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Displayed below are selected recent viaLibri matches for books published in 1460
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Saint Germain, Christopher; St. German
Doctor and Student: Or Dialogues Between a Doctor of Divinity
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Germain, Christopher (1460? - [St. -1540)]. Doctor and Student: Or, Dialogues Between a Doctor of Divinity and a Student in the Laws of England: Containing the Grounds of Those Laws, Together with Questions and Cases Concerning the Equity Thereof; Also Comparing the Civil, Canon, Common and Statute Laws, And Shewing Wherein They Vary from One Another. To Which is Now Added on Account of the Author, And a General Table of the Principal Matters; Never Before Printed. [London]: Printed by Eliz. Nutt and R. Gosling, 1721. [xii], 366, [40] pp. Includes one-page publisher leaf. Octavo (6-1/2" x 4"). Contemporary calf, blind rules to boards, rebacked in calf with lettering piece and gilt fillets, endpapers renewed. Some rubbing to boards and extremities, corners bumped and somewhat worn. Early owner signature to head of title page, interior otherwise fresh. * Written originally in Latin in 1523, this work contains two dialogues between a doctor of divinity and a student of English law. It popularized canonist learning on the nature and object of law, the religious and moral standards of law, the foundations of the common law and other issues regarding the jurisdiction of Parliament. A very important work in the development of equity, Doctor and Student appeared in numerous editions. An authority well into the eighteenth century, it influenced several writers, including Blackstone. Sweet & Maxwell, A Legal Bibliography of the British Commonwealth of Nations 25 (35). [Attributes: Hard Cover]
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CICERON GRUTER (Gruterus) Janus
M. M. Tulli Ciceronis Opera omnia quae existant ex fola fere codd mss. Fide emendata studio ato industria Jani Guglielmii Jani Gruteri additis notis & indd, accura tiff : confectis.
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M. Tulli Ciceronis Opera omnia quae existant ex fola fere codd mss. Fide emendata studio ato industria Jani Guglielmii Jani Gruteri additis notis & indd, accura tiff : confectis. §Premiere edition. Un titre frontispice et vignette de l'imprimeur aux trois autres pages de titre. Impression sur 2 colonnes avec numerotation lineaire. Nous n'avons pas trouve cette edition dans les catalogues francais, pas plus qu'anglais. Un exemplaire a la bibliotheque Palatine en Allemagne. §'Quoiqu'elle soit mal imprimee et sur mauvais papier, cette edition merite d'etre citee comme une des principales de notre auteur. Elle a servi de base a presque toutes celles qui ont paru dans le XVIIe siecle et le commencement du XVIIIe. C'est d'ailleurs la premiere ou le texte de Ciceron soit divise en chapitres.' Brunet II, 8. §Plein Velin d'epoque, dos a nerfs. Grands medaillons centraux sur les plats. Traces de lacets. Le premier volume n'a plus de dos et le second a perdu ses 2 caissons inferieurs. Rousseurs eparses. §Cette edition de Froben rassemble les textes d'une edition donnee en France par jean Guillaume, elle est ici annotee et commentee par Jean Gruter. Froben est issu d'une celebre dynastie d'imprimeurs dont l'element le plus celebre fut Johannes Froben (1460-1527) qui travailla tres tot avec Erasme et Holbein, il etait etabli a Bale. §Jan Gruter (1560-1627) est ne a Anvers, il fut philologue et professeur d'histoire ainsi que bibliothecaire a l'universite de Wittemberg. Il etait considere comme un travailleur infatigable et ses ouvrages furent prises dans l'Europe entiere. §Ex libris bibliotheque des professeurs St Stanislas Mons.Photos sur www.Edition-originale.com. ex bibliopolio Frobeniano Hamburgi (Hambourg) _1617 in Folio (40,5x26cm) (20) 255pp., 590pp., 417pp., 461pp. 4 tomes en 2 Vol. relie
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Europa.-
(Wohl) altkolor. doppelblattgroer Holzschnitt aus Benedetto Bordone's Isolario. Venedig, 1537. 28,5 x 38 cm.
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. . Zeigt die Inselwelt Europas von Norwegen bis Nordafrika und von Spanien bis Griechenland.- Der Kartograph und Graphiker Benedotto Bordone (1460-1531) aus Padua wurde durch seine erstmals 1528 in Venedig herausgegebenen 'Isolare' berhmt, welches zu den frhesten gedruckten kartographischen Werken zhlt (Isolario di Benedetto Bodone Nel qual si ragona di tutte l'isole del mondo, con li lor nomi antichi e moderni, historie, e in qual parte del mare stanno, e in qual parallelo e clima giacono). Es erschienen mehrere Ausgaben (1532, 1534, 1537, 1547).- Verso mit italienischem Text und einer graphischen Darstellung zur Weltkugel.- Teils knapprandig, die schwarze Einfassungslinie im Fusteg fehlt.- Siehe Farbtafel.
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St. Germain, Christopher
Doctor and Student: Or Dialogues Between a Doctor of Divinity
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Germain, Christopher (1460? - [St. -1540)]. Doctor and Student: Or, Dialogues Between a Doctor of Divinity and a Student in the Laws of England: Containing the Grounds of Those Laws, Together with Questions and Cases Concerning the Equity Thereof; Also Comparing the Civil, Canon, Common and Statute Laws, And Shewing Wherein They Vary from One Another. To Which is Now Added on Account of the Author, And a General Table of the Principal Matters; Never Before Printed. [London]: Printed by Eliz. Nutt and R. Gosling, 1721. [xii], 366, [40] pp. Includes one-page publisher leaf. Octavo (6-1/2" x 4"). Contemporary calf, blind rules to boards, rebacked in calf with lettering piece and gilt fillets, endpapers renewed. Some rubbing to boards and extremities, corners bumped and somewhat worn. Early owner signature to head of title page, interior otherwise fresh. * Written originally in Latin in 1523, this work contains two dialogues between a doctor of divinity and a student of English law. It popularized canonist learning on the nature and object of law, the religious and moral standards of law, the foundations of the common law and other issues regarding the jurisdiction of Parliament. A very important work in the development of equity, Doctor and Student appeared in numerous editions. An authority well into the eighteenth century, it influenced several writers, including Blackstone. Sweet & Maxwell, A Legal Bibliography of the British Commonwealth of Nations 25 (35). [Attributes: Hard Cover]
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Book of Hours. Vrelant-style Hours, ca. 1460. Illuminated manuscript
Illuminated manuscript Book of Hours on vellum, use of Rome, in Latin
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Southern Netherlands (Bruges), ca. 1460. Small 8vo, 112 mm x 75 mm (4 3/8 inches x 2 15/16 inches), 173 leaves + 2 added vellum leaves at end. Complete, with all full-page miniatures on added sheets, 16 lines, ruled in very pale ink, written-space 60 mm x 41 mm, written in dark brown ink in a small rounded gothic liturgical hand, rubrics in purplish red, capitals touched in yellow, versal initials throughout in blue or burnished gold with penwork in red or black, 2-line initials throughout in burnished gold on red and blue grounds with white tracery, FOURTEEN VERY LARGE INITIALS WITH FULL ILLUMINATED BORDERS, the initials 5 lines high in gothic ivy-leaf designs in colors on burnished gold grounds, the borders with blue and liquid gold acanthus leaves and small colored flowers and strawberries infilled with black dots and tiny gold bezants, FOURTEEN FULL-PAGE MINIATURES in gently arched compartments, 65 mm x 42 mm, in colors and liquid gold within narrow burnished gold frames and full borders, early sixteenth-century additions on pages added at end, upper outer extremities of final leaves fractionally nibbled, some thumbing sometimes affecting full borders, border on fol. 34v a little smudged, generally in good state, pale brown velvet over pasteboards, pierced silver clasps and catches, gilt edges, vellum endleaves, in a fitted brown morocco case, title gilt. PROVENANCE (1) Written in Bruges, for male use (fol. 172v), probably for export to Spain or Portugal, not earlier than 1450, since the Calendar includes St. Bernardinus, canonized in that year. There is a sixteenth- or early seventeenth-century signature on fol. 1r, Ofray hosef acahlaO. (2) The collection of Joel and Maxine Spitz, Glencoe, Illinois, bought in 1946 from Wallach, New York (C.U. Faye and W.H. Bond, Supplement to the Census of Medieval and Renaissance Manuscripts in the United States and Canada, 1962, p. 166, no. 6); and by descent to the present owners. SothebyOs 7/6/2000 to Windle.#11;#11;TEXT A Calendar (fol. 1r), with relatively sparse entries including in black St. Donatian, patron saint of Bruges; the Hours of the Cross (fol. 14r) and of the Holy Ghost (fol. 22r); the Mass of the Virgin (fol. 28r), with the Gospel Sequences (fol. 32r); the Hours of the Virgin Osecundum consuetudinem romane curieO, with matins (fol. 35r), lauds (fol. 53r), prime (fol. 65r), terce (fol. 70r), sext (fol. 75r), none (fol. 80r), vespers (fol. 85r) and compline (fol. 93r), with the Advent office (fol. 99r); the Penitential Psalms (fol. 108r) and Litany; the Office of the Dead (fol. 129r); and OObsecro teO (fol. 170r, in male form).#11;#11;ILLUMINATION This is an altogether charming little book in the early style of the Bruges illuminator Willem Vrelant, with the small heads and soft-colored cherubic faces that occur in the Gold Scrolls style of the 1440s. The deep reds and blues and wide palette of greens are all typical of Vrelant, and many of the compositions here echo well-known Vrelant patterns, such as Pentecost, the Nativity, and the Massacre of the Innocents (cf. B. Bousmanne, OItem a Guillaume Wyeland aussi enlumineurO Willem Vrelant, Un aspect de lOenluminure dans les Pays-bas meridionaux, 1997, p. 181, fig. 163; p. 114, fig. 97; and p. 120, fig. 108, respectively). #11;#11;The minatures here are: 1. Folios 13v!14r The Crucifixion, saints on the left, soldiers and Pilate on the right, landscape background including mountains and Jerusalem with pink walls and blue roofs. 2. Folios 21v!22r, Pentecost, in a gothic church, tiled floor, lattice windows, with the Holy Dove entering from the left. 3. Folios 27v!28r, The Virgin and Child adored by angels, enthroned in a tall chair, angels on either side one with a viol. 4. Folios 34v!35r, The Annunciation, the Virgin kneeling at a prie-dieu below a canopy in a gothic house, Gabriel entering through a door with a scroll OAve gracia plena dominus tecum.O 5. Folios 52v!53r, The Visitation, the cousins greeting each other on a path outside a tall gothic house with blue and red tiles. 6. Folios 64v!65r, The Nativity of Christ, the Child lying on the grass, the Virgin and Joseph in prayer, an angel hovering above, landscape background. 7. Folios 69v!70r, The Annunciation to the Shepherds, three shepherds on a hillside, an angel in the sky, a valley below with a lake and city. 8. Folios 74v!75r, The Adoration of the Magi, the Virgin and Child on the right below a high roof, landscape on the left, a star in the sky. 9. Folios 79v!80r, The Presentation in the Temple, the Child lying full-length on the altar, priests on the right, the Virgin and her attendants on the left. 10. Folios 84v!85r, The Massacre of the Innocents, in a palace, with Herod enthroned on the left below a green canopy, a soldier seizing a baby from its mother 11. Folios 92v!93r, The Flight into Egypt, Joseph leading the donkey to the right through a landscape, with a distant city on a lake. 12. Folios 98v!99r, The Coronation of the Virgin, who kneels before the throne of God as an angel hovers above her. 13. Folios 107v!108r, David in prayer, kneeling before his palace with his harp on the grass before him. 14. Folios 128v!129r, A funeral Mass, a bier in the fore-ground, priests singing on the left, mourners on the right, other priests at an altar behind.#11;#11;Full description and images available on my website.
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ILLUMINATED MANUSCRIPT - BOOK OF HOURS (DIOCESE OF UTRECHT)].
Hours of the Virgin (Use of Utrecht), preceded by a Calendar, and followed by the Hours of the Eternal Wisdom, the Hours of the Cross, the Hours of the Holy Ghost, the Penitential Psalms and Litany (Saint Cyril), Prayers on the Sacrament and other prayers, the Vigil of the Nine Lessons and St. Bernard's Prayer to our Lord].[Delft], ca. 1460/1480. 16.5 x 11 cm. Illuminated manuscript in Dutch, in nearly black ink on vellum (pricked and ruled, with 21 lines of text), with 7 large (mostly 8-line) and elaborately decorated duplex (red and blue) initials with full-frame (or in 1 case nearly full-frame) penwork decorations, flowers and birds (doves, peacock, pelicans), 3 of the birds accompanied by Latin quotations in scrolls, all liberally high
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- (203) ll.A beautifully decorated Book of Hours in a large and finely written textura hand, especially notable for the birds that appear in the marginal decoration of five of the seven large initials, three with pertinent Latin quotations from the Bible and elsewhere, one for example referring to the pelican reviving its young with its own blood (as depicted). Each of the seven large initials is executed in red and blue with white decoration, with the interior space filled with decoration in various colours and gold, the whole surrounded by red and blue pen-work decoration that also forms a frame around the page, mostly with additional floral and other decorations in various colours and gold. The birds and their nests and text scrolls are also executed in several colours and gold.The manuscript has no quire signatures or early foliation. It collates [i]4 [ii]-[xxv]8 [xxvi]8 (-[xxvi]8) = 203 ll., with the last leaf ([xxvi]7) pasted down and two blank vellum endleaves added before the first quire. The text block measures 106 x 66 mm and the margins 20-36 mm. The recent pencilled folio numbers run from 1 to 199, with three errors ([106 bis], 143 [bis] and 147 [bis]) making 202 leaves not counting the endleaves and integral pastedown. The original text ends on fol. 198, but an early user has written several short prayers, etc. on fols. 198v-199v, with the motto "niet sonder godt" at the foot of 199v. The content runs as follows (according to the recent folio numbers):fols. 1-12v: [Calendar].fols. 13-45v: die ghetiden van onser liever vrouwe(n) marie(n).fols. 46-65v: die getide(n) va(n)der ewigher wijsheit.fols. 66-91v: dat langhe cruys ghetide.fols. 92-115v: die ghetide(n) van de(n) heilighen gheest.fols. 116-133: die seve(n) psalme(n) va(n) Here penitenae(n)including the litany (die letanien) beginning on fol. 123v.fols. 133v-146v: ghebet. heilighe sacramentwith other prayers beginning on fol. 137.fols. 147-182v: die langhe vigelie van neghen lessen.fols. 183-198: Sinte barnaerts eenlike spreken tot onsen here.In the calendar the standard saints for the Bischopric of Utrecht are written in red, along with Jeroen (17 August) and Bavo (1 October), who are more specific to Holland, and Lambrecht (17 September). Although the specifically Delft Saints Hippolytus (13 August) and Ursula (21 October) are not in red, the style of decoration resembles that of Delft manuscripts ca. 1460-80 (Korteweg, et al., Kriezels, no. 33; Marrow, Golden Age, no. 58, the latter also with a peacock and scroll). The illumination therefore originates in Delft and the manuscript itself at least in South Holland.In addition to the motto of an early owner, the manuscript has several indications of its late nineteenth- and early twentieth-century provenance: the armorial bookplate of Robert Chambers (motto "Spero"), a clipping from an English sale catalogue and an ink stamp (at the foot of fol. 198v) of the "Southport Libraries." In very good condition, with the illumination, penwork and gold well preserved and with generous margins. The surface of the binding is badly rubbed, so that little of the blind tooling is visible, but the binding is structurally good. A beautiful illuminated Book of Hours, skilfully and extensively decorated with duplex initials, penwork, flowers and birds.
