viaLibri ~ Rare Books from 1470

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Bibliografia Delle Edizioni Giuridiche Antiche in Lingua Italiana. Firenze, Olschki, 1978-1993
. Opera in tre volumi raccolti in otto tomi. 8°, pg.4152 complessive. Volume I: "Testi statutari e dottrinali dal 1470 al 1700". Tomo I: "Bibliografia cronologica". Tomo II: "Indici alfabetici". Volume II: Testi statutari e dottrinali dal 1701 al 1800": "Bibliografia cronologica (tre tomi). Volume III: "Indici". Collezione "Biblioteca di bibliografia italiana". [Bookseller: Alibris]
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Stundenbuch nach dem Gebrauch von Rom.
Illuminiertes Manuskript auf Pergament.
Norditalien (Diözese Turin), 1470/1480.. 120 Bll. 140:115 mm, es fehlt ein Einzelblatt in Lage xii (Schluß der "Oratio S. Anselmi" vor dem "Officium Defunctorum", das bei der Neubindung im 18. Jahrhundert zur Gänze entnommen wurde); sonst vollständig. Kollation: i8, ii4, iii-xii8, xiii3 (statt 4), xiv-xvi8, xvii3 (statt 6: die drei letzten, weißen Bll. entnommen). Reklamenten für jede Lage, 16 Zeilen, Schriftspiegel 110:850 mm. Italienische Rotunda, Rubriken in Rot. Zahlreiche einzeilige Initialen, wechselweise in Blau bzw. Blattgold (auf weißem Bolus), 158 Blattgoldinitialen auf farblich unterschiedlich geteiltem Grund (Blau, Rot, Grün), belegt mit weißem oder gelbem Filigran. Eine fünfzeilige (21r), zwölf vierzeilige historisierte Initialen. Lederband des 18. Jhdt.s mit Deckelfileten und Resten von Schließen.. Das Stundenbuch wurde für einen Laien gefertigt, der dem Dritten Orden des hl. Franziskus nahestand. Dafür sprechen die im (nicht liturgischen) Kalender rot hervorgehobenen Feste des hl. Bernhardin von Siena und des Ordensgründers (4.10.), ferner die herausgehobene Stellung von Franziskus und Bernhardin von Siena in der Litanei (gleich hinter Benedikt), wie auch von Klara von Assisi und Elisabeth von Thüringen. Schließlich stützt ein kurz nach Fertigstellung der Handschrift auf Bl. 94v nachgetragenes Gebet, welches dem Offizium des hl. Franziskus entstammt, die Einordnung in einen solchen Kontext. - In Kalender und Litanei wird neben Franziskus überdies dreier großer Volksprediger gedacht, nämlich des Franziskaners Bernhardin von Siena, gest. 1444 (5v, 105r), des Dominikaners Vinzenz Ferrer, gest. 1419 (105r) und des Augustinereremiten Nikolaus von Tolentino, gest. 1305 (9r), wodurch das laikale Element nochmals unterstrichen wird. - Eigentümlich ist die Bebilderung der Texte, hat man doch das Marienoffizium gewöhnlich mit einem Kindheits- oder Passionszyklus ausgestattet, wobei die Verkündigung an Maria die klassische Eröffnungsszene vorstellt. Hier hingegen wurde in der ersten historisierten Initiale der heilsgeschichtlichen Bedeutung der Gottesmutter in Form eines eher abstrakten Andachtsbildes Genüge getan, um bei den nachfolgenden Gebetsstunden weitere Fürsprecher für das eigene Seelenheil bildlich Revue passieren zu lassen. Bemerkenswert ist vor allen Dingen die Auszeichnung des Hl. Michael, dem als einzigen eine fünfzeilige Initiale zugestanden wurde, während sich alle anderen Figuren in einen vierzeiligen Buchstabenkörper einfügen mußten. Über das Marienoffizium hinaus erstreckt sich die Bildlitanei noch über einen weiteren Text (59v), so daß insgesamt neun Heilige (Maria, Michael, Johannes der Evangelist, Katharina, Hieronymus, Johannes der Täufer, Antonius, Franziskus, Elisabeth) in Bildform kommemoriert werden. - Einige Bll. (vor allem das erste) stärker berieben; im Kalender die Schmuckintialen bei der Neubindung beschnitten, einige (Finger-)Flecken; im ganzen wohlerhalten. [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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VOLTAIRE]
L'ingénu, histoire véritable, tirée des manuscrits du père Quesnel.
In-8, pleine basane de l'époque, dos orné d'une résille dorée, tranches rouges (dos abimé, mors fendu, épidermures, premier f. lég. débroché), (2) f., (4), 240 p., auréoles claires, titre et texte encadré. Edition originale de ce conte philosophique, qui sera réédité sous le titre de 'Le Huron ou l'Ingénu', oeuvre politique que Voltaire rédigea au plus fort de l'affaire Sirven alors qu'il était constamment sur la brèche. "L'oeuvre connut un succès immédiat, qui entraina la réaction du parti dévot ( ) L'Ingénu traduit un effort obstiné pour croire que tout peut aller mieux, malgré tout, dans un monde qui ne va pas si bien. C'est là sans doute la philosophie profonde du conte, qui proclame sa foi dans le progrès de la civilisation ( ). Voltaire s'amuse, et en s'amusant, ne cesse de philosopher" (cf. longue notice in 'Inventaire Voltaire', p. 717-719). (Bengesco, 1470. 'L'oeuvre imprimé de Voltaire à la B.N.', 2821). De la bibliothèque de Guy de Pourtalès, écrivain suisse (1881-1941), avec son ex-libris gravé. [Attributes: First Edition; Hard Cover; In Dust Jacket] [Bookseller: Librairie Hatchuel]
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OFFICIUM BEATAE VIRGINIS MARIAE.
Libro d'ore su pergamena ( cm 13 x 9,7 , specchio di scrittura cm. 6,5 x 4,5) composto da 89 cc. (49 + 1 foglio bianco , elegante legatura retrospettiva in vitello scuro,residui di laccetti, tagli rossi,piatti e dorso riccamente decorati a secco e in oro (piccoli ferri), magnifico frontespizio a struttura architettonica vivacemente dipinto da mano coeva (probabile parziale ridipintura ottocentesca), arma nobiliare di famiglia lombarda in corso di identificazione al recto,sbavature di colore e qualche macchia al verso , tre magnifici capilettera miniati di grande formato e di notevole fattura,colorati da mano coeva, ricche estensioni floreali a lambire i margini , moltissimi capilettera elegantemente decorati in oro a piena foglia, rosso e bleu, rubriche dei vari capitoli, alcuni brani di testo e explicit in inchiostro rosso, data a c. 83 ( Med [iola]ni, anno d.ni 1470) , completo, in eccellenti condizioni. [Bookseller: Studio Bibliografico LEX ANTIQUA - Casti]
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Offizium Beatae Mariae Virginis.
Blatt aus einer lateinischen Handschrift auf Pergament.
