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Displayed below are selected recent viaLibri matches for books published in 1475
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Josephus Flavius
OPERA
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Belgium, Not after 1475. RARE PRINTING AND A HIGHLY ELUSIVE EDITION. ONE OF THE FIRST BOOKS PRINTED IN BELGIUM. Handsomely illuminated: 9-line initial in gold on [a]1; 18-line initial in blue and white on [a]2; 7- to 11-line book opening initials in red and blue with pen-work decoration; 3-line chapter-opening initials in red or blue; [aa]1 with leafy borders on both side of leaf. Early annotations in a fine calligraphic hand. Folio [390 x 281 mm.] , bound in contemporary Renaissance styled half pigskin over wooden boards, the spine with raised bands. 417 leaves (of 420). A beautiful and finely preserved copy. Without the blank leaves at the end of each text) only; [aa]1 remargined and probably supplied from another copy; and with the tabula complete and bound at the front. . ONE OF THE FIRST BOOKS PRINTED IN BELGIUM. THE RAREST OF ALL INCUNABLE PRINTINGS OF JOSEPHUS ! and very probably the rarest of all printings of Josephus altogether ! this book remains a bibliographic "mystery." No printer (or town) has been assigned to this book and the dating is a terminus ante quem based on an acquisition note (dated "1475") in the British Library copy. The text appears to have been based on a corrupt manuscript source, and this particular copy has been closely read and neatly corrected in the text body at an early date. Goff lists this edition second in his Josephus entry in Incunabula in American Libraries, suggesting that itOs actual dating may in fact be earlier than 1475. We think that the bibliographic study of this particular copy -- the comparison of its text and corrections with other early editions -- may reveal this editionOs relative positioning to other incunable editions with greater certainty. As it stands, the current ascription of this edition to "Belgium, not after 1475" makes this One of the First Books Printed in Belgium. Only a very small number of copies of this edition are known to exist: some 3 or 4 copies are in American libraries; the British Library and Oxford own copies; but there is apparently no copy at the Bibliotheque Nationale, and no copies are listed in the World Catalog.
[Bookseller: Buddenbrooks, Inc.] |
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(Jacobus de Voragine):
Der Heiligen Leben. Sommerteil. (GWM11352, H 9970).
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Augsburg, Johann Bämler, 19. August 1475. Type 1a, 2.. Einspaltiges, 28-zeiliges O-Inkunabelblatt mit einem farbig koloriertem Holzschnitt (7,9 x 6,7 cm) des Heiligen Sankt Agapito (Agapitus). Blatt etw. fleckig und knapp beschnitten. Blattgröße: 15,5 x 22,7 cm. Incunabula text woodcut leaf.. Seltenes Exemplar! Nur zwei Exemplare in Deutschland. Der italienische Prediger und Schriftsteller Jacobus de Voragine (Viraggio) aus dem heutigen Varazze bei Genua lebte von 1230 - 1298. Der Dominikaner Jacobus de Voragine fügte aus der Bibel, den Apokryphen, verschiedenen Akten sowie überlieferten Geschichten, die Lebensgeschichten der Heiligen zur Legenda Aurea. Das Werk in volkstümlicher lateinischer Sprache geschrieben, wurde zum populärsten religiösen Volksbuch des Mittelalter. Die deutschen Übersetzungen der Legenda Aurea wurden das Leben der Heiligen oder Der Heiligen Leben genannt. Zahlreiche Anzeichen deuten heute darauf hin, dass zwischen 1384 und 1421 im Umkreis des Dominikanerordens in Nürnberg eine neue Kompilationen der Heiligenlegenden entstand, die unter Einbeziehung der Legenda aurea, stärker auf den deutschsprachigen Glaubensraum bezogen waren. So wurden in diesem Legendar Bonifazius, Gallus, Kilian oder Magnus von Füssen aufgenommen. Dieser deutsche Legendar übertraf in seiner Verbreitung die Leganda Aurea. (Becker; Overgaauw: Aderlass + Seelentrost 2003, 219) Das Blatt ist online einsehbar unter dem link: http://daten.digitale-sammlungen.de/~db/0003/bsb00034578/images/index.html?id=00034578&fip=93.220.237.38&no=1&seite=631
[Bookseller: Versandantiquariat Christine Laist] |
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BIANCHINI, Giovanni
Tabulae de Motibus Planetarum
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Ferrara, 1475. Rare manuscript of one of the most sophisticated and widely disseminated 15th-century attempts to correct the Alfonsine Tables, by Giovanni Bianchini (d. 1469), an astronomer and business administrator attached to the Ferrara court of the d'Este, considered by Regiomontanus the greatest astronomer of his time. The work was known by both Regiomontanus and Peurbach, both of whom visited the author in Ferrara and corresponded with him; both made use of the present work in the computation of their own Ephemerides (Hellman & Swerdlow in DSB XV.474). Regiomontanus actually copied the entire manuscript in Vienna in 1460 (Nuremberg Stadtbibliothek MS Cent V 57), and extracts were possibly copied later in the century by Copernicus himself (Uppsala MS Copernicana 4, ff. 276-281), influencing him as well. The work also provides an unusual, to our knowledge singular example of the production of a scientific text from the court of Lionello d!Este, best known for the philology of Guarino da Verona and the appreciation of art and literature, famously documented in Angelo Decembrio!s De Politeia litterarum (written c. 1462; editio princeps 1540; 2nd ed. 1560)Understudied owing to its rarity, the work is representative of the technical revolutions in practical mathematics and geography on the eve of the Age of Discovery. The manuscript is divided into two parts. The first consists of an introduction and Canones explaining how the tables were calculated and how they are to be used. The remainder consists of the densely, if neatly written tables.Bianchini set out to achieve a correction of the Alfonsine tables!the standard in Europe for a couple of centuries by the time he wrote!with those of Ptolemy. He was a great admirer of Ptolemy and critical of the corrupted Ptolemaic and Alfonsine texts then in current use. Thorndike observes that historically: !many have erred by neglecting, because of their difficulty, the Alfonsine Tables for longitude and the Ptolemaic for finding the latitude of the planets. Accordingly in his Tables Bianchini has combined the conclusions, roots and movements of the planets by longitude of the Alfonsine Tables with the Ptolemaic for latitude, and with the rules of Ptolemy which Alfonso had employed too.! ! Thorndike ap. Tomash, p. 141 Although a significant number of manuscripts (at least in European institutions) and three printed editions (1495, 1526, and 1563) suggest that its contemporary circulation was far from negligible, its principal importance was its influence on such crucial texts as Peurbach and Regiomontanus, both of whom, as mentioned above, utilized Bianchini!s tables to calculate their own Ephemerides The most recent technical assessment of the work by Goldstein and Chabas concludes:Bianchini compiled a set of "userfriendly" tables that simplified the computations required for using the Alfonsine Tables. Many astronomers in the late Middle Ages (e.g., John of Ligneres,William Batecombe, John of Gmunden, and Abraham Zacut) also had this as a goal (each interpreting it in his own way), and Bianchini fits nicely in this group. Finally, there can be little doubt that early in his career Copernicus depended on Bianchini's tables for planetary latitude which, in turn, are based on Ptolemy's models in the Almagest. Hence, Bianchini's tables can be considered a source for Copernicus's knowledge of astronomy. ! p. 573.Provenance: Marco Antonio Scalamonte, most likely from the patrician family of Ancona, who became a senator in Rome in 1502; Robert Honeyman, Jr. (1928-78), noted US collector of scientific books and mss.; his sale Sotheby!s, London, Wed May 2, 1979 #1110; Alan Thomas Catalogue 43.2 (1981), to H.P. Kraus and to former owner; Martayan Lan, Summer 2008.Census: Although Boffito, Thorndike and Zinner, and Kristeller locate some few dozen mss. of Bianchini!s work in European institutions!not infrequently consisting solely of the tables, e.g., without the introductory matter!the only US copy recorded by Faye and Bond in 1962 was the present copy, then in the collection of Robert Honeyman. There was not then, and there is not now any copy of this manuscript in an American institution. In the same period, we know of a single other copy to come on the market, now in the collection of Erwin Tomash of Los Angeles, supplied by us. The work was occasioned by the visit of the Holy Roman Emperor Frederick III to Ferrara in 1452, and a copy, perhaps the dedication copy, in the Biblioteca Comunale Ariostea, Ferrara (Cl. I. No. 147) contains a miniature in which Bianchini is shown presenting the work to Frederick, with Borso d!Este looking on.