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[ILLUMINATED MANUSCRIPT - BOOK OF HOURS (DIOCESE OF UTREC...
[Hours of the Virgin (Use of Utrecht), preceded by a Calendar, and followed by the Hours of the Eternal Wisdom, the Hours of the Cross, the Hours of the Holy Ghost, the Penitential Psalms and Litany (Saint Cyril), Prayers on the Sacrament and other prayers, the Vigil of the Nine Lessons and St. Bernard's Prayer to our Lord].[Delft], ca. 1460/1480. 16.5 x 11 cm. Illuminated manuscript in Dutch, in nearly black ink on vellum (pricked and ruled, with 21 lines of text), with 7 large (mostly 8-line) and elaborately decorated duplex (red and blue) initials with full-frame (or in 1 case nearly ful...
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(203) ll.A beautifully decorated Book of Hours in a large and finely written textura hand, especially notable for the birds that appear in the marginal decoration of five of the seven large initials, three with pertinent Latin quotations from the Bible and elsewhere, one for example referring to the pelican reviving its young with its own blood (as depicted). Each of the seven large initials is executed in red and blue with white decoration, with the interior space filled with decoration in various colours and gold, the whole surrounded by red and blue pen-work decoration that also forms a frame around the page, mostly with additional floral and other decorations in various colours and gold. The birds and their nests and text scrolls are also executed in several colours and gold.The manuscript has no quire signatures or early foliation. It collates [i]4 [ii]-[xxv]8 [xxvi]8 (-[xxvi]8) = 203 ll., with the last leaf ([xxvi]7) pasted down and two blank vellum endleaves added before the first quire. The text block measures 106 x 66 mm and the margins 20-36 mm. The recent pencilled folio numbers run from 1 to 199, with three errors ([106 bis], 143 [bis] and 147 [bis]) making 202 leaves not counting the endleaves and integral pastedown. The original text ends on fol. 198, but an early user has written several short prayers, etc. on fols. 198v-199v, with the motto "niet sonder godt" at the foot of 199v. The content runs as follows (according to the recent folio numbers):fols. 1-12v: [Calendar].fols. 13-45v: die ghetiden van onser liever vrouwe(n) marie(n).fols. 46-65v: die getide(n) va(n)der ewigher wijsheit.fols. 66-91v: dat langhe cruys ghetide.fols. 92-115v: die ghetide(n) van de(n) heilighen gheest.fols. 116-133: die seve(n) psalme(n) va(n) Here penitenae(n) including the litany (die letanien) beginning on fol. 123v.fols. 133v-146v: ghebet ... heilighe sacrament with other prayers beginning on fol. 137.fols. 147-182v: die langhe vigelie van neghen lessen.fols. 183-198: Sinte barnaerts eenlike spreken tot onsen here.In the calendar the standard saints for the Bischopric of Utrecht are written in red, along with Jeroen (17 August) and Bavo (1 October), who are more specific to Holland, and Lambrecht (17 September). Although the specifically Delft Saints Hippolytus (13 August) and Ursula (21 October) are not in red, the style of decoration resembles that of Delft manuscripts ca. 1460-80 (Korteweg, et al., Kriezels, no. 33; Marrow, Golden Age, no. 58, the latter also with a peacock and scroll). The illumination therefore originates in Delft and the manuscript itself at least in South Holland.In addition to the motto of an early owner, the manuscript has several indications of its late nineteenth- and early twentieth-century provenance: the armorial bookplate of Robert Chambers (motto "Spero"), a clipping from an English sale catalogue and an ink stamp (at the foot of fol. 198v) of the "Southport Libraries." In very good condition, with the illumination, penwork and gold well preserved and with generous margins. The surface of the binding is badly rubbed, so that little of the blind tooling is visible, but the binding is structurally good. A beautiful illuminated Book of Hours, skilfully and extensively decorated with duplex initials, penwork, flowers and birds.
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GUAZZO Stefano
LA CIVIL CONVERSATIONE del signor S.G. gentilhuomo di Casale di Monferrato, divisa in quattro libri . nuovamente dall'istesso auttore corretta & in diversi luoghi di molte cose, non meno utili che piacevoli, ampliata. In Vinegia, presso Altobello Salicato, 1586. Alla Libraria della Fortezza.
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In 8picc. (cm. 14,5) cc.4 bb. + cc.20 n.n. + cc.316 numerate al recto + cc. 3 bb. Bel carattere italico. P. perg. seicentesca con ttit. manoscritto al dorso. Tagli spruzzati di rosso. Qualche sporadica sottolineatura coeva. Taglio sup. corto, altrimenti ben conservato. - Adams, vol.I n1460 riporta tre edizione del Salicato (1580, 1584, 1590) con lo stesso numero di carte, ma non la nostra. Olschki, Choix, n1791 per la sola ediz. del 1590.
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH TWO LOVELY GRI...
TEXT FROM THE SUFFRAGES.
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Flanders, ca. 1460 158 x 108 mm. (6 1/8 x 4 1/8"). Single column, 14 lines of text in a very fine gothic book hand. Attractively matted. Rubrics in red, each side with a bar border of red and gold terminating in foliate clumps and forming an "L"-shaped frame for the text, verso with a two-line initial in burnished gold on a pink and blue ground, BOTH SIDES WITH A VERY FINE SIX-LINE GRISAILLE INITIAL (measuring approximately 40 x 40 mm.), THE RECTO SHOWING ST. HERMES ON HORSEBACK, THE VERSO ST. AEGIDIUS (GILES) WITH HIS HIND, the two scenes enclosed by a blue letter highlighted with white, and the whole on a cusped ground of burnished gold. Minor soil and discoloration at edges, otherwise in very fine condition, the gold bright and the margins especially ample. Our artist has used great skill and a particularly pleasing method to produce two very fine historiated initials for this leaf. In use especially during the late Medieval period, the technique employed here is called grisaille, a method of painting that imitates the effects of relief sculpture. Normally involving monochrome painting that employs shades of gray (the term derives from the word "gris," French for "gray"), grisaille work was generally executed using a black pigment such as lampblack and an inert white pigment, often--as here--with the addition of gold highlights. The technique first appeared in the late 13th century and experienced its greatest period of popularity from the second half of the 14th through the end of the 15th century. This style enabled the artist to depict subtle degrees of light and shadow, and consequently show considerable detail--seen here, for example, in the face of Aegidius. The two historiated initials present a striking contrast. Saint Hermes gallops across the field, his steed prancing. Saint Aegidius sits quietly in his forest retreat, his hand absently caressing the diminutive hind who was his companion and who had nourished him with her milk. Hermes was popuar in Flanders, where his relics were said to have been deposited in Ronse, which became a popular pilgrimage destination, especially for those seeking relief for mental problems. According to legend, Hermes was once a slave. He was freed and prospered, but his Christian faith led to his martyrdom in second century Rome. Aegidius was not a martyr, but a holy hermit from the south of France. His burial place in Saint Gilles du Gard was likewise a destination for pilgrims, and he was considered to offer potent help in averting and curing the plague. The conjuction of appeals to two healing saints, Hermes and Aegidius (known in England as Giles), perhaps reflects the recurrence of plague in the years 1463-65, presumably about when this leaf was produced. $ 7500
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EYCK, Barthlemy D'
EL LIBRO DEL CORAZON PRENDIDO. Facsmil
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Ediciones Reales Sitios 290 x 200 rom. 18 folios (36 pginas). Encuadernado en terciopelo sobre tabla. Herrajes y molduras de fundicin. En esta ocasin estar a cargo de S. Martn Esteban, galardonado en dos ocasiones con el premio nacional de Encuadernacin. Estuche de Metacrilato. Papel pergaminata 190gr. Volumen complementario de estudios sobre las Miniaturas. Tirada nica de 500 ejemplares, numerados y certificados notarialmente.El libro del corrazn prendido realizado por Ren de Anjou y miniado por Barthlemy d'Eyck, convierten al cdice en una de las Joyas ms importantes del Arte Borgon del Siglo XV.Su belleza es asombrosa, las 16 Miniaturas que un artista excepcional realiz en 1460, y que nos invita a viajar, y volver al tiempo de los Caballeros Medievales.El Manuscrito que se conserva en la Biblioteca Nacional de Viena, lo han situado como uno de los libros ms bellos de amor que jams se han realizado y que constituye el ms claro ejemplo de la espiritualidad del renacimiento.La luz, el Amanecer, el Medioda, el sol que nace, la noche solo plasmadas por autnticos genios del Arte Flamenco.La belleza de las miniaturas es desbordante. Mediante los pensamientos amorosos que el autor nos narra en forma de sueo. El caballero Corrazn quien acompaado de su fiel escudero Deseo, va en busca de su Dama, encontrarn en su camino a las personificaciones de Deseo, Orgullo, Amistad, Generosidad, Clera, Tristeza, Celos.
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A TRIO OF MUSICIANS,
historiated initial C, from an ILLUMINATED CHOIRBOOK ON VELLUM.
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- [Lombardy-Emilia, 1460-70] 92x100mm. A MONK IN WHITE SERGE SWINGS THE CLAPPERS OF TWO BELLS inside a point-roofed tower flanked by a foreshortened building, ACCOMPANIED BY A PIPER wearing a blue hat AND A LUTE PLAYER in a yellow and red dress, against a landscape of a green hill and a blue-nuanced sky pointed by floating golden clouds. The stave of light green with white tracery is adorned by fleshy acanthus leaves in crimson and pink highlighted in white and with curled up terminations, a blue pearl enriches the decoration, on a burnished gold ground outlined in black. Framed, in very good condition (not examined on reverse). A FINELY-PAINTED INITIAL FOR A XVTH CENTURY ITALIAN CARTHUSIAN MONASTERY.This initial probably opened the introit 'Cantate Domino canticum novum' on the fourth Sunday after Easter. One of the musicians is a tonsured monk in white hooded serge; it is likely the choirbook from which the leaf came was for a Carthusian monastery. The Carthusians were widely spread in the XVth century in Northern and Central Italy.This is a very beautiful and accomplished miniature; its palette of bright colours, the curled up foliage of the stave highlighted in white, the little clouds and soft brush strokes are reminiscent of the stylistic characteristics of the late works of Belbello of Pavia, after the Missale of Barbara of Brandenburg (F. Lollini, Giovanni Belbello da Pavia in Dizionario bibliografico dei miniatori italiani, a cura di Milvia Bollati, Milano 2004, pp. 273-6).PROVENANCE: The Holford Collection (sold at Sotheby's, 12 July 1927, lot 13).Ref.: Dorchester House catalogue, Oxford 1927, vol. 1, n. 24(b) p.22, Plate XXIV. L914
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Illuminated manuscript leaf from a Book of Hours: Full-page miniature depicting the Nativity recto, with the opening of the hour of Prime verso
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Rouen, ca. 1460-70. (NATIVITY) 8vo (6-7/8 x 4-7/8 inches). . . Miniature depicts Mary, Joseph, three angels, and the shepherds surrounding the infant Christ in the stable, within an architectural frame. Below the Holy Family is an Old Testament prophet, possibly Moses, with horns sprouting from his head, kneeling and clutching his foot, as God speaks from a bush. Verso is a floral, berry, and acanthus-leaf border to the left of the text, which has one large and several smaller illuminated capitals "Deus in adiutorium meum intende. Domine ad adiuvandum me festina. Gloria Patri. Alleluia." Followed by the hymn: "Veni creator spiritus mentes tuorum visita imple superna gratia que tu creasti pectora" Hymn: "Memento, salutis Auctor, quod nostri quondam corporis, ex illibata Virgine nascendo, formam sumpseris Maria, mater gratiae Gloria tibi" Antiphon "Maria virgo," followed by Psalm 1:1-3: "Beatus vir qui non abiit in consilio impiorum, et in via peccatorum non stetit, et in cathedra pestilentie non sedit Sed in lege Domini fuit voluntas eius, et in lege eius meditabitur die ac nocte. Et erit tamquam lignum quod!"
[Bookseller: James Cummins Bookseller] |
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Saint Germain, Christopher; Muchall, William, Ed
Doctor and Student: or, Dialogues Between a Doctor of Divinity and a Student in the Laws of England: Containing the Grounds of Those Laws; Together with Questions and Cases Concerning the Equity Thereof.
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Saint Germain, Christopher [1460- - 1540]. Muchall, William, Editor. London: Printed by A. Strahan, 1787. [xvi], 345, [36] pp. Octavo (8" x 5"). Contemporary calf, rebacked in period style with raised bands and lettering piece, endpapers renewed. Some rubbing to extremities, corners somewhat worn, front hinge starting. Toning to text, negligible light foxing in a few places. Later owner signature to front free endpapaer, interior otherwise clean. * Seventeenth edition, "Corrected and Improved." Written originally in Latin in 1523, this work contains two dialogues between a doctor of divinity and a student of English law. It popularized canonist learning on the nature and object of law, the religious and moral standards of law, the foundations of the common law and other issues regarding the jurisdiction of Parliament. A very important work in the development of equity, Doctor and Student appeared in numerous editions and it remained an authority well into the eighteenth century. The edition by Muchell, later reissued as the eighteenth, is considered to be the best one. Sweet & Maxwell, A Legal Bibliography of the British Commonwealth 1:25 (34). [Attributes: Hard Cover]
[Bookseller: The Lawbook Exchange, Ltd., ABAA ILAB] |
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EL UNIVERSO DE LAS FORMAS. Coleccin Fundada y Dirigida por ANDR MALRAUX Y ANDR PARROT.
COLECCIN DE EL UNIVERSO DE LAS FORMAS. 22 VOLMENES. Editorial Aguilar. Madrid, Espaa. Aos 1961 a 1976.
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- 1) Pierre Demargue: Nacimiento del Arte Griego. 2) Andr Grabar: La Edad de Oro de Justiniano. 3) Andr Grabar: El Primer Arte Cristiano. 4) Hubert/Porcher/Volbach: El Imperio Carolingio. 5) Hubert/Porcher/Volbach: La Europa de las Invasiones. 6) Charboneaux/Martin/Villard: Grecia Arcaica. 7) Charboneaux/Martin/Villard: Grecia Clsica. 8) Charboneaux/Martin/Villard: Grecia Helenstica. 9) Ranuccio/Bianchi/Bandinelli: Roma Centro del Poder. 10) Ranuccio/Bianchi/Bandinelli: Roma El Fin Del Arte Antiguo. 11) Chastel: Italia 1460/1500 El Renacimiento Meridional. 12) Chastel: 1460/1500 El Gran Taller. 13) Heydenreich: Italia 1400/1460 Eclosin del Renacimiento. 14) Ludwig/Heydenreich/Gnter/Passavant: Renacimiento Italiano 1500/1540 La Epoca de Los Genios. 15) Grodecki/Mterich/Taralon/Wormald: El Siglo del Ao Mil. 16) Parrot: Sumer. 17) Parrot: Asur. 18) Ghirshman: Persia. Protoiranios. Medos. Acquemenidas. 19) Ghirshman: Iran. Partos y Sasanidas. 20) Parrot/Chehab/Mascati: Los Fenicios. La Expansin Fenicia. Cartago. 21) Guiart: Oceana. 22) Leiris/Delange: Africa Negra. La Creacin Plstica. Todos los volmenes con encuadernaciones tela original de editor y sobrecubiertas en muy buen/excelente estado . Todos los volmenes en muy buen/excelente estado. Importante obra y extraordinario conjunto.