Florenz, , um 1470. Blattgröße: 345 x 265 mm. Schriftraum: 210 x 160 mm. 2 Spalten mit 30 Zeilen Text in gotischer Rotunda mit roter Strichelung... Unter Passepartout.. Sehr dekoratives Blatt aus einem Marienoffizium mit der siebten Lektion "Augustinus in sermone". Das zumeist violettfarbene Federwerk umspielt den Text zwischen den Spalten und rankt sich, die Initialen verbindend, bis in den sehr breiten weißen Rand hinunter, wo es jeweils in zarten Voluten, feinem Knollenwerk oder stilisierten Blättern endet. Zum Buchstaben hin und durch ihn hindurch verzweigt es sich in mehrere Parallellinien. Von beachtlicher Qualität ist auch das Pergament, das fast an Jungfernpergament heranreicht: so weich und papierdünn ist es. Die Fleischseite ist gegerbt und die Haarseite ebenfalls in aufwändigem Verfahren aller Unebenheiten beraubt, mit Kalk entfettet und geweißt - ein Meisterwerk der Italienischen Handschriftenkunst. Ausgezeichnet erhaltenes Blatt. [Bookseller: Antiquariat Abaton GmbH]
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THOMAS D'AQUIN (Saint)
Quodlibeta duodecim disputata circa annum d(omi)ni M.CC.LXX. (EDITION INCUNABLE, UNE DES PREMIERS IMPRESSIONS ROMAINES)
S.l.n.d. (Rome, Georgius Lauer, ca 1470). In folio plein vélin ivoire cordé de l’époque à petits rabats, titre manuscrit en long au dos, (1) f. blanc, (217) f., 33 lignes longues à la page avec les initiales en rouge. Edition princeps incunable de ce texte majeur de Thomas d'Aquin, l'une des toutes premières impressions romaines, donnée par Georg Lauer dont c'est l'une des premières productions. Originaire de Wurtzbourg, Georg Lauer (ou Laver) installa, en cette année 1470, une presse au monastère Saint Eusèbe, sous la protection du cardinal Caraffa. Il utilise ici un caractère romain aux formes arrondies tenant à la fois du gothique par leur graisse et du romain par leur dessin, caractère proche de celui de Conrad Sweynheym et Arnoldo Pannartz, élèves de Gutenberg et introducteurs de l'imprimerie en Italie cinq années auparavant (1465). Acte universitaire par excellence dans le haut enseignement médiéval, les «Disputes» constituent la clé de voûte de l'œuvre de Thomas d'Aquin. C'est, plus encore, dans l'activité périlleuse et redoutée des «Disputes de quolibet» (questions extraordinaires), qu'il excellait particulièrement : elles permettaient aux participants, lors de séances solennelles bisannuelles, de poser librement au maître les questions les plus diverses, souvent alors de brûlante actualité. Thomas conclut l'un des douze exercices quolibetiques qu'il conduisit ainsi : «Si nous résolvons les problèmes de la foi par seule voie d'autorité, nous posséderons certes la vérité, mais dans une tête vide». (Brunet, V, 827. Goff, T, 182. Hain-Copinger, 1400. Pellechet, 1002. Marais, Bibliothèque Mazarine, 25. Deschamps, 100). Dos d'origine conservé, plats restaurés, gardes renouvelées, exemplaire anciennement lavé, galeries de vers comblées dans les marges, quelques taches d'encre et brunissures. Bon exemplaire, solide, bien relié, complet. Le premier feuillet blanc, qui a été conservé, comporte l’ex-libris manuscrit à l’époque : «Ad usum Iacinti Iati». [Bookseller: Librairie Hatchuel, livres anciens et ra]
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CALENDAR LEAF
Illuminated leaf from a Calendar of a Book of Hours. Paris, c.
Panel border on each side of the page, each containing a small minature (a man digging the land, and a ram), and with decoration of acanthus and flowers and leaves.Size of leaf: 150 x 110mm. 16 lines of gothic text written in burnished gold, blue and red. 1470. A leaf from the calendar of a Book of Hours, for the month of March. [Bookseller: Maggs Bros Ltd.]
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LONCHAMP (F.-C.).
Manuel du bibliophile français 1470-1920.
Manuel du bibliophile français 1470-1920. P. et Lausanne, Librairie des Bibliophiles, 1927, 2 fortsvol. in-8, bradel pleine toile grise, pièces d'auteur, de titre et de tomaison rouges, têtes dorées, 4 couv. cons., 763 et 855 pp., 385 illustrations, index. (GB10C) Tome 1. Partie théorique ou historique. Tome 2. Partie pratique ou bibliographique ou guide méthodique et critique de l'amateur. Exemplaire très bien relié. Petite épidermure le long du premier plat du tome 2. [Bookseller: Librairie Jean-Etienne Huret]
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LONCHAMP F.-C.
MANUEL DU BIBLIOPHILE FRANCAIS, 1470-1920.
Paris et Lausanne, Librairie des Bibliophiles, 1927. 16,5x25,5 cm. Ouvrage de référence en 4 tomes reliés en 2 volumes (complet). Nombreuses reproductions de gravures dans le texte. Tranches supérieures dorées. Reliures en demi chagrin couleur caramel, à larges coins. Dos à 4 faux nerfs portant un motif de plumes, ainsi que le nom de l'auteur et le titre en lettres dorées. Brochures d'origine conservées. Minimes traces de frottement, sinon ensemble en excellent état et de belle présentation. [Bookseller: Librairie de l'Univers]
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LONGCHAMP (F. C.).
Manuel du bibliophile français. 1470-1920.
1/ Partie théorique ou historique. 2/ Partie pratique ou bibliographique, soit guide méthodique de l'amateur. Paris et Lausanne, Librairie des bibliophiles, 1927. Deux tomes reliés en quatre volumes in-8, demi-percaline, couvertures conservées. 764 et 856 pp. [Bookseller: Livres Anciens Chaptal]
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MEDIEVAL MINIATURE-KING DAVID
KING DAVID IN PENITENCE - HISTORIATED INITIAL "U" CUT FROM A CHOIRBOOK (C.1470). FERRARA: C.1470.
113 x 128mm (overall). From illuminated manuscript on vellum. Within a pink-staved initial decorated with white penwork and blue and green foliage and set against a burnished gold ground, the half length figure of King David, white-haired and bearded, wearing a girdled green robe and a tall turbaned crown, beating his breasts and his eyes raised towards the golden rays that spark to decorate the dark blue background. Some staining affecting the background, some losses to gold. Cut to shape. Mounted and framed. From the collection of Duncan Benesford-Jones. Large in size. This fine intial is attributable to Guglielmo Giraldi or one of his collaborators. He was the favorite illumintaor of Borso d'Este, Duke of Ferrara and was also responsible for the decoration of series of choirbooks for Ferraese churches and monasteries. The present intial is tellingly close in drapery style, gesture, and background to his work. [Bookseller: Booksellers KROWN & SPELLMAN - Culver Ci]
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BIRAGO (Giovan Pietro)
Large historiated initial "I" (70 x 70mm.) of two unidentified martyr saints. N. E. Italy, c. 1470-
The initial divided into two compartments each of which is composed of a half-length figure of martyr holding a book and a palm; the initial painted in green, mauve and orange on a burnished gold ground, border of blue and acanthus, green leaves and gold bezants. Size of cutting: 360 x 101mm. With square musical notation 1475. Another cutting illuminated by Birago, from the same manuscript as the previous item. From the collection of Dr. F. G. Zeileis. A little wear to burnished gold but generally good condition. [Bookseller: Maggs Bros. Ltd ABA ILAB BA]
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Book of Hours, use of Rome.
Illuminated Latin manuscript on vellum.
