing the image around each figure's face and sometimes only including small details that might indicate their occupation. In the month of June for example which depicts threshing hay we see only a sliver of the farmer's sickle and nothing at all of the hay. Instead the farmer himself is the primary focus here: and he is particularly well-executed with gentle shading on his downcast features careful brushstrokes highlighting the gleam of his hair and brushed gold suggesting the sun beating down on a bright June day. In addition to the labor or occupation of the month on the recto the 12 signs of the zodiac are depicted on the verso of each leaf these executed with equal charm and care. In cheerful bright colors our artist has depicted Leo's preening pose and glimmering mane the drama of Sagittarius' drawn bow and the cherubic plumpness of Aquarius molded in bluish shadows. In addition to the aesthetic achievements of its various parts the whole is desirable as a so-called composite Calendar with the name of a saint or special celebration occupying every day of the year. The origin of the composite Calendar is uncertain but the general opinion is that it was formalized in the early 14th century. The Parisian Hours of Jeanne d'Evreaux copied in ca. 1330 has been put forth as an early example. In any case the Calendar was subject to numerous changes in the course of time as various saints were canonized and supplanted those who while still recognized as saintly were deemed to be less favored residents for a particular calendar date. The saints' days on this Calendar are fairly typical for the Use of Paris and given the high-quality illumination liberal use of gold and robust borders it is likely that the parent manuscript was produced by an accomplished atelier in that city. Although single Calendar leaves regularly come on the market complete Calendars--particularly ones with extensive visual programs as here--are much more difficult to acquire. unknown books
1482réf. 372091Nuremberg: Anton Koberger 1482. Eighth edition of the Bible printed by Koberger his first was 1475. Date from the colophon at end of text on fol. 427. Text in black letter two columns 53 lines. Red initials rubricated throughout. Foliation irregular. Bound without first and last blanks. 460 of 462 leaves. 1 vols. Folio. Twentieth century orange morocco by Zaehnsdorf preserving earlier gauffered and gilt edges. Spine darkened from smoke minor rubbing. First leaf remargined at foot; some traces of damp and stains from old marginal tabs internally clean overall closed tear in fol. 388. Very good plus. Eighth edition of the Bible printed by Koberger his first was 1475. Date from the colophon at end of text on fol. 427. Text in black letter two columns 53 lines. Red initials rubricated throughout. Foliation irregular. Bound without first and last blanks. 460 of 462 leaves. 1 vols. Folio. ISTC ib00575000; GW 4250; Goff B575. Provenance: George Livermore Harvard bookplate recording 1859 deposit with ink release dated 1894; General Theological Seminary gift of Cornelius Vanderbilt and Dean Augustus Hoffman bookplates and blindstamps Anton Koberger unknown
1482réf. 372091Nuremberg: Anton Koberger 1482. Eighth edition of the Bible printed by Koberger his first was 1475. Date from the colophon at end of text on fol. 427. Text in black letter two columns 53 lines. Red initials rubricated throughout. Foliation irregular. Bound without first and last blanks. 460 of 462 leaves. 1 vols. Folio. Twentieth century orange morocco by Zaehnsdorf preserving earlier gauffered and gilt edges. Spine darkened from smoke minor rubbing. First leaf remargined at foot; some traces of damp and stains from old marginal tabs internally clean overall closed tear in fol. 388. Very good plus. Eighth edition of the Bible printed by Koberger his first was 1475. Date from the colophon at end of text on fol. 427. Text in black letter two columns 53 lines. Red initials rubricated throughout. Foliation irregular. Bound without first and last blanks. 460 of 462 leaves. 1 vols. Folio. ISTC ib00575000; GW 4250; Goff B575. Provenance: George Livermore Harvard bookplate recording 1859 deposit with ink release dated 1894; General Theological Seminary gift of Cornelius Vanderbilt and Dean Augustus Hoffman bookplates and blindstamps Anton Koberger unknown books