* C.U. Faye & W.H. Bond, Supplement to the Census of Medieval and Renaissance Manuscripts in the United States and Canada (1962), p. 21, no. 12 (this copy)= Honeyman Collection of Scientific Books and Manuscripts Part III, Wed. May 2, 1979 #1110: $9840 (exclusive of premium); Tomash Collection (Catalogue in press) B150; Boffito, !Le Tavole Astronomiche di Giovanni Bianchini,! La Bibliofilia 9 (1908) 378-88; L. Thorndike, !Giovanni Bianchini in Paris Mss,! Scripta Mathematica 16 (1950) 69ff. & his !Giovanni Bianchini in Italian Mss.,! Scripta Mathematica 19 (1953) 5-17; Paul L. Rose, The Italian Renaissance of Mathematics, passim; Ernst Zinner, Regiomontanus. His Life and Works (1990); Bernard R. Goldstein & Jose Chabas, !Ptolemy, Bianchini and Copernicus: Tables for Planetary Latitudes,! Archive for the History of Exact Sciences, vol. 58, no. 5, July 2004, pp. 553-73; editio princeps of 1495: Stillwell I.29; BMC V.520; Goff B 697.. Manuscript on paper written in brown ink in a neat humanistic hand, with one illuminated coat of arms on first text leaf, signed by the scribe Francesco da Quattro Castella (near Reggio Emilia) on f. 150v., preceded by 4 blanks and followed by 6 more. Folio [33 x 23.5 cm], 150 ff., c. 37 lines written in a neat humanistic hand in brown ink, 2-3 line initials in red or blue, large illuminated initial and coat of arms of the Scalomonte family on first text leaf, flanked by floral decoration, 231 full-page tables densely (but neatly) written in red and brown ink; some marginal or inter-columnar annotations, and one extended annotation on final leaf. Watermarks: cf. Bricquet 3387 (ecclesiastical hat); Bricquet 2667 (basilisk). Bound in contemporary blind-stamped goat skin over wooden boards, sympathetically re-backed, edges of covers abraded and showing through to board. Some minor waterstaining in initial leaves and a little worming at back, but not affecting legibility. Generally in a fine state of preservation
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Various
INCUNABLE [INCUNABULA] LEAF OF BIBLIA SACRA ON PAPER. EXODI LA XXVI [G][Lbc]
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Various; INCUNABLE [INCUNABULA] LEAF OF BIBLIA SACRA ON PAPER. EXODI LA XXVI; Unknown; 1475; Small folio; Paperback; Very Good with no dust jacket; A single leaf from an incunable printing of Biblia Sacra circa 1475. Printed in red and black with a text inset similar to a footnote. A beautiful copy as bright as the day it was printed with minor toning to the extreme edge. Additional graphic of the reverse side is available. Latin language. Provenance- Griffon's Medieval manuscripts.; Incunable; 1 Pages [Publisher: Unknown]
[Bookseller: amazon.com] |
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BOOK OF HOURS
Leaf from a Book of Hours
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1475. (BOOK OF HOURS). Illuminated manuscript leaf from a Book of Hours. Low countries, circa 1475. Single vellum leaf (4-1/2 by 6 inches), in black, gold, green, blue and red inks. Matted and framed. $3800. Stunning illuminated leaf from a Dutch Book of Hours, with a beautiful 14-line initial. The text is from the beginning of the rubrics for matins. Scribed in 20 lines in dark brown and red inks in a gothic script, with a magnificent 14-line initial in blue on a field of burnished gold with designs in red, blue and green, all set within a border of acanthus leaves in red, blue and green on hairline tendrils in gold. The opposite side is also scribed in 20 lines, with one three-line initial in red with elaborate extenders. This leaf is from the extremely successful compilation of Geert Grote and is indicative of the "devotion moderna" in the Low Countries; only the Dutch consistently read the Hours in their vernacular language. Fine condition.
[Bookseller: Bauman Rare Books] |
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S R Gardiner
Oliver Cromwell
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Goupil & co, Paris 1899. 220pp folio. Many guarded plates. Handcolored portrait frontis. Limited to 1475 numbered copies. 3/4 morocco gilt, t.e. g, retaining original printed wrappers. Library cancel, some wear to backstrip.
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Inkunabelblatt. - Rommel, Andreas (Hrsg.).
Codex Justinianus - Corpus iuris civilis.
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. Mit der Glossa ordinario des Franciscus Accursius. Nürnberg: Johann Sensenschmid und Andreas Frisner, 24. Juni 1475. Baltt 6, Blatt 10 und Blatt 11 jeweils mit handgemalten teils blauen und roten Initialen und roter Illumination sowie einigen zeitgenössischen handschriftlichen Randnotizen. - Blattgröße: 40,5 x 28. * Der Gutenberg-Gehilfe Heinrich Kefer (Keffer) begründete mit dem aus Eger stammenden Johann Sensenschmid die erste Buchdruckerei in Nürnberg um 1470. Drei Jahre später wird Andreas Frisner aus Wunsiedel neuer Gesellschafter von Sensenschmid und übernimmt die "gelehrten Geschäfte bei Herstellung der Bücher" bis zum Jahre 1478 (vgl. Archiv f. Geschichte des Deutschen Buchhandels, B.d 4, 10, 20). - GW 07723, H 9599. - Pro Blatt 260,- EUR; zusammen:..
[Bookseller: Antiquariat Helmut R. Lang] |
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PSALTER
Leaf from a Psalter
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1475. (PSALTER). Illuminated manuscript leaf from a Psalter. France, circa 1475. Single vellum leaf (5 by 8 inches), in black, gold, blue and red inks. $750. Lovely illuminated leaf from a 15th-century Psalter. The text is from Psalms 32 and 33. Scribed in 27 lines, written in dark brown and red inks in gothic script, with numerous line extenders, ten one-line initials in blue, red and gold and one elaborate two-line initial on a field of red and gold. The verso is very similar. A beautiful leaf in fine condition.
[Bookseller: Bauman Rare Books] |
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Iuvenalis, Decimus Iunius (55-135 ca.).
Satyrae.
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Venezia, Jacopo de Rubeis, 24 aprile 1475. "In-folio (mm 270 x 199). Segnatura: [a-b10, c-i8, k-l10]. 96 carte non numerate, bianca la carta iniziale. Testo su 55 linee circondato dal commento. Caratteri 113 (110)R per la prefazione, il testo di Giovenale e la Defensio adversus Brotheum; caratteri 80R per il commento; caratteri 110Gk e 80Gk per le parole greche che occorrono rispettivamente nel commento e nella Defensio. Spazi bianchi per capilettera. Legatura in pergamena antica, titoli in oro su tassello rosso, tagli colorati. Esemplare in buono stato di conservazione, fori di tarlo puntiformi ai margini esterni bianchi delle prime quindici carte, alcune leggere gore del margine inferiore destro. Prima edizione delle Satyrae di Giovenale corredata del commento dell’umanista veronese Domizio Calderini (1446-1478), che tra il 1473 e il 1475 dedicò la propria perizia filologica a autori di particolare difficoltà interpretativa,- oltre a Giovenale, Marziale, Stazio, Svetonio e Silio Italico -, e la cui corretta lettura esigeva una non comune conoscenza delle fonti mitologiche e storiche. Il testo delle Satyrae è introdotto dalla epistola dedicatoria a Giuliano de’ Medici, al quale Calderini aveva fatto già dono di una copia di dedica del solo commento, ultimato il 1 settembre del 1474 e conservato oggi dalla Biblioteca Mediceo-Laurenziana di Firenze, in un codice di mano di Bartolomeo di Sanvito (Laur. plut. 53,2). In fine alla edizione è impressa una nota polemica contro Angelo Sani Sabino, detto il Fidentino, che nel 1474 aveva dato alle stampe a Roma i Paradoxa in Iuvenalem, utilizzando scorrettamente alcune osservazioni che lo stesso Calderini aveva comunicato agli allievi durante le proprie lezioni presso lo Studio romano. Fortemente polemico è anche il secondo dei testi inseriti a corredo della edizione di Giovenale, la Defensio adversus Brotheum grammaticum. Sotto l’appellativo di Brotheus si cela Niccolò Perotti, il filologo che aveva criticato la interpretazione fornita da Calderini dell’opera poetica di Marziale, e al quale il veronese replica minacciando di rendere noti le centinaia di errori commessi dallo stesso Perotti nella sua versione di Polibio. Notevole fu la fortuna del Giovenale di Calderini: già il 15 settembre del 1475 si ebbe a Brescia una ristampa del solo commento, e numerose furono le edizioni successive della intera opera. First edition of Juvenal’s Satyrae with the comment of the humanist Domizio Calderini and dedicated by him to Giuliano de’ Medici. The book contains also two polemical attacks addressed by Calderini to two humanists of the time: Angelo Sani Sabino, known as Fidentino and to Niccolò Perotti. Fine copy, bound in ancient vellum, some minor wormholes and dampstains throughout. HC *9688; GW 5885; Goff J, 642; BMC V, 214; IGI, 5575; Proctor 4239; CTC, I, pp. 216-218."