[Bookseller: Ernesto Julin Friedenthal] |
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Duval, Frdric
La Traduction du "Romuleon" par Sbastien Mamerot : tude sur la diffusion de l'histoire romaine en langue vernaculaire la fin du Moyen Age
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DROZ - 9782600004800 Livre usage a l'etat de neuf / Used book as new condition Cette tude retrace la destine du Romuleon, une compilation d’histoire antique dont l’original latin, rdig entre 1361 et 1364 par Benvenuto da Imola, remporta un succs tel qu’il fut traduit deux reprises en italien avant de l’tre derechef en franais, par Jean Milot en 1460 et par Sbastien Mamerot peine six ans plus tard. Chacune de ces versions fait l’objet d’un commentaire illustrant les modalits de diffusion et d’adaptation de l’historiographie romaine au terme du Moyen Age, mais c’est la traduction de Mamerot, rcemment publie chez Droz, qui est au cœur de l’ouvrage. Alors que les lments de biographie de Louis de Laval, le destinataire, ainsi que de Sbastien Mamerot, son chapelain et le traducteur de l’œuvre, dlimitent le cadre de production du Romuleon, l’tude de la tradition manuscrite et celle du programme iconographique excut par l’atelier des Colombe retracent les voies de sa rception. L’analyse des procds et des stratgies de traduction complte une rflexion centre sur le statut de la culture antique dans l’aristocratie franaise de la seconde moiti du XVe sicle. Through this study of Sebastien Mamerot's translation of the Romuleon (compilation of Latin History), Frdric Duval analyses the role and reception of the Antique culture in the second half of the XVth Century.
[Bookseller: La Canopee a/s de Bruno Segovia] |
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Publius Vergilius Maro. Bucolica. Georgica. Aeneis. Limitierte Auflage in 1380 Exemplaren.
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Bibliotheca Rara: deutscher Kommentarband Antonie Wlosok., Rom / Neapel um 1460 (Faksimile-Nachdruck jngeren Datums). - 552 Seiten im Format 31,5 x 22,2cm, mit 38 Miniaturen, davon 11 ganzseitig.Um sein groartiges Heldenepos, die Aeneis, das er in Neapel begonnen hatte, zu vollenden, unternahm Publius Vergilius Maro, kurz Vergil, eine Studienfahrt nach Griechenland und Kleinasien. Auf der Rckreise mit dem Schiff wurde er krank und verstarb 19 v. Chr. in Brindisi. Von den unter seinem Namen berlieferten Werken sind die Eclogae oder Bucolica, die Georgica und die Aeneis die einzigen Texte, deren Echtheit unumstritten ist. Die Bucolica, die von Theokrits Werk Eidyllia inspiriert wurden, bestehen aus zehn kurzen Gedichten, wobei nur zwei mehr als hundert Verse haben. All diese zeichnen sich mit Ausnahme des vierten Gedichtes durch ihren dyllischbukolischen Charakter aus. Die Georgica, ein Werk von nicht zu bertreffender Schnheit, hatte zum Ziel, dem Herrscher Augustus dabei zu helfen, eine Rckbesinnung auf die Krfte der Natur zu frdern. Sie ist in vier Bcher unterteilt: Im ersten Buch behandelt Vergil den Ackerbau und schliet einen Landsmannkalender und die Witterungszeichen ein, im zweiten wird die Baumzucht, vor allem der Weinbau dargestellt, im dritten die Viehzucht und im vierten die Apikultur: die Bienenzucht.
[Bookseller: Versandantiquariat Karl HeinzSchmitz] |
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A MINIATURE OF...
TEXT FROM THE SEVEN PENITENTIAL PSALMS.
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France [Limoges?], ca. 1460 ""163 x 120 mm. (6 1/2 x 4 5/8"""")."" Single column three lines of text on recto 15 lines on verso in a fine gothic book hand. Attractively matted. Verso with five one-line initials in burnished gold on pink and blue grounds RECTO WITH AN ANIMATED FULL RINCEAUX BORDER filled with blue and gold acanthus leaves vines bearing red blue pink and green flowers and leaves amid numerous burnished gold bezants and ivy leaves on twining hairline stems the border tangent with a fine inner baguette of brilliantly burnished gold decorated with strawberry vines and the whole ENCLOSING A RICHLY DETAILED ARCH-TOPPED MINIATURE OF KING DAVID AT PRAYER (measuring approximately 80 x 64 mm.) the miniature atop four lines of text begun with a large and lovely initial D in pink with white tracery enclosing a trio of blue violets the letter on a burnished gold ground. Minor loss of paint to a few strawberries top and inner margins very slightly extended (and with a number of tiny losses to border decoration) very thin vertical crease downward from God the Father slight thumbing in lower right corner but still an extremely appealing leaf the paint very rich the gold especially brilliant and with the miniature itself in a fine state of preservation. This very fine miniature serves to introduce the first of the Seven Penitential Psalms which were to be recited during Lent as an act of contrition but the sober text here did not prevent our artists from making this a very joyful and animated composition. David is depicted as no longer the slayer of Goliath or the young harper in a bucolic setting. His harp rests against the wall and the aged repentant sinner kneels in an archway between two rooms an unroofed study with a bookstand in the foreground and a chapel with an altar behind. The black and green checkered floor serves to unify the space and in the upper right the Lord his high forehead forked white beard and pink robe echoing David's own appearance leans forward out of the sky golden orb in hand. The Lord appears to be smiling and we might conjecture that he is dispensing the forgiveness for which the Psalm asks. Lest the penitant become too confident however an archangel presumably Michael flies forward beneath the Divinity with a threatening sword raised aloft. The garments of David are a particularly attractive feature here. The artist uses sharp folds that seem to rustle almost audibly as they cascade around David. His voluminous red robe is etched with golden fold lines and his sweeping blue cloak blows back as if blasted by the intrusion of the Lord and the archangel to reveal a solid gold lining. The border of strawberries that sets off the image from the surrounding welter of foliage is a sweet touch and the outer border is unusually luxuriant.
[Bookseller: Phillip J. Pirages Fine Books & Manuscri] |
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH TWO LOVELY GRISAILLE HISTORIATED INITIALS FROM A BOOK OF HOURS IN LATIN.
TEXT FROM THE SUFFRAGES.
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Flanders, ca. 1460 - Single column 14 lines of text in a very fine gothic book hand. Attractively matted. Rubrics in red each side with a bar border of red and gold terminating in foliate clumps and forming an L-shaped frame for the text verso with a two-line initial in burnished gold on a pink and blue ground BOTH SIDES WITH A VERY FINE SIX-LINE GRISAILLE INITIAL (measuring approximately 40 x 40 mm.) THE RECTO SHOWING ST. HERMES ON HORSEBACK THE VERSO ST. AEGIDIUS (GILES) WITH HIS HIND the two scenes enclosed by a blue letter highlighted with white and the whole on a cusped ground of burnished gold. Minor soil and discoloration at edges otherwise in very fine condition the gold bright and the margins especially ample. Our artist has used great skill and a particularly pleasing method to produce two very fine historiated initials for this leaf. In use especially during the late Medieval period the technique employed here is called grisaille a method of painting that imitates the effects of relief sculpture. Normally involving monochrome painting that employs shades of gray (the term derives from the word "gris" French for "gray") grisaille work was generally executed using a black pigment such as lampblack and an inert white pigment often--as here--with the addition of gold highlights. The technique first appeared in the late 13th century and experienced its greatest period of popularity from the second half of the 14th through the end of the 15th century. This style enabled the artist to depict subtle degrees of light and shadow and consequently show considerable detail--seen here for example in the face of Aegidius. The two historiated initials present a striking contrast. Saint Hermes gallops across the field his steed prancing. Saint Aegidius sits quietly in his forest retreat his hand absently caressing the diminutive hind who was his companion and who had nourished him with her milk. Hermes was popuar in Flanders where his relics were said to have been deposited in Ronse which became a popular pilgrimage destination especially for those seeking relief for mental problems. According to legend Hermes was once a slave. He was freed and prospered but his Christian faith led to his martyrdom in second century Rome. Aegidius was not a martyr but a holy hermit from the south of France. His burial place in Saint Gilles du Gard was likewise a destination for pilgrims and he was considered to offer potent help in averting and curing the plague. The conjuction of appeals to two healing saints Hermes and Aegidius (known in England as Giles) perhaps reflects the recurrence of plague in the years 1463-65 presumably about when this leaf was produced.
[Bookseller: Phillip J. Pirages Rare Books (ABAA)] |
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Castellesi Adriano
De Sermone Latino et modis Latine loquendi, opus elegantissimum ab Hadriano TT. S. Crysogoni S.R.E. Presb. Car. Batonien. Editum
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- Paris, Petrus Vidus, 1517In 4 (19,6 x 13,5). Cc. (6) + CXXVIII. Notevole frontespizio figurato a bordura con inserti da matrice xilografica anche in rosso. Stemma del dedicatario al front., qualche antica firma di appartenenza cancellata e una di convento gesuitico francese in alto. Numerose annotazioni coeve a margine in tutto il libro, una lieve gora al margine inf. ed interno di pochissime carte in fine ma bell'esemplare ampio di margini in affascinante legatura coeva tutta pelle riccamente decorata a secco, certamente parigina. Dorso molto consumato e fessurato al centro, qualche restauro e sostituzione dei risguardi all'inizio del 900; ex-libris di collezione inglese al risguardo anteriore. A great and unusual woodcut title-page. A few contemproary inscriptions (partially effaced), some contemporary marginalia, slight waterstain in lower blank margin in a few leaves but a nice copy in attractive contemporary full calf decorated in blind, probably Parisian. Spine hardly rubbed and with a short vertical tear. Lavoro di notevole importanza per lo studio della lingua latina, recentemente oggetto di un approfondito saggio monografico di Luisa Damonte. La figura di Castellesi (Corneto 1460 - Venezia? 1521 ca.) senza dubbio controversa per il modo in cui seppe ottenere i favori papali e il raggiungimento del soglio cardinalizio. La sua erudizione fu sempre rivolta allo studio del vocabolario latino contro l'allora crescente diffusione del volgare. Questo suo scritto, pubblicato originariamente a Basilea nel 1513, ebbe un successo non trascurabile con alcune ristampe in pochi anni, forse a tutti gli effetti il vero canto del cigno del richiamo alla forbita eleganza dei termini latini. L'edizione, di per s estremamente rara, di curiosa ideazione tipografica, con un titolo che pare composto da matrici differenti ed impresse in rosso e nero, per un risultato estetico veramente inusuale. A very rare and early edition of this important work devoted to preserving the use of Latin towards the vernacular, reprinted many times during the Sixteenth century. ADAMS, C-897
[Bookseller: LIBRERIA ANTIQUARIA PIEMONTESE] |
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Detlefsen, D.:
Geschichte der holsteinischen Elbmarschen. 2 Bnde in einem Band.
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- Band I: Von der Entstehung der Marschen bis zu ihrem bergange an die Knige von Dnemark 1460. Band II: Von dem bergange der Marschen an die Knige von Dnemark 1460 bis zur Gegenwart. 1. Auflage, Glckstadt / 1892, 1891. 447 / 516 S. mit einigen Textabbildungen und 1 lithographierte Faltkarte, Gr.-8, Vom Buchbinder sauber und fachmnnisch neu eingebunden in Leinen mit goldgeprgter Rckenbeschriftung, Papier vereinzelt leicht braunfleckig, die erste Hlfte des ersten Bandes mit Bleistiftanstreichungen, ansonsten gut erhaltenes Exemplar, [Attributes: Hard Cover]
[Bookseller: Antiquariat Hagena & Schulte] |
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BOOK OF HOURS.
Illuminated manuscript Book of Hours on vellum, use of Rome, in Latin.
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Southern Netherlands (Bruges), ca. 1460. Small 8vo, 112 mm x 75 mm (4 3/8 inches x 2 15/16 inches),173 leaves + 2 added vellum leaves at end. Complete, with all full-page miniatures on added sheets, 16 lines, ruled in very pale ink, written-space 60 mm x 41 mm, written in dark brown ink in a small rounded gothic liturgical hand, rubrics in purplish red, capitals touched in yellow, versal initials throughout in blue or burnished gold with penwork in red or black, 2-line initials throughout in burnished gold on red and blue grounds with white tracery, FOURTEEN VERY LARGE INITIALS WITH FULL ILLUMINATED BORDERS, the initials 5 lines high in gothic ivy-leaf designs in colors on burnished gold grounds, the borders with blue and liquid gold acanthus leaves and small colored flowers and strawberries infilled with black dots and tiny gold bezants, FOURTEEN FULL-PAGE MINIATURES in gently arched compartments, 65 mm x 42 mm, in colors and liquid gold within narrow burnished gold frames and full borders, early sixteenth-century additions on pages added at end, upper outer extremities of final leaves fractionally nibbled, some thumbing sometimes affecting full borders, border on fol. 34v a little smudged, generally in good state, pale brown velvet over pasteboards, pierced silver clasps and catches, gilt edges, vellum endleaves, in a fitted brown morocco case, title gilt. PROVENANCE (1) Written in Bruges, for male use (fol. 172v), probably for export to Spain or Portugal, not earlier than 1450, since the Calendar includes St. Bernardinus, canonized in that year. There is a sixteenth- or early seventeenth-century signature on fol. 1r, "fray hosef acahla". (2) The collection of Joel and Maxine Spitz, Glencoe, Illinois, bought in 1946 from Wallach, New York (C.U. Faye and W.H. Bond, Supplement to the Census of Medieval and Renaissance Manuscripts in the United States and Canada, 1962, p. 166, no. 6); and by descent to the present owners. Sotheby's 7/6/2000 to Windle. TEXT A Calendar (fol. 1r), with relatively sparse entries including in black St. Donatian, patron saint of Bruges; the Hours of the Cross (fol. 14r) and of the Holy Ghost (fol. 22r); the Mass of the Virgin (fol. 28r), with the Gospel Sequences (fol. 32r); the Hours of the Virgin "secundum consuetudinem romane curie", with matins (fol. 35r), lauds (fol. 53r), prime (fol. 65r), terce (fol. 70r), sext (fol. 75r), none (fol. 80r), vespers (fol. 85r) and compline (fol. 93r), with the Advent office (fol. 99r); the Penitential Psalms (fol. 108r) and Litany; the Office of the Dead (fol. 129r); and "Obsecro te" (fol. 170r, in male form). ILLUMINATION This is an altogether charming little book in the early style of the Bruges illuminator Willem Vrelant, with the small heads and soft-colored cherubic faces that occur in the Gold Scrolls style of the 1440s. The deep reds and blues and wide palette of greens are all typical of Vrelant, and many of the compositions here echo well-known Vrelant patterns, such as Pentecost, the Nativity, and the Massacre of the Innocents (cf. B. Bousmanne, "Item a Guillaume Wyeland aussi enlumineur" Willem Vrelant, Un aspect de l'enluminure dans les Pays-bas meridionaux, 1997, p. 181, fig. 163; p. 114, fig. 97; and p. 120, fig. 108, respectively). The miniatures here are: 1. Folios 13v-14r The Crucifixion, saints on the left, soldiers and Pilate on the right, landscape background including mountains and Jerusalem with pink walls and blue roofs. 2. Folios 21v-22r, Pentecost, in a gothic church, tiled floor, lattice windows, with the Holy Dove entering from the left. 3. Folios 27v-28r, The Virgin and Child adored by angels, enthroned in a tall chair, angels on either side one with a viol. 4. Folios 34v-35r, The Annunciation, the Virgin kneeling at a prie-dieu below a canopy in a gothic house, Gabriel entering through a door with a scroll "Ave gracia plena dominus tecum." 5. Folios 52v-53r, The Visitation, the cousins greeting each other on a path outside a tall gothic house with blue and red tiles. 6. Folios 64v-65r, The Nativity of Christ, the Child lying on the grass, the Virgin and Joseph in prayer, an angel hovering above, landscape background. 7. Folios 69v-70r, The Annunciation to the Shepherds, three shepherds on a hillside, an angel in the sky, a valley below with a lake and city. 8. Folios 74v-75r, The Adoration of the Magi, the Virgin and Child on the right below a high roof, landscape on the left, a star in the sky. 9. Folios 79v-80r, The Presentation in the Temple, the Child lying full-length on the altar, priests on the right, the Virgin and her attendants on the left. 10. Folios 84v-85r, The Massacre of the Innocents, in a palace, with Herod enthroned on the left below a green canopy, a soldier seizing a baby from its mother 11. Folios 92v-93r, The Flight into Egypt, Joseph leading the donkey to the right through a landscape, with a distant city on a lake. 12. Folios 98v-99r, The Coronation of the Virgin, who kneels before the throne of God as an angel hovers above her. 13. Folios 107v-108r, David in prayer, kneeling before his palace with his harp on the grass before him. 14. Folios 128v-129r, A funeral Mass, a bier in the fore-ground, priests singing on the left, mourners on the right, other priests at an altar behind.