Northern Italy (Torino diocese), 1470/1480. 120 ff. 140 x 115 mm, lacking one single leaf in quire xii (end of "Oratio S. Anselmi" before Office of the Dead, which was removed as a whole in the 18th century); otherwise complete. Collation: i8, ii4, iii-xii8, xiii3 (instead of 4), xiv-xvi8, xvii3 (instead of 6: three final blanks omitted). Vertical catchwords, 16 lines, written space 110 x 850 mm. Written in brown ink in a rounded gothic liturgical hand, rubrics in red, 13 large historiated initials, initials 4-5 lines high in burnished gold on panelled grounds, one with a one-sided illuminated border of colored leaves and flowers with tiny gold bezants. 158 two-line illuminated initials for each psalm in burnished gold on panels divided into red, green, and blue with delicate tracery in white and yellow, one-line and two-line initials throughout alternately in blue and burnished gold. 18th-c. calf with cover fillets; remains of clasps. Book of Hours written for a layman close to the Third Order of St. Francis, as suggested by red highlighting of the feasts of St. Bernardino of Siena and of the Order's founder (Oct. 4) within the (non-liturgical) calendar. The emphasis on St. Francis and St. Bernardino in the litany (they are placed immediately after St. Benedict), as that on Clara of Assisi and Elizabeth of Thuringia, and also a prayer from the Office of St. Francis, appended shortly after the completion of the ms. on fol. 94v, support this attribution. - The calendar and litany commemorate three great popular preachers besides St. Francis, namely the Franciscan Bernardino of Siena, d. 1444 (5v, 105r), the Dominican Vincent Ferrer, d. 1419 (105r), and the Augustinian Hermit Nicholas of Tolentino, d. 1305 (9r), a fact that underlines the lay element of the manuscript. - The illumination of the text is remarkable: while the Office of the Virgin is usually illustrated by a childhood or passion cycle (the Annunciation classically forming the opening scene), the first historiated initial here contains a rather abstract devotional picture of Mary, serving as an obligatory bow to the Virgin's eschatological importance; the following hours, however, invoke a series of additional advocates for the reader's salvation. Especially noteworthy is the distinction awarded to St. Michael, who occupies the only five-line initial, while all the other figures are fitted within four-line characters. The illustrated litany extends beyond the Office of the Virgin to another text (59v), so that a total of nine saints (Mary, Michael, John the Evangelist, Catharine, Jerome, John the Baptist, Anthony, Francis, Elizabeth) are commemorated in illuminations. - Some leaves (including the first) rather rubbed; decorative initials within calendar trimmed during rebinding; a few smudges and small stains, but mostly sound. [Bookseller: Antiquariat Inlibris GmbH]
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Medieval Monastery Scriptorium - Double Sided Leaf; miniature
[monastery Scriptorium for Noble class], 1470. circa 1470, Dutch / German. Two sided-leaf, in red, blue and black ink. Written in miniscule on vellum. 3.75" x 2.75" Anonymous; Psalters such as the one this leaf comes from were created in late medieval monastery scriptoria. Minor marginal toning, else about fine. When, in the fifteenth century, a King from the region would hold court in the numerous castles throughout his realm, the nobility would follow with their prayer books. These were intentionally manufactured on this miniature scale by the monasteries to allow the nobility to easily carry them on these journeys. This remarkably well-preserved red, blue and black ink two-sided page originated in one such psalter. Nice example of incunabula - printed artifacts originating prior to 1501. Please feel free to ask questions or request additional scans. - Jeff Harvey L30A. Unknown. Near Fine. 3.75" x 2.75". [Bookseller: Singularity Rare & Fine]
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Livius, Titus
HISTORIAE ROMANAE DECADES
Venezia Vindelinus de Spira 1470 Bound in two volumes. First dated edition of Titus Livius's Decades, probably only the third after those printed in 1469 ca., by Sweynheym and Pannartz and, in 1470, by Ulrich Han now virtually unobtainable and severely expensive. Book I with later gold letter white-vine and colored decoration; initials to books II and III in gold, the remainder in brown. Large folio (mm. 397x279), fine red morocco gilt by Kalthoeber, gilt title and decorations on spine. (1/1 blank, 1/2r dedicatory epistle of the editor to the Pope Paolo II, 1/4r Summary, 3/1r Preface to the Decade I, 17/8 blank, 18/1r Incipit Decade III, 31/10v blank, 32/1r Incipit Decade IV, 42/13v colophon, 42/14 blank); 418 of 421 leaves, lacking initial 3 blanks only. A fine copy, generously margined; expertly filled ancient wormholes at the first leaves of volume I and at the end of volume II, some small stains or spotting; a few contemporary manuscript corrections. Engraved bookplates of Charles Lemuel Nichols and Giannalisa Feltrinelli. VERY RARE AND HIGHLY IMPORTANT. This is one of the first books printed by Vindelinus himself, without the help of his brother John who introduced the art of printing in Venice in 1469 which was also the year of his premature death. The extraordinary Roman type used by the Spira's brothers for this edition would become the model of the printers to come. Indeed, Nicholas Jensen would take this type as a model for the edition of his first book, the Eusebius, in 1470. [Bookseller: Buddenbrooks, Inc.]
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ROETTGEN STEFFI
FRESQUES ITALIENNES - 2 volumes sous emboîtage - 1400-1470 et 1470-1510
éditions CITADELLES ET MAZENOD 2001 , in-4 reliure éditeur pleine toile jaquette illustrée emboîtage illustré , 472 et 464 pages , nombreuses illustrations en couleurs et en noir et blanc en très bon état haut de l'emboîtage légèrement mouillé [Bookseller: Rue des Bouquinistes Obscurs]
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Gerson, Johannes
De simplificatione cordis …
Koln, Zell um 1470. 22 cm. (140, letzte 3 wei!) Blatt, 27 Zeilen mit zahlreichen rot und blau eingemalten Initialen. Holzdeckelband des 16. Jahrhunderts mit Schweinsleder-Rucken und Messingschlie!e - GW 10830 - Hain 7681 - Goff G-270 - Voullieme, Koln 499 - Erste und einzige Ausgabe. Enthalt: De simplificatione cordis; De directione seu rectitudine cordis; De perfectione cordis; Trilogium astrologiae theolgisatae; Contra superstitiosam dierum observantiam praesertim Innocentum; Contra superstitionem sculpturae leonis; De observatione dierum quantum ad opera. Gutes, rot und blau rubriziertes Exemplar. Remboitage, mit Restaurierungen und Lederuberklebungen des 18. Jahrhunderts, die Holzdeckel mit Marmor-Papier bezogen, auf dem Vorderdeckel innen Inkunabelpapier und Manuskript-Pergamentreste; das erste und 2 weitere Blatt am Rand leicht fleckig, 1 Blatt Papierverlust am Rand erganzt, am Schlu! handschriftliche Eintragung des Impressums. - Sprache / Language: Lateinisch / Latin - [Bookseller: Wenner Antiquariat]
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Stundenbuch - Livre d'heures - Book of Hours - Horarium. Handschrift auf Pergament.