[Bookseller: Philobiblon di Francesca Petrilli e Fili] |
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Zöllner, FrankThoenes, ChristofPöpper, Thomas
Michelangelo
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Taschen Deutschland GmbH+ - Michelangelo Buonarroti (1475?1564) war nicht einmal 30 Jahre alt, alsBRer den David und die Pièta schuf, zwei der berühmtesten Skulpturen derBRKunstgeschichte.BRMichelangelo war, ebenso wie sein florentinischer ZeitgenosseBRLeonardo da Vinci, ein Genie der Renaissance von höchster Virtuosität.BRAls Bildhauer, Maler, Architekt und Dichter legte er eine unvergleichlicheBRLeidenschaft in seine Kunst und prägte einen einzigartigen Stil, aus demBRseine Nachfolger eine neue Kunstrichtung ? den Manierismus ?BRentwickelten, als sie versuchten, seine besondere ManierBRnachzuempfinden. Seine bedeutendsten Errungenschaften ? dieBRatemberaubenden Fresken an der Altarwand und Decke der SixtinischenBRKapelle im Vatikan ? ziehen alljährlich Millionen von Besuchern an. ErBRwar so begabt, dass seine Zeitgenossen ihn als einen Halbgott ansahenBRschon zu seinen Lebzeiten wurden ihm zwei Biografien gewidmet.BRSeitdem hat die Bewunderung für das Werk dieses AusnahmekünstlersBRnie nachgelassen.BRNach dem Erfolg unseres XL-Titels Leonardo da Vinci legt TASCHEN nunBRdiesen gewichtigen Band vor, der Michelangelos Leben und WerkBRumfassender und detailreicher untersucht als irgendein Buch zuvor. DerBRerste Teil konzentriert sich auf Leben und Werk Michelangelos in TextBRund Bild darauf folgt der Hauptteil, der seine vollständigen Gemälde,BRSkulpturen, Zeichnungen und Architekturentwürfe präsentiert.BRGroßartige ganzseitige Abbildungen und vergrößerte Details bringenBRdem Leser die Werke näher. Die ist das Standardwerk überBRMichelangelo für zukünftige Generationen. - Hardcover
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Anon
Early illuminated page - 2 sided, very attractive example
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Anon 1475 - circa 1475. 10.5cm x 7.5cm (4 1/8” x 3”) small Illuminated manuscript leaf from a 15th century publication, 2pp 12mo., Black handwritten copy with 2 beautiful gold initial letters, as well red and blue ink. Flanders. Fine. Page is mounted on card (left side of the page) with a folded cover and plastic window to protect and view the page. Ready for framing! [Attributes: First Edition]
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ILLUMINATED LEAF
Leaf from a Book of Hours
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1475 1475. (ILLUMINATED LEAF). Illuminated manuscript leaf from a Book of Hours, in Latin. France, circa 1475. Octavo, single leaf on vellum, in black, gold, green, blue, white, brown and red inks. Leaf measures 5 by 7 inches. $2000. Lovely illuminated leaf from a French Book of Hours, with striking and unusual border panel. Scribed in 20 lines in a late gothic script, with capitals of gold ink on blue and red rectangular grounds. One two-line and five one-line capitals, with four line extenders. Border panel along right margin is of acanthus leaves in blue and gold and flowers and leaves in green, blue and red set within a background of vertical stripes of gold and brown. Verso has 20 lines of text, seven one-line capitals, four line extenders and a similar border panel. Fine condition, suitable for framing.
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Leo I, Pope; Gregorius I, Pope; Pseudo-Origines & Johannes Andreas, bishop of Aleria. [Sammelband]
Sermones#11;[bound with:]#11;Gregory & Pseudo-Origines:#11;Homiliae quadraginta super in evangeliis.#11;1475, December 9
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Bartholomaeus de Unkel, Cologne:: Bartholomaeus de Unkel,, 1475-1476.. Contemporary blind-stamped calf over wood boards ,sympathetically rebacked, with both original clasps intact; book-label of Schoyen Collection; first leaf has small marginal holes in black outer margin, lower blank margin dampstain at end; 2 rust holes in upper bank margin of last five leaves due to earlier chain attachment; marginal flaw in first leaf of Origines. #11;Binding stamps: (approx. Schunke/Schwenke #s).Doppeladler 436; Hirsch 80; Lowe 108; Rosette 434; Schrift 155; Lille 227; Blattwerk 157.. Folio. 2 works in 1 volume. 283 x 200mm.. Rubricated in red throughout with Lombard initials with flourishes. Pope St. Leo I (the Great) (Reigned 440-61).#11;OPlace and date of birth unknown; died 10 November, 461. Leo's pontificate, next to that of St. Gregory I, is the most significant and important in Christian antiquity. At a time when the Church was experiencing the greatest obstacles to her progress in consequence of the hastening disintegration of the Western Empire, while the Orient was profoundly agitated over dogmatic controversies, this great pope, with far-seeing sagacity and powerful hand, guided the destiny of the Roman and Universal Church...Leo was no less active in the spiritual elevation of the Roman congregations, and his sermons, of which ninety-six genuine examples have been preserved, are remarkable for their profundity, clearness of diction, and elevated style. The first five of these, which were delivered on the anniversaries of his consecration, manifest his lofty conception of the dignity of his office, as well as his thorough conviction of the primacy of the Bishop of Rome, shown forth in so outspoken and decisive a manner by his whole activity as supreme pastor.O [CE] #11;Pope St. Gregory I ("the Great") ODoctor of the Church; born at Rome about 540; died 12 March 604. Gregory is certainly one of the most notable figures in Ecclesiastical History. He has exercised in many respects a momentous influence on the doctrine, the organization, and the discipline of the Catholic Church. To him we must look for an explanation of the religious situation of the Middle Ages; indeed, if no account were taken of his work, the evolution of the form of medieval Christianity would be almost inexplicable. And further, in so far as the modern Catholic system is a legitimate development of medieval Catholicism, of this too Gregory may not unreasonably be termed the Father. Almost all the leading principles of the later Catholicism are found, at any rate in germ, in Gregory the Great...O [CE]#11;#11;Leo:Add: Johannes Andreas, bishop of Aleria, Letter. Symbolum Nicaenum. Testimonia semper verus sit deus et veus homo#11;Gregorius add: Origines, Homiliae. Leo:#11;Goff L133. Hain 7947 (II). C 3543. Voull(K) 739. Pell Ms 7124 (7067). CIBN L-114. Zehnacker 1407. IBE 3472. IDL 2907. Coll(U) 947. Sch!ling 546. Schmitt I 857,5. Voull(Trier) 530. Ohly-Sack 1791. Sack(Freiburg) 2232. Pad-Ink 429. Finger 646. Oates 628, 629. Sheppard 863. Bodleian L-066. Proctor 1138. BMC I 241. ISTC il00133000.#11;Gregorius:#11;Goff G419. Hain/Copinger 7947 (I). C 2782. Voull(K) 507. Pell 5368. Polain(B) 1708. IDL 2089. IBP 5875. Coll(U) 633. Madsen 1781, T29. Voull(B) 842,15. Sch!ling 397. Ohly-Sack 1280. Sack(Freiburg) 1623. Pad-Ink 287. Finger 465. Walsh 408. Oates 624. Proctor 1136. BMC I 240. BSB-Ink G-309. GW 11420. ISTC ig00419000.
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[CALLIGRAPHY] ARRIGHI, Ludovico degli
Regola da imparate scrivere varii caratteri de littere con li suoi compassi et misure: et il modo di temperare le penne secondo la sorte de littere che vorrai scrivere
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Nicolo d'Aristotile detto Zoppino 4to. (30) ff. Bound in early thick paper wrappers. Unidentified engraved ex libris on front end pastedown and an old shelf sticker on front fly leaf. Several ink spots but generally excellent. Very rare early augmented edition (second) of Arrighi's treatise on writing containing both the writing samples and the instructions on preparing pen and ink, which were previously issued separately. (See below) Arrighi's writing books were among the earliest and most influential of the genre, contributing significantly to the adoption of Italian hands throughout Europe. Ludovico Vicentino degli Arrighi (1475-1527) was a native of Vicenza but moved to Rome around 1510, where he entered the printing business. His ambition was to have his own printing house specializing in the production of limited-edition quality works for wealthy clients. He perfected his hand as a copyist for patrons such as Vittoria Colonna, Lorenzo de' Medici and Machiavelli; through the patronage of Cardinal Giulio de' Medici he was given work in the Papal chancery. He began composing a writing manual in 1522, and the resulting two volumes, La Operina and Il Modo de temperare le Penne were probably published in 1524 and 1525 respectively. (Osley, Becker). Arrighi took the blocks with him to Venice on a trip in 1527 and left them there; he subsequently had a falling out with his Roman partner Ugo da Carpi who had created a special type based on Arrighi's design. As a result of this, subsequent Roman editions of Arrighi's writing manual were based on recut blocks by da Carpi, while the Venetian editions by Zoppino used the original blocks. Zoppino's editions were also the first to combine together the Operina and Il Modo, but only the present, second, edition includes Arrighi's instructions for manufacturing fine ink."If we compare the contents of Arrighi's Operina and Il Modo with those of Tagliente's Lo presente libro, we can detect, behind the general similarity, some important difference. Arrighi's books are better presented and bear the stamp of a professional typographer; Arrighi has a higher proportion of white alphabets against a black background, an indication of Celebrino's collaboration' and his selection of models reveals the natural bias of a scribe trained in book hands and ecclesiastical work. He is thinking more of the Church than of the Foreign Office or Stock Exchange. His manuals, in other words, are cast in the mould of Rome rather than Venice." (Osley, p. 34)OCLC: 1522 Operina: Newberry1523 Il modo: Newberry1523 Operina: Newberry1525 Operina: Newberry1532 Regola da imparare: Harvard* Becker, Practice of Letters 6; Bonacini 1968;
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Biblia Latina. Incunable imprime par Bernhard Richel a Bale en 1475. Important fragment, le tome 1 seul (de 2), manque la fin des Psaumes (environ 20 folios). Avec une introduction a chaque livre de la Bible par OMenardus monachus' (probablement un Chartreux de Eisenach).
