réf. 379034Venice: Hieronymus de Paganinis. Woodcut pictorial title page. 555 leaves 50-line text in two columns initials executed in red to roughly half of text. First leaf of signature a1 misbound at rear of signature. 8vo. Contemporary blind-stamped calf. Worn boards detached clasps lacking. Faint dampstaining to fore-edge of text block foxing in places title page re-hinged its edges mended repairs to edges of a few other leaves. Occasional annotations and tick marks in later hands to margins and rear pastedown. Book housed in recent linen-covered box with paper spine label. Provenance: W. A. Copinger bookplate; General Theological Seminary gift of Cornelius Vanderbilt II and Dean Augustus Hoffman bookplates bookseller description and embossed stamps. Woodcut pictorial title page. 555 leaves 50-line text in two columns initials executed in red to roughly half of text. First leaf of signature a1 misbound at rear of signature. 8vo. This Bible was the first issued with a pictorial title page the third with a title page and the second Bible in octavo format. It also includes the first appearance of the alphabetical table of contents Tabula Alphabetica Historiarum Biblie prepared by the Franciscan Gabriele Bruno. The title page is a classic image of a standing St. Peter keys in hand and a nimbus around his head accompanied by the inscription Tu es Petrus "you are Peter" a reference to Matthew 16:13-19 KJB 16:18-19: "thou art Peter and upon this rock I will build my church.And I will give unto thee the keys of the kingdom of heaven." Its colophon is also notable. More than a basic production statement it includes an early form of a publisher's blurb. After it discusses the value of the Bible as a "Book of Life" it enumerates the features of this imprint: marginal concordances interpretations of Hebrew names Bruno's table and the editorial oversight by another Franciscan Petrus Angelus de Monte Ulmi. Another feature not mentioned is its lower cost which was made possible by its small format. Girolamo de' Paganini is known only through the three volumes he issued in Venice in the 1490s: the 1492 Latin Bible 1492 its reprint 1497 which does not have a pictorial title page and a quarto edition of Pope Gregory's Pastoral Rule 1492. Copinger 1847-1910 a founder of the Bibliographical Society was a leading bibliographer as well as a notable lawyer antiquary and lay-minister. Among his major works are the Supplement to Hain's Repertorium Bibliographicum 1895-1902 and the Incunabula Biblica Or The First Half Century of the Latin Bible 1892. In a private sale in 1893 Cornelius Vanderbilt II 1843-1899 and Eugene Augustus Hoffman 1829-1902 dean of the General Theological Seminary who had a vast personal fortune purchased it along with the rest of Copinger's outstanding collection of Latin Biblical texts and donated it to the seminary's library. ISTC ib00594000; GW 4271; Goff B594; Copinger Incunabula Biblia 95 Hieronymus de Paganinis unknown books
1512réf. 372711Lyon: Jacob Sacon for Anton Koberger 1512. 14 CCCXVII 1 blank 28 leaves. Collation a8 b6; a-b8 c-z8 A-Q8 R6 AA-BB8 CC10. Title-page and a few other leaves printed in red and black; text principally in two columns 66 lines. Illustrated throughout with woodcuts of various sizes including full-page portrait of St. Jerome on title page within architectural border full-page woodcut in 6 compartments preceding Genesis and a full-page Nativity scene facing the beginning of the New Testament; and numerous woodcut initial capitals. Printer's device on title page end of Apocalypse and end of Interpretationes CC10 recto blank. 1 vols. Folio. Twentieth-century quarter morocco and cloth. Title leaf remargined at gutter ownership marks trimmed at head some traces of damp. A few early annotations in N.T. Very good. 14 CCCXVII 1 blank 28 leaves. Collation a8 b6; a-b8 c-z8 A-Q8 R6 AA-BB8 CC10. Title-page and a few other leaves printed in red and black; text principally in two columns 66 lines. Illustrated throughout with woodcuts of various sizes including full-page portrait of St. Jerome on title page within architectural border full-page woodcut in 6 compartments preceding Genesis and a full-page Nativity scene facing the beginning of the New Testament; and numerous woodcut initial capitals. Printer's device on title page end of Apocalypse and end of Interpretationes CC10 recto blank. 1 vols. Folio. First of a series of illustrated Bibles printed by Jacob Sacon for Anton Koberger of Nuremberg between the years 1512 through 1522 - other editions being 1513 1515 1516 1519 and 1522. Darlow & Moule 6101 note; Adams B988; VD16 ZV 26695. Provenance: Thomas Schele ownership signatures from 1519 conveyed to John Cowper; General Theological Seminary gift of Samuel Hoffman bookplates and stamps Jacob Sacon for Anton Koberger unknown books
réf. ST17236Germany mid- to late 12th century. 290 x 217 mm. 11 3/8 x 8 1/2". Single column 21 lines in an attractive proto-gothic book hand. Rubrics in red several one-line initials in red five red initials measuring two to four lines long and with penwork embellishment A LOVELY SEVEN-LINE WHITE-VINE INITIAL outlined in red and with a pale yellow wash along the edge the lower half of the ground filled with green wash. Lower margins with notations in later Medieval hands. ◆A handful of original holes in the vellum no doubt from stretching the skin during processing with the scribe writing around the flaws where necessary a little soiling to lower outside corner one or two negligible spots otherwise IN FINE CONDITION the ink unusually rich and the paint very bright. From a Sacramentary a service book that contained the prayers said during Mass subsumed by the Missal in the 13th century this early leaf was once part of an attractive manuscript of very high quality. The very large and superb "F" opens the Mass for the Feast of the Assumption and the other readings here include Masses for Sts. Hippolytus and Cassian celebrated on 13 August; St. Eusabius 14 August; Vigil of the Assumption of the Virgin 14 August; Assumption of the Virgin 15 August; St. Agapitus 18 August; and the beginning of the Mass for Sts. Timothy Hippolytus and Symphorian 22 August. Sister leaves from this same manuscript have previously appeared in Sam Fogg Cat. 16 "Text Manuscripts and Documents 2200BC to 1600AD" 1995 nos. 30 and 31; Maggs Bros. European Bulletin 20 1995 no. 37; Quaritch Cat. 1270 "Bookhands of the Middle Ages VI" 2000 nos. 69 and 70; Sotheby's 6 December 2001 lot 8; and Bloomsbury 6 December 2017 lot 16. The Fogg description notes that similar initials can be seen in French German and Flemish manuscripts of the period "but very few manuscripts have the special characteristics of this one." For example the initials on the sister leaves described by Fogg contain atypically mauve and green as well as an "unusual . . . exterior contoured ground which is not confined by any geometric form." This means there is no line or shape to box in or define the capital's form; rather it appears as if surrounded by an aura or gentle shadow. Our initial contains a green ground only no mauve but the same unusual and attractive yellow aura. It is rare to find Romanesque leaves of this size and caliber in such fine condition and the present leaf with its beautiful regular proto-gothic hand exceptional white-vine initial and several large decorative initials in red is especially desirable. unknown