Wohl Nordfrankreich (Gebiet um Rouen), möglicherweise aber auch Paris, Flandern (Brügge) oder südl. Niederlande, um 1450/1470. 165 Bll. (von 172 Bll. ?), Mit 4 ganzseitigen, farbigen, goldgehöhten Miniaturen, 8 Schmuckseiten, jeweils mit farb. goldgehöhter Initiale sowie farbigem, goldgehöhten Zierwerk im Seitensteg und zahlr. gotischen Initialen (Lombarden) in Blau und Rot. 11,2 x 7,7 cm (Einband), Pergamentband, dat. 1950, hergestellt unter Verwendung alten Pergaments, mit dreiseitigem Goldschnitt und Brokatpapiervorsätzen. Einband etwas berieben und gebräunt; etwas gewölbt (Block etwas zu straff gebunden); Schnitt durch das Neubinden etwas unregelmäßig; erste Bll. etwas gebräunt; erstes Blatt und letzte Bll. im Bundsteg gebräunt; erstes Bl. und die letzten 2 Bll. im Bundsteg mit winzigen Fehlstellen bzw. Wurmlöchern (kein Textverlust); einige Bll. mit angesetztem Pergamentstreifen im Bundsteg; durchgehend etwas wellig; vereinzelt schwach fleckig - insgesamt aber ein sehr sauberes Exemplar; einige Bll. beim Neubinden verbunden; kleiner Stempel (nicht entzifferbar; Siegelring?) verso Vorsatz. Kleine Handschrift auf hauchdünnen Pergament (Jungfernpergament), geschrieben mit schwarzer und roter Tinte in einer schönen, sehr sauberen Bastarda; Textlagen (ehemals wohl 20 oder mehr Lagen à 8 Bll.) jeweils mit Wortreklamante auf der letzten Seite, die 2 Lagen (jeweils 6 Bll.) des Kalendariums ohne Wortreklamanten; Kalendarium und Stundenbuchtext einspaltig zu 17 Zeilen (Kalendarium) bzw. 15 Zeilen (Stundenbuchtext) beschrieben; Seiten rot vorliniert; Schriftspiegel im Kalendarium 59 x 48 mm, im Stundenbuch 58 x 37 mm. Die 8 Zierseiten jeweils mit 4-zeiliger, farbiger, blattgoldgehöhter Initiale und farb., goldgehöhtem Rankwerk in rechteckigem Rahmen (ca. 59 - 67 x 15 mm.). Mit 4 farbigen, goldgehöhten Miniaturen - jeweils Darstellung in einfachem Rundbogen, darunter 4 Zeilen Text, vierzeilige, farbige, goldgehöhter Initiale, eingerahmt von reichem farbigem, goldgehöhtem Rankwerk. Die Miniaturen, gehalten in Blau-, Rot- und Brauntönen, sind von guter Qualität - sie zeigen Verkündigung Maria (Spruchband "Aue gracia plena" hier mit kleiner Absplitterung - 1 Buchstabe Textverlust); Pfingstwunder, Betenden David und eine Grablegung. DE [Bookseller: Antiquariat am Moritzberg]
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BOOK OF HOURS, USE OF ROME.
ILLUMINATED LATIN MANUSCRIPT ON VELLUM. NORTHERN ITALY (TORINO DIOCESE), 1470/1480.
120 ff. 140 x 115 mm, lacking one single leaf in quire xii (end of "Oratio S. Anselmi" before Office of the Dead, which was removed as a whole in the 18th century); otherwise complete. Collation: i8, ii4, iii-xii8, xiii3 (instead of 4), xiv-xvi8, xvii3 (instead of 6: three final blanks omitted). Vertical catchwords, 16 lines, written space 110 x 850 mm. Written in brown ink in a rounded gothic liturgical hand, rubrics in red, 13 large historiated initials, initials 4-5 lines high in burnished gold on panelled grounds, one with a one-sided illuminated border of colored leaves and flowers with tiny gold bezants. 158 two-line illuminated initials for each psalm in burnished gold on panels divided into red, green, and blue with delicate tracery in white and yellow, one-line and two-line initials throughout alternately in blue and burnished gold. 18th-c. calf with cover fillets; remains of clasps. Book of Hours written for a layman close to the Third Order of St. Francis, as suggested by red highlighting of the feasts of St. Bernardino of Siena and of the Order's founder (Oct. 4) within the (non-liturgical) calendar. The emphasis on St. Francis and St. Bernardino in the litany (they are placed immediately after St. Benedict), as that on Clara of Assisi and Elizabeth of Thuringia, and also a prayer from the Office of St. Francis, appended shortly after the completion of the ms. on fol. 94v, support this attribution. - The calendar and litany commemorate three great popular preachers besides St. Francis, namely the Franciscan Bernardino of Siena, d. 1444 (5v, 105r), the Dominican Vincent Ferrer, d. 1419 (105r), and the Augustinian Hermit Nicholas of Tolentino, d. 1305 (9r), a fact that underlines the lay element of the manuscript. - The illumination of the text is remarkable: while the Office of the Virgin is usually illustrated by a childhood or passion cycle (the Annunciation classically forming the opening scene), the first historiated initial here contains a rather abstract devotional picture of Mary, serving as an obligatory bow to the Virgin's eschatological importance; the following hours, however, invoke a series of additional advocates for the reader's salvation. Especially noteworthy is the distinction awarded to St. Michael, who occupies the only five-line initial, while all the other figures are fitted within four-line characters. The illustrated litany extends beyond the Office of the Virgin to another text (59v), so that a total of nine saints (Mary, Michael, John the Evangelist, Catharine, Jerome, John the Baptist, Anthony, Francis, Elizabeth) are commemorated in illuminations. - Some leaves (including the first) rather rubbed; decorative initials within calendar trimmed during rebinding; a few smudges and small stains, but mostly sound. [Bookseller: Antiquariat INLIBRIS - Wien - Austria]
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FIFTEENTH CENTURY BOOK OF DEVOTIONS.
1470 Book of Devotions: FLEMISH 15 TH CENTURY. (circa 1470-1500) Folio 33. Incipit devotu meditatio.expositionibus copulatis ex ludolpho et aliis doctoribus. Manuscript on paper, 252 ll., 19 lines to the page, written in red and black in a clear gothic hand, 5 large initials in colours with marginal decorations, numerous other smaller initials in red, blue and green, some with floral decorations in the margin, contemporary stamped calf over woooden boards, brass catches (no clasps), re-backed, (140mm by 102mm). email us for photos of binding and contents. [Bookseller: Bygone Books]
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THOMAS D'AQUIN (Saint)
Quodlibeta duodecim disputata circa annum d(omi)ni M.CC.LXX. (EDITION INCUNABLE, UNE DES PREMIERS IMPRESSIONS ROMAINES)
S.l.n.d. (Rome, Georgius Lauer, ca 1470). In folio plein vélin ivoire cordé de l’époque à petits rabats, titre manuscrit en long au dos, (1) f. blanc, (217) f., 33 lignes longues à la page avec les initiales en rouge. Edition princeps incunable de ce texte majeur de Thomas d'Aquin, l'une des toutes premières impressions romaines, donnée par Georg Lauer dont c'est l'une des premières productions. Originaire de Wurtzbourg, Georg Lauer (ou Laver) installa, en cette année 1470, une presse au monastère Saint Eusèbe, sous la protection du cardinal Caraffa. Il utilise ici un caractère romain aux formes arrondies tenant à la fois du gothique par leur graisse et du romain par leur dessin, caractère proche de celui de Conrad Sweynheym et Arnoldo Pannartz, élèves de Gutenberg et introducteurs de l'imprimerie en Italie cinq années auparavant (1465). Acte universitaire par excellence dans le haut enseignement médiéval, les «Disputes» constituent la clé de voûte de l'œuvre de Thomas d'Aquin. C'est, plus encore, dans l'activité périlleuse et redoutée des «Disputes de quolibet» (questions extraordinaires), qu'il excellait particulièrement : elles permettaient aux participants, lors de séances solennelles bisannuelles, de poser librement au maître les questions les plus diverses, souvent alors de brûlante actualité. Thomas conclut l'un des douze exercices quolibetiques qu'il conduisit ainsi : «Si nous résolvons les problèmes de la foi par seule voie d'autorité, nous posséderons certes la vérité, mais dans une tête vide». (Brunet, V, 827. Goff, T, 182. Hain-Copinger, 1400. Pellechet, 1002. Marais, Bibliothèque Mazarine, 25. Deschamps, 100). Dos d'origine conservé, plats restaurés, gardes renouvelées, exemplaire anciennement lavé, galeries de vers comblées dans les marges, quelques taches d'encre et brunissures. Bon exemplaire, solide, bien relié, complet. Le premier feuillet blanc, qui a été conservé, comporte l’ex-libris manuscrit à l’époque : «Ad usum Iacinti Iati». [Bookseller: Librairie Hatchuel, livres anciens et ra]
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Antoninus Florentinus, santo (1389-1459).
[Incomencia Uno Confessionale Vulgare del Reverendissimo padre beato frate Antonino arcivescovo di fiorenze de lordine de frati predicatori intitulato Specchio di conscientia].
