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Displayed below are selected recent viaLibri matches for books published in 1460


ESPECIALLY PRETTY ILLUMINATED VELLUM
      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. Rubrics in red all leaves with multiple one-line initials as well as at least one line filler all in blue maroon and burnished gold many leaves with one or more two-line initials in the same colors and gold but also enclosing charming flowers on scrolling stems a number of these two-line initials with marginal extension in the form of gilt ivy leaves on sinuous stems and EACH LEAF WITH A FINE SWIRLING QUARTER PANEL BORDER ON EACH SIDE featuring flowers leaves strawberries and many burnished gold ivy leaves on hairline stems (the leaves from the Litany with many one-line initials and line fillers). In EXCEPTIONALLY FINE CONDITION with the paint and gold bright fresh and entirely intact. These are lovely little leaves from a large fragment of a Book of Hours that obviously was produced by skilled craftsmen in a Parisian studio around the middle of the 15th century for a client of considerable means. This group represents the most attractive combination of decoration condition and value in illuminated leaves that we have had in stock for quite a long time. $300 - $550 (depending on decoration)
      [Bookseller: Phillip J. Pirages Fine Books & Manuscri]
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Vrelant-style Hours, ca. 1460
      . [Book of Hours, use of Rome, in Latin, illuminated manuscript on vellum. Southern Netherlands (Bruges), ca. 1460]
      [Bookseller: John Windle, Antiquarian Bookseller]
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Book of Hours. Vrelant-style Hours, ca.
Illuminated manuscript Book of Hours on vellum, use of Rome, in Latin.
      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 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 “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. Full description and images available on my website.
      [Bookseller: Antiquarian Bookseller, John Windle]
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Anonym
Livre d'Heures de Marie de Bastard. Handschriftliches Stundenbuch der Familie der Champlais. Angers, um 1460
      1460 Livre d'Heures (Stundenbuch) de Marie de Bastard Handschriftliches Stundenbuch (Familienstunden) der Familie der Champlais, Nachfahren der Herzöge der Bretagne. Angefertigt um 1460 in Angers, von einem Künstler, der dem näheren Schaffenskreis des Meisters Jouvenel von Ursins zugeordnet wird. 111 Blatt Pergament (188 x 135 mm). 16 Zeilen pro Seite. Textspiegel: 113 x 70 mm. Linierung in roter Tinte. Äußerst prachtvolle Verzierungen von höchster Kunstfertigkeit in Blattgold und verschiedenen Farben: Fünf ganzseitige Schmuckseiten, vier mit wunderbaren Miniaturen. Vier vierzeilige Prachtinitialen, 111 zweizeilige und 818 einzeilige Schmuckinitialen sowie hunderte Füllzeichen, allesamt in Gold und verschiedenen anderen Farben. Vorgebunden: 2 weiße Blatt Pergament + 4 Blatt Titel (später hinzugefügt). Angebunden: 46 Blatt mit handschriftlichen Notizen, Weiterführung des Stundenbuches auf Pergament und Papier (teils in alter, teils in späterer Hand). Einband und Zustand: Grüner Ganzlederband auf fünf echten Bünden (Ende des 19. Jahrhunderts). Der Rücken trägt einen goldgeprägten Titel. Der Band kann mit einer aufwendig gearbeiteten Silberschließe geschlossen werden. Diese zeigt das Wappen der Familie Bastard d'Estang. Letzteres ist ebenfalls in der Mitte der beiden Innendeckel zu sehen, die mit rotem Leder bezogen sind. An den Innenkanten wird es von einer vierseitigen goldgeprägten Bordüre umrahmt, in die Initialen und Wappenelemente eingearbeitet wurden. Zudem ziert den Band eine dreiseitige Stehkantenvergoldung sowie ein dreiseitiger Goldschnitt. Auf einigen Seiten finden sich alte handschriftliche Marginalien, vor allem auf dem Kalenderblatt. Zwei der Kalenderblätter weisen im unteren Rand starke Flecken auf. Ansonsten ein hervorragend erhaltenes Stundenbuch: Insgesamt nur wenige Seiten leicht fleckig oder knittrig. Angebundene Seiten im hinteren Bereich vereinzelt etwas gebräunt. Sämtliche Illuminierungen sind in wunderbarem Zustand, alle Kolorierungen sind trotz ihres Alters ungetrübt und von außerordentlicher Leuchtkraft. Der schöne Einband ist nur vereinzelt an den Kanten leicht bestoßen und auch die prachtvolle Schließe ist ausgezeichnet erhalten. Alles in allem ein einzigartiges Sammlerstück und ein großartiges Beispiel handgemachter Buchkunst. Inhalt und Kollation: 1. Kalender, nach in Saint-Brieuc oder Tréguier üblichem Gebrauch (Bll.1-12) Im Allgemeinen entspricht der Kalender zwar dem Kalender aus der Region von Tours, aber er beinhaltet alle Heiligen, die für bretonische Kalender der Zeit charakteristisch waren; es sind offensichtlich alle Heiligen versammelt, die in der Provinz verehrt wurden. Die drei folgenden Festtage lassen mit Sicherheit auf einen Gebrauch in der Region um Saint-Brieuc und Tréguier schließen: Yvonis und die Überführung seiner sterblichen Überreste nach Tréguier (in Rot, 29. Oktober); Tudguali (7. Juni); Guillelmi (29. Juli). 2. Religiöse Texte (Bll.13-111) Bll. 13-63v: Stunden der Heiligen Jungfrau (Pariser Gebrauch). Mette (Bll. 19-34, der Anfang fehlt); Laudes (Bll. 34-43v, das Ende fehlt); Prime (Bll. 44-47, der Anfang und das Ende fehlen); Terz (Bll. 48-50v, der Anfang und das Ende fehlen); Sext (Bll. 51-53v, der Anfang und das Ende fehlen); Non (Bll. 54-56v, der Anfang und das Ende fehlen); Vesper (Bll. 57-58, das Ende fehlt); Komplet (Bll. 58v-63v) Bl. 64: Notizen Bll. 65-82v: Bußpsalmen, mit Litaneien (Bll. 76v-81v) Bll. 83-111: Offizie der Toten (Pariser Gebrauch) Die Tatsache, dass der Kalender bretonische, der Rest des Stundenbuches jedoch Pariser Merkmale aufweist, ist bemerkenswert und keineswegs üblich. Bezüglich der Art und Qualität des Pergaments, sowie bezüglich der Handschrift, zeigen sich klar ersichtliche Unterschiede. Noch erstaunlicher ist die Einfügung von Litaneien aus der Provinz Trégor (nördliche Bretagne) in die Pariser Stundenbuchkonventionen. All dies lässt darauf schließen, dass der Auftraggeber dieses Schmuckstückes großen Wert auf seine bretonischen Wurzeln legte. [Attributes: Hard Cover]
      [Bookseller: Antiquarischer Lexikonhandel]
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COLONNA (GALATINO), PIETRO (CA.