réf. ST17236Germany mid- to late 12th century. 290 x 217 mm. 11 3/8 x 8 1/2". Single column 21 lines in an attractive proto-gothic book hand. Rubrics in red several one-line initials in red five red initials measuring two to four lines long and with penwork embellishment A LOVELY SEVEN-LINE WHITE-VINE INITIAL outlined in red and with a pale yellow wash along the edge the lower half of the ground filled with green wash. Lower margins with notations in later Medieval hands. ◆A handful of original holes in the vellum no doubt from stretching the skin during processing with the scribe writing around the flaws where necessary a little soiling to lower outside corner one or two negligible spots otherwise IN FINE CONDITION the ink unusually rich and the paint very bright. From a Sacramentary a service book that contained the prayers said during Mass subsumed by the Missal in the 13th century this early leaf was once part of an attractive manuscript of very high quality. The very large and superb "F" opens the Mass for the Feast of the Assumption and the other readings here include Masses for Sts. Hippolytus and Cassian celebrated on 13 August; St. Eusabius 14 August; Vigil of the Assumption of the Virgin 14 August; Assumption of the Virgin 15 August; St. Agapitus 18 August; and the beginning of the Mass for Sts. Timothy Hippolytus and Symphorian 22 August. Sister leaves from this same manuscript have previously appeared in Sam Fogg Cat. 16 "Text Manuscripts and Documents 2200BC to 1600AD" 1995 nos. 30 and 31; Maggs Bros. European Bulletin 20 1995 no. 37; Quaritch Cat. 1270 "Bookhands of the Middle Ages VI" 2000 nos. 69 and 70; Sotheby's 6 December 2001 lot 8; and Bloomsbury 6 December 2017 lot 16. The Fogg description notes that similar initials can be seen in French German and Flemish manuscripts of the period "but very few manuscripts have the special characteristics of this one." For example the initials on the sister leaves described by Fogg contain atypically mauve and green as well as an "unusual . . . exterior contoured ground which is not confined by any geometric form." This means there is no line or shape to box in or define the capital's form; rather it appears as if surrounded by an aura or gentle shadow. Our initial contains a green ground only no mauve but the same unusual and attractive yellow aura. It is rare to find Romanesque leaves of this size and caliber in such fine condition and the present leaf with its beautiful regular proto-gothic hand exceptional white-vine initial and several large decorative initials in red is especially desirable. unknown books
réf. ST20617cAustria Salzburg second half of 12th century. 319 x 244 mm. 12 1/2 x 9 1/2". Single column 27 lines in a lovely proto-gothic hand. Rubrics in red two one-line initials and one two-line initial in red WITH A LARGE 140 mm. WHITE-VINE INITIAL INHABITED BY A BIRD outlined in red and filled in with blue and green. Lower margin of recto with a 20th century note in red ink identifying the text. Recovered from a binding and thus with overall darkening top half of verso somewhat soiled with top line obscured though with all other letters on both sides very distinct cut a little close to the thin red extension of the initial a few minor holes inlcuding one elongated one through the top part of the initial with minimal loss. Even with these defects a powerfully attractive leaf with memorable decoration and script. Containing a beautiful proto-gothic script and an exceptional Romanesque initial this leaf is a particularly desirable example of early Austrian manuscript production. The opening initial "F" is formed with foliate designs outlined in red given shape by coloring in the negative space with an intense azure blue and moss green. Adding to the initial's charm is a large bird perched on one of the curving branches turning its head to the right as if to read the text like the initial it is also outlined in red. The white-vine style seen here would later become a model for the Italian Humanist scribes and illuminators of 15th and 16th centuries who substituted glistening gold leaf for the vibrant yellow paint favored by some artists of the Romanesque period. The text here is from St. John Chrysostom's homily on St. Matthew 22:34-40 an account of the Pharisees questioning Jesus on God's law asking "which commandment in the law is the greatest" Jesus famously replies with the key tenets of the Christian faith: "You must love the Lord your God with all your heart with all your soul and with all your mind. This is the greatest and the first commandment. The second resembles it: You must love your neighbor as yourself. On these two commandments hang the whole Law and the Prophets." This text was the Gospel reading for the 19th Sunday after Pentecost preceded by the incipit "Frequenter iudei diversis interrogationibus" "The Jews repeatedly tested him with various questions". The present leaf almost certainly belonged to a Lectionary owned by a Romanesque church in Salzburg a manuscript that was later dismembered for use in bookbinding. According to the source from which we purchased this leaf it was shown in 1893 to the Medieval historian and later the Abbot of St. Peter's Salzburg Willibald Hauthaler 1843-1922 who wrote the identification in red ink along the lower edge. It was later owned by the Salzburg-based merchant artist and collector Carl von Frey 1826-96. It appeared at Christie's in 2010 where along with five sister leaves it sold for £13970. unknown
réf. ST20617cAustria Salzburg second half of 12th century. 319 x 244 mm. 12 1/2 x 9 1/2". Single column 27 lines in a lovely proto-gothic hand. Rubrics in red two one-line initials and one two-line initial in red WITH A LARGE 140 mm. WHITE-VINE INITIAL INHABITED BY A BIRD outlined in red and filled in with blue and green. Lower margin of recto with a 20th century note in red ink identifying the text. Recovered from a binding and thus with overall darkening top half of verso somewhat soiled with top line obscured though with all other letters on both sides very distinct cut a little close to the thin red extension of the initial a few minor holes inlcuding one elongated one through the top part of the initial with minimal loss. Even with these defects a powerfully attractive leaf with memorable decoration and script. Containing a beautiful proto-gothic script and an exceptional Romanesque initial this leaf is a particularly desirable example of early Austrian manuscript production. The opening initial "F" is formed with foliate designs outlined in red given shape by coloring in the negative space with an intense azure blue and moss green. Adding to the initial's charm is a large bird perched on one of the curving branches turning its head to the right as if to read the text like the initial it is also outlined in red. The white-vine style seen here would later become a model for the Italian Humanist scribes