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Bale, Bernard Richel, 1475, in-folio, 1 ff. index manuscrit avec note du proprietaire: OQui libros aperis hos claudere ne pigriteris / a fatuis fordide libri tractantur vbqz ... / sed nolcens litteras tractat eas vt margaritas' + 207 ff., pages de 48 lignes, belles lettrines (gravees) coloriees a la main en vert, rouge, jaune et bleu, taches d'eau par-ci par-la, reliure d'origine en plein cuir orne en relief, avec 5 cabochons sur chaque plat, charneres fendus. La OBiblia Latina' imprimee par Richel en 1475, se presente divisee en deux tomes: le 1er de 226 ff., comprend les livres de la Genese aux Psaumes, et le 2e de 234 ff., contient les livres OLiber Proverbiorum jusqu'a Tabula Menardi'. "Un des anciens compagnons de Gutenberg, Berthold Ruppel, s'etablit a Bale peu de temps apres l'invention de l'imprimerie. (...) D'autres imprimeurs contribuerent a asseoir la reputation de Bale en tant que metropole de l'imprimerie: Bernhard Richel, Johannes Amerbach, Johannes Froben et d'autres encore. Aujourd'hui Bale possede une des plus riches collections de ces premiers livres imprimes, appelees incunables. (...) En 1471, les archives mentionnent une premiere greve des ouvriers de l'imprimerie a Bale, ce qui laisse a penser que cette industrie connaissait deja un large developpement" (La Bible en Suisse, Bale 1997, p. 128). Richel was the first printer to specialize in "ready-to-use" Bibles. Whereas Fust and Schoeffer had printed red rubrics and some small initials in red or blue in their Bible of 1462, Richel provided rubrics in red and printed all of the large and small initials with ornamental woodblocks, so that rubrication by hand was no longer necessary for use. http://smu.edu/bridwell/specialcollections/prothroexhibit/richel.htm ; La Bible en Suisse, Bale 1997, p. 128 ; Pierre L. Van der Haegen, Basler Wiegendrucke, p. 58 ;
[Bookseller: Harteveld Rare Books Ltd.] |
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Fred C. Robinson, Valerie Hotchkiss
English in Print: From Caxton to Shakespeare to Milton
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University of Illinois Press. New Please note that deliveries to addresses in the UK and Europe will be in 4-14 business days. Other countries should refer to Alibris standard times. ""English in Print from Caxton to Shakespeare to Milton" examines the history of early English books, exploring the concept of putting the English language into print with close study of the texts, the formats, the audiences, and the functions of English books. Lavishly illustrated with more than 130 full-color images of stunning rare books, this volume investigates a full range of issues regarding the dissemination of English language and culture through printed works, including the standardization of typography, grammar, and spelling; the appearance of popular literature; and the development of school grammars and dictionaries. Valerie Hotchkiss and Fred C. Robinson provide engaging descriptions of more than a hundred early English books drawn from the Rare Book and Manuscript Library at the University of Illinois, Urbana-Champaign, and the Elizabethan Club of Yale University. The study nearly mirrors the chronological coverage of Pollard and Redgrave's famous "Short-Title Catalogue" (1475-1640), beginning with William Caxton, England's first printer, and ending with John Milton, the English language's most eloquent defender of the freedom of the press in his "Areopagitica" of 1644. William Shakespeare, neither a printer nor a writer much concerned with publishing his own plays, nonetheless deserves his central place in this study because Shakespeare imprints, and Renaissance drama in general, provide a fascinating window on the world of English printing in the period between Caxton and Milton. " ISBN10: 0252033469.
[Bookseller: Alibris] |
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DANTI, Vincenzo
Il Primo Libro del Trattato delle Perfette Proporzioni di tutte le cose che imitare, e ritrarre si possano con l'arte del disegno
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4to., (4) ff., 62 pp., 1 blank. Bound in 19th century stiff vellum, red morocco title label on spine. Light scattered staining on t-p and some leaves. Overall good. Rare first and only 16th century edition of this treatise on human proportion inspired by and based upon the teachings of Michelangelo (1475-1564) and written by one of his most ardent followers who was also an important artist of the period, "un vero uomo del Rinascimento" (Schlosser). Michelangelo himself had intended to write a treatise on proportion, not finding the one by Duerer sufficient for his purposes; and it is believed that Danti may even have had the master's notes to work from when composing the Trattato. According to Schlosser, Danti, who was working in Rome at the same time as Michelangelo, was one of the master's primary spiritual descendants, so much so that he calls the Trattato "uno dei piu interessanti documenti del culto del Buonarroti" (Schlosser). Danti had envisioned his work to include 15 books, but only the first book, dedicated to Cosimo de Medici, was ever published. In it, he sets out his program beginning with a preface which amounts to a profession of faith in Michelangelo. Had the entire work been completed, it would certainly have been among the most important printed documents in the history of Renaissance art, especially with respect to the transition from Mannerism to the Baroque. Even in its present state, it is of enormous importance for the light it sheds on the spiritual legacy of Michelangelo and especially for its specific treatment of the idea of proportion in art and architecture. The author Vincenzo Danti came from an illustrious and erudite family. His father Giulio was a noted sculptor and architect; and his brother Ignazio was the leading Italian mathematician of the second half of the sixteenth century. Vincenzo had a number of important commissions, including the large bronze statue of Julius III erected on the Place de Perouse; three bronze statues on the doors of the baptistery in Florence; and, perhaps most satisfying to him personally, the honor of executing a sculpture for the catafalque at Michelangelo's funeral which was later described by Vasari. Vincenzo was also the architect of Cosimo di Medici I and did many projects in and around Florence under his patronage. The Trattato delle Perfette Proporzioni is of the utmost importance not only for its intimate connection with Michelangelo but because its author was particularly well-suited by birth, education and position, to speak on behalf of an age in which questions of beauty and proportion were very much on working artists' minds. NUC records a copy of the original at Harvard and RLIN at the Getty. We have also located a copy at the National Gallery.* Getty record; not in Adams; Schlosser, p. 386; Cicognara 317: "Libretto prezioso e meritatmente raro, e degno che sia ristampato; poiche, non hanno forse le Arti un'opera piu chiaramente, e meglio scritta di questa."
[Bookseller: Martayan Lan, Inc.] |
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Fred C. Robinson, Valerie Hotchkiss
English in Print: From Caxton to Shakespeare to Milton
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University of Illinois Press. New Please note that deliveries to addresses in the UK and Europe will be in 4-14 business days. Other countries should refer to Alibris standard times. ""English in Print from Caxton to Shakespeare to Milton" examines the history of early English books, exploring the concept of putting the English language into print with close study of the texts, the formats, the audiences, and the functions of English books. Lavishly illustrated with more than 130 full-color images of stunning rare books, this volume investigates a full range of issues regarding the dissemination of English language and culture through printed works, including the standardization of typography, grammar, and spelling; the appearance of popular literature; and the development of school grammars and dictionaries. Valerie Hotchkiss and Fred C. Robinson provide engaging descriptions of more than a hundred early English books drawn from the Rare Book and Manuscript Library at the University of Illinois, Urbana-Champaign, and the Elizabethan Club of Yale University. The study nearly mirrors the chronological coverage of Pollard and Redgrave's famous "Short-Title Catalogue" (1475-1640), beginning with William Caxton, England's first printer, and ending with John Milton, the English language's most eloquent defender of the freedom of the press in his "Areopagitica" of 1644. William Shakespeare, neither a printer nor a writer much concerned with publishing his own plays, nonetheless deserves his central place in this study because Shakespeare imprints, and Renaissance drama in general, provide a fascinating window on the world of English printing in the period between Caxton and Milton. " ISBN10: 0252033469.