OPUS TOTI CHRISTIANE REIPUBLICE MAXIME UTILE, DE ARCANIS CATHOLICAE VERITATIS, CONTRA OBSTINATISSIMAM IUDAEORUM NOSTRAE TEMPESTATIS PERFIDIAM: EX TALMUD, ALIISQUE HEBRAICIS LIBRIS NUPER EXCERPTU: ET QUADRUPLICI LINGUARUM GENERE ELEGANTER CONGESTUM. O
      In folio (cm 30); legatura del XVIII secolo in piena pergamena rigida con tassello e titolo in oro al dorso, taglio azzurro (piccola mancanza alla parte inferiore del dorso, ma nel complesso come nuova); cc. CCCXI, (1). Testo in carattere romano, greco ed ebraico. Titolo e 12 pagine entro bella bordura in legno su fondo nero. Numerose iniziali ornate su fondo nero. Ex-libris Biblioteca Broxbourniana (cfr. Catalogue of valuable printed books from the Broxbourne Library, the second portion, London, 1978, nr. 413). Piccoli restauri al verso del frontespizio che ledono leggermente la cornice xilografica in due punti, restauro al margine superiore della carta CCLII senza perdita di testo, piccolo foro alla carta XCII che comporta una minima perdita di testo, per il resto bellissima copia a pieni margini su carta forte.PRIMA EDIZIONE, dedicata all'imperatore Massimiliano I, del primo libro stampato ad Ortona, uscito dai torchi dell'officina tipografica di Gerson Soncino, che nella citta' abruzzese stampo' solamente quattro libri. "Most interesting of all of these is the work of Petrus Galatinus the Franciscan On the Mystery of the Catholic Truth... How shocking to orthodox Jewish minds must have been the catholicity of taste and interest of this master printer [Gerson Soncino]ť we find among his publications the ancient classics as well as Catholic publications of most unimpeachable orthodoxy, and most remarkable of all the book of Galatinus, which was not only Catholic but distinctly anti-Jewish in purpose, introduced to the public in Hebrew verses by the author or some apostate editor as a book filled with loveliness, expounding the secrets of the Talmud in which may be found the very foundation of Christian Messianism the unity of Father, Son and Holy Ghost. The desire to find support in the Hebrew books for the doctrine of the Trinity arose out of the spread of Cabalism, a so-called science, through which Jewish mystics attempted to explain the mysteries of heaven and earth, and which had many Christian devotees, among them the famous Cardinal Egidio of Viterbo, who in this very year 1518 had assisted in the establishment of a Hebrew press in the city of Rome" (D. Amram, The Makers Hebrew Books in Italy, London, 1563, pp. 124-126).Edit16, CNCE20134. BMSTCItalian, p. 192. Adams, C-2418. Sandal, op. cit., pp. 88-89, nn. 54-55 (varianti tipografiche). G. Manzoni, Annali tipografici dei Soncino, Bologna, 1883-1886, nr. 108. Brunet, II, 1447. Hebraica: Il mondo ebraico nell'interpretazione cristiana nei secoli XV-XVIII, Catalogo della mostra pubblicato con la Biblioteca Casanatense di Roma, Milano, 2000, nr. 61, pp. 47-48.
      [Bookseller: Libreria GOVI Alberto]
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FOLLOWER OF GIOVANNI DI PAOLO
Large historiated initial (140 x 130mm.) on a full illuminated leaf on vellum, from a Gradual. Italy (?Siena), c.
      Gold frame enclosing a large initial with a scene of the Virgin lying in state with her arms crossed, attended by a host of saints who include St. Peter reading, St. John carrying a girdle book an another saint holding a holy water stoop, while Christ appears to bear way the Virgin's soul in the form of a baby and to bless his mother's body. Also, saints' emblems and a kneeling figure's hat picked out in burnished gold. Full border on two sides composed of lush acanthus foliage painted in red, green and pink, and with gold bezants. Square musical notation on red 4-line staves, original foliation written in red at top. Size of leaf: 525 x 370mm. 7 lines of interlinear text in a rounded gothic hand, with several headings written in red 1460. A very fine initial painted by an artist from the school of the influential Siennese painter Giovanni di Paolo (c. 1403-1482), and was perhaps a member of the workshop which this artist directed in the province of Pistoia. Giovanni di Paolo was a highly individual artist who developed his own intense approach. He looked back towards the International Gothic style of Gentile da Fabriano, which he distorted for his own purposes: his figures are tortured and chiselled. The historiated initial "G" introduces the introit for the Assumption of the Virgin: "Gaudeamus omnes in domino ". References: M. G. Cardi Dupré, La libera di coro dell' Osservanza e la miniatura Senese del 400, in L'Osservanza di Siena, Milan, 1984. F. Todini, Una Collezione di Miniatura Italiane, Longari, II, 1994, pp. 50-3, no. 9. The art of painting in Florence and Siena,1250-1500 Exhibition catalogue, London, 1965. Provenance: From the collection of Dr. F. G. Zeileis his catalogue Piu ridon le carte: Buchmalerei aus Mittelalter und Renaissance, 2004, item 78.
      [Bookseller: Maggs Bros. Ltd ABA ILAB BA]
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CHRYSOLORAS MANUEL (CA.
GUARINO VERONESE (CA. 1374-1460). EROTEMATA CUM MULTIS ADDITAMENTIS, ET CUM COMMENTARIIS LATINIS.
      Ferrara, Giovanni Mazzocchi, 13 marzo 1509, Due parti in un volume in-8 (mm 148x94). 68 carte non numerate, 171 carte numerate, una non numerata. Al frontespizio marca tipografica del Mazzocchi incisa su legno: 'Corona con in basso le iniziali I.M., in cornice'. Testo in greco e in latino. Legatura di Bozerian le Jeune in marocchino blu; piatti decorati da una cornice dorata a ferri floreali; titolo e decorazioni in oro al dorso, dentelles interne, sguardie in carta marmorizzata, tagli dorati; custodia in marocchino blu con titolo in oro al dorso. Esemplare in buono stato di conservazione, regle' in rosso; le prime carte un po' brunite, lievi fioriture; cerniere e angoli della legatura usurati. Al recto del foglio di guardia anteriore antica nota a lapis dalla quale si evince che si tratta della copia 'Masterman Sykes' (Asta Evans, 21 maggio 1824, lot 1405: "blue morocco").Rarissima edizione, gia' in parte edita a Reggio nel 1501, che contiene un compendio compilato da Guarino Veronese degli Erotemata del Crisolora - gli Erotemata Guarini - seguiti dal ricco commento di Pontico Virunio e da una breve vita del celebre grammatico greco. La stampa ferrarese del Mazzocchi, prefata da una lettera agli studiosi del filologo aquinense Giovanni Maria Tricaglio, e' particolarmente significativa dal momento che vede la luce proprio in uno di quei centri in cui il culto della lingua e delle lettere greche era stato piu' vivo. Infatti Guarino Veronese e suo figlio Battista furono per parecchi decenni precettori della famiglia d'Este e attirarono nella citta' adriatica due generazioni di umanisti tra cui spicca Niccolo' Leoniceno. "Guarino had probably met Chrysoloras on his first visit to Venice with Kydones. Since his return to Italy the Greek scholar's fame as a teacher had spread to Venice, and Guarino, who was teaching privately there at the time, was so fired with enthusiasm that he decided to be the first Italian to go to Costantinople to learn about Greek literature, just as Chrysoloras had been the first Greek to come to Italy to teach the Italian his language" (K. Staikos, Charta of Greek Printing, Cologne 1998, p. 114). LEGRAND III, 143; ADAMS C, 1503.