[Bookseller: Henry Sotheran Ltd.] |
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The Knights Hospitaller of the English Langue 1460-1565
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- Used, remainders or ex-library, english-speaking-service, Gebraucht oder Verlagsrestbestand, evtl. aus Bibliotheksbestand, bei mehrbndigen Werken bitten wir um vorherige Anfrage, korrekte Rechnung mit ausgewiesener MwSt., deutschsprachiger Service, 14-Tage-Rckgaberecht
[Bookseller: buxbox] |
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EL UNIVERSO DE LAS FORMAS. Coleccin Fundada y Dirigida por ANDR MALRAUX Y ANDR PARROT.
COLECCIN DE EL UNIVERSO DE LAS FORMAS. 22 VOLMENES. Editorial Aguilar. Madrid, Espaa. Aos 1961 a 1976.
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- 1) Pierre Demargue: Nacimiento del Arte Griego. 2) Andr Grabar: La Edad de Oro de Justiniano. 3) Andr Grabar: El Primer Arte Cristiano. 4) Hubert/Porcher/Volbach: El Imperio Carolingio. 5) Hubert/Porcher/Volbach: La Europa de las Invasiones. 6) Charboneaux/Martin/Villard: Grecia Arcaica. 7) Charboneaux/Martin/Villard: Grecia Clsica. 8) Charboneaux/Martin/Villard: Grecia Helenstica. 9) Ranuccio/Bianchi/Bandinelli: Roma Centro del Poder. 10) Ranuccio/Bianchi/Bandinelli: Roma El Fin Del Arte Antiguo. 11) Chastel: Italia 1460/1500 El Renacimiento Meridional. 12) Chastel: 1460/1500 El Gran Taller. 13) Heydenreich: Italia 1400/1460 Eclosin del Renacimiento. 14) Ludwig/Heydenreich/Gnter/Passavant: Renacimiento Italiano 1500/1540 La Epoca de Los Genios. 15) Grodecki/Mterich/Taralon/Wormald: El Siglo del Ao Mil. 16) Parrot: Sumer. 17) Parrot: Asur. 18) Ghirshman: Persia. Protoiranios. Medos. Acquemenidas. 19) Ghirshman: Iran. Partos y Sasanidas. 20) Parrot/Chehab/Mascati: Los Fenicios. La Expansin Fenicia. Cartago. 21) Guiart: Oceana. 22) Leiris/Delange: Africa Negra. La Creacin Plstica. Los volmenes con encuadernaciones tela original de editor, sobrecubiertas y algunas con sus cajas originales. Muy buen estado. Importante obra y extraordinario conjunto.
[Bookseller: Ernesto Julin Friedenthal] |
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document manuscrit
Comptes du Duc de Bourgogne.
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- Nombre de document : 1 Parchemin Nombre de page : 1 27 x 8 cm 17/10/1460 un petit trou hors texte. Jehan de Melles du Malemaison, bailli de Bonnembercq (?) confesse avoir reu de Pierre Carbonnes trsorier de Boullenois la somme de dix livres. pour les gaiges ac. dudit office.. Document faisant galement tat de comptes envers monseigneur le duc de Bourgogne.
[Bookseller: Traces Ecrites] |
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Europa.-
(Wohl) altkolor. doppelblattgroer Holzschnitt aus Benedetto Bordone's Isolario. Venedig, 1537. 28,5 x 38 cm.
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. . Zeigt die Inselwelt Europas von Norwegen bis Nordafrika und von Spanien bis Griechenland.- Der Kartograph und Graphiker Benedotto Bordone (1460-1531) aus Padua wurde durch seine erstmals 1528 in Venedig herausgegebenen 'Isolare' berhmt, welches zu den frhesten gedruckten kartographischen Werken zhlt (Isolario di Benedetto Bodone Nel qual si ragona di tutte l'isole del mondo, con li lor nomi antichi e moderni, historie, e in qual parte del mare stanno, e in qual parallelo e clima giacono). Es erschienen mehrere Ausgaben (1532, 1534, 1537, 1547).- Verso mit italienischem Text und einer graphischen Darstellung zur Weltkugel.- Teils knapprandig, die schwarze Einfassungslinie im Fusteg fehlt.- .
[Bookseller: Antiquariat Schramm] |
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Pulci Luigi (1432-1484)
Morgante maggiore [], nuovamente stampato et con ogni diligenza revisto et corretto et dal suo vero orginale tradotto et historiato, Venezia, s.n.t., 1537.
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8 (mm 153x107); cc. (192), segnate A-AA8. Vignetta silografica al frontespizio. Testo su due colonne in carattere corsivo. Legatura coeva in pergamena molle. Bell'esemplare, sebbene un poco corto di margini. Provenienza: Thomas Philip, Earl of Gray (ex-libris armori del sec. xix). Edizione rarissima, della quale abbiamo rintracciato tre soli altri esemplari (nessuno in Italia): British Library, Cambridge University Library, Herzog-August-Bibliothek, Wolfenbttel. Naturalmente la fama del Pulci raccomandata soprattutto al Morgante, il poema carolingio-burlesco in ottave che egli intraprese per istigazione di Lucrezia Tornabuoni, madre di Lorenzo. L'inizio va situato per varie ragioni poco oltre il 1460 [...]. Solo nel 1482, anno in cui mor la potente signora, uscirono peraltro le due prime edizioni, entrambe di ventitr cantari, che siano giunte sino a noi, quella stampata dalle monache di Ripoli (presso Firenze) - per la Ageno del 1481 - e quella di Venezia, rappresentante una redazione riveduta; ma un po' pi antica doveva essere l'editio princeps, perduta, com' perduto l'estratto dell'episodio di Margutte. Nel 1483 fu pubblicata a Firenze la prima edizione completa di ventotto cantari, essendone stati aggiunti cinque di ben pi vaste dimensioni. Di qui la vulgata denominazione di Morgante maggiore, mentre il titolo stesso di Morgante dell'edizione di Ripoli assegnato alla vox populi(G. Contini, Letteratura italiana del Quattrocento, Firenze 1976, pp. 353-54). Il Morgante, auctoritas incontrastata di una letteratura popolareggiante che si alimentava della conversazione, improvvisazione e declamazione di taverna e di piazza (C. Dionisotti, Leonardo uomo di lettere, in Id., Appunti su arti e lettere, Milano 1995, p. 37), compare nell'elenco dei propr libri che Leonardo redasse intorno al 1495 (Codice Atlantico, f. 559r ex 210ra).
[Bookseller: Chartaphilus Libri antichi e rari di Gia] |
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EL UNIVERSO DE LAS FORMAS
COLECCIN DE EL UNIVERSO DE LAS FORMAS. 22 VOLMENES. Editorial Aguilar.Madrid/Espaa. Aos 1961 a 1976.
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- 1) Pierre Demargue: Nacimiento del Arte Griego. 2) Andr Grabar: La Edad de Oro de Justiniano. 3) Andr Grabar: El Primer Arte Cristiano. 4) Hubert/Porcher/Volbach: El Imperio Carolingio. 5) Hubert/Porcher/Volbach: La Europa de las Invasiones. 6) Charboneaux/Martin/Villard: Grecia Arcaica. 7) Charboneaux/Martin/Villard: Grecia Clsica. 8) Charboneaux/Martin/Villard: Grecia Helenstica. 9) Ranuccio/Bianchi/Bandinelli: Roma Centro del Poder. 10) Ranuccio/Bianchi/Bandinelli: Roma El Fin Del Arte Antiguo. 11) Chastel: Italia 1460/1500 El Renacimiento Meridional. 12) Chastel: 1460/1500 El Gran Taller. 13) Heydenreich: Italia 1400/1460 Eclosin del Renacimiento. 14) Ludwig/Heydenreich/Gnter/Passavant: Renacimiento Italiano 1500/1540 La Epoca de Los Genios. 15) Grodecki/Mterich/Taralon/Wormald: El Siglo del Ao Mil. 16) Parrot: Sumer. 17) Parrot: Asur. 18) Ghirshman: Persia. Protoiranios. Medos. Acquemenidas. 19) Ghirshman: Iran. Partos y Sasanidas. 20) Parrot/Chehab/Mascati: Los Fenicios. La Expansin Fenicia. Cartago. 21) Guiart: Oceana. 22) Leiris/Delange: Africa Negra. La Creacin Plstica. Los volmenes con encuadernaciones tela original de editor, sobrecubiertas y algunas con sus cajas originales. Muy buen estado.
[Bookseller: Ernesto Julin Friedenthal] |
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Various
OLIO E VINO NELL'ALTO MEDIOEVO, (20-26 aprile 2006)
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- pp.1460, 114 plates. CISAM.MASSIMO MONTANARI, Olio e vino, due indicatori culturali -HENRI BRESC, Mer morte et oliviers perdus. Repli et survie de l’olivaie mditerranenne (IVe-XIIe sicle) - ANDREA BRUGNOLI, Dal Mediterraneo all’Europa: l’olivicoltura di frontiera nell’alto medioevo - MICHEL KAPLAN, La viticulture byzantine (VIIe-XIe sicle) - ALFIO CORTONESI, La vigna nell’Europa mediterranea (secoli VI-XI) - MICHAEL MATHEUS, La viticoltura dell’Europa continentale nell’altomedioevo. Continuit e cambiamento in una prospettiva comparativa - BRUNO ANDREOLLI, Paesaggi della vite e paesaggi dell’olivo nell’Italia dell’alto medioevo - GIAN MARIA VARANINI, Viti e ulivi nei grandi patrimoni monastici - GIANFRANCO PASQUALI, Tecniche e impianti di lavorazione dell’olio e del vino
[Bookseller: Studio Bibliografico Bosazzi] |
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GUAZZO Stefano
LA CIVIL CONVERSATIONE del signor S.G. gentilhuomo di Casale di Monferrato, divisa in quattro libri . nuovamente dall'istesso auttore corretta & in diversi luoghi di molte cose, non meno utili che piacevoli, ampliata. In Vinegia, presso Altobello Salicato, 1586. Alla Libraria della Fortezza.
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In 8picc. (cm. 14,5) cc.4 bb. + cc.20 n.n. + cc.316 numerate al recto + cc. 3 bb. Bel carattere italico. P. perg. seicentesca con ttit. manoscritto al dorso. Tagli spruzzati di rosso. Qualche sporadica sottolineatura coeva. Taglio sup. corto, altrimenti ben conservato. - Adams, vol.I n1460 riporta tre edizione del Salicato (1580, 1584, 1590) con lo stesso numero di carte, ma non la nostra. Olschki, Choix, n1791 per la sola ediz. del 1590.
[Bookseller: Maria Calabr Studio Bibliografico] |
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TOUCHET] RABELAIS-
GARGANTUA, PANTAGRUEL. ILLUSTRE PAR JACQUES TOUCHET EN COULEURS ET EN NOIR ET BLANC.PARIS, EDITIONS DU RAMEAU D'OR, SANS DATE (1950).
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- 5 VOLUMES IN 4 BROCHES SUR VELIN NAVARRE TIRAGE NUMEROTE 1163/1460. MANQUE DE 1 CM EN BAS DU COIN INFERIEUR DU DOS DU PREMIER VOLUME. COINS DES VOLUMES LEGEREMENT FROTTES. INTERIEUR FRAIS.complet en 5 volumes in-4 (26,6 x 21 cm) de V (1) 206 (10) pp. - 171 (5) pp. - 232 (8) pp. - 257 (7) pp. et 190 (10) pp. L"illustration est composee d"un grand nombre de lettrines et dessins dans le texte et 10 H.T. a pleine page par volume, mis en couleurs au pochoir, et protege par une serpente imprimee + une vignette de titre, en couleurs, repetee dans chaque. Soit 50 hors-texte en couleurs, a pleine page, gaiement illsutres. Tirage a 1500 exemplaires, un des 1460 sur beau papier velin Navarre. Relies demi-maroquin rouge brun a cinq nerfs; tete doree; couverture entierement conservee. Les aquarelles a pleine page de Touchet ont ete reproduites par le procede Duval-Beaufume (ctd reproduites au pochoir)
[Bookseller: librairie rousseausauvage] |
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DURIER C.
LE MONT-BLANC.
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- Paris, librairie Fischbacher, sd. In-12 demi-basane bronze (dos clairci, brun), dos nerfs orn de fleurons dors, auteur et titre dors, (XII+416pp). 3 dition avec une carte dpliante in fine des routes du Mont-Blanc. "L'ouvrage de rfrence paru en franais sur le Mont-Blanc; il contient l'histoire de sa conqute, des premires ascensions, des premiers accidents, des voies nouvelles, etc. Cet ouvrage a t publi pour la 1re fois 24 ans aprs celui d'Albert Smith (The story of Mont-Blanc) et 1 an aprs celui de Catelin, alias Stephen d'Arve (Les fastes du Mont-Blanc). Solide, bien document, il les supplanta rapidement", (Perret, 1460). Cet ouvrage a t rdit plusieurs reprises, mais cette premire dition reste rare et recherche. Exemplaire plaisant malgr des rousseurs lies la priode, en reliure du temps.