and illuminators of 15th and 16th centuries who substituted glistening gold leaf for the vibrant yellow paint favored by some artists of the Romanesque period. The text here is from St. John Chrysostom's homily on St. Matthew 22:34-40 an account of the Pharisees questioning Jesus on God's law asking "which commandment in the law is the greatest" Jesus famously replies with the key tenets of the Christian faith: "You must love the Lord your God with all your heart with all your soul and with all your mind. This is the greatest and the first commandment. The second resembles it: You must love your neighbor as yourself. On these two commandments hang the whole Law and the Prophets." This text was the Gospel reading for the 19th Sunday after Pentecost preceded by the incipit "Frequenter iudei diversis interrogationibus" "The Jews repeatedly tested him with various questions". The present leaf almost certainly belonged to a Lectionary owned by a Romanesque church in Salzburg a manuscript that was later dismembered for use in bookbinding. According to the source from which we purchased this leaf it was shown in 1893 to the Medieval historian and later the Abbot of St. Peter's Salzburg Willibald Hauthaler 1843-1922 who wrote the identification in red ink along the lower edge. It was later owned by the Salzburg-based merchant artist and collector Carl von Frey 1826-96. It appeared at Christie's in 2010 where along with five sister leaves it sold for £13970. unknown books
1548réf. 14107Basileae, per Henrichum Petri, 1548. Petit in-folio (290 x 187 mm) de 408 pages mal chiffrées 385 (a6; A-Z6; Aa-Kk6), plein vélin, dos à nerfs, titre doré, triple filet à froid encadrant les plats. Petit manque de peau au premier plat, quelques feuillets légèrement brunis. Ex-libris manuscrit du XVIIIe: Ex bibliotheca Claperoniana au premier contreplat; ex dono sur la page de garde: Charles Freynier, 1825; ancienne collection Michel Slatkine père.
1529réf. 66850Lyons: Per Johanem Crespin 1529. BIBLE IN LATIN. Lyons: Per Johanem Crespin 1529. Second Crespin edition reprinted from the 1527 edition. Folio 13 15/16 x 10 inches; 354 x 252 mm. 304 leaves 18 CCLXVIII 18 leaves. Complete with final blank leaf. Gothic type. Text in double columns within rule borders. Title printed in red and black with small woodcut of St. Jerome repeated three times in the text with Jerome's prefaces within a four-part woodcut border showing God the Father and two angels in a tympanum the six days of Creation and the Last Supper. Large six-part Creation woodcut at the beginning of Genesis half-page woodcut of King Solomon at the beginning of Proverbs full-page Nativity woodcut at the beginning of the New Testament and 121 small text woodcuts including twenty-three repetitions: ninety-one Old Testament woodcuts within strip borders including eight repetitions and thirty New Testament woodcuts without borders including fifteen repetitions. Decorative woodcut initials. The Eusebian canons leaves D1-D3 are printed in red and black in a red architectural framework. Contemporary pigskin over wooden boards roll-tooled in blind to a panel design. Lacking clasps. Original index tabs. Binding worn with some loss of pigskin on upper corner of front cover. Title soiled lower margin of first few leaves wormed and frayed with some loss to woodcut title border a few short marginal tears some mostly marginal dampstaining minor worming to lower inner margins a few inkstains slight discoloration throughout. Despite these minor flaws this is a beautiful example of a French woodcut Bible completely unsophisticated. Contemporary ink inscription on back pastedown dated 1534 contemporary ink inscription on the recto of D4 beneath the Nativity cut eighteenth- or nineteenth-century inscription on title: B.V. Maria in Fürstenfeld. Some early underlining and coloring of woodcuts in red. A few early ink marginalia. Housed in a custom quarter brown morocco clamshell case. The illustrations follow the schema of the Sacon Bibles printed in Lyons in 1518 and 1521. Crespin's blocks with the exception of the Creation are close copies of those used in Jacques and Jean Mareschal's Lyons Bibles of 1523-1541 as is the layout of the text within ruled columns. The borders for the Old Testament blocks include a strip with the initials "PBA." Fairfax Murray French 36. Harvard French 66. Not in Brunet Rothschild Darlow and Moule. HBS 66850. $9500. Per Johanem Crespin unknown
1529réf. 66850Lyons: Per Johanem Crespin 1529. BIBLE IN LATIN. Lyons: Per Johanem Crespin 1529. Second Crespin edition reprinted from the 1527 edition. Folio 13 15/16 x 10 inches; 354 x 252 mm. 304 leaves 18 CCLXVIII 18 leaves. Complete with final blank leaf. Gothic type. Text in double columns within rule borders. Title printed in red and black with small woodcut of St. Jerome repeated three times in the text with Jerome's prefaces within a four-part woodcut border showing God the Father and two angels in a tympanum the six days of Creation and the Last Supper. Large six-part Creation woodcut at the beginning of Genesis half-page woodcut of King Solomon at the beginning of Proverbs full-page Nativity woodcut at the beginning of the New Testament and 121 small text woodcuts including twenty-three repetitions: ninety-one Old Testament woodcuts within strip borders including eight repetitions and thirty New Testament woodcuts without borders including fifteen repetitions. Decorative woodcut initials. The Eusebian canons leaves D1-D3 are printed in red and black in a red architectural framework. Contemporary pigskin over wooden boards roll-tooled in blind to a panel design. Lacking clasps. Original index tabs. Binding worn with some loss of pigskin on upper corner of front cover. Title soiled lower margin of first few leaves wormed and frayed with some loss to woodcut title border a few short marginal tears some mostly marginal dampstaining minor worming to lower inner margins a few inkstains slight discoloration throughout. Despite these minor flaws this is a beautiful example of a French woodcut Bible completely unsophisticated. Contemporary ink inscription on back pastedown dated 1534 contemporary ink inscription on the recto of D4 beneath the Nativity cut eighteenth- or nineteenth-century inscription on title: B.V. Maria in Fürstenfeld. Some early underlining and coloring of woodcuts in red. A few early ink marginalia. Housed in a custom quarter brown morocco clamshell case. The illustrations follow the schema of the Sacon Bibles printed in Lyons in 1518 and 1521. Crespin's blocks with the exception of the Creation are close copies of those used in Jacques and Jean Mareschal's Lyons Bibles of 1523-1541 as is the layout of the text within ruled columns. The borders for the Old Testament blocks include a strip with the initials "PBA." Fairfax Murray French 36. Harvard French 66. Not in Brunet Rothschild Darlow and Moule. HBS 66850. $9500. Per Johanem Crespin unknown books
1510réf. 56068Augsburg, Johann Otmar für Georg Diemar, 1510. Fol. Mit 6 fast blattgr. Holzschnitten von Hans Burgkmair u. 2 großen Initialen. 210 nn. Bll., Mod. Ldr. im Stil d. Zt. m. Streicheisenlinien u. Kopfgoldschnitt.