[Milano, Cristoforo Valdafer, 1470-71]. "In-4° (mm 181x118). Segnatura: a-m8, n6 (i quaderni ‘m’ e ‘l’ invertiti). 102 carte non numerate. Carattere 107R su 28 linee. Spazi per iniziali, aggiunte in inchiostro rosso solo alle cc. 97-98; rubricato in rosso. Legatura moderna in pergamena con unghie. Esemplare in buono stato di conservazione, piccolo restauro a porzione all’angolo inferiore esterno della prima carta, alcune gore e qualche macchia d’inchiostro; alla carta f3v alcune parole cancellate in inchiostro marrone; margini sobri. Antica numerazione all’angolo superiore esterno in inchiostro marrone, parzialmente asportata da rifilatura. Antica nota manoscritta di possesso abrasa al margine inferiore della prima carta. Rarissima edizione di una delle prime edizioni incunabole del Confessionale redatto in volgare da Sant’Antonino, vescovo di Firenze, che godette di un successo vastissimo, la cui princeps era stata impressa a Colonia verso il 1468 da Ulrich Zel. La presente edizione di questo testo, di cui esistono svariate stampe realizzate in Italia negli stessi anni, che non reca alcuna nota tipografica, corrisponde per formato e partitura del testo a quella attribuita dal Gesamt Katalog, sulla base dell’analisi delle caratteristiche formali e materiali, all’attività milanese di Cristoforo Valdafer e databile al 1470-71, cioè ai primissimi anni del suo soggiorno in questa città, dopo il suo trasferimento da Venezia. Il domenicano Sant’Antonino Pierozzi, arcivescovo di Firenze dal 1446, fu uomo pratico, sensibile ai problemi sociali, desideroso di dare un significato cristiano ai nuovi fermenti umanistici, e fu tra i primi a tentare una sintesi tra diritto e teologia. I suoi scritti includono una Summa di teologia morale che godette di rilevante considerazione. Umile e arguto, zelante e benefico, fu molto amato dal popolo e si meritò già in vita l’appellativo di ‘Antonino dei consigli’. «Nel Proemio al Confessionale Curam illius habe, detto anche Confessionale volgare o Medicina dell’anima (1442), Antonino rivolgendosi ai confessori, in particolare ai sacerdoti con cura d’anime, ai vescovi, e ai “secolari”, ovvero ai laici, tracciava una sorta di gerarchia del sapere utile al cristiano, che partendo dalle SS. Scritture arrivava al Decretum, a S. Gregorio, a S. Agostino, a Catone, a Seneca e Cicerone. Era la letteratura volgare del secolo prima, quella degli scrittori fiorentini come Dante e Boccaccio ad essere maggiormente penalizzata, mentre fra i classici erano Ovidio e Terenzio, ovvero la poesia amorosa e la commedia, a non possedere i necessari requisiti per la salute delle anime. Vescovi e sacerdoti, retori e grammatici, poeti e filosofi, tutti sono messi davanti alla possibilità di prendere atto di tali requisiti reggiungibili attraverso strumenti diversi dai consueti. […] Le stesse cose predicava San Bernardino sostenitore in polemica col Salutati di un sapere strumentale e della superiorità dell’agire sul sapere. E’ indubbio, tuttavia, che la capillare diffusione del Curam illius habe, cinquantasei edizioni tra il 1472 e il 1603, avrebbe dato a questi argomenti una cassa di risonanza maggiore e duratura» (M. P. Paoli, S. Antonino «vere pastor ac bonus pastor». Storia e mito di un modello, pp. 12-13). GW 2171; BMC VI, 794; IGI 658; M. P. Paoli, S. Antonino «vere pastor ac bonus pastor». Storia e mito di un modello, in Verso Savonarola. Misticismo, profezia, empiti riformistici fra Medioevo ed Età moderna, Firenze1999, pp. 83- 139. Very rare incunable edition – probably printed in Milan by Cristophorus Valdafer around 1470-71 – that witnesses the great influence and success of this catechism written by the dominican St Antoninus, archibishop of Florence who is regarded as one of the founders of modern moral theology and Christian social ethics." [Bookseller: Philobiblon S.r.l.]
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BOOK OF HOURS
LIBRO D'ORE ALL'USO DI ROMA PAESI BASSI
LIBRO D'ORE ALL'USO DI ROMA. [Manoscritto miniato su pergamena, in lingua latina. Francia (Piccardia), 1470 circa]. [UNITO CON:] DEVOZIONALE. [Manoscritto miniato su pergamena,in lingua olandese. Paesi Bassi, 1470 circa]. In-4 (193x130 mm), legatura ottocentesca in piena pelle bruna, filetto impresso a secco ai piatti, dorso a quattro nervi, numerosi segnalibri in seta bianca e perline colorate, cc. (96), (46). Carattere gotico, 17 linee in inchiostro seppia e nero, con rubricature alternate in blu, rosso e oro o rosso e blu, ricche estensioni marginali in rosa. Fine-linea in rosso e blu. SEI MINIATURE A PIENA PAGINA, INSERITE IN UNA RICCA CORNICE FLOREALE E FRONTEGGIATE DALLA CORNICE CONTENENTE IL TESTO; DIECI MINIATURE DI MINORI DIMENSIONI; SETTE GRANDI INIZIALI MINIATE IN ROSSO, BLU E ORO. UNA MINIATURA A PIENA PAGINA RAPPRESENTANTE UN CHIODO DELLA CROCE E LA FERITA AL COSTATO DI CRISTO. TESTO: Calendario, cc. 1-6v; Ore della Croce, cc. 8-10; Ore dello Spirito Santo, cc. 11-13; Messa della Vergine, cc. 14-18v; brani dai Vangeli, cc. 18-22; Obsecro te, cc. 23-26; O intemerata, cc. 26-28; Ufficio della Vergine all'uso di Roma, cc. 29-64v; Suffragi dei Santi, cc. 65-68v; Salmi Penitenziali, cc. 70-78; Litanie, cc.79-83; Ufficio dei Morti all'uso di Roma, cc. 84-96; segue il testo del Devozionale olandese, comprendente preghiere e litanie, inclusa un'indulgenza di quarantotto anni e quarantotto giorni se recitata davanti ad una immagine dell'arma Christi, cc. 96-142. MINIATURE A PIENA PAGINA: Crocifissione con Maria e san Giovanni ai lati della Croce, c. 7v; Pentecoste, c. 10v; Vergine e Bambino con angeli, c. 13v; Annunciazione, c. 28v; Giorno del Giudizio, c. 69; chiodo della Croce e ferita di Cristo, c. 128. MINIATURE NEL TESTO: Pieta', c. 23; Vergine con Bambino e san Giovanni Evangelista, c. 26; san Michele, c. 65; san Giovanni Battista, c. 65v; san Nicola, c. 66; san Lorenzo, c. 66v; santa Barbara, c. 67; santa Caterina, c. 67v; santa Margherita, c. 68; santa Maria Maddalena, c. 68v. ORIGINE: I nomi dei santi presenti nel Calendario e quelli citati nelle litanie suggeriscono una collocazione nel sud dei Paesi Bassi. Due miniature sono caratterizzate dal recto non scritto, come nelle produzioni olandesi; il recto delle quattro rimanenti illuminazioni presenta la rigatura, comune alle produzioni francesi; l'insieme dei due stili e' tipico dei codici della Piccardia e delle regioni al confine con la Francia, mentre lo stile delle miniature e' quello abituale della zona di Bruges. Le illustrazioni sono opera di due diversi miniatori: il primo, che risente dell'influsso di Loyset Liedet, e' l'autore delle miniature con testo al recto (cc.10v, 13v, 28v e 83v), caratterizzate da linee slanciate, contorni semplificati e colori tenui (azzurro, rosa e grigio) evidenziati da dettagli in oro liquido; il secondo, collegabile al gruppo di seguaci di Willem Vrelant, e' l'autore delle altre due grandi miniature (c. 7v e c. 89v) e delle miniature nel testo, con colori forti (blu, giallo, arancione e rosso) ed enfatizzate nei dettagli e nei contorni. Gli elementi del chiodo e della ferita, segnali di una devozione basata sulla realta' fisica della sofferenza di Cristo, sono rappresentati in un'ipotetica scala reale, come precisato nel testo che le descrive; tale caratteristica grafica risulta abbastanza comune per l'iconografia della ferita, piu' inusuale per quella del chiodo. Ottimo esemplare. PROVENIENZA: I. Al contropiatto anteriore, ex-libris di Six van Hillegom, membro di una famiglia fiamminga nota per il suo mecenatismo sin dai tempi di Rembrandt. II. Asta Frederick Muller, Amsterdam, 18 ottobre, 1928, lotto 202. III. Sotheby's, 18 luglio 1991, lotto 139. [Bookseller: Libreria BIBLIOPATHOS - Milano - Italy]