1483réf. 372162Strasbourg: Johann Grüninger 1483. Fifth 'Fontibus ex Graecis' edition. 678 ff. Collation: A-ZAA-DD⸠FF⸠EE⸠GG-IIkkLL-PP⸠14-18⸠19¹²; a-long ss-v⸠uâ´ x⸠1-89-13¹Ⱐ14-17⸠18¹Ⱐ19¹². Signatures 14-19 Interpretationes hebraicorum nominorum & Nominorum hebraicorum printed in both volumes; signatures EE and FF in Vol. I bound in reverse; 2 leaves in signature 18 in Vol. II duplicated. Complete. Text in two columns 45 lines per page. 37-line capital in purple green and yellow on leaf A2 many initials completed in red ink Vol. I rubricated throughout in red. Manuscript title to Vol. I initial blank and table of contents to Vol. II initial blank Vol. II has early ink numbering in top corners. 2 vols. Chancery folio. Contemporary blind-stamped calf over wooden boards early vellum reback to Vol. I twentieth-century plain brown calf reback to Vol. II brass catches to fore-edges clasps lacking manuscript title "prima pars biblie" to bottom edge of Vol. I text block. Front board of Vol. I detached its spine mostly perished front catches of Vol. II lacking minor worming to pastedowns of Vol. I endpapers of Vol. II renewed. Minor worming to margins of first and final few leaves occasional light soiling and faint staining mostly confined to margins clean tear to foot of leaf 11⸠extending into three lines of text block without loss small hole to leaf 14-6 Vol. II with loss to a word upper inside corner of final leaf torn away with loss missing text supplied in manuscript in an early hand. Worn and crudely repaired but a complete copy in a mostly contemporary binding and with good margins. Fifth 'Fontibus ex Graecis' edition. 678 ff. Collation: A-ZAA-DD⸠FF⸠EE⸠GG-IIkkLL-PP⸠14-18⸠19¹²; a-long ss-v⸠uâ´ x⸠1-89-13¹Ⱐ14-17⸠18¹Ⱐ19¹². Signatures 14-19 Interpretationes hebraicorum nominorum & Nominorum hebraicorum printed in both volumes; signatures EE and FF in Vol. I bound in reverse; 2 leaves in signature 18 in Vol. II duplicated. Complete. Text in two columns 45 lines per page. 37-line capital in purple green and yellow on leaf A2 many initials completed in red ink Vol. I rubricated throughout in red. Manuscript title to Vol. I initial blank and table of contents to Vol. II initial blank Vol. II has early ink numbering in top corners. 2 vols. Chancery folio. The colophon dated but without publisher or place notes this as a Fontibus ex Graecis Bible: part of "a series of corrected Latin Bibles which claim for themselves-apparently with justice-a superiority above all contemporary editions. They are known as the 'Fontibus ex Graecis' editions from the opening words of the Latin distichs found in them. Masch enumerates ten genuine 'Fontibus ex Graecis' editions the other nine bearing the dates 1479 1481 1482 1483 1485 1486 2 editions 1487 and 1489-all without name of printer or place" Darlow & Moule. A unique copy with the indexes of Hebrew names appearing twice at the end of each volume. ISTC ib00577000; Goff B-577; GW 4242; Darlow & Moule II pp. 911-912 note following 6083. Provenance: General Theological Seminary Copinger Collection gift of Cornelius Vanderbilt and Dean Augustus Hoffman bookplates and blindstamps Johann Grüninger] unknown
1483réf. 372162Strasbourg: Johann Grüninger 1483. Fifth 'Fontibus ex Graecis' edition. 678 ff. Collation: A-ZAA-DD⸠FF⸠EE⸠GG-IIkkLL-PP⸠14-18⸠19¹²; a-long ss-v⸠uâ´ x⸠1-89-13¹Ⱐ14-17⸠18¹Ⱐ19¹². Signatures 14-19 Interpretationes hebraicorum nominorum & Nominorum hebraicorum printed in both volumes; signatures EE and FF in Vol. I bound in reverse; 2 leaves in signature 18 in Vol. II duplicated. Complete. Text in two columns 45 lines per page. 37-line capital in purple green and yellow on leaf A2 many initials completed in red ink Vol. I rubricated throughout in red. Manuscript title to Vol. I initial blank and table of contents to Vol. II initial blank Vol. II has early ink numbering in top corners. 2 vols. Chancery folio. Contemporary blind-stamped calf over wooden boards early vellum reback to Vol. I twentieth-century plain brown calf reback to Vol. II brass catches to fore-edges clasps lacking manuscript title "prima pars biblie" to bottom edge of Vol. I text block. Front board of Vol. I detached its spine mostly perished front catches of Vol. II lacking minor worming to pastedowns of Vol. I endpapers of Vol. II renewed. Minor worming to margins of first and final few leaves occasional light soiling and faint staining mostly confined to margins clean tear to foot of leaf 11⸠extending into three lines of text block without loss small hole to leaf 14-6 Vol. II with loss to a word upper inside corner of final leaf torn away with loss missing text supplied in manuscript in an early hand. Worn and crudely repaired but a complete copy in a mostly contemporary binding and with good margins. Fifth 'Fontibus ex Graecis' edition. 678 ff. Collation: A-ZAA-DD⸠FF⸠EE⸠GG-IIkkLL-PP⸠14-18⸠19¹²; a-long ss-v⸠uâ´ x⸠1-89-13¹Ⱐ14-17⸠18¹Ⱐ19¹². Signatures 14-19 Interpretationes hebraicorum nominorum & Nominorum hebraicorum printed in both volumes; signatures EE and FF in Vol. I bound in reverse; 2 leaves in signature 18 in Vol. II duplicated. Complete. Text in two columns 45 lines per page. 37-line capital in purple green and yellow on leaf A2 many initials completed in red ink Vol. I rubricated throughout in red. Manuscript title to Vol. I initial blank and table of contents to Vol. II initial blank Vol. II has early ink numbering in top corners. 2 vols. Chancery folio. The colophon dated but without publisher or place notes this as a Fontibus ex Graecis Bible: part of "a series of corrected Latin Bibles which claim for themselves-apparently with justice-a superiority above all contemporary editions. They are known as the 'Fontibus ex Graecis' editions from the opening words of the Latin distichs found in them. Masch enumerates ten genuine 'Fontibus ex Graecis' editions the other nine bearing the dates 1479 1481 1482 1483 1485 1486 2 editions 1487 and 1489-all without name of printer or place" Darlow & Moule. A unique copy with the indexes of Hebrew names appearing twice at the end of each volume. ISTC ib00577000; Goff B-577; GW 4242; Darlow & Moule II pp. 911-912 note following 6083. Provenance: General Theological Seminary Copinger Collection gift of Cornelius Vanderbilt and Dean Augustus Hoffman bookplates and blindstamps Johann Grüninger] unknown books