      [Bookseller: Libreria Antiquaria PREGLIASCO - Torino ]
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[Illuminated Manuscript -- Horae] Book
Book of Hours [Horae] Use of Rome --manuscript on vellum.
      Northern Italy: c1460-1480. 8vo. 124 x 90mm. (written space 67 x 48mm) [1]12,[2]9, [3]10,[4-9]8, [10]6, [1-13]8, [14]5, [15]8, [16]11,[17]2. lacks c7 leaves. 135 leaves. Modern vellum ,covers bowed, ownership inscription “Hic Liber est Vincentii Bonii” on folio114v; a few leaves dampstained. Written in brown ink in a rounded gothic liturgical hand, rubrics in red, initials in alternate red and blue, numerous 2-line verse initials with contrasting penwork and scrolling flourishes, several calligraphic letters adorned with faces, 8 4-line illuminated initial in blue, red and liquid gold on burnished gold (one very worn). Text: Calendar, f1-12; Hours of the Virgin, Use of Rome, f13-64; Compline, followed by the second nocturn for Tuesday and Friday for the canonical Hour of Matins, f65-73; Prayers for Advent and Christmas, f74-81; Office of the Dead, f82-114; Penitential Psalms, f115-125; Litany, and unidentifed prayers, f126-135.
      [Bookseller: Krown & Spellman, Booksellers]
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Curtis Seymour R N
LOG OF H M S SOUTHAMPTON,"50 (MANUSCRIPT NARRATIVE WITH 5 FINE MANUSCRIPT MAPS) Nicholas Cory, Captain Bearing the Flag of Rear Admiral Barrington Reynolds,commencing the 17th of August, 1848. Ending the 26th of January, 1852.
      Atlantic Ocean - The HMS Southampton was a 60 gun wooden hulled sailing ship that displaced 1460 tons. It was launched in 1820 and saw extensive service throughout the world. I t was, when necessary, a troop carrier and was noted as a fighter of pirates in the Moluccan Straits in 1831. In 1842, the ship was used to land troops in the take over of Durban, South Africa. Returning in 1848, it was on station for many months. This is a detailed record of cruising and on-station activities in the South Atlantic at the end of seaborne Atlantic slave trade era. English foreign policy required the interdiction and halting of slaviing. By 1848, interdiction incidents were few and far between because of Royal Navy successes. References to checking foreign barques for slaving evidence is recorded in this flag ship's record. Each days activities are recorded with ship's location from measurement and also from dead reckoning. Executed in a fine hand with five superbly detailed manuscript maps, these two volumes include a record of patroling between Rio and Buenos Ayres. One chart of that activity has a large inset of the Buenos Ayres in detail. Additional description available to interested parties on request and through email. ; 14 in. x 9 3/4 in. [Attributes: Hard Cover]
      [Bookseller: Monckton Gallery]
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Publius Vergilius Maro. Bucolica. Georgica. Aeneis.
      Limitierte Auflage in 1380 Exemplaren. Bibliotheca Rara: deutscher Kommentarband Antonie Wlosok., Rom / Neapel um 1460 (Faksimile-Nachdruck jüngeren Datums). 552 Seiten im Format 31,5 x 22,2cm, mit 38 Miniaturen, davon 11 ganzseitig. Um sein großartiges 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 Rückreise mit dem Schiff wurde er krank und verstarb 19 v. Chr. in Brindisi. Von den unter seinem Namen überlieferten 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 übertreffender Schönheit, hatte zum Ziel, dem Herrscher Augustus dabei zu helfen, eine Rückbesinnung auf die Kräfte der Natur zu fördern. Sie ist in vier Bücher unterteilt: Im ersten Buch behandelt Vergil den Ackerbau und schließt 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 Heinz Schmitz]
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF
      Paris, ca. 1460-75 A Very Fine Crucifixion by theMost Important Parisian Artist of the Period Single column verso with 12 lines written in a pleasing early bâtarde script. Attractively matted. Verso with one-line brushed gold initials on a blue or red ground line fillers in the same colors and gold and a pretty panel border of flowers leaves and gold ivy on swirling wispy stems RECTO WITH A BEAUTIFULLY REALIZED MINIATURE OF THE CRUCIFIXION an emaciated Christ spilling much blood from wounds at his hands feet head and side the bereft Virgin in prayer at the left consoled by a figure in white partly hidden behind her (apparently St. John); at the right Joseph of Arimathea and Nicodemus (looking ever so much like 15th century elderly Parisian burghers) along with a contingent of soldiers behind them represented by helmets and six lances the whole set against a verdant backdrop of hills and trees beneath the miniature three lines of text as well as a charming three-line modelled initial enclosing strawberries on a gold ground the whole surrounded by a full border of acanthus other vegetation fruit flowers and a bird taking flight. Just a hint of fading to some of the paint in the panel borders but IN EXTREMELY FINE CONDITION the especially bright and fresh miniature without any paint erosion. The artist has done beautiful work here. The colors are rich and carefully applied; the composition is remarkably successful given the constraints of the scene’s limited space; and there are some lovely touches foremost of which might be the consoling arm supporting the Virgin and the rendering of Christ whose hair on head arms and legs is painted with almost astonishing delicacy and whose torso contours are convincingly depicted with subtle shading. The work is in the style of the celebrated Coëtivy Master. He is understood in Avril & Renaud as being identified with Colin d’Amiens who made a great name for himself in Paris (not as was previously thought with Henri de Vulcop who made a great name for himself in the Loire region). In any case the master takes his name from the Book of Hours (now in the Austrian National Library) that he painted for Olivier de Coëtivy and his wife Marie de Valois one of some 30 works that have been identified as his. Although there is considerable Flemish influence that can be seen in his work (he has links for example with Simon Marmion) Colin d’Amiens was active in Paris during the third quarter of the 15th century and with Barthélmy van Eyck and Jean Fouquet was among the three great artists of this period patronized by the French court (Avril & Renaud says flatly that our master was "the most important artist practicing in Paris in the third quarter of the century from about 1450 to 1485"). For more on the Coëtivy Master see Avril & Reynaud pp 58-69. $9500
      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
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Publius Vergilius Maro. Bucolica. Georgica. Aeneis. Limitierte Auflage in 1380 Exemplaren.