[Bookseller: LA BOUQUINERIE] |
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VIRGILIUS PUBLIUS MARO
GEORGICA ET AENEIS. "MANOSCRITTO MINIATO SU PERGAMENA, DI MANO DELLO SCRIBA FIORENTINO NICCOLO' DI ANTONIO DI PRADO DERICCI. FIRENZE, 1460-70, VOLUME DI 239 FF. DI FINISSIMA PERGAMENA, VERGATI RECTO E VERSO IN ELEGANTE SCRITTURA MINUSCOLA UMANISTICA, IN INCHIOSTRO BRUNO, MM.273X180, DECORATO DA 2 GRANDI INIZIALI MINIATE CON ESTENSIONI NEI MARGINI, 14 CAPILETTERA SU QUATTRO/CINQUE RIGHE DI ALTEZZA, 15 INIZIALI PIU' PICCOLE, TUTTE DECORATE A BIANCHI GIRARI DI NETTO STILE FIORENTINO, IN VARI COLORI E ORO BRUNITO. IL NOME DELLO SCRIBA APPARE NELLEXPLICIT DEL COLOPHON POSTO ALLA FINE DELLENEIDE LIBER VIRGILII ENEIDUM EXPLICIT. NICOLAUS RICCIUS SPINOSUS VOCATUS SCRIPSIT. CONSERVATO NELLA LEGATURA FIORENTINA STRETTAMENTE COEVA IN CUOIO DECORATO A SECCO SU PIATTI IN ASSICELLE, QUATTRO FERMAGLI IN PELLE E METALLO POSTERIORI. TRE FOGLI DEL CODICE NON SONO ORIGINALI, MANCANTI FURONO ASSAI BENE SOSTITUITI DA COPIE MSS. VERGATE DAL NOTO CALLIGRAFO WILLIAM GRAILY HEWITT NEL 1925. STUPENDO MANOS
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CRITTO UMANISTICO CON ILLUSTRI PROVENIENZE: COLLEZIONI HORNBY E ABBEY. (DESCRIZIONE BIBLIOGRAFICA ESTESA A DISPOSIZIONE). "
[Bookseller: Libreria Antiquaria PREGLIASCO] |
| 34. Check availability: Maremagnum
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A SMALL MINIAT...
TEXT FROM GOSPEL LESSONS.
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Paris, ca. 1460 120 x 85 mm. (4 3/4 x 3 1/2""). Single column 15 lines of text in a fine regular gothic book hand. Attractively matted. Rubrics in red recto with a line filler in gold and colors and a two-line blue initial decorated with white tracery and four sprouting leaves the verso of the leaf with an elaborate quarter panel border featuring animated flowers and other vegetation and many burnished gold ivy leaves on hairline stems the recto with a similar but more lavish three-quarter panel border (and with a vertical bar border of red blue and burnished gold between the text and the border in the fore margin); recto also WITH A SMALL AND EXTREMELY CHARMING MINIATURE (measuring approximately 27 x 30 mm.) OF ST. MARK WITH HIS LION. Top edge of the three-quarter border just very slightly trimmed otherwise IN EXTREMELY FINE CONDITION especially clean bright fresh and smooth. The apostle Mark looks quite monkish in this miniature dressed in midnight blue gown and cloak highlighted in gold his gilded hair in a bowl cut with short bangs framing a full placid face. He flourishes his stylus while his faithful lion sits strong and attentive obviously proud of a magnificent ruff and long tail. The pair inhabit a room with a tessellated green floor that recedes to a maroon tapestry with a gold pattern hung as a backdrop behind them obscuring the lower portions of four windows at the back. The text here is from Mark 16:14 where Jesus appears to the eleven . . . and upbraid[s] them with their unbelief and hardness of heart because they believed not them which had seen him after he was risen. $3200
[Bookseller: Phillip J. Pirages Fine Books & Manuscri] |
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Illuminated Medieval Manuscript Bible Page 1460
1460 Illuminated Medieval Manuscript; An Original Leaf
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South-central France 1460 - 1460 Illuminated Medieval Manuscript Bible page leaf Medieval Book Of Hours. ca.1460. This leaf was salvaged from a fragment of prayers from a Book of Hours made in South-central France (Anjou?), ca. 1460. 13 lines written in Latin, on Vellum, in a gothic liturgical hand. [4 7/8" x 3 "] Before moveable type, books were tediously but carefully written by hand, and such manuscripts were a product of the joint labors of more than scribes, but included vellum makers, painters, illuminators, and booksellers. From the evenly scrape calves’, goats’, or sheep skins in preparing the vellum for the gold, inks, and paint; to the leather work and binding of the pages; workshops existed to coordinate the complex work required to create such a valuable prize as a Book of Hours. A devotional codex could easily cost as much as a house (and at auction, more elaborate ones still do), but was worth the cost to the status. Accompanied with certificate of Authenticity from the Christian Heritage Museum, [Attributes: First Edition; Soft Cover]
[Bookseller: Christian Heritage Museum] |
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Clark, G
Made in Flanders: The Master of the Ghent Privileges and Manuscript Painting in the Time of Philip the Good
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Brepols Publishers. Hardcover. 2503508782 The artist known as the Master of the Ghent Privileges was first formerly identifed as such by Friedrich Winkler in his seminal work Die Flämische Buchmalerei, based on a richly decorated copy of the statutes and privileges of Ghent and Flanders made for Philip the Good, duke of Burgundy. Clark hopes to demonstrate that the majority of the works ascribed to the Privileges Master were produced by two allied ateliers under his direction, and that he was succeeded by a second illuminator, the Ghent Gradual Master, who directed the workshops in Ghent and Tournai from c.1460-1475. In support of these arguments the author examines the stylistics, liturgical use, and provenance of the miniatures: the result is a thorough and convincing study of the importance of maintaining artistic tradition in the face of innovation in the Burgundian Netherlands. 499p, 24 col pls, 234 b/w pls, b/w figs & illus (Brepols 2000). 9782503508788. Hardback . New. 2000-01-01.
[Bookseller: The David Brown Book Company] |
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH AN EXCELLENT M...
TEXT FROM THE OPENING OF PRIME.
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Paris, ca. 1460 120 x 85 mm. (4 3/4 x 3 1/2""). Single column three lines of text on recto 15 on verso in a fine regular gothic book hand. Attractively matted. Rubrics in red verso with one two-line and five one-line initials as well as four line fillers all in colors and burnished gold the same side with a swirling quarter panel border featuring flowers acanthus and other vegetation and many burnished gold ivy leaves on hairline stems the recto with a large three-line D in blue and white with enclosed scrolling flowered stems the whole on a burnished gold ground; the recto WITH A FULL INHABITED BORDER featuring lush acanthus and other fruits and vegetation as well as two large birds with fluttering wings the border FRAMING A LOVELY ARCH-TOPPED ILLUMINATED MINIATURE OF THE NATIVITY (measuring approximately 65 x 44 mm.) the scene showing the Virgin and her husband kneeling in the foreground flanking the Christ Child who radiates gold holiness on the ground (and kicks the bottom of his mother's cloak perhaps being a little cold in his nakedness) two shepherds in the background and in the distance a conical green hill and two towers flanked by tiny peaked roofs. IN REMARKABLE CONDITION the paint and gold entirely intact and the vellum quite clean and fresh. The blonde Virgin with a delicate and lovely face kneels at a corner of the manger dressed in pink and blue hands joined in adoration of her babe with an elderly tonsured Joseph in attendance (though obviously in a subordinate position); the heads of the (atypically) recumbent cow and donkey peek out from behind the parents. The golden rays emitted by the wriggling Christ Child here reflect a convention that artists began to incorporate into the Nativity after the 14th century mystic Bridget of Sweden had visualized the newborn Christ radiating light. In the background are the two shepherds on either side of a wattle fence one craning up his head the gold light of the star shining down on his face. The figure of the Virgin is excellently rendered with deft strokes suggesting the sweetness of her face and the tenderness of her feelings. Most important and most successful from the standpoint of the artist's decisions mother and child are shown here in a bright clear light while everything else in the scene is set back and depicted in more sombre tones. In any Book of Hours and especially within the Hours of the Virgin the focus is on the Blessed Mother as the object of reverence and source of human assistance and that fact is never more clear than in this miniature. $6000
[Bookseller: Phillip J. Pirages Fine Books & Manuscri] |
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TOUCHET] RABELAIS-
GARGANTUA, PANTAGRUEL. ILLUSTRE PAR JACQUES TOUCHET EN COULEURS ET EN NOIR ET BLANC.PARIS, EDITIONS DU RAMEAU D'OR, SANS DATE (1950).
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- 5 VOLUMES IN 4 BROCHES SUR VELIN NAVARRE TIRAGE NUMEROTE 1163/1460. MANQUE DE 1 CM EN BAS DU COIN INFERIEUR DU DOS DU PREMIER VOLUME. COINS DES VOLUMES LEGEREMENT FROTTES. INTERIEUR FRAIS.complet en 5 volumes in-4 (26,6 x 21 cm) de V (1) 206 (10) pp. - 171 (5) pp. - 232 (8) pp. - 257 (7) pp. et 190 (10) pp. L"illustration est composee d"un grand nombre de lettrines et dessins dans le texte et 10 H.T. a pleine page par volume, mis en couleurs au pochoir, et protege par une serpente imprimee + une vignette de titre, en couleurs, repetee dans chaque. Soit 50 hors-texte en couleurs, a pleine page, gaiement illsutres. Tirage a 1500 exemplaires, un des 1460 sur beau papier velin Navarre. Relies demi-maroquin rouge brun a cinq nerfs; tete doree; couverture entierement conservee. Les aquarelles a pleine page de Touchet ont ete reproduites par le procede Duval-Beaufume (ctd reproduites au pochoir)
[Bookseller: librairie rousseausauvage] |
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Feliciano, Felice; Mardersteig, Giovanni [ed.] (Boothroyd, R H [tr.])
Alphabetum Romanum. Limited Edition
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Verona Editiones Officinae Bodoni. Brown Morocco backed boards with decorated slipcase VG : in very good condition with protective clear view cover and decorated slip case. Teg 286/400 138pp :: Heliogravure plates and 25 hand coloured letters :: 230mm x 160mm (9" x 6") :: Felice Feliciano's Alphabetum is dated from around 1460 and is of considerable importance in the history of lettering. Volume includes an outline of the Feliciano's life and recipes for making coloured inks English.
[Bookseller: Barter Books] |
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Various
OLIO E VINO NELL'ALTO MEDIOEVO, (20-26 aprile 2006)
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- pp.1460, 114 plates. CISAM.MASSIMO MONTANARI, Olio e vino, due indicatori culturali -HENRI BRESC, Mer morte et oliviers perdus. Repli et survie de l’olivaie mditerranenne (IVe-XIIe sicle) - ANDREA BRUGNOLI, Dal Mediterraneo all’Europa: l’olivicoltura di frontiera nell’alto medioevo - MICHEL KAPLAN, La viticulture byzantine (VIIe-XIe sicle) - ALFIO CORTONESI, La vigna nell’Europa mediterranea (secoli VI-XI) - MICHAEL MATHEUS, La viticoltura dell’Europa continentale nell’altomedioevo. Continuit e cambiamento in una prospettiva comparativa - BRUNO ANDREOLLI, Paesaggi della vite e paesaggi dell’olivo nell’Italia dell’alto medioevo - GIAN MARIA VARANINI, Viti e ulivi nei grandi patrimoni monastici - GIANFRANCO PASQUALI, Tecniche e impianti di lavorazione dell’olio e del vino
[Bookseller: Studio Bibliografico Bosazzi] |
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ESPECIALLY PRETTY ILLUMINATED VELLUM MANUSCRIPT LEAVES FROM A BOOK OF HOURS IN LATIN.
CALENDAR LEAVES.
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Paris, ca. 1460 - Single column 17 lines of text in a fine regular gothic book hand. Calendar entries in blue red and thick burnished gold line fillers of the same design recto with a two-line KL (Kalends) in colors and burnished gold and with marginal extension in the form of gilt ivy leaves and EACH LEAF WITH A FINE SWIRLING QUARTER PANEL BORDER ON BOTH SIDES featuring flowers leaves strawberries and many burnished gold ivy leaves on hairline stems. The panel borders at the fore edge of half the leaves just slightly trimmed otherwise in EXCEPTIONALLY FINE CONDITION with the paint and gold bright fresh and entirely intact. These calendar leaves come from the same manuscript as the group of leaves described in the previous entry. $425 - 450 (depending on condition) [Attributes: Hard Cover]
[Bookseller: Phillip J. Pirages Rare Books (ABAA)] |
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Gerard David
LIBER HORARUM OF GERARD DAVID (Fine Facsimile Illuminated Edition of the 16th C. )
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Testimonio, Madrid - This small Book of Hours is relatively unknown but is nevertheless of some importance since it contains 15 full-page illuminations attributed to the Flemish master Gerard David (1460-1523). The most beautiful is the Virgin with Child at the beginning of the manuscript; this miniature has the same characteristics of altar pieces of the period and is attributed to David himself. Other illuminations also resemble altar pieces but include reproductions of other miniatures, based on designs by other distinguished illuminators of the Bruges school, such as the Master of the Dresden Book of Hours and the Master of Edward IV of England. The rest of the illuminations give a unique glimpse of the working methods of the Flemish illuminators. Conserved in the Escorial Library, this Book of Hours is also of especial importance because it is one of a very small number of dated books of hours from the Ghent-Bruges school. Towards the end of manuscript, a page bearing the date 1486 in the margin surrounding a miniature of St Lazarus, identifies this as one of the earliest productions of David's period in Bruges, which dates from 1484. . New; COLUMBUS COPY BOOKMadrid 1989 This manuscript was discovered only recently and was purchased by the state for the Indies Archive Seville; its 38 folios measuring 230 x 330 mm. Include 6 narrative and 2 personal letters to the Catholic Monarchs. The firs letter, "written at sea" is dated 1493 and is therefore one of the oldest documents in the history of America. The facsimile measures approxymately 33 x 23 cm. The two accompanying volumes contain a study, transcription and notes by Pofessor Antonio Romeu de Armas, Director of the Royal Spanish Academy of History. Limited international edition of 980 numbered certified copies; edition reserved for Spain out of print. [Attributes: Hard Cover]
[Bookseller: New Boston Fine and Rare Books] |
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A SMALL MINIATURE OF ST. MATTHEW FROM A BOOK OF HOURS IN LATIN.
TEXT FROM GOSPEL LESSONS.
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Paris, ca. 1460 - Single column 15 lines of text in a fine regular gothic book hand. Attractively matted. Rubrics in red recto with a line filler in colors and gold and a two-line blue capital decorated with charming blue and scarlet flowers on delicate white tendrils the whole on a burnished gold ground the verso of the leaf with an elaborate quarter panel border featuring acanthus leaves flowers and other vegetation and many burnished gold ivy leaves on hairline stems the recto with a simliar but more lavish three-quarter panel border (and with a vertical bar border of red blue and burnished gold between the text and the border in the fore margin); the recto also WITH A SMALL AND EXTREMELY CHARMING MINIATURE (measuring approximately 27 x 29 mm.) OF ST. MATTHEW. Half of the very top of the three-quarter border ever so slightly trimmed otherwise IN VIRTUALLY FAULTLESS CONDITION especially bright and fresh with the paint and gold entirely intact. This scene shows a golden-haired St. Matthew in the foreground accompanied by his symbolic angel with star-spangled wings further back on the right. The pair inhabit a room with a tessellated green floor that pulls us backward in space to a maroon screen embellished with gold partially obscuring three windows the whole beneath a wood plank ceiling. The artist has been particularly lavish here in depicting the garments with the Evangelist wearing a pink gown and a voluminous blue cloak highlighted by angular gold folds and the angel in a matching blue cloak with a gold border and massive circular gold clasp beneath which shows his simple white gown. The text here tells the story of the Three Wise Men.