réf. ST19540bSouthern Netherlands Bruges third quarter of 15th century. Matted leaf: 150 x 150 mm. 5 7/8 x 4 3/8". Frame: 307 x 258 mm. 12 x 10 1/4". Single column with four lines below the miniature and the obverse with 17 lines in a batarde hand. Attractively matted and framed the leaf slightly shifted in the mat revealing top and side edges but in no danger of damage. Rubrics in red four one-line initials and three three-line initials all but one in burnished gold on blue and red ground with white tracery the initial beneath the miniature painted pink on a burnished gold ground and filled with painted ivy vines AN ARCH-TOPPED LARGE MINIATURE DEPICTING THE ENTOMBMENT the body of Christ surrounded by seven other people depicted in an outdoor setting with the turrets of a walled city in the background the miniature in a double frame of gold and pink surrounded by A FULL BORDER composed of hairline vines acanthus colorful flowers and gilt bezants and inhabited by a small bird. Minor soiling and a faint thumb print to borders but IN VERY FINE CONDITION THE MINIATURE BEAUTIFULLY PRESERVED. This is a beautifully rendered and deeply touching scene depicting the entombment of the crucified Christ and the pathos experienced by those at his side. Holding the sheet on which the body is lowered into the sarcophagus are on the far left the richly clothed Joseph of Arimathea and on the far right Nicodemus who dons an especially lovely yellow garment with delicate embroidery. Between the two men in the foreground but behind the body are the Virgin Mary who presses the hand of her deceased son to her lips; John the Evangelist whose body is turned toward the Virgin in a gesture of support but whose gaze is focused on the Savior; and Mary Magdalene who holds a small ointment jar. Two other women with halos stand closely behind them consoling one another. The artist has done a masterful job at creating a composition that captures the emotional gravity of the scene: Christ's body gently cradled in a white sheet is on full display with blood still trickling from the wounds on his head and side. Despite there being seven people crowded around him our attention is drawn to the action between Christ and the Virgin who gently grasps his hand with motherly affection and bids him a final farewell. Flickers of different emotions appear on the faces of his followers including pity sorrow stoicism and disbelief--echoing perhaps the viewer's own range of feelings upon viewing this image. The level of detail excellence of composition care seen in the molded bodies and faces and the convincing setting suggest that the artist was quite practiced and that the original manuscript from which the leaf comes was of very high quality. unknown
réf. ST19540bSouthern Netherlands Bruges third quarter of 15th century. Matted leaf: 150 x 150 mm. 5 7/8 x 4 3/8". Frame: 307 x 258 mm. 12 x 10 1/4". Single column with four lines below the miniature and the obverse with 17 lines in a batarde hand. Attractively matted and framed the leaf slightly shifted in the mat revealing top and side edges but in no danger of damage. Rubrics in red four one-line initials and three three-line initials all but one in burnished gold on blue and red ground with white tracery the initial beneath the miniature painted pink on a burnished gold ground and filled with painted ivy vines AN ARCH-TOPPED LARGE MINIATURE DEPICTING THE ENTOMBMENT the body of Christ surrounded by seven other people depicted in an outdoor setting with the turrets of a walled city in the background the miniature in a double frame of gold and pink surrounded by A FULL BORDER composed of hairline vines acanthus colorful flowers and gilt bezants and inhabited by a small bird. Minor soiling and a faint thumb print to borders but IN VERY FINE CONDITION THE MINIATURE BEAUTIFULLY PRESERVED. This is a beautifully rendered and deeply touching scene depicting the entombment of the crucified Christ and the pathos experienced by those at his side. Holding the sheet on which the body is lowered into the sarcophagus are on the far left the richly clothed Joseph of Arimathea and on the far right Nicodemus who dons an especially lovely yellow garment with delicate embroidery. Between the two men in the foreground but behind the body are the Virgin Mary who presses the hand of her deceased son to her lips; John the Evangelist whose body is turned toward the Virgin in a gesture of support but whose gaze is focused on the Savior; and Mary Magdalene who holds a small ointment jar. Two other women with halos stand closely behind them consoling one another. The artist has done a masterful job at creating a composition that captures the emotional gravity of the scene: Christ's body gently cradled in a white sheet is on full display with blood still trickling from the wounds on his head and side. Despite there being seven people crowded around him our attention is drawn to the action between Christ and the Virgin who gently grasps his hand with motherly affection and bids him a final farewell. Flickers of different emotions appear on the faces of his followers including pity sorrow stoicism and disbelief--echoing perhaps the viewer's own range of feelings upon viewing this image. The level of detail excellence of composition care seen in the molded bodies and faces and the convincing setting suggest that the artist was quite practiced and that the original manuscript from which the leaf comes was of very high quality. unknown books
1554réf. 6212Lyon: Jean de Tournes 1554. First edition. Octavo 6 3/4 x 4 3/4 inches; 171 x 121 mm. . 16 1152 76 pp bound without the last two blank leaves as in most copiese.g. Mortimer OCLC. The penultimate leaf had only a fleuron at the foot of the page and the final leaf was blank. Arabesque title border and 198 with 1 repeat woodcuts in the text by Bernard Salomon. Title-page with faint early ink "ex-Libris petri ------ at top blank margin. Title-page expertly cleaned some occasional mainly marginal faint foxing otherwise a superb example of this wonderfully illustrated mid sixteenth-century Latin Bible. Bound ca. 1880 by Chambolle-Duru in full brown crushed levant morocco spine with five raised bands lettered in gilt gilt ruled board edges decorative gilt turn-ins marbled endpapers all edge gilt. Armorial bookplate "In Memori: Weiler Bibliotheca Trautner Falkiana" on verso of front free endpaper. First De Tournes Latin Bible based on Robert Estienne's text and beautifully illustrated with 198 woodcuts by Bernard Salomon. "Considerable work could be done on Salomon's sources for these cuts. The Expulsion from Paradise suggests Holbein's version; the New Testament shows some dependence on the set owned by Sébastien Gryphius. the Apocalypse blocks are enlarged copies of the fine Janot Apocalypse. But the cumulative effect of Salomon's carefully detailed scenes is that of an individual contribution to Bible illustration. Particularly interesting from the point of view of technique are the night scenes in Exodus and the