      Bibliotheca Rara: deutscher Kommentarband Antonie Wlosok., Rom / Neapel um 1460 (Faksimile-Nachdruck jüngeren Datums).. 552 Seiten im Format 31,5 x 22,2cm, mit 38 Miniaturen, davon 11 ganzseitig.. Um sein großartiges 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 Rückreise mit dem Schiff wurde er krank und verstarb 19 v. Chr. in Brindisi. Von den unter seinem Namen überlieferten 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 übertreffender Schönheit, hatte zum Ziel, dem Herrscher Augustus dabei zu helfen, eine Rückbesinnung auf die Kräfte der Natur zu fördern. Sie ist in vier Bücher unterteilt: Im ersten Buch behandelt Vergil den Ackerbau und schließt 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 Heinz Schmitz]
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF
TEXT FROM THE OPENING OF COMPLINE.
      Paris, ca. 1460 - Single column 13 lines of text in a regular gothic book hand. Attractively matted. Rubrics in red recto featuring two very pretty three-line initials in blue or pink with white tracery on a burnished gold ground and containing scrolling ivy leaves and with the text flanked by rinceaux panel borders the verso WITH A STRIKING MINIATURE PAINTING OF THE CORONATION OF THE VIRGIN within an arched compartment and above three lines of text and a very prominent three-line initial (in the style of those on the recto) the whole surrounded by a very wide full border of swirling ivy leaves on hairline stems acanthus leaves strawberries and other vegetation. Mounting traces on the side without the miniature otherwise IN ESPECIALLY FINE CONDITION THE GOLD SPARKLING and the vellum and paint very clean fresh and bright. Our miniature focuses as it should on the Virgin who kneels full of humility at center left as an angel in white reaches over from behind to settle a crown on her head. God the Father sits on a canopied throne to the right his right arm upraised in blessing his left on the orb in his lap. In the background to the left two delightful young angels hold a very large book and behind them bright orange seraphim watch from a gallery. Everything about this miniature indicates that it comes from a lavish manuscript made for a person of considerable means. It is large for a Book of Hours leaf (especially in terms of its width) and the level of artistry is impressive as we can see for example in the amazing delicacy of the architectural filigree at the top left in the very convincing folds of the garments and in the faces which are subtle and realistic in their detail even under magnification. In terms of style our leaf is reminiscent of both the mainstream Parisian illuminator Maître François whose scenes were frequently dramatic and generally painted in bright colors as well as the Coëtivy Master (about whom see item #42 below).
      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
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Publius Vergilius Maro. Bucolica. Georgica. Aeneis. Limitierte Auflage in 1380 Exemplaren.
      Bibliotheca Rara: deutscher Kommentarband Antonie Wlosok., Rom / Neapel um 1460 (Faksimile-Nachdruck jüngeren Datums).. 552 Seiten im Format 31,5 x 22,2cm, mit 38 Miniaturen, davon 11 ganzseitig.. Um sein großartiges 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 Rückreise mit dem Schiff wurde er krank und verstarb 19 v. Chr. in Brindisi. Von den unter seinem Namen überlieferten 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 übertreffender Schönheit, hatte zum Ziel, dem Herrscher Augustus dabei zu helfen, eine Rückbesinnung auf die Kräfte der Natur zu fördern. Sie ist in vier Bücher unterteilt: Im ersten Buch behandelt Vergil den Ackerbau und schließt 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 Heinz Schmitz]
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF
TEXT FROM THE OPENING OF COMPLINE.
      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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Illuminated manuscript leaf from a Book of Hours: Full-page miniature depicting the Nativity recto, with the opening of the hour of Prime verso
      Rouen, ca. -70 1460 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 ŇDeus in adiutorium meum intende. Domine ad adiuvandum me festina. Gloria Patri. Alleluia.Ó Followed by the hymn: ŇVeni creator spiritus mentes tuorum visita imple superna gratia que tu creasti pectoraÓ Hymn: ŇMemento, salutis Auctor, quod nostri quondam corporis, ex illibata Virgine nascendo, formam sumpseris Maria, mater gratiae Gloria tibiÓ Antiphon ŇMaria virgo,Ó followed by Psalm 1:1-3: ŇBeatus 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 quodÉÓ (NATIVITY) 8vo (6-7/8 x 4-7/8 inches). .
      [Bookseller: James Cummins Bookseller, ABAA]
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF
TEXT FROM THE OPENING OF NONE.
      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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BENOIT, Pierre Jacques.
Voyage a Surinam. Description des possessions néerlandaises dans la Guyane. Bruxelles, Société des beaux-arts, De Wasme et Laurent, 1839. Large folio. With wood-engraved vignette on title. Lithographed additional title and 99 lithographed illustrations on 49 plates, all mounted on China paper. Original half black morocco, spine gilt.
      (4), 1-69, (3), 75-76, (2) pp. Muller, America 1460; Sabin 4737; Suriname-cat. UBA 0508a. First edition, with illustrations on Surinam. The lively plates include topograpic views, botanical, ethnographical and zoological subjects, and scenes from the life of the native Indians, the African-Americans and the white colonists. The plates are preceded by a historical survey of Surinam. According to the text on the title-page, there are one hundred plates (cent dessins ), but the list with illustrations in the book mentions only 99 illustrations, mainly half-page, on 49 plates. It is probable that the full-page lithographed title is included in the cent dessins. The Table des figures and the Table des matičres have been bound in, in that order, after the plates. Binding rubbed, some browning or foxing. Good copy of this important work on Surinam.
      [Bookseller: ASHER Rare Books]
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF
TEXT FROM THE OPENING OF THE HOURS OF THE CROSS.
      Paris, ca. 1460 - Single column three lines of text on verso 12 lines on recto in a fine regular gothic book hand. Attractively matted. Rubrics in red recto with one line filler 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 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 other vegetation and fruit as well as a strutting peacock and a sedate dove the border FRAMING A RICHLY DETAILED ARCH-TOPPED ILLUMINATED MINIATURE OF THE CRUCIFIXION (measuring approximately 65 x 43 mm.) the scene showing an emaciated Christ hanging from the cross in the center his head bowed toward his mother on the left and with John the Baptist on the right their pink and blue garments neatly balancing one another a green hill rising steeply behind each of them the towers of Jerusalem in the distance between the two hills and the sun and moon sparkling above the cross in the crepuscular sky. Significant loss to the white paint of Christ's body a few faint naturally occurring wrinkles in the vellum otherwise very fine the leaf clean bright and fresh and with quite comfortable margins. Simplicity and balance are the keywords here as this miniature contrasts with many Crucifixion scenes that are crowded with soldiers and other subordinate figures. The two mourning figures on either side of the cross provide a symmetry to the composition that is reinforced by the sun and moon equally opposite in their location. While it was surely not the artist's intention the erosion in the white paint (which seems as vulnerable as blue in 15th century French miniatures) provides a sense of bodily decay appropriate for the corpse that confronts us in the middle of our mournful scene. By contrast the folds of the clothing of John and the Virgin are uncommonly bright with remarkably well-preserved shimmering gold.