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THOMAS D'AQUIN (Saint)
Quodlibeta duodecim disputata circa annum d(omi)ni M.CC.LXX. (EDITION INCUNABLE, UNE DES PREMIERS IMPRESSIONS ROMAINES)
S.l.n.d. (Rome, Georgius Lauer, ca 1470) . In folio plein vélin ivoire cordé de l?époque à petits rabats, titre manuscrit en long au dos, (1) f. blanc, (217) f., 33 lignes longues à la page avec les initiales en rouge. Edition princeps incunable de ce texte majeur de Thomas d'Aquin, l'une des toutes premières impressions romaines, donnée par Georg Lauer dont c'est l'une des premières productions. Originaire de Wurtzbourg, Georg Lauer (ou Laver) installa, en cette année 1470, une presse au monastère Saint Eusèbe, sous la protection du cardinal Caraffa. Il utilise ici un caractère romain aux formes arrondies tenant à la fois du gothique par leur graisse et du romain par leur dessin, caractère proche de celui de Conrad Sweynheym et Arnoldo Pannartz, élèves de Gutenberg et introducteurs de l'imprimerie en Italie cinq années auparavant (1465). Acte universitaire par excellence dans le haut enseignement médiéval, les «Disputes» constituent la clé de voûte de l'?uvre de Thomas d'Aquin. C'est, plus encore, dans l'activité périlleuse et redoutée des «Disputes de quolibet» (questions extraordinaires), qu'il excellait particulièrement : elles permettaient aux participants, lors de séances solennelles bisannuelles, de poser librement au maître les questions les plus diverses, souvent alors de brûlante actualité. Thomas conclut l'un des douze exercices quolibetiques qu'il conduisit ainsi : «Si nous résolvons les problèmes de la foi par seule voie d'autorité, nous posséderons certes la vérité, mais dans une tête vide». (Brunet, V, 827. Goff, T, 182. Hain-Copinger, 1400. Pellechet, 1002. Marais, Bibliothèque Mazarine, 25. Deschamps, 100). Dos d'origine conservé, plats restaurés, gardes renouvelées, exemplaire anciennement lavé, galeries de vers comblées dans les marges, quelques taches d'encre et brunissures. Bon exemplaire, solide, bien relié, complet. Le premier feuillet blanc, qui a été conservé, comporte l?ex-libris manuscrit à l?époque : «Ad usum Iacinti Iati». [Bookseller: Librairie Hatchuel]
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Book of Hours
LIBRO D'ORE ALL'USO DI ROMA
Paesi Bassi 1470 LIBRO D'ORE ALL'USO DI ROMA. [Manoscritto miniato su pergamena, in lingua latina. Francia (Piccardia), 1470 circa]. [UNITO CON:] DEVOZIONALE. [Manoscritto miniato su pergamena,in lingua olandese. Paesi Bassi, 1470 circa]. In-4° (193x130 mm), legatura ottocentesca in piena pelle bruna, filetto impresso a secco ai piatti, dorso a quattro nervi, numerosi segnalibri in seta bianca e perline colorate, cc. (96), (46). Carattere gotico, 17 linee in inchiostro seppia e nero, con rubricature alternate in blu, rosso e oro o rosso e blu, ricche estensioni marginali in rosa. Fine-linea in rosso e blu. SEI MINIATURE A PIENA PAGINA, INSERITE IN UNA RICCA CORNICE FLOREALE E FRONTEGGIATE DALLA CORNICE CONTENENTE IL TESTO; DIECI MINIATURE DI MINORI DIMENSIONI; SETTE GRANDI INIZIALI MINIATE IN ROSSO, BLU E ORO. UNA MINIATURA A PIENA PAGINA RAPPRESENTANTE UN CHIODO DELLA CROCE E LA FERITA AL COSTATO DI CRISTO. TESTO: Calendario, cc. 1-6v; Ore della Croce, cc. 8-10; Ore dello Spirito Santo, cc. 11-13; Messa della Vergine, cc. 14-18v; brani dai Vangeli, cc. 18-22; Obsecro te, cc. 23-26; O intemerata, cc. 26-28; Ufficio della Vergine all'uso di Roma, cc. 29-64v; Suffragi dei Santi, cc. 65-68v; Salmi Penitenziali, cc. 70-78; Litanie, cc.79-83; Ufficio dei Morti all'uso di Roma, cc. 84-96; segue il testo del Devozionale olandese, comprendente preghiere e litanie, inclusa un'indulgenza di quarantotto anni e quarantotto giorni se recitata davanti ad una immagine dell'arma Christi, cc. 96-142. MINIATURE A PIENA PAGINA: Crocifissione con Maria e san Giovanni ai lati della Croce, c. 7v; Pentecoste, c. 10v; Vergine e Bambino con angeli, c. 13v; Annunciazione, c. 28v; Giorno del Giudizio, c. 69; chiodo della Croce e ferita di Cristo, c. 128. MINIATURE NEL TESTO: Pietà, c. 23; Vergine con Bambino e san Giovanni Evangelista, c. 26; san Michele, c. 65; san Giovanni Battista, c. 65v; san Nicola, c. 66; san Lorenzo, c. 66v; santa Barbara, c. 67; santa Caterina, c. 67v; santa Margherita, c. 68; santa Maria Maddalena, c. 68v. ORIGINE: I nomi dei santi presenti nel Calendario e quelli citati nelle litanie suggeriscono una collocazione nel sud dei Paesi Bassi. Due miniature sono caratterizzate dal recto non scritto, come nelle produzioni olandesi; il recto delle quattro rimanenti illuminazioni presenta la rigatura, comune alle produzioni francesi; l'insieme dei due stili è tipico dei codici della Piccardia e delle regioni al confine con la Francia, mentre lo stile delle miniature è quello abituale della zona di Bruges. Le illustrazioni sono opera di due diversi miniatori: il primo, che risente dell'influsso di Loyset Liedet, è l'autore delle miniature con testo al recto (cc.10v, 13v, 28v e 83v), caratterizzate da linee slanciate, contorni semplificati e colori tenui (azzurro, rosa e grigio) evidenziati da dettagli in oro liquido; il secondo, collegabile al gruppo di seguaci di Willem Vrelant, è l'autore delle altre due grandi miniature (c. 7v e c. 89v) e delle miniature nel testo, con colori forti (blu, giallo, arancione e rosso) ed enfatizzate nei dettagli e nei contorni. Gli elementi del chiodo e della ferita, segnali di una devozione basata sulla realtà fisica della sofferenza di Cristo, sono rappresentati in un'ipotetica scala reale, come precisato nel testo che le descrive; tale caratteristica grafica risulta abbastanza comune per l'iconografia della ferita, più inusuale per quella del chiodo. Ottimo esemplare. PROVENIENZA: I. Al contropiatto anteriore, ex-libris di Six van Hillegom, membro di una famiglia fiamminga nota per il suo mecenatismo sin dai tempi di Rembrandt. II. Asta Frederick Muller, Amsterdam, 18 ottobre, 1928, lotto 202. III. Sotheby's, 18 luglio 1991, lotto 139. [Bookseller: Bibliopathos]
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Livius, Titus
HISTORIAE ROMANAE DECADES
Venezia Vindelinus de Spira 1470 Bound in two volumes. First dated edition of Titus Livius's Decades, probably only the third after those printed in 1469 ca., by Sweynheym and Pannartz and, in 1470, by Ulrich Han now virtually unobtainable and severely expensive. Book I with later gold letter white-vine and colored decoration; initials to books II and III in gold, the remainder in brown. Large folio (mm. 397x279), fine red morocco gilt by Kalthoeber, gilt title and decorations on spine. (1/1 blank, 1/2r dedicatory epistle of the editor to the Pope Paolo II, 1/4r Summary, 3/1r Preface to the Decade I, 17/8 blank, 18/1r Incipit Decade III, 31/10v blank, 32/1r Incipit Decade IV, 42/13v colophon, 42/14 blank); 418 of 421 leaves, lacking initial 3 blanks only. A fine copy, generously margined; expertly filled ancient wormholes at the first leaves of volume I and at the end of volume II, some small stains or spotting; a few contemporary manuscript corrections. Engraved bookplates of Charles Lemuel Nichols and Giannalisa Feltrinelli. VERY RARE AND HIGHLY IMPORTANT. This is one of the first books printed by Vindelinus himself, without the help of his brother John who introduced the art of printing in Venice in 1469 which was also the year of his premature death. The extraordinary Roman type used by the Spira's brothers for this edition would become the model of the printers to come. Indeed, Nicholas Jensen would take this type as a model for the edition of his first book, the Eusebius, in 1470. [Bookseller: Buddenbrooks, Inc.]