storm over Noah's ark. In this 1554 Bible the New Testament blocks are printed with arabesque strip borders at the sides. Arabesque and type ornament headpieces." Mortimer Contents include: Old Testament; Psalms; New Testament Epistles Acts; Index Testimoniorum & Index Epistolarum. Robert I Estienne 1503-1559 was a French protestant printer and scholar born into a printmaking family. He would take over his family's Paris firm in 1526 where he printed significant works in Latin Greek Hebrew and other languages. His 1531 Thesaurus linguae latinae is considered a major milestone in lexicography. Despite his many commissions for the King religious tensions forced Estienne to flee to Geneva. This bible was illustrated by Bernard Salomon c.1508-1561 a French artist who is known for engravings and illustrations. Although little is known about his life his art reveals stylistic influences from Mannerism and the School of Fontainebleau executed in a detailed and small scale. Salomon is known to have collaborated with the printer Jean de Tournes and produced decoration for emblem books bibles and classic texts. Many of his engravings also appear as source material for art objects such as a Faience plate at the MET featuring the Sacrifice of Noah. Brunet I 876 & Supplement I 125; Darlow & Moule 6134 note; Mortimer French no. 81. Jean de Tournes unknown
1554réf. 6212Lyon: Jean de Tournes 1554. First edition. Octavo 6 3/4 x 4 3/4 inches; 171 x 121 mm. . 16 1152 76 pp bound without the last two blank leaves as in most copiese.g. Mortimer OCLC. The penultimate leaf had only a fleuron at the foot of the page and the final leaf was blank. Arabesque title border and 198 with 1 repeat woodcuts in the text by Bernard Salomon. Title-page with faint early ink "ex-Libris petri ------ at top blank margin. Title-page expertly cleaned some occasional mainly marginal faint foxing otherwise a superb example of this wonderfully illustrated mid sixteenth-century Latin Bible. Bound ca. 1880 by Chambolle-Duru in full brown crushed levant morocco spine with five raised bands lettered in gilt gilt ruled board edges decorative gilt turn-ins marbled endpapers all edge gilt. Armorial bookplate "In Memori: Weiler Bibliotheca Trautner Falkiana" on verso of front free endpaper. First De Tournes Latin Bible based on Robert Estienne's text and beautifully illustrated with 198 woodcuts by Bernard Salomon. "Considerable work could be done on Salomon's sources for these cuts. The Expulsion from Paradise suggests Holbein's version; the New Testament shows some dependence on the set owned by Sébastien Gryphius. the Apocalypse blocks are enlarged copies of the fine Janot Apocalypse. But the cumulative effect of Salomon's carefully detailed scenes is that of an individual contribution to Bible illustration. Particularly interesting from the point of view of technique are the night scenes in Exodus and the storm over Noah's ark. In this 1554 Bible the New Testament blocks are printed with arabesque strip borders at the sides. Arabesque and type ornament headpieces." Mortimer Contents include: Old Testament; Psalms; New Testament Epistles Acts; Index Testimoniorum & Index Epistolarum. Robert I Estienne 1503-1559 was a French protestant printer and scholar born into a printmaking family. He would take over his family's Paris firm in 1526 where he printed significant works in Latin Greek Hebrew and other languages. His 1531 Thesaurus linguae latinae is considered a major milestone in lexicography. Despite his many commissions for the King religious tensions forced Estienne to flee to Geneva. This bible was illustrated by Bernard Salomon c.1508-1561 a French artist who is known for engravings and illustrations. Although little is known about his life his art reveals stylistic influences from Mannerism and the School of Fontainebleau executed in a detailed and small scale. Salomon is known to have collaborated with the printer Jean de Tournes and produced decoration for emblem books bibles and classic texts. Many of his engravings also appear as source material for art objects such as a Faience plate at the MET featuring the Sacrifice of Noah. Brunet I 876 & Supplement I 125; Darlow & Moule 6134 note; Mortimer French no. 81. Jean de Tournes unknown books
réf. ST17768England second half of 12th century but before 1180. 313 x 198 mm. 12 1/4 x 7 3/4. Double column 32 lines in a lovely late Caroline hand verso with some lines erased and corrected in a smaller hand. Mounted in a fine tan cloth folder between sheets of textured acid-free paper. Front pastedown with book label of the Schøyen Collection with their shelf mark MS 237 written in ink. ◆Recovered from a binding and thus with overall toning and soiling recto somewhat browned from binder's glue but almost entirely confined to three margins and the verso virtually unaffected other trivial imperfections but in surprisingly good condition given its history the very rich ink especially dark and well preserved. This is an exceptionally lovely example of an early English book hand standing at the crossroads of the Caroline and proto-gothic calligraphic traditions. According to Thompson "In the twelfth century the scribes seem to have vied with each other in producing the best types of book-writing of which they were capable with the result that remarkable precision in the formation of the letters was attained and that the century may be named as excelling all others for the beauty of its MSS." "Greek and Latin Paleography" p. 436 The present leaf certainly lives up to this description being notable for its exceptionally neat and legible script written with uncommonly pretty and regular letter forms by a practiced and confident hand. The Caroline tradition is apparent in certain tendencies such as the use of "&" for "et" and the lack of biting curves between letters while a shift toward the proto-gothic can be seen in the vertical and compressed letter forms as well as the increased use of abbreviations and ligatures. Although the present work has often been credited to Haymo of Halberstadt due to a longstanding error in attribution reaching back to the 15th century modern scholarship now recognizes Haimo of Auxerre a monk at the Abbey of Saint-Germain in Auxerre d. ca. 875 as its true author. A prominent theologist and writer during the Caroline Renaissance Haimo produced a number of influential commentaries on various books of the Bible. The provenance on this leaf can be traced back as far as the mid-19th century when it was auctioned at Sotheby's on 21 August 1858 lot 119.2 sold as part of an album containing various leaves and fragments put together by Philip Bliss 1787-1857 registrar of the University of Oxford. It then went into the celebrated collection of Sir Thomas Phillipps 1792-1872 and was eventually sold by the Robinson Brothers on 24 April 1911 lot 390.3. This leaf has previously appeared in Quartich's catalogue 1036 "Bookhands of the Middle Ages" no. 79.5 and was most recently in the collection of Martin Schøyen his MS 237.