[Bookseller: Alibris] |
| 21. Check availability: Alibris
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BIANCHINI, Giovanni
Tabulae de Motibus Planetarum
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Ferrara 1475. - Manuscript on paper written in brown ink in a neat humanistic hand, with one illuminated coat of arms on first text leaf, signed by the scribe Francesco da Quattro Castella (near Reggio Emilia) on f. 150v., preceded by 4 blanks and followed by 6 more. Folio [33 x 23.5 cm], 150 ff., c. 37 lines written in a neat humanistic hand in brown ink, 2-3 line initials in red or blue, large illuminated initial and coat of arms of the Scalomonte family on first text leaf, flanked by floral decoration, 231 full-page tables densely (but neatly) written in red and brown ink; some marginal or inter-columnar annotations, and one extended annotation on final leaf. Watermarks: cf. Bricquet 3387 (ecclesiastical hat); Bricquet 2667 (basilisk). Bound in contemporary blind-stamped goat skin over wooden boards, sympathetically re-backed, edges of covers abraded and showing through to board. Some minor waterstaining in initial leaves and a little worming at back, but not affecting legibility. Generally in a fine state of preservation Rare manuscript of one of the most sophisticated and widely disseminated 15th-century attempts to correct the Alfonsine Tables, by Giovanni Bianchini (d. 1469), an astronomer and business administrator attached to the Ferrara court of the d'Este, considered by Regiomontanus the greatest astronomer of his time. The work was known by both Regiomontanus and Peurbach, both of whom visited the author in Ferrara and corresponded with him; both made use of the present work in the computation of their own Ephemerides (Hellman & Swerdlow in DSB XV.474). Regiomontanus actually copied the entire manuscript in Vienna in 1460 (Nuremberg Stadtbibliothek MS Cent V 57), and extracts were possibly copied later in the century by Copernicus himself (Uppsala MS Copernicana 4, ff. 276-281), influencing him as well. The work also provides an unusual, to our knowledge singular example of the production of a scientific text from the court of Lionello d?Este, best known for the philology of Guarino da Verona and the appreciation of art and literature, famously documented in Angelo Decembrio?s De Politeia litterarum (written c. 1462; editio princeps 1540; 2nd ed. 1560)Understudied owing to its rarity, the work is representative of the technical revolutions in practical mathematics and geography on the eve of the Age of Discovery. The manuscript is divided into two parts. The first consists of an introduction and Canones explaining how the tables were calculated and how they are to be used. The remainder consists of the densely, if neatly written tables.Bianchini set out to achieve a correction of the Alfonsine tables?the standard in Europe for a couple of centuries by the time he wrote?with those of Ptolemy. He was a great admirer of Ptolemy and critical of the corrupted Ptolemaic and Alfonsine texts then in current use. Thorndike observes that historically: "many have erred by neglecting, because of their difficulty, the Alfonsine Tables for longitude and the Ptolemaic for finding the latitude of the planets. Accordingly in his Tables Bianchini has combined the conclusions, roots and movements of the planets by longitude of the Alfonsine Tables with the Ptolemaic for latitude, and with the rules of Ptolemy which Alfonso had employed too." ? Thorndike ap. Tomash, p. 141 Although a significant number of manuscripts (at least in European institutions) and three printed editions (1495, 1526, and 1563) suggest that its contemporary circulation was far from negligible, its principal importance was its influence on such crucial texts as Peurbach and Regiomontanus, both of whom, as mentioned above, utilized Bianchini?s tables to calculate their own Ephemerides The most recent technical assessment of the work [Attributes: Signed Copy; Hard Cover]
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MLODOZENIEC, Jan (1929 - ).
Pirandello. Zeby wszystko jak malezy. Teatr Dramatyczny.
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- WZG, N.d., theatreposter, 84 x 58,5 WZG zam. 1475 R-54. Original edition. Born Nov.8, 1929 in Warsaw, Ý Dec.12, 2000. Graduated from Warsaw ASP (Graphics Division) in 1955. Illustrator, graphic & poster designer. Exhibits : Canada - 1960, Beyruth - 1961, Denmark - 1964, Italy - 1965, Sweden - 1965, Honolulu - 1965. Individual shows : Warsaw - 1962, Vienna - 1963. Many awards : Int'l Exhibit of Film Posters; Vienna 1965 - 2nd Prize for "Nikt nie zna prawdy" film poster; Silver Medal @ Int'l Buchkunst Außtellung - 1971; Gold Medal @ 8 th Int'l Poster Biennale, Warsaw - 1980; Gold Medal @ 5 th Int'l Poster Biennale, Lahti - 1983.
[Bookseller: Krul Antiquarian Books] |
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Landolt-Börnstein
Numerical Data and Functional Relationships in Science and Technology /Zahlenwerte und Funktionen aus Naturwissenschaften und Technik. New Series - Neue Serie [Group 5 /Gruppe 5 / BD 1 / Part /Tl a]
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Springer Verlag - Czermak, V. / Huckenholz, H. G. / Rybach, L. / Schmid, R. / Schopper, J. R. / Schuch, M. / Stöffler, D. / Wohlenberg, J. / Landolt-Börnstein Numerical Data and Functional Relationships in Science and Technology /Zahlenwerte und Funktionen aus Naturwissenschaften und Technik. New Series - Neue Serie [Group 5 /Gruppe 5 / BD 1 / Part /Tl a]/ Geophysics and Space Research. Geophysik und Weltraumforschung / Physical Properties of Rocks. Physikalische Eigenschaften der Gesteine (Springer Berlin) ISBN: 978-3-540-10333-2 gebunden Czermak, V. / Huckenholz, H. G. / Rybach, L. / Schmid, R. / Schopper, J. R. / Schuch, M. / Stöffler, D. / Wohlenberg, J. / Landolt-Börnstein Numerical Data and Functional Relationships in Science and Technology /Zahlenwerte und Funktionen aus Naturwissenschaften und Technik. New Series - Neue Serie / Geophysics and Space Research. Geophysik und Weltraumforschung / Physical Properties of Rocks. Physikalische Eigenschaften der Gesteine Herausgegeben von Madelung, Otfried Verlag : Springer Berlin ISBN : 978-3-540-10333-2 Einband : gebunden Preisinfo : 951,23 Eur[D] UVP / 977,90 Eur[A] UVP / 1475,50 CHF UVP Alle Preisangaben in CHF (Schweizer Franken) sind unverbindliche Preisempfehlungen. Legende: UVP = unverbindliche Preisempfehlung, iVb = in Vorbereitung. Erschienen : 1. Ed. 01.12.1981 Gewicht : 1220 g verwandte Themen : Gestein
[Bookseller: Antiquariat-Versandbuchhandel Uwe Löb] |
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MLODOZENIEC, Jan (1929 - )
Pirandello. Zeby wszystko jak malezy. Teatr Dramatyczny
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WZG, N.d., theatreposter, 84 x 58,5 WZG zam. 1475 R-54. Original edition. Born Nov.8, 1929 in Warsaw, Y Dec.12, 2000. Graduated from Warsaw ASP (Graphics Division) in 1955. Illustrator, graphic & poster designer. Exhibits : Canada - 1960, Beyruth - 1961, Denmark - 1964, Italy - 1965, Sweden - 1965, Honolulu - 1965. Individual shows : Warsaw - 1962, Vienna - 1963. Many awards : Int'l Exhibit of Film Posters; Vienna 1965 - 2nd Prize for "Nikt nie zna prawdy" film poster; Silver Medal @ Int'l Buchkunst Au!tellung - 1971; Gold Medal @ 8 th Int'l Poster Biennale, Warsaw - 1980; Gold Medal @ 5 th Int'l Poster Biennale, Lahti - 1983.
[Bookseller: Krul Antiquarian Books] |
| 26. Check availability: Biblio
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CRUCIFIXION
Illuminated miniature of the Crucifixion, from a Book of Hours. Bruges, c. 1460-
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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.] |
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TOMMASI TOMMASO (PSEUD. DI GREGORIO LETI?)
Vita di Cesare Borgia detto poi il duca Valentino. S.n.l. (Firenze?), 1789
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- Due parti in un volume di cm. 17, pp. xv (1), 269 (1) + 1 c.b.; vii (1), 294 + 1 c.b. Ottima leg. coeva in perg. rigida con titoli in oro su tass. al dorso, tagli spruzzati. Ottimamente conservato. Celebre biografia di Cesare Borgia (1475-1507), uomo politico dalla vita tanto breve quanto avventurosa. A proposito dell'attribuzione cfr. Melzi, III, p. 233: "Dal Catalogo Farsetti assegnasi per vero autore di questa Vita Gregorio Leti, che sembra essersi voluto occultare sotto il finto nome di Tommaso Tommasi. Ma. il non vedere di quest'opera fatto cenno fra le anonime, o pseudonime, delle quali lo stesso Leti ci somministra l'elenco nella sua Vita di Cromwell, ci fa nascere il dubbio che non sia veramente tutto suo lavoro. Ch'egli però vi abbia posto mano e fattevi delle aggiunte. Arroge a ciò che un Tommaso Tommasi ha veramente esistito". Cfr. Iccu. (S126)
[Bookseller: Studio Bibliografico Apuleio] |
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Gmelin
Handbook of Inorganic and Organometallic Chemistry / Mit einem Anhang über Transurane / The Element Behavior of Uranium Fuels in Nuclear Reactors. Reprocessing of Spent Fuels [Supplement Volume Part A / Section 4]
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Springer Verlag - Gmelin Handbook of Inorganic and Organometallic Chemistry / Mit einem Anhang über Transurane / The Element Behavior of Uranium Fuels in Nuclear Reactors. Reprocessing of Spent Fuels [Supplement Volume Part A / Section 4] (Springer Berlin) ISBN: 978-3-540-93453-0 gebunden 173 ills. XIII,359 pages. Gmelin Handbook of Inorganic and Organometallic Chemistry / Mit einem Anhang über Transurane / The Element Behavior of Uranium Fuels in Nuclear Reactors. Reprocessing of Spent Fuels Chefredakteur: Buschbeck, Karl Ch. / Keller, Cornelius. Mitwirkung (sonst.): Gmelin-Institut für Anorganische Chemie der Max-Planck-Gesellschaft zur Förderung der Wissenschaften e.V. Verlag : Springer Berlin ISBN : 978-3-540-93453-0 Einband : gebunden Preisinfo : 951,23 Eur[D] UVP / 977,90 Eur[A] UVP / 1475,50 CHF UVP Alle Preisangaben in CHF (Schweizer Franken) sind unverbindliche Preisempfehlungen. Legende: UVP = unverbindliche Preisempfehlung, iVb = in Vorbereitung. Seiten/Umfang : 173 ills. XIII,359 pages. Erschienen : 8. Aufl. 18.12.1981 Gewicht : 1045 g verwandte Themen : Kernbrennstoff
[Bookseller: Antiquariat-Versandbuchhandel Uwe Löb] |
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Sebastiano Serlio
Sebastiano Serlio on Architecture, Volume 1: Books I-V of Tutte Lopere Darchitettura Et Prospetiva
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Yale University Press. New Few Renaissance theorists have influenced the development of western architecture as much as Sebastiano Serlio (1475-1554). The collection of books which represents his lifetime's work was to become invaluable to the majority of northern European architects who, never having seen Rome, none the less marvelled at Italian antiquities. Hence when Christopher Wren designed St. Paul's cathedral, and when John Wood designed the streets of Bath, both architects had Serlio's books to hand. On his death Serlio had published the first five volumes of the planned seven-book treatise, and had witnessed their enormous popularity, especially amongst the many patrons and architects eager to emulate the splendours of antiquity and of Italian courts which sought her renaissance. Serlio's treatise begins with the rules of geometry and perspective, described in books one and two respectively, knowledge of which formed the traditional preserve of the painter. Serlio's beautiful woodcut illustrations in book three record the Golden Age of the Roman Empire, her Baths, Temples, Palaces and Arches, whilst his text in book four outlines the rules for designing modern elements ranging from fireplaces to facades based on these monuments. To the Tuscan, Doric, Ionic and Corinthian columns which had been discussed by the Roman author Vitruvius and the great quattrocento philosopher-architect Leon Battista Alberti, Serlio added the Composite and thereby established a canon of five Orders which held authority for over a century. The fifth book illustrates the use of these Orders in twelve temple designs of his own invention. This translation of Serlio's first five books by Vaughan Hart and Peter Hicks replaces theonly other English version, that produced in 1611 by Robert Peake, whose source was not the original Italian but a corrupt Dutch translation. As such this is the first English translation of Serlio's work to be based on his own editions and the first collection in any language of all...