      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
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PÉRONNE
on the Somme, 30 miles east of Amiens) Interesting and varied Archive of papers in French,
      - revealing a rich picture of this ancient town in Picardy, apparently assembled by members of the families of Dehaussy de Robécourt and Eudel, lawyers and administrators, and chosen to illustrate various aspects of life there and in the wider Bailliage of Péronne. 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 Feuquičres 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 Péronne; 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 Général de Péronne (1879) and Les Mayeurs de Péronne: leurs familles et leurs descendants (1896), also Abbé Paul de Cagny, Histoire de l?Arrondissement de Péronne, 2 vols., 1869, which has a note on the measures of Péronne 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 Jurés (sworn men, échevins) of Péronne: 1(a) Tuesday 8th July 1460. Present: Jean Pestel, licencié 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 Santé, 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, licencié en lois et en droit, mayor (side 3 line 16), and several named jurés, 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 jurés. Actions taken following various requests. Together 6 sides 12" x 8ľ", 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]
      [Bookseller: Sophie Dupre ABA ILAB]
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CRUCIFIXION
Illuminated miniature of the Crucifixion, from a Book of Hours. Bruges, c. 1460-
      The crucified Christ in the centre of the miniature flanked by the Virgin and St. John on the left and the centurion and his followers on the right. Landscape background, with rocky hillside and in the far distance a view of Jerusalem depicted by pinnacled and round-topped buildings. Full border of coloured acanthus leaves, soft fruit, flowers and gold leaves on hair-line stems (right hand border perhaps unfinished). Size of miniature: 118 x 74mm. Size of leaf: 192 x 135mm. Verso blank. 1475 A Flemish miniature made for the English market, from a Book of Hours, of the Use of Sarum. It is one of a group of miniatures produced in Bruges in the style of William Vrelant (also illustrated in Duschnes' catalogue 169, December 1964). Our miniature introduce Nones in the Hours of the Cross. A few tiny worn areas affecting the miniature, also a stain at the top, but border in excellent condition.
      [Bookseller: Maggs Bros. Ltd ABA ILAB BA]
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PÉRONNE
(on the Somme, 30 miles east of Amiens) Interesting and varied Archive of papers in French,
      revealing a rich picture of this ancient town in Picardy, apparently assembled by members of the families of Dehaussy de Robécourt and Eudel, lawyers and administrators, and chosen to illustrate various aspects of life there and in the wider Bailliage of Péronne. 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 Feuquičres 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 Péronne; 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 Général de Péronne (1879) and Les Mayeurs de Péronne: leurs familles et leurs descendants (1896), also Abbé Paul de Cagny, Histoire de l’Arrondissement de Péronne, 2 vols., 1869, which has a note on the measures of Péronne 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 Jurés (sworn men, échevins) of Péronne: 1(a) Tuesday 8th July 1460. Present: Jean Pestel, licencié 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 Santé, 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, licencié en lois et en droit, mayor (side 3 line 16), and several named jurés, 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 jurés. Actions taken following various requests. Together 6 sides 12” x 8ľ”, 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 to be on 4th January 1646, and emphasising that the husbands will not be involved in the management of the properties. 2 sides vellum, 11ľ” x 7ľ”, [1645]. 3. Group of 4 receipts for payment to the Revenue, by Conseillers-Secrétaires du Roi, of successive increases in the value of their office, to be matched by an increase in salary from named taxes. The payment for 1698 is by J.-B. de la Feuille, the later ones by J.-B. Morgan. In 1698 la Feuille paid 12866 livres 13s 4d, borrowed from several men and women named on the document. Three are countersigned by Contrôleurs des Finances Louis Phélypeaux, Comte de Pontchartrain (1698), and Philibert Orry, Comte de Vignory (1731, 1745: he brought France’s road system to a high state of repair, and instituted the Paris Salon). Vellum, printed with manuscript additions, 8 sides folio or larger, Paris or Versailles, 1698, 1715, 1731 and 1745. These legal posts in the Treasury were highly sought after and could be inherited or acquired from a predecessor on paying a “survivance” of 1500 livres to the revenue. 4. Group of documents transferring J.-B. Morgan’s office (see above) to Jean-Joseph Laborde. (a) Power of attorney to make the transfer, signed by Morgan, Paris, 17th September 1756. (b) Receipt by the treasurer of the Company of Conseillers-Secrétaires for 1350 livres paid by Laborde (1200 membership, 150 to the Hôpital Général et Enfants Trouvés), oblong folio, printed with manuscript additions, Paris, 1st December 1756. (c) Receipt by the revenue for 1500 livres paid by Laborde for the right to pass on his office, vellum, oblong folio, Versailles, 11th December 1756. (d) Right of Laborde to pass on his office, with many interesting details, Versailles, large folded vellum, 20th December 1756. (e) Right of Laborde to practice as Conseiller-Secrétaire at Bayonne, signed by the Mayor’s clerk, 2 sides folio, 17th April 1758. The document mentions that Laborde, “born in Spain on the frontier”, had been naturalized French in 1749. In two “liasses” with contemporary cover sheets, the items defective at the top, about a quarter of (d) is missing. [The second liasse also mentions Laborde’s actual “provisions” or letter of appointment with three endorsements, not present]. Together 6 sides, 1756-1758. 5. 2 Summonses to the Sieur [Dehaussy] de Robécourt, at the request of J.-B. Amelot, Receiver of Taxes, to appear before the Intendant at Arras the following Thursday, to account for capitations unpaid by (1) Sieur Devillers and (2) Sieurs Mallemain, Dournel and Maillart, which they say are in Robécourt’s hands, plus 2s per livre for costs, Amelot will ‘press his advantage’ whether Robécourt is ‘present or absent’, signed by huissier Perceval, together 4 sides 7ľ” x 6ľ”, [Arras], Saturday 6th July 1709. 6. 6 sets of receipts and expenditure (four in summary form) for the Bailliage of Péronne in the neat hand of Fursy Jean Dehaussy (appointed Treasurer in May 1708), with clear introductions and explanations of overdue items, arranged under the headings of Augmentation de Gages (central funding), from 1710 to 21 March 1716 (2 sides), the rest, from 1708 to 29th November 1712, concern the office of Lieutenant-Général d’Épée (held by the Sieur Eudel), the Augmentation de Gages, the office of Treasurer of the Common Purse, the dispute with the Count of Toulouse, and the Common Purse itself. These last two are particularly interesting. The dispute with Toulouse, son of Louis XIV and Admiral of France, was funded by Eudel (600 livres) and the Damoiselle Eleonnorre Eudel, widow of Charles Fournier (500 livres). Expenses include legal fees and sending the town’s charters to Paris. In the days when people paid to hold public office, the Purse received sums ranging from 6 livres for installing a huissier to 112 for a councillor such as Dehaussy, with 162 for the Lieutenant. Payments were made to the locksmith, fuel merchant, woodworker and plasterer for the Council Chamber. Other costs include printing, church services, and an express messenger to Amiens over their dispute with the Intendant. Each account is signed by Eudel, Dehaussy and the other seven councillors, to be retained by Dehaussy. Together 26 sides 11ľ” x 7˝” including cover sheet, Péronne, 21 March 1716 and 29th November 1712. 