réf. ST17768England second half of 12th century but before 1180. 313 x 198 mm. 12 1/4 x 7 3/4. Double column 32 lines in a lovely late Caroline hand verso with some lines erased and corrected in a smaller hand. Mounted in a fine tan cloth folder between sheets of textured acid-free paper. Front pastedown with book label of the Schøyen Collection with their shelf mark MS 237 written in ink. ◆Recovered from a binding and thus with overall toning and soiling recto somewhat browned from binder's glue but almost entirely confined to three margins and the verso virtually unaffected other trivial imperfections but in surprisingly good condition given its history the very rich ink especially dark and well preserved. This is an exceptionally lovely example of an early English book hand standing at the crossroads of the Caroline and proto-gothic calligraphic traditions. According to Thompson "In the twelfth century the scribes seem to have vied with each other in producing the best types of book-writing of which they were capable with the result that remarkable precision in the formation of the letters was attained and that the century may be named as excelling all others for the beauty of its MSS." "Greek and Latin Paleography" p. 436 The present leaf certainly lives up to this description being notable for its exceptionally neat and legible script written with uncommonly pretty and regular letter forms by a practiced and confident hand. The Caroline tradition is apparent in certain tendencies such as the use of "&" for "et" and the lack of biting curves between letters while a shift toward the proto-gothic can be seen in the vertical and compressed letter forms as well as the increased use of abbreviations and ligatures. Although the present work has often been credited to Haymo of Halberstadt due to a longstanding error in attribution reaching back to the 15th century modern scholarship now recognizes Haimo of Auxerre a monk at the Abbey of Saint-Germain in Auxerre d. ca. 875 as its true author. A prominent theologist and writer during the Caroline Renaissance Haimo produced a number of influential commentaries on various books of the Bible. The provenance on this leaf can be traced back as far as the mid-19th century when it was auctioned at Sotheby's on 21 August 1858 lot 119.2 sold as part of an album containing various leaves and fragments put together by Philip Bliss 1787-1857 registrar of the University of Oxford. It then went into the celebrated collection of Sir Thomas Phillipps 1792-1872 and was eventually sold by the Robinson Brothers on 24 April 1911 lot 390.3. This leaf has previously appeared in Quartich's catalogue 1036 "Bookhands of the Middle Ages" no. 79.5 and was most recently in the collection of Martin Schøyen his MS 237. books
1465réf. ST17243aBruges ca. 1465. 193 x 145 mm. 7 5/8 x 5 3/4". Single column 21 lines in a gothic book hand. Rubrics in red WITH THREE LARGE HISTORIATED INITIALS: ONE WITH A PORTRAIT OF CHRIST WEARING THE CROWN OF THORNS AND TWO WITH DISEMBODIED HANDS SHOWING THE STIGMATA each initial in pink or blue with white tracery filled with dark pink or blue with thin gilt lines and dots hands with wavy blue rays radiating from behind the appendage all within a thin gilt frame both sides with a three-quarter border consisting of hairline vines gold bezants and a few colorful flowers. ◆Margins with a little light soiling BUT IN FINE CONDITION THE PAINT OF THE INITIALS ESPECIALLY RICH AND WELL PRESERVED. From a manuscript probably produced in Bruges for the English market this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck Passion Cycle images enjoyed a particular vogue in 15th century Dutch Flemish and English Books of Hours including those that were exported to England. In the present example the strikingly unusual imagery includes a portrait of Christ wearing the Crown of Thorns his gaze fixed directly at the viewer and in separate initials his left and right hands appear disembodied and displaying the stigmata. A sister leaf to the present item features three additional initials showing the wounds of the left and right foot as well as the spear injury to Christ's side depicted as an oval piece of flesh with a laceration across the center. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 lot 16 the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester with their names crossed out indicating that it was in England through at least the time of the Reformation and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant with miniatures possibly by his chief assistant the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library MS Widener 3 and the Huntington HM 1086--both of which were produced in Flanders or the Netherlands around the same time as the present work--but the present leaf surpasses both of these examples in terms of excellence of the artistic hand and level of detail depicted. unknown
1460réf. ST12839Paris ca. 1460. 153 x 110 mm. 6 x 4 3/8". Single column 14 lines of text in a fine gothic book hand. One-line initial in burnished gold on a pink and blue ground with white tracery a two-line initial and a three-line initial in pink with white tracery on a ground of burnished gold the center filled with twining blue vines bearing pink and scarlet flowers verso with a rinceau panel border featuring twining hairline stems bearing burnished gold ivy leaves and fruit blue and gold acanthus leaves and flowers recto WITH AN ARCH-TOPPED MINIATURE OF THE HOLY TRINITY SURROUNDED BY THE HEAVENLY HOST this and the accompanying text enclosed by a pink blue and burnished gold bar border on one side and a brushed gold bar border with pink lotus flowers on two sides the whole surrounded by A FULL RINCEAU BORDER DENSE WITH ACANTHUS LEAVES FOLIAGE FRUIT FLOWERS AND TINY GOLD BERRIES on hairline stems. ◆A little paint flaked from the book held by the Trinity a couple of small spots in the margin otherwise in fine condition--clean and smooth with comfortable margins and bright gold. The Trinity is shown here seated on a canopied throne with God the Son his hand raised in blessing to the left of the Father. The latter in a towering crown holds a gold orb and the Father and Son together support a large book opened between them. The dove of the Holy Spirit hovers above the book radiating golden beams. The Trinity is flanked on both sides by cherubim and seraphim in rich red and soft yellow. It is the rendering of this angelic ambiance that elevates the level of aesthetic achievement here: both red and yellow celestial beings are given a ghostly appearance as if appearing out of a filmy yellow or a densely red fog. The artistic qualities as a whole suggest that this leaf comes from a manuscript commissioned by a person of significant means. unknown