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CALENDAR LEAF
Illuminated calendar leaf, for the month of November, from a Book of Hours. France (Normandy), c. 1470-
Illuminated square miniature at foot of recto which shows the task for the month, a man looking after pigs who search for acorns, and at foot of verso a miniature which depicts Sagittarius; "KL" initial in pale grey and mauve on a liquid gold ground, panel border composed of blue and gold acanthus, and coloured flowers and leaves on hair-line stems; text written in blue, pink and burnished gold. Size of leaf: 160 x 115mm. Framed. 1480. A beautifully illuminated calendar leaf; this must have been a truly luxurious manuscript; there is a profuse amount of gold which is also used for much of the text as well as blue and red. [Bookseller: Maggs Bros. Ltd ABA ILAB BA]
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Gerson, Johannes
De simplificatione cordis
Köln, Zell um 1470.. 22 cm. (140, letzte 3 weiß) Blatt, 27 Zeilen mit zahlreichen rot und blau eingemalten Initialen. Holzdeckelband des 16. Jahrhunderts mit Schweinsleder-Rücken und Messingschließe. - GW 10830 - Hain 7681 - Goff G-270 - Voullieme, Köln 499 - Erste und einzige Ausgabe. Enthält: De simplificatione cordis; De directione seu rectitudine cordis; De perfectione cordis; Trilogium astrologiae theolgisatae; Contra superstitiosam dierum observantiam praesertim Innocentum; Contra superstitionem sculpturae leonis; De observatione dierum quantum ad opera. Gutes, rot und blau rubriziertes Exemplar. Remboitage, mit Restaurierungen und Lederüberklebungen des 18. Jahrhunderts, die Holzdeckel mit Marmor-Papier bezogen, auf dem Vorderdeckel innen Inkunabelpapier und Manuskript-Pergamentreste; das erste und 2 weitere Blatt am Rand leicht fleckig, 1 Blatt Papierverlust am Rand ergänzt, am Schluß handschriftliche Eintragung des Impressums. - Sprache / Language: Lateinisch / Latin - [Bookseller: H. Th. Wenner Antiquariat]
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ILLUMINATED BOOK OF HOURS LEAF - FRANCE
ILLUMINATED MANUSCRIPTS: Calendar leaf on vellum from a French Book of Hours, written around 1470 in or near Rouen.
1470 Part of the calendar for December. Recto has the initials "KL" in burnished gold with a list of the saint and feast days. Floral bar border with leaves and flowers. MEDIUM: Manuscript in Latin on vellum. CONDITION: Some smudging around the large initial. SIZE: 148 x 117 mm (Justification: 95 x 70 mm). [Bookseller: Sylvan Manuscripts]
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CALENDAR LEAF
Illuminated leaf from a Calendar of a Book of Hours. Paris, c.
Panel border on each side of the page, each containing a small minature (a man digging the land, and a ram), and with decoration of acanthus and flowers and leaves. Size of leaf: 150 x 110mm. 16 lines of gothic text written in burnished gold, blue and red. 1470. A leaf from the calendar of a Book of Hours, for the month of March. [Bookseller: Maggs Bros. Ltd ABA ILAB BA]
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ILLUMINATED BOOK OF HOURS LEAF - PARIS
ILLUMINATED MANUSCRIPTS: An attractive original vellum leaf from a Franciscan Book of Hours, written in Latin around 1470 in Paris. Use of Rome
1470. An attractive original vellum leaf from a Franciscan Book of Hours, written in Latin around 1470 in Paris. Use of Rome. 14 lines in single column text, written in brown ink in a gothic textura hand. Rubrics in red. Fine border on both sides with burnished gold ivy leaves and coloured flowers on black hairline sprays. Single large 2-line initial in burnished gold on red and blue grounds with white tracery. Nice wide borders. MEDIUM: Manuscript in Latin on vellum. CONDITION: Good bright condition. Minor cockling of vellum. SIZE: 160 x 118 mm (Justification: 90 x 86 mm). [Bookseller: Sylvan Manuscripts]
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VISITATION
Illuminated leaf on a full leaf from a Book of Hours. N. France (Rouen), c.
Large miniature in an arched compartment showing Elizabeth kneeling in front of the Virgin and placing her hand on her stomach, with two angels standing behind the Virgin; elaborate background with a large medieval castle, with other buildings in the far distance and a man trudging up a hill. Four-line illuminated initial "D" painted in blue and infilled with a floral design, full border of blue and gold acanthus, flowers and fruit.Size of leaf: 155 x 110mm. On verso, 12 lines of gothicc text (ruled for 14). 1470. [Bookseller: Maggs Bros Ltd.]
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ILLUMINATED BOOK OF HOURS LEAF - FRANCE
ILLUMINATED MANUSCRIPTS: Calendar leaf on vellum from a French Book of Hours, written around 1470 in or near Rouen
1470. Calendar leaf on vellum from a French Book of Hours, written around 1470 in or near Rouen. Part of the calendar for December. Recto has the initials "KL" in burnished gold with a list of the saint and feast days. Floral bar border with leaves and flowers. MEDIUM: Manuscript in Latin on vellum. CONDITION: Some smudging around the large initial. SIZE: 148 x 117 mm (Justification: 95 x 70 mm). [Bookseller: Sylvan Manuscripts]
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3682 Un prisonnier paie sa rançon pendant la guerre de Ce...
Brevet de capitaine du château de Rouvres délivré en 1470.