réf. 185458Paris, 1619 fort vol. in-folio, [6] ff. n. ch. (titre, dédicace au clergé de Rouen, préface, titre de relais), 1104 pp., [8] ff. n. ch. d'index et de colophon, maroquin vieux rouge, dos à nerfs cloisonné et fleuronné, encadrement de triple filet doré sur les plats, armes au centre, double filet doré sur les coupes, tranches dorées sur marbrure, dentelle intérieure (rel. du XVIIIe s.). Petits frottements sur les nerfs.
1527réf. 318283Coloniae: Petrus Quentel excudebat 1527. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. 1 vols. Folio. Recent half calf and marbled boards. Title page soiled old remargining tissue repairs on verso; some marginal worming and soiling generally clean with generous margins. Stamps of Cambridge Public Library in ink or in blind on four leaves. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. 1 vols. Folio. The first Protestant Bible in Latin edited by Johan Rüdel Rudelius printed in Cologne by Peter Quentel or Quentell and notable for the wood engraved illustrations by Anton Woensam Anton von Worms particularly those at the head of each of the four gospels. Matthew faces an angle who is touching his stylus; a lion is seated beside Mark; a bull with Luke; and an eagle stands beside John. Quentel was the printer of Tyndale's quarto Cologne English New Testament known from a single surviving fragment in the Grenville Collection where this same illustration to Matthew appears. It is a reasonable inference that each of the four gospels would have carried an illustration. The project which had "'got as far as the letter K' the signature that would have taken the work well into Mark" ODNB was unfinished at the time of Tyndale's flight from Cologne in 1525. Quentel's print shop was raided but sheets of the first gospel translated from the original Greek and printed in English soon began to circulate in England. Tyndale settled in Worms where Schöffer completed an octavo printing of the first complete English New Testament in 1526 a facsimile of the Grenville fragment and its illustration were published in 1871. The blocks for the illustrations evidently survived the raid on the Quentel's shop and are used here at the head of each of the four gospels. A notable edition in the history of the printing of the Bible. Adams 1007; not in Darlow & Moule but see note to 6107; VD16 B2589.OCLC: 22847218 Petrus Quentel excudebat unknown
1527réf. 318283Coloniae: Petrus Quentel excudebat 1527. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. 1 vols. Folio. Recent half calf and marbled boards. Title page soiled old remargining tissue repairs on verso; some marginal worming and soiling generally clean with generous margins. Stamps of Cambridge Public Library in ink or in blind on four leaves. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. 1 vols. Folio. The first Protestant Bible in Latin edited by Johan Rüdel Rudelius printed in Cologne by Peter Quentel or Quentell and notable for the wood engraved illustrations by Anton Woensam Anton von Worms particularly those at the head of each of the four gospels. Matthew faces an angle who is touching his stylus; a lion is seated beside Mark; a bull with Luke; and an eagle stands beside John. Quentel was the printer of Tyndale's quarto Cologne English New Testament known from a single surviving fragment in the Grenville Collection where this same illustration to Matthew appears. It is a reasonable inference that each of the four gospels would have carried an illustration. The project which had "'got as far as the letter K' the signature that would have taken the work well into Mark" ODNB was unfinished at the time of Tyndale's flight from Cologne in 1525. Quentel's print shop was raided but sheets of the first gospel translated from the original Greek and printed in English soon began to circulate in England. Tyndale settled in Worms where Schöffer completed an octavo printing of the first complete English New Testament in 1526 a facsimile of the Grenville fragment and its illustration were published in 1871. The blocks for the illustrations evidently survived the raid on the Quentel's shop and are used here at the head of each of the four gospels. A notable edition in the history of the printing of the Bible. Adams 1007; not in Darlow & Moule but see note to 6107; VD16 B2589.OCLC: 22847218 Petrus Quentel excudebat unknown books