[Bookseller: Phillip J. Pirages Rare Books (ABAA)] |
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HEURES A' L'USAGE DE ROME -
LIBRO D'ORE in latino su pergamena, manoscritto miniato.
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"(Fiandre, Bruges, circa 1460), in-8 (mm 199x140), ff.108 in pergamena e 4 ff. cartacei in bianco. Completo, salvo 2 ff di solo testo tagliati e asportati dall'ultima segnatura. Legatura moderna in stile medioevale in piena pelle su assicelle, decorata a secco, angoli in metallo ai piatti. Fogli rubricati in rosso, capilettera in oro brunito, fregi in rosso, blu e oro. Illustrato da 19 grandi miniature a piena pagina entro elaborate finissime bordure con decorazioni vegetali; altre 16 piccole miniature con simili bordure su tre quarti di pagina. (I due fogli asportati nella segnatura finale contenevano probabilmente la miniatura dei Salmi Penitenziali). Codice medioevale di ottima scuola pittorica e assai ricco di decorazioni e scene bibliche di notevole freschezza, tipiche della met del XV secolo nelle Fiandre (probabilmente del Master of Beady Eyes attivo a Bruges in quagli anni). Complessivamente il codice in ottimo stato in bella legatura di imitazione antica. Written in a gothic bookhand between two verticals and 21 horizontals ruled in mauve, justification: 106 x 70mm, rubrics in red, text capitals touched red, one-line initials alternately in burnished gold flourished with black or in blue flourished with red, two-line initials in burnished gold on grounds and infills of pink and blue with white decoration, line-endings in red and blue with burnished gold, 19 large miniatures with full-page borders, the miniatures above four-line initials with staves of pink or blue on burnished gold grounds with foliate infills, both enclosed by bar-borders of burnished gold and pink, with full borders of scrolling blue, red and gold acanthus and sprays of naturalistic flowers interspersed with gold disks on hairline tendrils, 16 small miniatures with similar three-quarter borders (bifolium removed, probably with miniature for Penitential Psalms, stubs of paper endleaves visible at first and final gatherings, slight marginal browning to f.70, vellum repair touching border of f.21, a few small wormholes to margin of final few leaves). 20th-century medieval-style binding, blind-stamped leather over wooden boards with metal cornerpieces. The stylistic features of the miniatures and densely-filled borders place this Hours within the tradition of the Master of the Beady Eyes. Named after his distinctive linear manner of indicating eyes, the Maitre des yeux brids, followed the style of the Masters of the Gold Scrolls who dominated manuscript illumination in Bruges from the 1410s to the 1450s. The miniatures here feature decorative, formulaic backgrounds, with chequered floors, silvered windows, textile hangings, or simple landscapes with small rounded trees; the distinctive palette includes strong reds and blues and there is a preoccupation with detail, in the depiction of minutiae, such as book bindings, fur-edged hats, and the patterned or ermine edging of garments. The stylistic vocabulary is very similar to the historiated initials which illustrate the suffrages in an Hours in the Bibliothque du Sminaire, Tournai (Cod. 15) illuminated by a member of the Beady Eyes group. The present manuscript is distinguished by its rich programme of illumination, with nineteen large and sixteen small miniatures. BOOK OF HOURS, in Latin, use of Rome, ILLUMINATED MANUSCRIPT ON VELLUM[Flanders, possibly Bruges, c.1460]199 x 140mm. 108 leaves (+ iv paper flyleaves): 16, 2-98, 106(of 8, iv & v excised), 11-148, 20 lines in black ink written in a gothic bookhand between two verticals and 21 horizontals ruled in mauve, justification: 106 x 70mm, rubrics in red, text capitals touched red, one-line initials alternately in burnished gold flourished with black or in blue flourished with red, two-line initials in burnished gold on grounds and infills of pink and blue with white decoration, line-endings in red and blue with burnished gold, NINETEEN LARGE MINIATURES WITH FULL-PAGE BORDERS, the miniatures above four-line initials with staves of pink or blue on burnished gold grounds with foliate infills, both enclosed by bar-borders of burnished gold and pink, with full borders of scrolling blue, red and gold acanthus and sprays of naturalistic flowers interspersed with gold disks on hairline tendrils, SIXTEEN SMALL MINIATURES with similar three-quarter borders (bifolium removed, probably with miniature for Penitential Psalms, stubs of paper endleaves visible at first and final gatherings, slight marginal browning to f.70, vellum repair touching border of f.21, a few small wormholes to margin of final few leaves). 20th-century medieval-style binding, blind-stamped leather over wooden boards with metal cornerpieces. PROVENANCE:1. Both the sparsely filled calendar and the litany contain saints revered in the southern Netherlands with no specific indication for area of use (although Vindicianus (15 November) and Gaudentius (7 May) seem uncommon). The Hours of the Virgin and the Office of the Dead are for use of Rome, however the suffrages, which include Victor and Anthony of Padua suggest that their selection was the choice of the patron who commissioned this elaborately illuminated hours. The style of illumination and unusual sequence of texts links this Hours to a number of manuscripts illuminated in Flanders, possibly Bruges.2. Edwige Lse Guyot (armorial bookplate pasted inside upper cover, dated 1942) CONTENT:Calendar ff.1-6, Gospel extracts ff.7-10v, Short Hours of the Cross ff.11-14; Short Hours of the Holy Spirit ff.14v-17; Mass of the Virgin ff.17v-20v; Obsecro te ff.21-23; O intemerata ff.23v-24v; Suffrages: to Sts John f.25, Peter f.25v, Paul f.26, John apostle f.26v, Andrew f.27, James f.27v, Stephen f.28, Lawrence f.28v, Vincent f.29, Victor f.29v, Anthony of Padua f.30, Agatha f.30v, Barbara f.31, Margaret f.31v, Mary Magdalen f.32, Anna f.32v; Hours of the Virgin, use of Rome, ff.33-69: matins f.33, lauds f.44, prime f.51, terce f.54, sext f.57, none f.59v, vespers f.62, compline f.66v, followed by Salutation to the Virgin, Salve regina misericordie f.69v; Advent Office of the Virgin ff.70-73v, lacking end; Seven Penitential Psalms, lacking opening, beginning at verse 7 of 2nd Psalm, Litany, ff.74-84; Office of the Dead, use of Rome ff.84v-108.ILLUMINATION:The stylistic features of the miniatures and densely-filled borders place this Hours within the tradition of the Masters of the Beady Eyes. Named after his distinctive linear manner of indicating eyes, the Master of the Beady Eyes, or Maitre des yeux brids, followed the style of the Masters of the Gold Scrolls who dominated manuscript illumination in Bruges from the 1410s to the 1450s. The miniatures here feature decorative, formulaic backgrounds, with chequered floors, silvered windows, textile hangings, or simple landscapes with small rounded trees; the distinctive palette includes strong reds and blues and there is a preoccupation with detail, in the depiction of minutiae, such as book bindings, fur-edged hats, and the patterned or ermine edging of garments. The stylistic vocabulary is very similar to the historiated initials which illustrate the suffrages in an Hours in the Bibliothque du Sminaire, Tournai (Cod. 15) illuminated by a member of the Beady Eyes group. Like the present Hours, it is also for general Rome use and contains a similar and unusual sequence of texts (see Dominique Vanwijnsberghe's discussion on this manuscript and the Beady Eyes group in the forthcoming catalogue of the library, Sminaire de Tournai, Historire - Batiments - Collections). The present manuscript is distinguished by its rich programme of illumination, with nineteen large and sixteen small miniatures. The subjects of the large miniatures are as follows:f.7 St John on Patmos, seated, with eagle f.8 St Luke writing, seated, with winged oxf.9 St Matthew writing at a desk, with angelf.10 St Mark writing at a lectern, with winged lionf.11 Crucifixionf.14v Pentecostf.17v Virgin and Child, the Virgin seated on a cushion before cloth of honour, angel to the left f.21 Virgin and child in a garden, with angel to the left f.23v Pietf.33 Annunciationf.44 Visitationf.51 Nativityf.54 Annunciation to the Shepherdsf.57 Adoration of the Magif.59v Presentation in the Templef.62 Massacre of the Innocentsf.66v Flight into Egyptf.70 Coronation of the Virginf.84v Funeral ServiceThe subjects of the small miniatures are Sts John the Baptist f.25, Peter f.25v, Paul f.26, John f.26v, Andrew f.27, James f.27v, Stephen f.28, Lawrence f.28v, Vincent f.29, Victor f.29v, Anthony of Padua f.30, Agatha f.30v, Barbara f.31, Margaret f.31v, Mary Magdalen f.32, Anna f.32v. "
[Bookseller: Libreria Antiquaria Pregliasco s.a.s. di] |
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AN ILLUMINATED MANUSCRIPT LEAF WITH A SMALL MINIATURE DEPICTING THE TRINITY FROM A BOOK OF HOURS IN LATIN.
TEXT FROM THE SUFFRAGES.
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Paris, ca. 1460 - Single column 15 lines of text on verso 12 lines on recto in a fine regular gothic book hand. Attractively matted. Rubrics in red recto with one one-line initial as well as two line fillers all in colors and burnished gold the same side with a swirling quarter panel border featuring flowers leaves strawberries and many burnished gold ivy leaves on hairline stems; the verso with a three-quarter panel border of similar design though more lavish (and with a vertical bar border of red blue and burnished gold between the text and the border in the fore margin); the same side of the leaf with two handsome two-line initials in several colors and burnished gold and WITH A SMALL EXTREMELY CHARMING MINIATURE OF THE TRINITY shown in a contemporary interior (the miniature measuring approximately 25 x 32 mm.) the scene showing Christ and God the Father seated on a bench Christ in blue carrying a cross over his shoulder God the Father in blue and red robes and a triple tiara the dove of the Holy Spirit radiating golden rays between them the scene set in a room with a tessellated green floor a wooden plank ceiling and a red tapestry screen elaborately decorated in gold located behind the figures and partially obscuring five windows at the back. IN FAULTLESS CONDITION--with excellent margins and with vellum paint and gold fresh clean and bright. The artist has chosen to place the Trinity in a contemporary room such as the owner of a 15th century Book of Hours might inhabit rather than in a more exalted celestial environment. At the very least we might expect a throne rather than a humble bench but this ordinary setting would remind the reader that the Trinity is always and everywhere present. The connection between faith and scripture is emphasized here by the fact that a book (probably a Bible or Book of Hours) is opened on the bench between God the Father and God the Son and both of them gesture toward it.
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A STRIKING MIN...
TEXT FROM THE OPENING OF COMPLINE.
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Paris, ca. 1460 120 x 85 mm. (4 3/4 x 3 1/2""). Single column three lines of text on verso 13 lineson recto in a fine regular gothic book hand. Attractively matted. Rubrics in red recto with one two-line and two one-line initials as well as four line fillers all in colors and burnished gold the same side with a swirling quarter panel border featuring flowers leaves strawberries and many burnished gold ivy leaves on hairline stems the verso with a large three-line C in blue and white with enclosed scrolling flowered stems the whole on a burnished gold ground; the verso WITH A FULL INHABITED BORDER featuring much acanthus and other vegetation and fruit as well as a green bird fluttering its wings and a charming pink snail the border FRAMING A RICHLY DETAILED AND VERY IMPRESSIVE ARCH-TOPPED ILLUMINATED MINIATURE OF THE CORONATION OF THE VIRGIN (measuring approximately 65 x 42 mm.) the scene showing the Virgin in blue kneeling before an elaborate gold throne on which sits God the Father clad in pink majestically bearded and crowned holding an orb and blessing the Virgin over whose head a yellow-winged angel suspends a golden crown while in the background a cluster of fiery seraphim peek over the throne. Trivial losses of white paint in the angel's clothing and God's crown otherwise in remarkably fine condition both the miniature and border clean fresh and bright. As is typical of the 15th century the Virgin is no longer shown as the proud queen of heaven but on her knees head bowed and eyes modestly cast down as she receives the crown from above. The artist has deftly managed to portray the beauty and mildness of her face while depicting God with sunken cheeks and a solemn expression. Blue clouds support the Virgin as she kneels and the celestial setting of the scene is reinforced by the seraphim glowing like hot coals behind the throne. In an inventive departure here God the Father sits far to one side of his throne leaving a large empty space for Mary to occupy once she has risen to join him. $7500
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Candidus, Petrus:
Das Tierbuch Des Petrus Candidus Codex Urbinus Latinus 276.
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- Geschrieben 1460, Illuminiert im 16. Jahrhundert. Faksimilie der Handschrift v. 1460, 2 Bnde (Vollfaksimile u. Kommentar- bzw. Einfhrungsband) in Kassette. Zrich, Belser Verlag, 1984. III Bll., 232 Bll., 2 nn. Bll. mit 469 kolorierten Tierdarstellungen (Faksimile) ; 213 Seiten mit 31 teils ganzseitigen Abbildungen (Einfhrungsband). 4 (27,5x29cm) Faksimile & Einfhrungsbd. und Folio (37x26cm) die Kassette. Rotbrauner Orig.-Ganzlederbd. auf Holzdeckeln ber 4 Bnden, mit reicher Rckenvergoldung, Deckel mit Goldfilete gerahmt, sowie mit reicher floraler u. ornamentaler Vergoldung, dreiseitiger Goldschnitt (Faksimile). Grner Orig.-Ganzleinenbd. mit goldgeprgtem Rckentitel (Einfhrungsband). Grnes Orig.-Ganzleinen mit goldgeprgtem Rckentitel, montiertem Titelschild auf dem Vorderdeckel und Schlieband (Kassette). Handnummeriertes Exemplar, hier die Nr.47 von 600 nummerierten Exemplaren fr den deutschsprachigen Raum (Gesamt 2460). Der Text des Einfhrungsbandes ist von Cynthia M. Pyle. Wundervolles und prchtig ausgestattetes Faksimile eines der wertvollsten zoologischen Manuskripte aus der Biblioteca Apostolica Vaticana. Sehr gutes, verlagsfrisches Exemplar.
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH AN EXCELLENT MINIATURE OF THE NATIVITY FROM A BOOK OF HOURS IN LATIN.
TEXT FROM THE OPENING OF PRIME.
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Paris, ca. 1460 - Single column three lines of text on recto 15 on verso in a fine regular gothic book hand. Attractively matted. Rubrics in red verso with one two-line and five one-line initials as well as four line fillers all in colors and burnished gold the same side with a swirling quarter panel border featuring flowers acanthus and other vegetation and many burnished gold ivy leaves on hairline stems the recto with a large three-line D in blue and white with enclosed scrolling flowered stems the whole on a burnished gold ground; the recto WITH A FULL INHABITED BORDER featuring lush acanthus and other fruits and vegetation as well as two large birds with fluttering wings the border FRAMING A LOVELY ARCH-TOPPED ILLUMINATED MINIATURE OF THE NATIVITY (measuring approximately 65 x 44 mm.) the scene showing the Virgin and her husband kneeling in the foreground flanking the Christ Child who radiates gold holiness on the ground (and kicks the bottom of his mother's cloak perhaps being a little cold in his nakedness) two shepherds in the background and in the distance a conical green hill and two towers flanked by tiny peaked roofs. IN REMARKABLE CONDITION the paint and gold entirely intact and the vellum quite clean and fresh. The blonde Virgin with a delicate and lovely face kneels at a corner of the manger dressed in pink and blue hands joined in adoration of her babe with an elderly tonsured Joseph in attendance (though obviously in a subordinate position); the heads of the (atypically) recumbent cow and donkey peek out from behind the parents. The golden rays emitted by the wriggling Christ Child here reflect a convention that artists began to incorporate into the Nativity after the 14th century mystic Bridget of Sweden had visualized the newborn Christ radiating light. In the background are the two shepherds on either side of a wattle fence one craning up his head the gold light of the star shining down on his face. The figure of the Virgin is excellently rendered with deft strokes suggesting the sweetness of her face and the tenderness of her feelings. Most important and most successful from the standpoint of the artist's decisions mother and child are shown here in a bright clear light while everything else in the scene is set back and depicted in more sombre tones. In any Book of Hours and especially within the Hours of the Virgin the focus is on the Blessed Mother as the object of reverence and source of human assistance and that fact is never more clear than in this miniature.