[Bookseller: Alibris] |
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Bouts Studies. Proceedings of the International Colloquium
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Peeters Publishers. Hardcover. 9042909803 Art historians and amateurs alike continue to be captivated by the 15th and early 16th century art of the Southern Netherlands. Their interest focuses not only on the stylistic and iconographic aspects of the paintings but also their technical construction. Furthermore, recent studies and exhibitions have demonstrated that the impact and effect of Southern Netherlandish art production on society in that period was exceptionally great. the oeuvre of Dirk Bouts (+1475). Coupled to this was an international colloquium, in which hitherto unexplored and sometimes controversial aspects of Bouts study were offered for discussion. This publication is the result. The articles deal with the painters life and work, and his artistic relations with Northern and Southern Netherlandish painting. Attention is also devoted to the intellectual iconography of Bouts' work, and to his great stylistic influence on European painting in general. The results of the most recent technological research are also comprehensively described and interpreted. Lastly, the continuing influence of Bouts oeuvre discernible in more recent art is discussed. These articles thus provide an insight into the present state of Bouts study, and open important avenues for further research. Proceedings of the International Colloquium (Bruges, 10-12 November 1994), published in 1997 (Peeters 2002). 9789042909809. Hardback . New. 2002-01-01.
[Bookseller: The David Brown Book Company] |
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Fred C. Robinson, Valerie Hotchkiss
English in Print: From Caxton to Shakespeare to Milton
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University of Illinois Press. New PLEASE NOTE that we do not offer expedited shipping. Orders placed with the priority shipping option will automatically be canceled. ""English in Print from Caxton to Shakespeare to Milton" examines the history of early English books, exploring the concept of putting the English language into print with close study of the texts, the formats, the audiences, and the functions of English books. Lavishly illustrated with more than 130 full-color images of stunning rare books, this volume investigates a full range of issues regarding the dissemination of English language and culture through printed works, including the standardization of typography, grammar, and spelling; the appearance of popular literature; and the development of school grammars and dictionaries. Valerie Hotchkiss and Fred C. Robinson provide engaging descriptions of more than a hundred early English books drawn from the Rare Book and Manuscript Library at the University of Illinois, Urbana-Champaign, and the Elizabethan Club of Yale University. The study nearly mirrors the chronological coverage of Pollard and Redgrave's famous "Short-Title Catalogue" (1475-1640), beginning with William Caxton, England's first printer, and ending with John Milton, the English language's most eloquent defender of the freedom of the press in his "Areopagitica" of 1644. William Shakespeare, neither a printer nor a writer much concerned with publishing his own plays, nonetheless deserves his central place in this study because Shakespeare imprints, and Renaissance drama in general, provide a fascinating window on the world of English printing in the period between Caxton and Milton. " ISBN10: 0252033469.
[Bookseller: Alibris] |
| 33. Check availability: Alibris
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Leonicenus, Omnibonus
In Lucanum commentum
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Filippo di Pietro, Venice 1475 - 21 July 1475. 372 unnumbered leaves, roman type, 34 lines, 10 large red ink initials, some greek letters, waterstain on the upper margin of 1 leaf, contemporary wooden boards binding, blind tool decorations, ink titles on the edge, restored. A clean copy in contemporary binding; FIRST EDITION of Leonicenus’ commentary to Lucanus. This edition, first attributed to Vindelinus from Spira, seems to be the second to be printed by Philippus de Petri, the first typographer to use greek types. Brunet III, 985; Goff L172; IGI 6999; BMC V 219. PHOTOS AVAILABLE UPON REQUEST.
[Bookseller: Louis Caron] |
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[MANUSCRIPT - PSALMBOOK - CATHOLIC]. DIETENBERGER, Johannes.
Davidis Psalter: per D. Johan: Diettenberger ex idiomate Latino in germanicum translatus, & conscriptum ad usum Monialium in Closterbeyren.[Klosterbeuren (Swabia)], 1591. Manuscript German prose psalmbook with the 150 psalms and 8 hymns, written in brown ink on parchment (10.5 x 7 cm, text area 9 x 5.5 cm with 18 lines per page, quired in 6s) in a neat and very readable upright Fraktur hand, with the title-page in red, blue and black; each psalm and hymn with the title in red and a pen-work red initial in the margin; thousands of capital letters in red. Nineteenth(?)-century sheepskin, hand painted in many bright colours and gold, with a madonna and child on the front board and an arabesque centrepiece on the back board, both in arabesque decorative frames and with arabesque decorations on the spine, gilt edges.
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. (1), 158, (1) ll. For Dietenberger: ADB V, pp. 155-156. A lovely little Catholic manuscript psalter in the German prose version by Johannes Dietenberger (ca. 1475 or ca. 1490?-1534), produced for and probably in the Klosterbeuren Franciscan convent in Swabia. Dietenberger published his translation of the Bible in 1534, and although intended as a Catholic version, it was largely based on Luther's, with parts brought into conformity with the Vulgate. Although Dietenberger's translation became the standard Bible among German Catholics, his psalms appear not to have been separately published until 1586, when Quentel produced an edition at Cologne, only five years before the present manuscript. The 150 psalms appear on leaves 1 to 150, followed by eight hymns that are not mentioned in the descriptions of the printed edition, on leaves 150 to 159. The eight hymns (following the manuscript's own spelling) are Esaiae 12, Ezechiae, Annae der Müter Samulis (1 Samuel 2), Moyses Exodi 5, Abacue 3, Moysis Deutronomi 22, der dreien Knaben (Daniel 3) and Zachariae.The original leaf numbers of leaves 1 to 7 have been trimmed off and a few others and an occasional penwork initial have been shaved, but the manuscript is otherwise in very good condition. The binding is fine, with the bright colours (orange, pink, green, red, etc.), gold and natural skin and hair colours of the painted images and decorations well preserved. A charming manuscript psalm book from a Swabian Franciscan convent, in an important German prose version..
[Bookseller: Asher Rare Books (Since 1830) (Member of] |
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Leonicenus, Omnibonus
In Lucanum commentum
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Venice Filippo di Pietro 1475. 21 July 1475. 372 unnumbered leaves, roman type, 34 lines, 10 large red ink initials, some greek letters, waterstain on the upper margin of 1 leaf, contemporary wooden boards binding, blind tool decorations, ink titles on the edge, restored. A clean copy in contemporary binding; FIRST EDITION of Leonicenus' commentary to Lucanus. This edition, first attributed to Vindelinus from Spira, seems to be the second to be printed by Philippus de Petri, the first typographer to use greek types. Brunet III, 985; Goff L172; IGI 6999; BMC V 219. PHOTOS AVAILABLE UPON REQUEST. 21cm x 31cm. Very Good Condition
[Bookseller: Louis Caron] |
| 36. Check availability: Livre-Rare-Book AntiQbook biblion.co.uk choosebooks
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Leo I, Pope; Gregorius I, Pope; Pseudo-Origines & Johanne...