7. Group of 5 documents about applications by husbandmen (‘laboureurs’) to work portions of the 151 journaux 28 verges at Forest, Maurepas parish, belonging to the Hôtel Dieu (hospital) of Péronne. With interesting details of the sizes, boundaries, rent offered in kind (measured in septiers of corn per journal per year) and money, plus a single payment as ‘pot de vin’, and of the discussions before the Mayor and Échevins leading to the successful application, with the applicants’ and mayors’ signatures, that of 16th June 1721 also records the announcements at Maurepas of the forthcoming auction. On 14 January 1732 there is a joint application by several families. A journal of 100 square verges, Péronne measure, is about a British acre. A septier is 12 bushels, probably about 150 litres. Agreements were for nine years, and the new tenant had to repay the previous for seed and labour in the current season. With many names, including surnames Lenté (Lanté), Thuilly, Le Dez, Colombier, Desfresnes, Boquart, Lecombe, Machoire, Berthot, Lanne, Hubert, Foucquet, Pillot and Tattegrain. 22 sides 10” x 7˝”, Péronne, 5th July 1717, 26th April 1720, 16th June 1721, 14th January 1732, and 23rd May 1732. 8. Autograph note signed ‘Nogar’, asking the addressee “to remove from my inventory Marie Filieu wife of Louis Grain for the complete bed which he had bought in her name”, 1 side 7˝” x 5”, Peronne, 7th July 1724. 9. Inventory of the belongings of François Vallincourt, merchant of Péronne ‘at the sign of St Martin’, deceased, with the estimates of their value and the prices at which they were sold, with the buyers’ names and occupations. At the end is a detailed account of credits and debits on the estate. Drawn up by Nicolas Rousseau, Greffier, at the request of Robert Vallincourt & Thomas Hocquet, 32 sides 10” x 7˝”, beginning on 30 August 1732. Somewhat worn with occasional loss. With a multitude of local names. The prices realised are consistently a good deal higher than the estimates, for example (side 3, no. 14) “Item an old sabre with two poor swords, a powder horn and several pipes estimated at 20 sols sold and delivered for 33 sols to the said Grain”, other items were sometimes bought by the family, such as “a little musket” to Robert for 3 livres (no. 19). 10. Extract from the Register of Cases of the Election of Péronne, the Procureur du Roi against certain named defenders over taxes, recording the judgement on 28th November 1732, with further matters dated 1st December 1732 and 12th October 1733, signed by huissier Augustin Lacourt, 2 sides 9˝” x 7Ľ”, 1732-1733. 11. 2 bookplates from different plates but with the same coat of arms, one with the name in manuscript of François-de-Paul Barthelemi Jean Dehaussy, the other of M. B. Dehaussy de Robécourt (n.d.), 2 sides engraved surface 3˝” x 3˝”, 1750 and n.d. 12. Printed copy of Louis XV’s grant of the rank of Marquis and freedom from taxes to Antoine-Constant de Hamel-Bellanglise [Bellenglise], currently the last representative of Lupart, Sieur de Hamel & Bellenglise, Châtelain of Péronne in 1210, recalling the military services of his relations in the elder branches, now extinct, including Jean, killed at Agincourt, and his own, his father’s and his uncle’s, with two sons mousquetaires in the Garde ordinaire, woodblock pictorial heading and initial L, both with the arms of France, 3 sides 12˝” x 8”, Versailles, November 1759, edges a little crumpled, short tears in folds without loss. With much genealogical information. 13. Travelling Dentist’s advertisement, by “le Sieur Cazenove de la Faculté de Montpellier”, with a long list of preparations and cosmetics, on the back is a manuscript note addressed to the notaires and others of the Bailliage of Peronne ending “sentence given the 23rd”, right margin defective (words easily supplied, but affecting note on verso), printed, 1 side 7” x 8”, n.p., n.d., c. 1770. 14. Order by the Parlement of Paris in the case of the Appeal by Augustin François De L’Estrées, notary of Péronne, living at Fins, against sentence at Péronne of 22 March 1771 (whereby he was ordered to pay maintenance to Margueritte Mire for their natural son Adrien Joseph Louis De L’Estrées), that both parties be “put out of court”, in view of a “transaction” on 15th April 1771 between De L’Estrées’ lawyer, Jean Marie Louis Ballu (who had power of attorney) and Margueritte Mire, agreeing sums of 250 livres on top of 250 livres already awarded, plus 25 livres every six months for 10 years, and her costs. The transaction, here copied in full, provided that either party might appeal against the original sentence, and in fact De L’Estrées had already so appealed on 26th March 1771. Margueritte Mire took the opportunity to apply for a larger sum, but on 1st July 1772 the Parlement ruled that the transaction must stand. With notes by and signature of Dehaussy de Robécourt. 3 sides 11ľ” x 7Ľ”, this copy c. 1772. 15. Long account by Dehaussy de Robécourt, of the attempts by Augustin Gruzon, ‘mulquinier’ at Gueudecourt on land belonging to the Collegiate Church of St Fursy at Péronne, to obtain redress against his son-in-law Guillaume Cartel senior, daughter Marie Claire, and grandsons Guillaume junior (a farrier), Jean Jacques, and Honoré Cartel, for acts going back to 1772, culminating in the theft with violence of crops, horses and plough in 1773. The case was transferred to the Crown at Péronne, where there were suitable prisons, at the request of the procureur of the jurisdiction of St Fursy. The Cartels suffered two heavy civil awards on 19th March 1774 (side 2, lines 4 & 7), followed by criminal sentences of banishment (2nd January 1775) from the Bailliage for six years. However, Guillaume senior simply went back to Gueudecourt. In the hand of Dehaussy de Robécourt, who took over the case for the Crown, with two copy records in another hand (sides 1-3) dealing with Guillaume’s breach of the ban. 4 sides 9ľ” x 7” and 2 sides 9ľ” x 6Ľ”, (Péronne), c. 1775. With many names of witnesses, their occupations and ages. 16. 2 letters signed ‘Eudel’ to Dehaussy de Robécourt, Avocat du Roi to the Bailliage of Péronne, the first about property in which they have a joint interest, he had well expected lower returns given the fall in the price of wheat last November, urging a quick sale of the property at Mortencourt, and asking him to send M. Préville in Paris 800 livres to be converted into a “rescription” on the dues on tobacco at Quimper, with detailed notes by Dehaussy on the actions he has taken, he has a buyer in mind for Mortencourt at a higher price, 2 sides 9˝” x 7Ľ”, from Pont au Buis (Finistčre), postmarked ‘Quimper’, 7th May 1775, in the second he thanks him for news of their relations at Péronne, his elder two sons are at home learning mathematics and drawing, one preparing for “notre partie” (probably the customs service), the other to be a naval engineer, and suggesting a way of getting money transferred to him from Péronne, 2 sides 8˝” x 6ľ” and conjugate address leaf, Rouen, 14th February, 1788. 17. Copy of the will of Jean Antoine Choquet, Seigneur de Courcelette, of rue des Chanoines, Péronne, dated 6th June 1768, with the codicil as dictated on 19th May 1777 to notary Louis Antoine Nicolas Vinchon, which added his cousins M. Dehaussy de Robécourt and Mme. Ducauroy in place of their late father and father’s brother, the copy made by and signed ‘Dehaussy’, 4 sides 10” x 6˝”, Péronne, 14th June 1777. The will provides generously for three domestic servants as well as the wife. 18. Licence for Théodore Blanchart, born 1758, to practise surgery at Marchélepot near Péronne, 16th November 1784, issued and signed by Daniel Jean François Bréhou, lieutenant of the “premier chirurgien du Roy”, with an impressive list of Blanchart’s certificates in all branches of medicine, verified and signed on 18th Messidor An XI (7th July 1803) by souspréfet Malafolie, vellum, 2 sides 9˝” x 14˝”, Péronne, 16th November 1784, soiled on verso but can mostly be made out. 19. Autograph note signed ‘Dehaussy de Robécourt’ to notary Le Febvre jeune, in Paris, asking him to pay Mlle de la Roque Coursel 17 livres 13s 3d, being part of the 20 livres interest p.a. due from a shoemaker in Péronne, explaining the deductions and saying how to find her, the writer will reimburse Le Febvre out of his present month’s salary, 1 side 4˝” x 6”, n.p., 8th January 1788. 