[Bookseller: Phillip J. Pirages Rare Books (ABAA)] |
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A SMALL MINIAT...
TEXT FROM GOSPEL LESSONS.
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Paris, ca. 1460 120 x 85 mm. (4 3/4 x 3 1/2""). Single column 15 lines of text in a fine regular gothic book hand. Attractively matted. Rubrics in red verso with two line fillers in colors and gold as well as a two-line burnished gold initial on a pink and maroon ground with white tracery the capital decorated with a graceful blue tendril bearing two orange and white flowers recto of the leaf with an elaborate vertical panel border in the fore margin featuring animated flowers and other vegetation and many burnished gold ivy leaves on hairline stems verso with a similar (though more lush) panel border (and with a vertical bar border of red blue and burnished gold next to it) the border on the verso extending across the full length of the head and tail margins as well; verso also WITH A CHARMING MINIATURE (measuring approximately 26 x 31 mm.) OF ST. LUKE. A vague hint of marginal creasing top margin very small (though nothing cut into) a very minor loss of paint from the wall behind the saint otherwise in virtually faultless condition very bright clean and fresh. The considerable charm of this miniature lies in the rapport conveyed by the artist between St. Luke and his symbol a golden bull. Both are in a room the floor of a light and dark green tessellated pattern suggesting depth the windows at the back partially obscured by a red tapestry screen decorated with an intricate gold design. A thoughtful Luke dressed in voluminous blue robes with gilded folds writes on the long scroll unfolded over his knees while the ox his hindquarters cut off by the miniature's frame sits comfortably on the floor his forelegs folded under his breast watching and smiling in approval. A particularly interesting feature of the room is that the triangular wall space in which two windows are set appears to be in an attic and a wood-planked ceiling fills the two upper corners. The text relates the story of the annunciation to the Virgin. $3500
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PRONNE
on the Somme, 30 miles east of Amiens) Interesting and varied Archive of papers in French,
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- revealing a rich picture of this ancient town in Picardy, apparently assembled by members of the families of Dehaussy de Robcourt and Eudel, lawyers and administrators, and chosen to illustrate various aspects of life there and in the wider Bailliage of Pronne. The oldest are three leaves from the town’s records of 1460-1463, one concerned with placing a patient in the town’s leper hospital. 18th c. legal memoranda include a detailed inventory for probate and sale, with valuations, prices realised, buyers and their occupations; the case of a farmer against his son-in-law for theft of crops and equipment with violence; an order against a notary to maintain his natural son; applications to farm certain lands belonging to the Town’s hospital; a tax case, and a will. Other documents show how public office was regarded as a chattel that could be bequeathed, on suitable payments to the revenue, and how the government charged the holder for an increase in the office’s value. The pedigree of the new Marquis de Feuquires includes an ancestor killed at Agincourt. On the eve of the revolution, the Three Estates are summoned to prepare their grievances and elect deputies to assemble at Versailles; the Jacobin Club of Paris sends a circular letter protesting at a move by Talleyrand and others, which had particular consequences for the clergy at Pronne; and Dehaussy has to get a 4-side identity document. The revolution also brought in equal inheritance by children. In family letters, M. Eudel describes how his attempt to help his brother-in-law to get round the new rule, and exactions by a revolutionary tribunal, all but caused his ruin. Other pieces include a travelling dentist’s advertisement (c. 1780), the setting up of a vaccination committee (1804), and a call-up notice to defend the town in 1870. Altogether the many names and family relations, and the legal and economic details, are a valuable source for the local historian, and may be followed up in Jules Dournel, Histoire Gnral de Pronne (1879) and Les Mayeurs de Pronne: leurs familles et leurs descendants (1896), also Abb Paul de Cagny, Histoire de l’Arrondissement de Pronne, 2 vols., 1869, which has a note on the measures of Pronne that occur in these documents. Together 30 items or groups of items, about 176 sides in various sizes, with a checklist, 1460 - 1895, CHECKLIST 1. 3 leaves from the minutes of the Mayor and Jurs (sworn men, chevins) of Pronne: 1(a) Tuesday 8th July 1460. Present: Jean Pestel, licenci en droit, mayor (side 1, line 6). On proof that Jean de Cremollu, freeman of the town, son of Fursy, has contracted leprosy, he is assigned to the care of the brothers at the Maison de Sant, and is taken there the same day, accompanied by some friends via the barrier at the Porte Robin. Jean Pestel, mayor 1458-1460, 1463-1465 and 1467-1470, led important negotiations with Louis XI, particularly in 1477 when the Somme towns, so long claimed by, or rented from, Burgundy, became indisputably French. Mentioned also: Simon de Herleville, prebend and chaplain at St Leduc (side 2, line 7). 1(b) Thursday 16th December 1462. Present: Jean Desconchy, licenci en lois et en droit, mayor (side 3 line 16), and several named jurs, including Roger le Boulanger, who also appears (side 4, line 8) in connection with some corn belonging to the town (side 4 line 6). 1(c) Tuesday 21st June 1463. Present: Jean Desconchy, mayor (side 5, line 3), and several named jurs. Actions taken following various requests. Together 6 sides 12" x 8", 8th July 1460 - 21st June 1463, sides 5 & 6 have a tear mended with old paper without loss, also about ten lines lack a few letters at beginning or end. Desconchy or de Conchy was elected mayor 12 times between 1450 and 1478. 2. Single leaf from the arrangements for the Sieur d’Happencourt to pay over certain rents to the damoiselles Marcelet and Dodaucourt (their married names) and their husbands, totalling 2397 livres 10s 4d, the first payment [Attributes: Soft Cover]
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A FINE MINIATURE DEPICTING A BURIAL SCENE FROM A BOOK OF HOURS IN LATIN.
TEXT FROM THE OPENING OF THE OFFICE OF THE DEAD.
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Paris, ca. 1460 - Single column four lines of text on recto 15 on verso in a fine regular gothic book hand. Attractively matted. Rubrics in red verso with five one-line initials as well as three line fillers all in colors and burnished gold the same side with a swirling quarter panel border featuring flowers leaves strawberries and many burnished gold ivy leaves on hairline stems the recto with a large three-line D in blue and white with enclosed scrolling flowered stems the whole on a burnished gold ground; the recto WITH A FULL INHABITED BORDER featuring much acanthus other vegetation and fruit as well as two birds with raised wings the border FRAMING A RICHLY DETAILED ARCH-TOPPED ILLUMINATED MINIATURE OF A BURIAL (measuring approximately 65 x 42 mm.) the scene showing a thin shrouded corpse being lowered into a grave by two sturdy gravediggers a priest in a blue cloak ornamented with a gold fleur-de-lys sprinkling holy water with a golden aspergillum on the left a white-gowned monk with a sorrowful face in attendance behind these figures (on the right) a large crowd of mourners the two foremost draped and hooded in velvety black and (on the left) a pretty white gothic church replete with architectural detail including a sparkling gold roof the tree behind it and the bright blue sky above dotted with gold. Minor losses of paint from the white portions of the garments of the priest and monk otherwise very fine with good margins bright paint and gold and smooth fresh vellum. Apart from those relatively few copies with illustrated calendars the miniatures found in Books of Hours are almost entirely devoted to retrospective Bible scenes that are obviously outside the experience of the illuminator; it is only in the present kind of funeral scene at the beginning of the Office of the Dead that we can see a contemporaneous rendering of a scene from the daily life of the Middle Ages. More often than not this scene is set indoors and the constraints placed on the artist as a result are significant often making for a depiction that contains little more than a draped coffin and perfunctory mourners (who were as a matter of historical fact frequently professionals with no connection to the deceased). Here we see a much more dynamic scene where the artist has an opportunity to present a more imaginative narrative. The result--with considerable detail and movement as well as an expansive feeling of space--is very satisfying.
[Bookseller: Phillip J. Pirages Rare Books (ABAA)] |
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TOUCHET] RABELAIS-
GARGANTUA, PANTAGRUEL. ILLUSTRE PAR JACQUES TOUCHET EN COULEURS ET EN NOIR ET BLANC.PARIS, EDITIONS DU RAMEAU D'OR, SANS DATE (1950).
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- 5 VOLUMES IN 4 BROCHES SUR VELIN NAVARRE TIRAGE NUMEROTE 1163/1460. MANQUE DE 1 CM EN BAS DU COIN INFERIEUR DU DOS DU PREMIER VOLUME. COINS DES VOLUMES LEGEREMENT FROTTES. INTERIEUR FRAIS.complet en 5 volumes in-4 (26,6 x 21 cm) de V (1) 206 (10) pp. - 171 (5) pp. - 232 (8) pp. - 257 (7) pp. et 190 (10) pp. L"illustration est composee d"un grand nombre de lettrines et dessins dans le texte et 10 H.T. a pleine page par volume, mis en couleurs au pochoir, et protege par une serpente imprimee + une vignette de titre, en couleurs, repetee dans chaque. Soit 50 hors-texte en couleurs, a pleine page, gaiement illsutres. Tirage a 1500 exemplaires, un des 1460 sur beau papier velin Navarre. Relies demi-maroquin rouge brun a cinq nerfs; tete doree; couverture entierement conservee. Les aquarelles a pleine page de Touchet ont ete reproduites par le procede Duval-Beaufume (ctd reproduites au pochoir). La librairie LIVRESK vous offre 30% de rduction sur l'ensemble de son catalogue et les frais de port gratuits vers toutes les destinations. Prix d'origine : 305 EUR.
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A FINE MINIATU...
TEXT FROM THE OPENING OF THE OFFICE OF THE DEAD.
|
Paris, ca. 1460 120 x 85 mm. (4 3/4 x 3 1/2""). Single column four lines of text on recto 15 on verso in a fine regular gothic book hand. Attractively matted. Rubrics in red verso with five one-line initials as well as three line fillers all in colors and burnished gold the same side with a swirling quarter panel border featuring flowers leaves strawberries and many burnished gold ivy leaves on hairline stems the recto with a large three-line D in blue and white with enclosed scrolling flowered stems the whole on a burnished gold ground; the recto WITH A FULL INHABITED BORDER featuring much acanthus other vegetation and fruit as well as two birds with raised wings the border FRAMING A RICHLY DETAILED ARCH-TOPPED ILLUMINATED MINIATURE OF A BURIAL (measuring approximately 65 x 42 mm.) the scene showing a thin shrouded corpse being lowered into a grave by two sturdy gravediggers a priest in a blue cloak ornamented with a gold fleur-de-lys sprinkling holy water with a golden aspergillum on the left a white-gowned monk with a sorrowful face in attendance behind these figures (on the right) a large crowd of mourners the two foremost draped and hooded in velvety black and (on the left) a pretty white gothic church replete with architectural detail including a sparkling gold roof the tree behind it and the bright blue sky above dotted with gold. Minor losses of paint from the white portions of the garments of the priest and monk otherwise very fine with good margins bright paint and gold and smooth fresh vellum. Apart from those relatively few copies with illustrated calendars the miniatures found in Books of Hours are almost entirely devoted to retrospective Bible scenes that are obviously outside the experience of the illuminator; it is only in the present kind of funeral scene at the beginning of the Office of the Dead that we can see a contemporaneous rendering of a scene from the daily life of the Middle Ages. More often than not this scene is set indoors and the constraints placed on the artist as a result are significant often making for a depiction that contains little more than a draped coffin and perfunctory mourners (who were as a matter of historical fact frequently professionals with no connection to the deceased). Here we see a much more dynamic scene where the artist has an opportunity to present a more imaginative narrative. The result--with considerable detail and movement as well as an expansive feeling of space--is very satisfying. $6800
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AN ILLUMINATED MANUSCRIPT LEAF WITH A SMALL MINIATURE DEPICTING MARY MAGDALENE HOLDING A GOLD UNGUENT JAR FROM A BOOK OF HOURS IN LATIN.
TEXT FROM THE SUFFRAGES.
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Paris, ca. 1460 - Single column 15 lines of text on either side in a fine regular gothic book hand. Attractively matted. Rubrics in red verso with one one-line initial in colors and burnished gold as well as with a swirling quarter panel border featuring flowers leaves strawberries and many burnished gold ivy leaves on hairline stems; the recto with a three-quarter panel border of similar design though more lavish (and with a vertical bar border of red blue and burnished gold between the text and the border in the fore margin as well as two handsome two-line initials in colors and gold one of them sprouting ivy leaves in the margin); recto also WITH A SMALL AND EXTREMELY CHARMING MINIATURE OF MARY MAGDALENE (measuring approximately 24 x 29 mm.) the scene showing the Magdalene dressed in pink and blue holding the unguent jar which is her symbol standing among bright green hills dotted with spade-shaped trees a thin white meandering path helping to create a sense of recession in space and on the horizon a golden gateway flanked by towers and a pair of gray monolithic rocky outcroppings shaped roughly like pyramids. One miniscule wormhole affecting part of a single letter on either side a hint of soiling to verso otherwise very fine with gold and paint entirely intact and with excellent margins. Mary Magdalene the sinner saved by Christ is popularly identified with the woman who in the Gospels anoints Christ's feet with expensive unguents to the dismay of the thrifty Apostles (Jesus accepts her gift as fitting knowing that he is about to die.) In this way the unguent jar became the symbol for Mary Magdalene who is here depicted in her worldly finery her long blonde locks streaming down her back--rather than as the ascetic which legend claimed she became.
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Saint Germain [German], Christopher
Doctor and Student. 1988 reprint of 1787, 17th ed. Leatherbound
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Saint Germain, Christopher [1460? - -1540]. Doctor and Student; or, Dialogues Between a Doctor of Divinity and a Student in the Laws of England: Containing the Grounds of Those Laws; Together with Questions and Cases Concerning the Equity Thereof. Corrected and Improved by William Muchall. London: Printed by A. Strahan, 1787. Reprint. Birmingham: Legal Classics Library, 1988. [xvi], 345, [36] pp. Calf, decorative gilt stamping, raised bands, marbled endpapers, all edges gilt, ribbon marker. Bookplate to front pastedown, otherwise fine. * Reprint of the seventeenth edition. That Doctor and Student "was a very important book can be seen from the fact that it was cited by every writer on equity down to Blackstone's day.": Marke, A Catalogue of the Law Collection at New York University (1953) 38. [Attributes: Hard Cover]
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A FINE MINIATU...
TEXT FROM THE OPENING OF THE PENITENTIAL PSALMS.