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Cologne: Bartholomaeus de Unkel, 1475-1476. Folio. 2 works in 1 volume. 283 x 200mm. [*4, a-l10,m12. Lacks *1 & m12 blanks)] [a-k10, l8, m10, n-o8.] 124 ( of 126 lacking blanks); 134ff. Contemporary blind-stamped calf over wood boards ,sympathetically rebacked, with both original clasps intact; book-label of Schoyen Collection; first leaf has small marginal holes in black outer margin, lower blank margin dampstain at end; 2 rust holes in upper bank margin of last five leaves due to earlier chain attachment; marginal flaw in first leaf of Origines. Binding stamps: (approx. Schunke/Schwenke #s).Doppeladler 436; Hirsch 80; Lowe 108; Rosette 434; Schrift 155; Lille 227; Blattwerk 157. Rubricated in red throughout with Lombard initials with flourishes. Pope St. Leo I (the Great) (Reigned 440-61). “Place and date of birth unknown; died 10 November, 461. Leo's pontificate, next to that of St. Gregory I, is the most significant and important in Christian antiquity. At a time when the Church was experiencing the greatest obstacles to her progress in consequence of the hastening disintegration of the Western Empire, while the Orient was profoundly agitated over dogmatic controversies, this great pope, with far-seeing sagacity and powerful hand, guided the destiny of the Roman and Universal Church...Leo was no less active in the spiritual elevation of the Roman congregations, and his sermons, of which ninety-six genuine examples have been preserved, are remarkable for their profundity, clearness of diction, and elevated style. The first five of these, which were delivered on the anniversaries of his consecration, manifest his lofty conception of the dignity of his office, as well as his thorough conviction of the primacy of the Bishop of Rome, shown forth in so outspoken and decisive a manner by his whole activity as supreme pastor.” [CE] Pope St. Gregory I ("the Great") “Doctor of the Church; born at Rome about 540; died 12 March 604. Gregory is certainly one of the most notable figures in Ecclesiastical History. He has exercised in many respects a momentous influence on the doctrine, the organization, and the discipline of the Catholic Church. To him we must look for an explanation of the religious situation of the Middle Ages; indeed, if no account were taken of his work, the evolution of the form of medieval Christianity would be almost inexplicable. And further, in so far as the modern Catholic system is a legitimate development of medieval Catholicism, of this too Gregory may not unreasonably be termed the Father. Almost all the leading principles of the later Catholicism are found, at any rate in germ, in Gregory the Great...” [CE] Leo:Add: Johannes Andreas, bishop of Aleria, Letter. Symbolum Nicaenum. Testimonia semper verus sit deus et veus homo Gregorius add: Origines, Homiliae. Leo: Goff L133. Hain 7947 (II). C 3543. Voull(K) 739. Pell Ms 7124 (7067). CIBN L-114. Zehnacker 1407. IBE 3472. IDL 2907. Coll(U) 947. Schüling 546. Schmitt I 857,5. Voull(Trier) 530. Ohly-Sack 1791. Sack(Freiburg) 2232. Pad-Ink 429. Finger 646. Oates 628, 629. Sheppard 863. Bodleian L-066. Proctor 1138. BMC I 241. ISTC il00133000. Gregorius: Goff G419. Hain/Copinger 7947 (I). C 2782. Voull(K) 507. Pell 5368. Polain(B) 1708. IDL 2089. IBP 5875. Coll(U) 633. Madsen 1781, T29. Voull(B) 842,15. Schüling 397. Ohly-Sack 1280. Sack(Freiburg) 1623. Pad-Ink 287. Finger 465. Walsh 408. Oates 624. Proctor 1136. BMC I 240. BSB-Ink G-309. GW 11420. ISTC ig00419000.
[Bookseller: Krown & Spellman, Booksellers] |
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Senechal Philippe
Giovanni Francesco Rustici 1475-1554 Un Sculpteur De La Renaissance Entre Florence et Paris
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Arthena, Paris 2008 - -------------------------------------------------------------------------------- Item Number: 003804 Title: GIOVAN FRANCESCO RUSTICI 1475-1554: Un sculpteur de la Renaissance entre Florence et Paris Author: Senechal, Philippe Price: Euro 175,00.- xx ISBN: 9782903239381 Description: Paris: Arthena, 2008. Quarto., hardcover, pages 349 oeuvre catalogue, documents, , 396 illus., 98 in color. xx [Attributes: Hard Cover]
[Bookseller: Luigi De Bei] |
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ORBIGNY, Alcide Dessalines d'.
Cours Elementaire de Paleontologie et de Geologie Stratigraphiques.Paris, Victor Masson, 1849-1852. 8vo & 4to. 3 volumes. With 628 mostly wood-engraved figures in the text (except for 1 folding cross-section) and 17 numbered tables (16 folding, 1 full-page). Volumes 1 and 2 (8vo text) contemporary half morocco, marbeled side and endpapers. Volume 3 (4to tables) original printed wrappers with green cloth spine.
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. (4), 300, 258; (4), 259-847, (1); (3) pp. + 1 folding cross-section & 17 tables. BMC NH, p. 1475; Ward 1684; DSB X, pp. 221-222; Karlsruher Virt. Kat. (4 copies); OCLC WorldCat (5 copies). A basic work on stratigraphy and paleontology by the famous d'Orbigny, one of the founders of biostratigraphy, with hundreds of illustrations finely engraved in wood by E. Salle. The illustrations show an enormous variety of plant and animal fossils, from tiny invertebrates to gigantic dinosaurs. The figures also include maps and geological cross-sections. d'Orbigny's precise rendition of surviving skeletons placed in the black background of the reconstructed figure of the animal gives the book a remarkably modern appearance. Alcide d'Orbigny (1802-1857) lectured and published on his new classification of fossils based on his research on geological strata, establishing the vital link between paleontology and stratigraphic geology that has proved so fruitful for both disciplines. Many contemporary geologists opposed his stratigraphic ideas, but despite this controversy he was appointed professor of paleontology at the Museum d'Histoire Naturelle in Paris in 1853. As a pre-evolutionist d'Orbigny believed in the theory of the successive destruction and creation of animals in the earth's history, corresponding to Curvier's theory of catastrophy. Darwin's theory of evolution eventually put an end to all such ideas about new creations, including d'Orbigny's, but important elements of d'Orbigny's theories remain valid. He also introduced a great number of new species and many of his names for species and geological eras continue in use. d'Orbigny may thus be considered one of the founders of modern biostratigraphy.The present work is especially rare complete with the volume of tables..
[Bookseller: Asher Rare Books (Since 1830) (Member of] |
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Sabine Frommel
Sebastiano Serlio Architect
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UK: Electaarchitecture. New Italian Renaissance architect Sebastiano Serlio (c. 1475-1555), who began to work as an architect only in his maturity and in France, is known and appreciated chiefly as a theorist and author of the highly influential treatise L'Architettura. This important publication is the first to document Serlio's work both as a theorist and builder. It traces the overall evolution of Serlio's production in relation to his time, commencing with a detailed analysis of the chateau of Ancy-le-Franc, in which the two fundamental components of his formal language are already apparent: his Italian training in the classical manner and the profound influence of the French emphasis on decoration. This book reconstructs the specific features and overall evolution of Serlio's career, one in which his activity as a designer and builder played a much greater role than was previously thought. The analysis of buildings and projects is supplemented by frequent references to his treatise and by a chapter on his life that aims to reveal his true personality by stripping away the prejudices that surround it. ISBN10: 1904313221.
[Bookseller: Alibris] |
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Incunables) BANDELLUS DE CASTRONOVO (Vicentius).
Incipit Libellus recollectorius auctoritatum de Veritate Conceptionis Beatae Virginis.]
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Mediolani, Christoforii Valdarfer, Anno Domini, 1475. - in-4. 126ff. Parchemin italien du XVIIs. Titre manuscrit au dos. Edition Originale rarissime d'un incunable essentiel dans le débat qui s'ouvrit au cours du dernier quart du XVème siècle sur la Vierge Marie et sa conception. Vincentius Bandellus de Castelnuovo, né à Castel-Nuovo en 1435, mort en 1506, devint général de l'Ordre des Dominicains en 1501. Il était célèbre comme professeur de théologie au moment où éclata la controverse entre partisans et adversaires de la réalité de la conception immaculée de la Vierge. Il fut l'un des adversaires les plus décidés et publia ses idées dans cet ouvrage dont la parution souleva un débat passionné. "Il fut un des adversaires les plus ardents du dogme de l'Immaculée Conception (et) écrivit un traité, devenu fort rare qui souleva de vives polémiques entre les dominicains et les cordeliers. Il a pour titre :"Libellus recollectorius de veritate conceptionis B. Mari? Virginia (Milan, 1475)" (Larousse). En 1546 le Concile de Trente franchissait un premier pas vers le dogme de l'Immaculée Conception en excluant la Vierge Marie du péché originel mais ce ne fut qu'en 1854 que le Pape Pie IX le consacra définitivement et solennellement par la promulgation de la Bulle "Ineffabilis Deus". Précieux Incunable de Milan, imprimé par Christophe Valdarfer, le second imprimeur de la ville. Le premier fut Antonio Zarotto qui produisit quatre ans auparavant, en 1471, le premier livre paru à Milan. Valdarfer était d?origine allemande, natif de Ratisbonne. Il venait de Venise où il avait exercé pendant deux ans (1470-1471). Caractères gothiques, texte à deux colonnes rubriqué aux encres rouge et bleue. L'exemplaire présente des taches aux premiers et derniers feuillets, avec des petits trous et des mouillures qui ont délavé les initiales des premiers feuillets, et en particulier, la grande initiale du début du texte. Il a été relié au XVIIs. Goff, B48. Hain, 2352. G.K.W. III 3237. [Attributes: First Edition; Hard Cover]
[Bookseller: Librería Comellas] |
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(Incunables) BANDELLUS DE CASTRONOVO (Vicentius).