20. Ordonnance of Antoine-Adolphe de Seigličres, Marquis de Feuquičres, as Bailli of Péronne, Montdidier & Roye, summoning the Three Estates of Clergy, Nobles and Commoners within the bailliage to assemble at Péronne on the 16th March 1789, the third estate to a preliminary assembly on the 9th March in order to reduce all their complaints to a single ‘cahier’, and to elect a quarter of their number to attend on the 16th, so as to debate and record “the needs of the State, the reform of abuses, the establishment of a fixed and lasting order in all parts of the administration, the general prosperity of the realm, and the good of each and every subject of the King”, with the aim of producing a single cahier, or at least one for each estate, and then to elect 2 clergy, 2 nobles and 4 commoners as deputies to the forthcoming assembly at Versailles, 8 sides 4to., printed at St Quentin, 21st February 1789. The first summoning since 1612 of the Three Estates, on the eve of the Revolution. Many politicians (including Talleyrand, Bishop of Autun) rose to prominence by presenting their local cahiers at Versailles. This copy is signed ‘Ballu de Mont-joie’, (Mayor, 1790), as Greffier (chief clerk) of the bailliage. 21. Circular letter of the Jacobin Club of Paris to its network all over France, protesting at the action of certain ‘petitioners’ (including Talleyrand, see p. 3) who have called for the royal veto against the lawful decree of the National Assembly, which had been designed “to put an end to the religious troubles”, and fearing civil war if the wish of the Assembly under the monarch can be overturned so lightly. At the end are the names “Max. Isnard, député ŕ l’Assemblé nationale, président” and other Jacobins, and a note that “this extract” is to be appended to “M. Robespierre’s address”. Apparently the Assembly had simply wished to restrain certain independent-minded priests by an oath of loyalty, while the petitioners wanted them exiled. Printed, 10 sides 8vo, Paris, [December] 1791. At Péronne the parish clergy took the oath to the new Constitution on 23 January 1791 but most retracted the following March. As a result the parish churches were closed and the congregations became attached to the former collegiate church of St Fursy. 22. Certificate of residence and identity, with physical appearance, of Jean de Dieu Barthelemi Dehaussy, born 29th November 1728, who has always lived in the Place du Marché aux Herbes at Péronne, with the names and occupations of nine prominent citizens who have vouched for him, signed Charlard by the secretary of the Canton of Péronne, his signature confirmed by Cadot, 4 sides 7ľ” x 9ľ”, 23rd Fructidor An V (9th September 1797), wear in upper portion touching three letters. 23. Document setting up a Central Vaccination Committee for the arrondissement of Péronne, who will in turn set up local committees in each canton, naming the members headed by Dehaussy-Robécourt (president of the tribunal), Rabache Duquenoy, Mayor, the administrators of the hospital, councillors, lawyers, the local schoolmaster and the curé, “neglecting nothing to support the fatherly view of the Government ... the good of humanity and the increase of the populaton”, signed by souspréfet Malafolie, 2 sides 13” x 9”, Péronne, 16th Thermidor An XII (4th August 1804), a little worn at top without loss. 24. Specification, unsigned, for a calčche (open carriage), addressed to master coachmaker Raffard, rue St. Florentin, Paris, new or second hand, to seat four comfortably, with leather curtains, lanterns, “a fine varnish” in green, yellow or cerise, to clear at least 54 inches above the wheels, with a “vache” (luggage boot) which must weigh at most 28 or 30 pounds, for which “a little trunk” could be made, “a good town and country Berlin” would suit if no calčche can be found, 2 sides 8Ľ” x 6˝”, n.p., August 1812. 25. Letter to the Mayor of Péronne from the Colonel Commandant of the Département of the Somme, requesting a passport for Lieutenant Francisco Torregrosa, Spanish prisoner of war, who has been given permission to visit Châlons sur Marne, 1 side 9˝” x 7Ľ”, Amiens, 24th November 1812, v-shaped tear in top holding without loss. 26. Group of 3 letters from Joseph Théodore Eudel, (d. 1850, Director of Customs, Cherbourg), to his nephew, son of his sister Mme Arbellot, about advancing the nephew’s career, Arbellot has been a “vérificateur” in the customs at Bremen and is now with the same rank at head office in Paris, commiserating over his misfortunes, however with conscription continuing new vacancies may occur (16th December 1813), he urges Arbellot to see M. De la Pierre in Paris to whom Eudel has proposed 6 new posts in Manche and Calvados, and to act “with spirit, moderation & address” (25th January 1814), congratulating him on settling in at Calais, talking of his daughter Zoé’s marriage to Michel Cousin Despréaux, a rich businessman “d’un caractčre précieux pour une femme”, regretting the coolness between “my brother and your Father and Mother”, urging Arbellot to do anything he can to overcome it, also to improve certain turns of phrase which can be out of place in a family, and reassuring him “that all is for the best in the best of all possible worlds” (28th January 1823), together 6 sides 4to or 8vo and address leaves, 1813-1823. 27. Autograph copy letter signed ‘Eudel’ in the same hand as those of 1775 and 1788 above, but much shakier, to his brothers, saying he has wanted for many years to explain his own reduced circumstances and the terms of his own will. His brother-in-law Arbellot had been the main beneficiary of Arbellot senior’s will, as was allowed by local custom. When the revolution decreed that all children should share equally, with retrospective effect, the husbands of Arbellot’s three married sisters began to threaten him, so Arbellot followed his late father’s advice and put his estate of La Gasnes in Eudel’s name, with Eudel leaving it in his will back to Arbellot or his heirs. Both had other troubles over this period. Eudel was forced to lend 30,000 francs by a revolutionary court at Limoges, lost his official position almost as soon as he had bought it, made to overstock with tobacco, and the assignats from the sale of his house in Péronne were now worthless. He has in fact survived only with help from Arbellot and one of his sisters. “If you had been in my place, you would have done the same”. 4 sides 9˝” x 7Ľ”, Bellac, Haute-Vienne, 17th July 1817. 28. Leaf from the mayor’s register of births, describing two foundlings left at the hospital, a boy apparently new-born, and a girl about a month old, and the clothes in which they were found, signed “Seręt” from the hospital, also “Ed. Herein”, mayor, who registered them as “Alexandre Damase” and “Sophie Constance”, with on the verso two further registrations (one incomplete at end), of children born the previous day, 2 sides 9ľ” x 7”, Péronne, n.d. and 12th-14th December 1820, defective in inner margin with loss of several words. 29. Printed leaflet from the Council for the Recensement [list of those liable for service] of the National Guard of Péronne, saying the recipient should consult the list (name not filled in), Péronne, 1 side 8Ľ” x 5Ľ”, 22nd August 1870. Péronne was besieged and heavily bombarded from 27th December 1870 - 9th January 1871. 30. Document signed by A. Quantin as publisher of the illustrated monthly Le Monde Moderne, stating the right of Paul Eudel, who has received 250 francs for the text and music of Une Nuit Blanche, to publish or translate it after 6 months, lithographed with manuscript additions, 10˝” x 8˝”, Paris, 31st May 1895, margins a little crumpled and torn, touching signature without loss.