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Paris, ca. 1460 120 x 85 mm. (4 3/4 x 3 1/2""). Single column three lines of text on recto 15 on verso in a fine regular gothic book hand. Attractively matted. Verso with four one-line initials as well as three line fillers all in colors and burnished gold the same side with a swirling quarter panel border featuring flowers leaves strawberries and many burnished gold ivy leaves on hairline stems the recto with a large three-line D in blue and white with enclosed scrolling flowered stems the whole on a burnished gold ground; the recto WITH A FULL INHABITED BORDER featuring much acanthus other vegetation and fruit as well as two sprightly birds with flapping wings the border FRAMING AN ARTFUL ARCH-TOPPED ILLUMINATED MINIATURE OF DAVID IN PRAYER (measuring approximately 65 x 42 mm.) the psalmist presented as a king crowned and wearing a wide ermine collar over his pink and blue robes but also as a penitent his harp on the ground before him his hands joined in prayer his face upturned in contemplation of a threatening angel painted in fiery orange and brandishing a sword above a rock formation the foreground filled with bright green grass and shrubs the background well designed to give the illusion of recession in space with the twin-towered gate of a castle and in the further distance a high blue mountain dotted with spires. Slight paint flaking on and near the rock formation (trivial losses elsewhere if one looks very closely) but none of this really noticeable and otherwise in very fine condition--clean bright smooth and with good margins. Despite the rocky outcropping (a concession to the Judaean setting) this miniature suggests the smiling French countryside with which our painter was probably familiar. Many aspects of this excellent miniature are typical and conventional but it is especially successful here in communicating a sense of depth something that is achieved in large part by the artist's use of green chartreuse and blue in the various zones of the receding background. As a result of this sense of perspective the large lone figure of David placed on a path that winds backward toward a vanishing point seems profoundly solitary in a vast landscape. The high level of artistic execution is notable here; especially impressive are the the painter's minute and careful brush strokes in for example the multitude of trees and the architectural detail of the turreted city at the back right. $6250
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Rainer Kahsnitz
Carved Splendor: Late Gothic Altarpieces in Southern Germany, Austria, and South Tirol
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J. Paul Getty Trust Publications. New Monumental carved, winged altarpieces are the most ambitious artworks from the Middle Ages, incorporating the skills of painters, sculptors, and cabinetmakers. Those that are most notable for their artistic originality and masterly execution were produced in the southern German-speakingregions, including Austria and South Tirol, in the last decades of the Late Gothic period (roughly 1460 to 1525). By that time altarpieces had evolved from low, fixed panels to large wooden structures with rich architectural ornamentation. Paintings of the saints often adorned the movable wings, while carved reliefs or freestanding sculptures of scenes from the Gospels occupied the gilded, center shrine. Rainer Kahsnitz offers a close examination of twenty-two of the most important surviving altarpieces, discussing the historical context in which they were made and analyzing how their pictorial programs reflect changing notions of piety. The sumptuous color illustrations capture the altarpiecesin all their possible arrangements. The stunning details of these pieces— riotous locks of hair, swirling fabric, and thickets of twisted vines— vividly demonstrate the consummate skill of the master artisans who created them. ISBN10: 0892368535.
[Bookseller: Alibris] |
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St. Germain, Christopher; Saint German
The Dialogue in Betweene a Doctor of Divinitie, and a Student of
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Germain [German], Christopher [?1460- - St. 1540]. The Dialogue in English, Betweene a Doctor of Divinitie, And a Student of the Lawes of England. Newly Corrected and Imprinted, With New Additions. London: Printed for the Company of Stationers, 1613. [i], 176, [8] pp. Octavo (5-1/2" x 3-1/2"). Contemporary limp vellum with lapped edges, early hand-lettered title to spine, remnants of ties to boards. Some rubbing to extremities, hinges cracked, text block loose and cracked in a few places. Later bookplate (of John Camp Williams) to front pastedown. Two tiny later stamps to title page, early annotations to margins throughout, interior otherwise clean. * Originally written in Latin in 1523, this work contains two dialogues between a doctor of divinity and a student of English law. It popularized canonist learning on the nature and object of law, the religious and moral standards of law, the foundations of the common law and other issues regarding the jurisdiction of Parliament. A very important work in the development of equity, Doctor and Student appeared in numerous editions. An authority well into the eighteenth century, it influenced several writers, including Blackstone. The ESTC locates 6 copies in North America, 2 in law libraries (Harvard and Library of Congress). Sweet & Maxwell, A Legal Bibliography of the British Commonwealth 1:25 (34). [Attributes: Hard Cover]
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A RICHLY DETAILED MINIATURE OF THE PRESENTATION IN THE TEMPLE FROM A BOOK OF HOURS IN LATIN.
TEXT FROM THE OPENING OF NONE.
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Paris, ca. 1460 - The Virgin in Need of Purification MeetsDoubting Simeon in the Temple Courtyard Single column three lines of text on verso nine lines on recto in a fine regular gothic book hand. Attractively matted. Rubrics in red recto with two one-line initials as well as three line fillers all in colors and burnished gold the same side with a swirling quarter panel border featuring flowers acanthus leaves and many burnished gold ivy leaves on hairline stems the verso with a large three-line initial in blue and white with enclosed scrolling flowered stems the whole on a burnished gold ground; the verso WITH A FULL INHABITED BORDER featuring much acanthus and other vegetation and fruit as well as two lively doves the border FRAMING A RICHLY DETAILED ARCH-TOPPED ILLUMINATED MINIATURE OF THE PRESENTATION IN THE TEMPLE (measuring approximately 65 x 44 mm.) the scene showing the Virgin in pink and blue accompanied by a pink-gowned attendant a doll-sized Christ seated in the palm of the hand of St. Simeon the Righteous. Top margin very narrow (but nothing cut into) the faces and robes of the two women with a bit of paint erosion (very minor loss also in the two men's necks) otherwise very fine with the vellum fresh bright and clean. Although this miniature begins a text that is usually accompanied by a painting of the Presentation in the Temple our particularly iconographic rendering of this scene shifts its emphasis toward the mother rather than the son. The painting actually recounts a moment in the celebration of the Purification of the Virgin since Mary has come to the temple to be purified in accordance with the Jewish law that prescribes a ceremony to be submitted to by all mothers 40 days after giving birth. Unlike many depictions of the Presentation in the Temple then our miniature does not show a priest receiving the infant Jesus at an altar indoors but rather shows St. Simeon intercepting the Virgin in the courtyard outside. According to tradition Simeon one of the 72 translators of the Septuagint had puzzled over Isaiah 7:14 (Behold a virgin shall conceive) wondering how this could happen and even considering that his text could have been copied wrong. As he pondered an angel appeared to tell him that the prophecy was correct and that he would not die until he himself had seen its fulfillment in the form of the Virgin Mary and her child Jesus. And so it came to pass that he was at the Temple when the Blessed Mother brought her son 40 days after his birth. (Simeon is depicted in our scene as elderly but he is nevertheless very well preserved for a person who historically would have had to be well over 200 years of age at the time of this meeting.) The woman behind the Virgin carries a basket of turtle doves a frequent feature of the Presentation scene but this female is not normally seen as here with a nimbus. It is possible that she could be St. Anna the prophetess whom Luke describes as (also) coming in that instant to the temple. (However Anna was of a great age while our figure seems still rather young.) The scene is well designed with Simeon and an attendant acolyte on the left nicely balancing the pair of women on the right the Christ Child being in the middle. The elaborateness of the architectural backdrop here attests to the skill and patience of the artist and the bright green lawn colored roofs and abundant use of gold lend a pleasing context to the scene. The rich background detail includes a slender fountain (symbolizing the waters of life) in the center a massive gateway with mosaic roof behind our principals and a cloister wall above which rise the peaks of two houses roofed in red and blue as well as two large tufted trees. A poignant note is introduced by the mournful expression on the face of the Virgin something that can easily be interpreted as reflecting her contemplation of the painful future prophesied for her son.
[Bookseller: Phillip J. Pirages Rare Books (ABAA)] |
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Candidus, Petrus:
Das Tierbuch Des Petrus Candidus Codex Urbinus Latinus 276.
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- Geschrieben 1460, Illuminiert im 16. Jahrhundert. Faksimilie der Handschrift v. 1460, 2 Bnde (Vollfaksimile u. Kommentar- bzw. Einfhrungsband) in Kassette. Zrich, Belser Verlag, 1984. III Bll., 232 Bll., 2 nn. Bll. mit 469 kolorierten Tierdarstellungen (Faksimile) ; 213 Seiten mit 31 teils ganzseitigen Abbildungen (Einfhrungsband). 4 (27,5x29cm) Faksimile & Einfhrungsbd. und Folio (37x26cm) die Kassette. Rotbrauner Orig.-Ganzlederbd. auf Holzdeckeln ber 4 Bnden, mit reicher Rckenvergoldung, Deckel mit Goldfilete gerahmt, sowie mit reicher floraler u. ornamentaler Vergoldung, dreiseitiger Goldschnitt (Faksimile). Grner Orig.-Ganzleinenbd. mit goldgeprgtem Rckentitel (Einfhrungsband). Grnes Orig.-Ganzleinen mit goldgeprgtem Rckentitel, montiertem Titelschild auf dem Vorderdeckel und Schlieband (Kassette). Handnummeriertes Exemplar, hier die Nr.47 von 600 nummerierten Exemplaren fr den deutschsprachigen Raum (Gesamt 2460). Der Text des Einfhrungsbandes ist von Cynthia M. Pyle. Wundervolles und prchtig ausgestattetes Faksimile eines der wertvollsten zoologischen Manuskripte aus der Biblioteca Apostolica Vaticana. Sehr gutes, verlagsfrisches Exemplar.
[Bookseller: Antiquariat Castellum] |
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Saint Germain, Christopher; Muchall, William ed
Doctor and Student: or, Dialogues Between a Doctor of Divinity and a Student in the Laws of England: Containing the Grounds of Those Laws; Together with Questions and Cases Concerning the Equity Thereof.
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Saint Germain, Christopher [1460- - 1540]. Muchall, William, Editor. [With] Additions to the Second Dialogue of the Doctor and Student: Containing Thirteen Chapters on the Power and Jurisdiction of the Parliament, &c. Dublin: Printed by J. Moore, 1792. vi, [9], 344, [32] pp. Octavo (8" x 5"). Contemporary sheep, blind fillets to boards, lettering piece and blind fillets to spine. Light rubbing to extremities, boards slightly bowed. Later bookseller ticket and owner annotation (of Jonathan Holden, 1935) to front free endpaper, early owner annotation to following leaf "Stephen Eno's book/ March 1816/ price 2 dollars." Toning, light foxing to a few leaves. Annotations in Eno's hand to margins of some leaves, interior otherwise clean. * Only Dublin edition, "Corrected and Improved." Written originally in Latin in 1523, this work contains two dialogues between a doctor of divinity and a student of English law. It popularized canonist learning on the nature and object of law, the religious and moral standards of law, the foundations of the common law and other issues regarding the jurisdiction of Parliament. A very important work in the development of equity, Doctor and Student appeared in numerous editions and it remained an authority well into the eighteenth century. The probable owner of this book was Stephen Eno [1762-1852], a prominent lawyer and civic leader in Dutchess County, New York who practiced in Pine Plains, Amenia, and Poughkeepsie. Legal Bibliography (1847) 471. Warren, Sweet & Maxwell, A Legal Bibliography of the British Commonwealth 1:25 (34). [Attributes: Hard Cover]
[Bookseller: The Lawbook Exchange, Ltd., ABAA ILAB] |
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CRETIN (DUBOIS) Guillaume G.
Les poesies.
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Edition collective la plus complte, augmente de deux pices indites, savoir deux lettres en vers de Cretin Molinet, avec une rponse de ce dernier. Prface de l'diteur, qui s'tait fait une spcialit dans la rdition de potes du moyen-ge et de la Renaissance. Plein Veau d'poque. Dos nerfs orn de 5 petits fleurons dans des caissons de 3 filets. Pice de titre en maroquin rouge. Coiffe de tte lime. Page de titre jaunie. Guillaume Dubois, dit Crtin, (1460?-1525) fut trsorier de la Sainte-Chapelle Vincennes, puis chantre de la Sainte-Chapelle de Paris et aumnier ordinaire du roi Franois Ier. Il fut Reconnu comme un matre, notamment par Jean Lemaire de Belges et Clment Marot. On le range parmi les Grands Rhtoriqueurs. Ses posies se divisent en deux grandes parties que sont les chants royaux et les ptres (lettres en vers adresss diffrents personnages). Chez Antoine Urbain Coustelier A Paris _1723 Pet. in 8 (10x16cm) reli
[Bookseller: Librairie Le Feu Follet] |
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ESPECIALLY PRETTY ILLUMINATED VELLUM MANUSCRIPT LEAVES FR...
CALENDAR LEAVES.
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Paris, ca. 1460 120 x 85 mm. (4 3/4 x 3 1/2""). Single column 17 lines of text in a fine regular gothic book hand. Calendar entries in blue red and thick burnished gold line fillers of the same design recto with a two-line KL (Kalends) in colors and burnished gold and with marginal extension in the form of gilt ivy leaves and EACH LEAF WITH A FINE SWIRLING QUARTER PANEL BORDER ON BOTH SIDES featuring flowers leaves strawberries and many burnished gold ivy leaves on hairline stems. The panel borders at the fore edge of half the leaves just slightly trimmed otherwise in EXCEPTIONALLY FINE CONDITION with the paint and gold bright fresh and entirely intact. These calendar leaves come from the same manuscript as the group of leaves described in the previous entry. $400 - $425 (depending on condition)
[Bookseller: Phillip J. Pirages Fine Books & Manuscri] |
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A STRIKING MINIATURE OF THE CORONATION OF THE VIRGIN FROM A BOOK OF HOURS IN LATIN.
TEXT FROM THE OPENING OF COMPLINE.
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Paris, ca. 1460 - Single column three lines of text on verso 13 lines on recto in a fine regular gothic book hand. Attractively matted. Rubrics in red recto with one two-line and two one-line initials as well as four line fillers all in colors and burnished gold the same side with a swirling quarter panel border featuring flowers leaves strawberries and many burnished gold ivy leaves on hairline stems the verso with a large three-line C in blue and white with enclosed scrolling flowered stems the whole on a burnished gold ground; the verso WITH A FULL INHABITED BORDER featuring much acanthus and other vegetation and fruit as well as a green bird fluttering its wings and a charming pink snail the border FRAMING A RICHLY DETAILED AND VERY IMPRESSIVE ARCH-TOPPED ILLUMINATED MINIATURE OF THE CORONATION OF THE VIRGIN (measuring approximately 65 x 42 mm.) the scene showing the Virgin in blue kneeling before an elaborate gold throne on which sits God the Father clad in pink majestically bearded and crowned holding an orb and blessing the Virgin over whose head a yellow-winged angel suspends a golden crown while in the background a cluster of fiery seraphim peek over the throne. Trivial losses of white paint in the angel's clothing and God's crown otherwise in remarkably fine condition both the miniature and border clean fresh and bright. As is typical of the 15th century the Virgin is no longer shown as the proud queen of heaven but on her knees head bowed and eyes modestly cast down as she receives the crown from above. The artist has deftly managed to portray the beauty and mildness of her face while depicting God with sunken cheeks and a solemn expression. Blue clouds support the Virgin as she kneels and the celestial setting of the scene is reinforced by the seraphim glowing like hot coals behind the throne. In an inventive departure here God the Father sits far to one side of his throne leaving a large empty space for Mary to occupy once she has risen to join him.
[Bookseller: Phillip J. Pirages Rare Books (ABAA)]
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