Nombre de document : 1 Parchemin 16 x 32 cm 18/03/1470 Reste de queue de parchemin (manque le sceau). Contreseing sur le revers "par monseigneur le dauphin d'Auvergne". mouillures claires, rognure au pli central Brevet par lequel Gilbert de Bourbon, dauphin d'Auvergne et lieutenant général du roi, nomme messire Guy de Beaulieu, conseiller et chambellan du roi, "cappitaine du chastel, chastellenie et mandement de Roure lez Dijon [Rouvres-en-Plaine, Côte d'Or, résidence favorite des ducs de Bourgogne] au duché de Bourgongne, pour dicelui office ensemble des droiz gages confiés et esmolumens acoustumés [...] tant qu'il plaira à mondit seigneur en déboutant tout autre détenteur dudit office [...]". Cette nomination intervient en plein conflit entre Charles le Téméraire et le roi Louis XI. [Bookseller: Traces écrites]
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document manuscrit
Brevet de capitaine du château de Rouvres délivré en 1470.
Nombre de document : 1 Parchemin 16 x 32 cm 18/03/1470 Reste de queue de parchemin (manque le sceau). Contreseing sur le revers "par monseigneur le dauphin d'Auvergne". mouillures claires, rognure au pli central Brevet par lequel Gilbert de Bourbon, dauphin d'Auvergne et lieutenant général du roi, nomme messire Guy de Beaulieu, conseiller et chambellan du roi, "cappitaine du chastel, chastellenie et mandement de Roure lez Dijon [Rouvres-en-Plaine, Côte d'Or, résidence favorite des ducs de Bourgogne] au duché de Bourgongne, pour dicelui office ensemble des droiz gages confiés et esmolumens acoustumés [.] tant qu'il plaira à mondit seigneur en déboutant tout autre détenteur dudit office [.]". Cette nomination intervient en plein conflit entre Charles le Téméraire et le roi Louis XI. [Bookseller: Traces Ecrites]
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THOMAS D'AQUIN (Saint)
Quodlibeta duodecim disputata circa annum d(omi)ni M.CC.LXX. (EDITION INCUNABLE, UNE DES PREMIERS IMPRESSIONS ROMAINES)
S.l.n.d. (Rome, Georgius Lauer, ca 1470). In folio plein vélin ivoire cordé de l’époque à petits rabats, titre manuscrit en long au dos, (1) f. blanc, (217) f., 33 lignes longues à la page avec les initiales en rouge. Edition princeps incunable de ce texte majeur de Thomas d'Aquin, l'une des toutes premières impressions romaines, donnée par Georg Lauer dont c'est l'une des premières productions. Originaire de Wurtzbourg, Georg Lauer (ou Laver) installa, en cette année 1470, une presse au monastère Saint Eusèbe, sous la protection du cardinal Caraffa. Il utilise ici un caractère romain aux formes arrondies tenant à la fois du gothique par leur graisse et du romain par leur dessin, caractère proche de celui de Conrad Sweynheym et Arnoldo Pannartz, élèves de Gutenberg et introducteurs de l'imprimerie en Italie cinq années auparavant (1465). Acte universitaire par excellence dans le haut enseignement médiéval, les «Disputes» constituent la clé de voûte de l'œuvre de Thomas d'Aquin. C'est, plus encore, dans l'activité périlleuse et redoutée des «Disputes de quolibet» (questions extraordinaires), qu'il excellait particulièrement : elles permettaient aux participants, lors de séances solennelles bisannuelles, de poser librement au maître les questions les plus diverses, souvent alors de brûlante actualité. Thomas conclut l'un des douze exercices quolibetiques qu'il conduisit ainsi : «Si nous résolvons les problèmes de la foi par seule voie d'autorité, nous posséderons certes la vérité, mais dans une tête vide». (Brunet, V, 827. Goff, T, 182. Hain-Copinger, 1400. Pellechet, 1002. Marais, Bibliothèque Mazarine, 25. Deschamps, 100). Dos d'origine conservé, plats restaurés, gardes renouvelées, exemplaire anciennement lavé, galeries de vers comblées dans les marges, quelques taches d'encre et brunissures. Bon exemplaire, solide, bien relié, complet. Le premier feuillet blanc, qui a été conservé, comporte l’ex-libris manuscrit à l’époque : «Ad usum Iacinti Iati». [Bookseller: Librairie Hatchuel, livres anciens et ra]
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OFFICIUM MORTUORUM.
Libro d'ore su pergamena ( cm 13 x 9,7 , specchio di scrittura cm. 6,5 x 4,5) composto da 50 cc. (49 + 1 foglio bianco (anteposto al frontespizio), elegante legatura retrospettiva in vitello scuro,residui di laccetti, tagli rossi,piatti e dorso riccamente decorati a secco, magnifico frontespizio a struttura archittettonica vivacemente dipinto da mano coeva, moltissimi capilettera finemente decorati in oro a piena foglia, rosso e bleu, rubriche dei vari capitoli e explicit in inchiostro rosso, privo di data, ma circa 1470, completo, in eccellenti condizioni. [Bookseller: Studio Bibliografico LEX ANTIQUA]
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AUGUSTINUS, Aurelius (Pseudo-).
De vita christiana. With 2 three-line initials, paragraph marks and capital strokes in red, Schoeffer's device in red at bottom of last leaf. Gothic type (type 3:91 G). 28 lines. 17 unn. leaves (of 18, lacking last blank). Small 4to (195 x 125 mm). 19th-century red morocco, gilt coat of arms of Gitton du Plessis (Olivier 510), gilt lettering on spine, gilt inner dentelles, edges gilt (by Duplanil; slight rubbing, minor repair to head of spine). From the collections of J.A.M. Gitton du Plessis (binding), and of John Pierpont Morgan (JPM booklabel; sold as duplicate at Sotheby's, 8 June 1971).
(Mainz, Peter Schoeffer, c. 1470-75).. A fine testimony to early printing in its second Schoeffer edition. Set in the Durandus type in its post-1466/67 state, which is the first small text type ever cut. This type was originaly made for the 1459 Durandus, which is the third dated book printed. The type is also closely related to Schoeffer's edition of Gerson, De custodia linguae (Mainz, not after September 1470). After Gutenberg had produced his famous 42-line Bible in 1455, he fell out with his associate Johann Fust. The latter teamed up with Peter Schoeffer, a calligrapher, later to become his son-in-law; together they continued to operate this first printing press. After a series of editions in large formats with extraordinary typography in colors (e.g. the 1457 Psalter), Fust and Schoeffer turned to producing books in smaller formats like the Pseudo-Augustinus, first printed between 1465-1466. After Fust's death in 1466, Peter Schoeffer flourished for about another thirty years, running his printing office as one of the most successful presses of Mainz. The tract "De vita christiana" is a Pelagian work of the fourth or early fifth century. It has been attributed to the British or Scottish monk Pelagius himself, or to his pupil Fastidius (see Dekkers, Clavis patrum latinorum, no. 740; Migne, Patrologia latina, 40: 1031 sqq; Hillard 236). - Some old underlinings and marginalia in faint brown ink, lower part of last leaf replaced with the Fust/Schoeffer device partly added in hand-painted facsimile. - Hain 2093; GW 3039; BMC I, 37 (IA 270); Goff A-1356; BNCI A-774; Proctor 135; Pell-Pol 1580; Pol 428; Voullieme (Berlin) 1547; BSB-Ink P 123 (also lacking last blank); Bibl. Apost. Vaticana A-587; Bod.-Inc. A-608; De Ricci, Catalogue raisonne des premieres impressions de Mayence, no. 88bis (this copy listed under nos. 20-22); Weil,Druckerzeichen, p. 85.. [Bookseller: Hellmut Schumann Antiquariat*]
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Josephus, Flavius:
De antiquitate Judaica. (GWM 15160).
Augsburg, Johann Schüssler, 28. Juni 1470, Type 1.. Zweispaltiges, 50