1465réf. ST17243aBruges ca. 1465. 193 x 145 mm. 7 5/8 x 5 3/4". Single column 21 lines in a gothic book hand. Rubrics in red WITH THREE LARGE HISTORIATED INITIALS: ONE WITH A PORTRAIT OF CHRIST WEARING THE CROWN OF THORNS AND TWO WITH DISEMBODIED HANDS SHOWING THE STIGMATA each initial in pink or blue with white tracery filled with dark pink or blue with thin gilt lines and dots hands with wavy blue rays radiating from behind the appendage all within a thin gilt frame both sides with a three-quarter border consisting of hairline vines gold bezants and a few colorful flowers. ◆Margins with a little light soiling BUT IN FINE CONDITION THE PAINT OF THE INITIALS ESPECIALLY RICH AND WELL PRESERVED. From a manuscript probably produced in Bruges for the English market this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck Passion Cycle images enjoyed a particular vogue in 15th century Dutch Flemish and English Books of Hours including those that were exported to England. In the present example the strikingly unusual imagery includes a portrait of Christ wearing the Crown of Thorns his gaze fixed directly at the viewer and in separate initials his left and right hands appear disembodied and displaying the stigmata. A sister leaf to the present item features three additional initials showing the wounds of the left and right foot as well as the spear injury to Christ's side depicted as an oval piece of flesh with a laceration across the center. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 lot 16 the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester with their names crossed out indicating that it was in England through at least the time of the Reformation and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant with miniatures possibly by his chief assistant the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library MS Widener 3 and the Huntington HM 1086--both of which were produced in Flanders or the Netherlands around the same time as the present work--but the present leaf surpasses both of these examples in terms of excellence of the artistic hand and level of detail depicted. unknown books
1460réf. ST12839Paris ca. 1460. 153 x 110 mm. 6 x 4 3/8". Single column 14 lines of text in a fine gothic book hand. One-line initial in burnished gold on a pink and blue ground with white tracery a two-line initial and a three-line initial in pink with white tracery on a ground of burnished gold the center filled with twining blue vines bearing pink and scarlet flowers verso with a rinceau panel border featuring twining hairline stems bearing burnished gold ivy leaves and fruit blue and gold acanthus leaves and flowers recto WITH AN ARCH-TOPPED MINIATURE OF THE HOLY TRINITY SURROUNDED BY THE HEAVENLY HOST this and the accompanying text enclosed by a pink blue and burnished gold bar border on one side and a brushed gold bar border with pink lotus flowers on two sides the whole surrounded by A FULL RINCEAU BORDER DENSE WITH ACANTHUS LEAVES FOLIAGE FRUIT FLOWERS AND TINY GOLD BERRIES on hairline stems. ◆A little paint flaked from the book held by the Trinity a couple of small spots in the margin otherwise in fine condition--clean and smooth with comfortable margins and bright gold. The Trinity is shown here seated on a canopied throne with God the Son his hand raised in blessing to the left of the Father. The latter in a towering crown holds a gold orb and the Father and Son together support a large book opened between them. The dove of the Holy Spirit hovers above the book radiating golden beams. The Trinity is flanked on both sides by cherubim and seraphim in rich red and soft yellow. It is the rendering of this angelic ambiance that elevates the level of aesthetic achievement here: both red and yellow celestial beings are given a ghostly appearance as if appearing out of a filmy yellow or a densely red fog. The artistic qualities as a whole suggest that this leaf comes from a manuscript commissioned by a person of significant means. unknown books
1701réf. 53475Liege: Jean-François Broncart 1701. First edition thus. Hardcover. Very good. Two tomes each in two parts bound in one volume folio: 6 lxxix 1 blank 544; 1 title 1 blank 545-957 1 blank xx Cantique des cantiques 96 La sagesse; Ecclesiastique de Jesus fils de Sirach; 1 title 1 blank 468; 1 title 1 blank 430 16 Oratio Manassae; Liber Esdrae - tertius et quartus pp. Main titles for each tome in red and black; secondary titles in black only all four titles with engraved printer's device; each dated 1701. Text in two columns Latin and French. Illustrated with 6 engraved plates: frontispiece Johann Friederich Karg von Bebenburg; folding plate with 16 vignettes 4x4 depicting well-known biblical scenes; 4 folding maps The Holy Land; The Promised Land Apportioned by Tribe; Jerusalem in the Second Temple Era - after Lamy; The World Known to the Evangelists. Quarter-page engraved vignettes at the head of each of the 30 biblical books; historiated initials; printed marginalia. Exquisitely bound in the 19th century in levant morocco extra over wooden boards with mosaic compartments in crimson ochre; and dark brown bordered in fine gilt line; spine with raised bands lightly rubbed; pair of brass mounts finished in black with steel rivets at both covers clasps and catched perished. All edges gilt and elaborately gauffered in textured floral motif; gilt inner dentelles; decorative endleaves renewed in orange and black; crimson silk ribbon marker. The work of a master binder. Expertly repaired at spine caps. Occasional faint embrowning; marginal dampstains beginning in second half mostly at outer corners; expanding to fore-edge and darkening considerably in final 20 leaves. Overall a very good copy with crisp text throughout though incomplete: lacks Antoine Arnould's "Concorde des quatre Evangélistes" along with its accompanying Latin version and the concluding index. Amply margined copy of this sumptuous edition of the Bible comprising the Latin Sixto-clementine Vulgate and the Port-Royal French translation printed in parallel columns. Isaac-Louis Lemaistre de Sacy 1613-1684 was the principal translator of the French version which was edited and completed after his death by Pierre Thomas du Fossé 1634-1698 and Henri-Charles de Beaubrun 1655-1723 who also provide annotations throughout. According to Barbier the French controversialist Thierry de Viaixnes 1659-1735 who found himself often at odds with his superiors was the principal editor of the work; at the time of its preparation he was serving as director of an academy at Hautvilliers in the diocese of Rheims McClintock & Strong. Dedicated to Johann Friederich Karg von Bebenburg 1648-1719 whose signed portrait was drawn and engraved by C. Gustav of Amling. An advocate of maximal papal power Karg served as Privy Councilor of the Prince-Bishop of Bamberg and Würzburg Peter Philipp von Dernbach then of Elector Max Emanuel of Bavaria. He served as Dean of Our Lady in Munich and was entrusted by Emperor Leopold I with a legation to Pope Innocence XI. By these efforts he secured in 1688 the election of Prince Joseph Clemens of Bavaria as Archbishop of Cologne as a result of which he was made Chancellor and Minister of State here noted on the frontispiece. Provenance and annotations: Bookplate of Herman Blum Blumhaven Library & Gallery with his ticket below; two gilt-stamped ex-libris morocco labels: Henry W. Poor oval; Adolph Lewisohn octogonal. References: Darlow & Moule 3779; Deleveau & Hillard Bibles imprimées du XVe au XVIIe siècles conservées è Paris 605; ADB 15 1882 "Karg: Johann Friedrich; Jean-François Broncart hardcover