      [Bookseller: Clive Farahar & Sophie Dupré]
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BENOIT, Pierre Jacques.
Voyage a Surinam. Description des possessions néerlandaises dans la Guyane. Bruxelles, Société des beaux-arts, De Wasme et Laurent, 1839. Large folio. With wood-engraved vignette on title. Lithographed additional title and 99 lithographed illustrations on 49 plates, all mounted on China paper. Original half black morocco, spine gilt.
      - (4), 1-69, (3), 75-76, (2) pp. Muller, America 1460; Sabin 4737; Suriname-cat. UBA 0508a. First edition, with illustrations on Surinam. The lively plates include topograpic views, botanical, ethnographical and zoological subjects, and scenes from the life of the native Indians, the African-Americans and the white colonists. The plates are preceded by a historical survey of Surinam. According to the text on the title-page, there are one hundred plates (cent dessins ), but the list with illustrations in the book mentions only 99 illustrations, mainly half-page, on 49 plates. It is probable that the full-page lithographed title is included in the cent dessins. The Table des figures and the Table des matičres have been bound in, in that order, after the plates. Binding rubbed, some browning or foxing. Good copy of this important work on Surinam.
      [Bookseller: ASHER Rare Books]
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF
TEXT FROM THE OPENING OF OBSECRO TE.
      Paris, ca. 1460 - Single column 15 lines of text on verso and 12 on recto in a fine regular gothic book hand. Attractively matted. Recto with a line filler in colors and gold verso with a two-line blue initial decorated with delicate white tracery and enclosing two charming blue and scarlet flowers on a curling tendril the whole on a burnished gold ground recto of the leaf with an animated quarter panel border of flowers and other vegetation 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); verso also WITH A SMALL AND EXTREMELY CHARMING MINIATURE (measuring approximately 25 x 32 mm.) OF THE MADONNA AND CHILD. Except for naturally occurring minor wrinkling IN ESPECIALLY FINE CONDITION. In this remarkably well-preserved leaf the Virgin dressed according to tradition in pink and blue sits with a playful and energetic Christ Child on her lap. The Blessed Mother is seated on a green tessellated floor which recedes convincingly in space with blue panelled doors opening behind her to reveal a red and gold patterned tapestry. The face of the Christ Child is convincingly infantile here but his slender body prefigures his manhood a Medieval artistic convention suggesting that Our Lord possessed all the wisdom of an adult from the time of his birth. His golden-haired mother sits on the ground a pose which conveyed her exemplary humility to the late Medieval mind. The Obsecro Te which is contained in its entirety on this leaf is a prayer to the Virgin Mary begging for her aid. Frequently used in Books of Hours in the 15th century the prayer may be accompanied as here by a scene of the Virgin cuddling her child or by a Pieta.
      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
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EYCK, Barthélemy D'
EL LIBRO DEL CORAZON PRENDIDO. Facsímil
      Ediciones Reales Sitios 290 x 200 rom. 18 folios (36 páginas). Encuadernado en terciopelo sobre tabla. Herrajes y molduras de fundición. En esta ocasión estará a cargo de S. Martín Esteban, galardonado en dos ocasiones con el premio nacional de Encuadernación. Estuche de Metacrilato. Papel pergaminata 190gr. Volumen complementario de estudios sobre las Miniaturas. Tirada única de 500 ejemplares, numerados y certificados notarialmente.El libro del corrazón prendido realizado por René de Anjou y miniado por Barthélemy d'Eyck, convierten al códice en una de las Joyas más importantes del Arte Borgońón del Siglo XV.Su belleza es asombrosa, las 16 Miniaturas que un artista excepcional realizó 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 más bellos de amor que jamás se han realizado y que constituye el más claro ejemplo de la espiritualidad del renacimiento.La luz, el Amanecer, el Mediodía, el sol que nace, la noche solo plasmadas por auténticos genios del Arte Flamenco.La belleza de las miniaturas es desbordante. Mediante los pensamientos amorosos que el autor nos narra en forma de sueńo. El caballero Corrazón quien acompańado de su fiel escudero Deseo, va en busca de su Dama, encontrarán en su camino a las personificaciones de Deseo, Orgullo, Amistad, Generosidad, Cólera, Tristeza, Celos.
      [Bookseller: Librería Sagasta]
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AN ILLUMINATED VELLUM MANUSCRIPT LEAF
TEXT FROM GOSPEL LESSONS.
      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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Gerard David
LIBER HORARUM OF GERARD DAVID (Fine Facsimile Illuminated Edition of the 16th C. )
      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 MANUSCRIPT LEAF WITH A
TEXT FROM THE SUFFRAGES.
      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.
      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
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Feliciano Veronese, F.
Alphabetum Romanum. Hrsg. von G. Mardersteig. verona, Officina Bodoni (1960). 4to. 140 S. Mit handkolorierter Titelvignette, 5 Tafeln sowie 25 handkolorierten großen Initialen. Brauner Orig.-Maroquinbd. mit Deckelsignet in Gold, Rückentiel u. Kopfgoldschnitt. In Orig.-Schuber.
      . . Druck der Officina Bodoni, hier eines von 50 Exemplaren der Vorzugsausgabe in Oasenmaroquin. Das um 1460 entstandene Alphabet des Veronesers Felice Feliciano hat für die Geschichte der Schrift eine besondere Bedeutung. Es ist das erste Traktat und die erste Zeichnung einer Konstruktion von klassischen römischen Majuskeln innerhalb eines Kreises und Quadrates. In diesem Handpressendruck sind die 25 Buchstaben des Originals handkoloriert wiedergegeben. Tadelloses Exemplar. - Mardersteig 120 mit 2 farb. Abb. - Schauer Bd. II,79 mit Abb.
      [Bookseller: Antiqu