1701réf. 53475Liege: Jean-François Broncart 1701. First edition thus. Hardcover. Very good. Two tomes each in two parts bound in one volume folio: 6 lxxix 1 blank 544; 1 title 1 blank 545-957 1 blank xx Cantique des cantiques 96 La sagesse; Ecclesiastique de Jesus fils de Sirach; 1 title 1 blank 468; 1 title 1 blank 430 16 Oratio Manassae; Liber Esdrae - tertius et quartus pp. Main titles for each tome in red and black; secondary titles in black only all four titles with engraved printer's device; each dated 1701. Text in two columns Latin and French. Illustrated with 6 engraved plates: frontispiece Johann Friederich Karg von Bebenburg; folding plate with 16 vignettes 4x4 depicting well-known biblical scenes; 4 folding maps The Holy Land; The Promised Land Apportioned by Tribe; Jerusalem in the Second Temple Era - after Lamy; The World Known to the Evangelists. Quarter-page engraved vignettes at the head of each of the 30 biblical books; historiated initials; printed marginalia. Exquisitely bound in the 19th century in levant morocco extra over wooden boards with mosaic compartments in crimson ochre; and dark brown bordered in fine gilt line; spine with raised bands lightly rubbed; pair of brass mounts finished in black with steel rivets at both covers clasps and catched perished. All edges gilt and elaborately gauffered in textured floral motif; gilt inner dentelles; decorative endleaves renewed in orange and black; crimson silk ribbon marker. The work of a master binder. Expertly repaired at spine caps. Occasional faint embrowning; marginal dampstains beginning in second half mostly at outer corners; expanding to fore-edge and darkening considerably in final 20 leaves. Overall a very good copy with crisp text throughout though incomplete: lacks Antoine Arnould's "Concorde des quatre Evangélistes" along with its accompanying Latin version and the concluding index. Amply margined copy of this sumptuous edition of the Bible comprising the Latin Sixto-clementine Vulgate and the Port-Royal French translation printed in parallel columns. Isaac-Louis Lemaistre de Sacy 1613-1684 was the principal translator of the French version which was edited and completed after his death by Pierre Thomas du Fossé 1634-1698 and Henri-Charles de Beaubrun 1655-1723 who also provide annotations throughout. According to Barbier the French controversialist Thierry de Viaixnes 1659-1735 who found himself often at odds with his superiors was the principal editor of the work; at the time of its preparation he was serving as director of an academy at Hautvilliers in the diocese of Rheims McClintock & Strong. Dedicated to Johann Friederich Karg von Bebenburg 1648-1719 whose signed portrait was drawn and engraved by C. Gustav of Amling. An advocate of maximal papal power Karg served as Privy Councilor of the Prince-Bishop of Bamberg and Würzburg Peter Philipp von Dernbach then of Elector Max Emanuel of Bavaria. He served as Dean of Our Lady in Munich and was entrusted by Emperor Leopold I with a legation to Pope Innocence XI. By these efforts he secured in 1688 the election of Prince Joseph Clemens of Bavaria as Archbishop of Cologne as a result of which he was made Chancellor and Minister of State here noted on the frontispiece. Provenance and annotations: Bookplate of Herman Blum Blumhaven Library & Gallery with his ticket below; two gilt-stamped ex-libris morocco labels: Henry W. Poor oval; Adolph Lewisohn octogonal. References: Darlow & Moule 3779; Deleveau & Hillard Bibles imprimées du XVe au XVIIe siècles conservées è Paris 605; ADB 15 1882 "Karg: Johann Friedrich; Jean-François Broncart hardcover books
1462réf. 001313Mainz: Johann Fust & Peter Schoeffer 14 August 1462 1462. Fust and Schoeffer 48-line Bible Leaf. Royal folio 413 x 286 mm. Leaf 194 from gathering 20 of book one text from 2 Esdras chapter 15 and 16. Double column 48-lines printed in Gothic type. Titles and chapters in alternating red and blue letters red and blue two-line initials rubricated capital initials. Lines 35 to 41 in both columns of recto only are reset. 2 -inch closed tear to outer margin just slightly affecting text expertly repaired two old paper-clip ghosting marks to upper margin. Leaf housed in a cloth portfolio; slipcase with gilt lettered red morocco spine label. A fine leaf from the fourth edition of the Vulgate Bible or the 48- line Bible preceded only by the 42-line Gutenberg Bible the 36-line Pfister Bible Bamberg and the 49-line Mentelin Bible Strassburg. The first also to include the date of publication the place of printing and bear the name of the printer. Mainz: Johann Fust & Peter Schoeffer, 14 August 1462, hardcover
1462réf. 001313Mainz: Johann Fust & Peter Schoeffer 14 August 1462 1462. Fust and Schoeffer 48-line Bible Leaf. Royal folio 413 x 286 mm. Leaf 194 from gathering 20 of book one text from 2 Esdras chapter 15 and 16. Double column 48-lines printed in Gothic type. Titles and chapters in alternating red and blue letters red and blue two-line initials rubricated capital initials. Lines 35 to 41 in both columns of recto only are reset. 2 -inch closed tear to outer margin just slightly affecting text expertly repaired two old paper-clip ghosting marks to upper margin. Leaf housed in a cloth portfolio; slipcase with gilt lettered red morocco spine label. A fine leaf from the fourth edition of the Vulgate Bible or the 48- line Bible preceded only by the 42-line Gutenberg Bible the 36-line Pfister Bible Bamberg and the 49-line Mentelin Bible Strassburg. The first also to include the date of publication the place of printing and bear the name of the printer. Mainz: Johann Fust & Peter Schoeffer, 14 August 1462, hardcover books
1570réf. 666651 vol. in-folio reliure de l'époque plein cuir brun, dos à 5 nerfs orné, double filet doré d'encadrement en plats, Excudebat prelum Thomæ Purfœtij [ Thomas Purfoot ], Londinis [ London ], 1570 - 1571 [ titlepage and privilege dated 1570, colophon dated 1571 ], 4 ff. (dont titre gravé), 455 pp., 7 ff. n. ch.