[Incipit Libellus recollectorius auctoritatum de Veritate Conceptionis Beatae Virginis..]
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Mediolani, Christoforii Valdarfer, Anno Domini, 1475. in-4. 126ff. Parchemin italien du XVIIs. Titre manuscrit au dos. Edition Originale rarissime d'un incunable essentiel dans le débat qui s'ouvrit au cours du dernier quart du XVème siècle sur la Vierge Marie et sa conception. Vincentius Bandellus de Castelnuovo, né à Castel-Nuovo en 1435, mort en 1506, devint général de l'Ordre des Dominicains en 1501. Il était célèbre comme professeur de théologie au moment où éclata la controverse entre partisans et adversaires de la réalité de la conception immaculée de la Vierge. Il fut l'un des adversaires les plus décidés et publia ses idées dans cet ouvrage dont la parution souleva un débat passionné. "Il fut un des adversaires les plus ardents du dogme de l'Immaculée Conception (et) écrivit un traité, devenu fort rare qui souleva de vives polémiques entre les dominicains et les cordeliers. Il a pour titre :"Libellus recollectorius de veritate conceptionis B. Mariœ Virginia (Milan, 1475)" (Larousse). En 1546 le Concile de Trente franchissait un premier pas vers le dogme de l'Immaculée Conception en excluant la Vierge Marie du péché originel mais ce ne fut qu'en 1854 que le Pape Pie IX le consacra définitivement et solennellement par la promulgation de la Bulle "Ineffabilis Deus". Précieux Incunable de Milan, imprimé par Christophe Valdarfer, le second imprimeur de la ville. Le premier fut Antonio Zarotto qui produisit quatre ans auparavant, en 1471, le premier livre paru à Milan. Valdarfer était d’origine allemande, natif de Ratisbonne. Il venait de Venise où il avait exercé pendant deux ans (1470-1471). Caractères gothiques, texte à deux colonnes rubriqué aux encres rouge et bleue. L'exemplaire présente des taches aux premiers et derniers feuillets, avec des petits trous et des mouillures qui ont délavé les initiales des premiers feuillets, et en particulier, la grande initiale du début du texte. Il a été relié au XVIIs. Goff, B48. Hain, 2352. G.K.W. III 3237.
[Bookseller: Llibreria Antiquària Comellas] |
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Edited By B. Cardon, M. Smeyers, R. Van Schoute
Bouts Studies. Proceedings of the International Colloquium (Leuven, 26-28 November 1998) With the Collaboration of Katharina Smeyers
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Peeters Publishers. Art historians and amateurs alike continue to be captivated by the 15th and early 16th century art of the Southern Netherlands. Their interest focuses not only on the stylistic and iconographic aspects of the paintings but also their technical construction. Furthermore, recent studies and exhibitions have demonstrated that the impact and effect of Southern Netherlandish art production on society in that period was exceptionally great. the oeuvre of Dirk Bouts (+1475). Coupled to this was an international colloquium, in which hitherto unexplored and sometimes controversial aspects of Bouts study were offered for discussion. This publication is the result. The articles deal with the painters life and work, and his artistic relations with Northern and Southern Netherlandish painting. Attention is also devoted to the intellectual iconography of Bouts' work, and to his great stylistic influence on European painting in general. The results of the most recent technological research are also comprehensively described and interpreted. Lastly, the continuing influence of Bouts oeuvre discernible in more recent art is discussed. These articles thus provide an insight into the present state of Bouts study, and open important avenues for further research. Proceedings of the International Colloquium (Bruges, 10-12 November 1994), published in 1997 (Peeters 2002). 9789042909809. Hardback.
[Bookseller: Alibris] |
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CANDOLLE, Augustin Pyramus de.
Catalogus Plantarum Horti Botanici Monspeliensis, addito observationum circa species novas aut non satis cognitas fasciculo. Montpellier, J. Martel, 1813. 8vo. Modern brown half goatskin, decorative paper sides and marbled endpapers.
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- (8), 155 pp. BMC NH, p. 310; Pritzel 1475; Stafleu & Cowan 991; DSB III, pp. 43-45. Rare first edition of Candolle's catalogue of plants in the botanical garden in Montpellier. From 1808 till 1816 Augustin Pyramus de Candolle was professor of botany in Montpellier. His professional obligations at the university in this quiet provincial town left him ample time to publish his research. The present work contains an alphabetical list of species found in the botanical garden, followed by 230 annotations on unknown or relatively unknown species. Some hand-written annotations in ink and pencil; p. 115: part of outer margin missing, not affecting text. A very good copy of an uncommon botanical catalogue.
[Bookseller: ASHER Rare Books] |
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PSALTER
Leaf from a Psalter
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1475 1475 - (PSALTER). Illuminated manuscript leaf from a Psalter. France, circa 1475. Single vellum leaf (5 by 8 inches), in black, gold, blue and red inks. $750. Lovely illuminated leaf from a 15th-century Psalter. The text is from Psalms 32 and 33. Scribed in 27 lines, written in dark brown and red inks in gothic script, with numerous line extenders, ten one-line initials in blue, red and gold and one elaborate two-line initial on a field of red and gold. The verso is very similar. A beautiful leaf in fine condition.
[Bookseller: Bauman Rare Books] |
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Fred C. Robinson, Valerie Hotchkiss
English in Print: From Caxton to Shakespeare to Milton
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University of Illinois Press. New ""English in Print from Caxton to Shakespeare to Milton" examines the history of early English books, exploring the concept of putting the English language into print with close study of the texts, the formats, the audiences, and the functions of English books. Lavishly illustrated with more than 130 full-color images of stunning rare books, this volume investigates a full range of issues regarding the dissemination of English language and culture through printed works, including the standardization of typography, grammar, and spelling; the appearance of popular literature; and the development of school grammars and dictionaries. Valerie Hotchkiss and Fred C. Robinson provide engaging descriptions of more than a hundred early English books drawn from the Rare Book and Manuscript Library at the University of Illinois, Urbana-Champaign, and the Elizabethan Club of Yale University. The study nearly mirrors the chronological coverage of Pollard and Redgrave's famous "Short-Title Catalogue" (1475-1640), beginning with William Caxton, England's first printer, and ending with John Milton, the English language's most eloquent defender of the freedom of the press in his "Areopagitica" of 1644. William Shakespeare, neither a printer nor a writer much concerned with publishing his own plays, nonetheless deserves his central place in this study because Shakespeare imprints, and Renaissance drama in general, provide a fascinating window on the world of English printing in the period between Caxton and Milton. " ISBN10: 0252033469.
[Bookseller: Alibris] |
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BRUNUS ARETINUS (Leonardus)
Isagogicon moralis disciplinae :]
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- liber de moribus admodum utilis et necessarius ad Galeotum. [Sant'Orso, Johannes Renensis, vers 1475], in-4 (20,3 x 14,5 cm) de 14 ff.n.ch., sign. a8-b6, 25/26 lignes, car. rom., demi-veau [Rel. du XIXe siècle, signée Simier, relieur du Roi]. Rare édition incunable imprimée dans une localité italienne peu connue. Après avoir commencé sa carrière à Padoue en 1473, l'imprimeur allemand Johannes Renensis (Hans vom Rin), originaire de la région de Bâle, transporta en 1475 son atelier à Sant'Orso, petite bourgade dans les collines de la Vénétie à une trentaine de kilomètres au nord-ouest de Vicence, vraisemblablement pour fuir une épidémie de peste. Il imprima là-bas sept ou huit éditions avant de redescendre à Vicence en 1476 et disparaître ensuite des annales typographiques. Toutes ces éditions sont très rares et peu d'entre elles sont signées. C'est le cas de celle-ci, et les bibliographes ont longtemps hésité sur son attribution typographique. HC 1766. GW 5617 = 2385. Goff B-1251. CIBN B-888. On a aussi hésité quant au texte de cette édition : jusqu'à une époque récente, les catalogues et les bibliographies le présentaient comme une traduction latine par Leonardo Bruni, dit "l'Arétin", de l'Ethique d'Aristote à son disciple Eudème de Rhodes. Or, si le célèbre humaniste florentin (1370-1444) a effectivement traduit par ailleurs l'Ethique d'Aristote à Nicomaque, il s'agit bien ici d'un traité de son cru, ou plutôt une introduction (Isagogicon) d'inspiration aristotélicienne à la philosophie morale, qu'il composa vers 1421-1424 et dédia à un de ses disciples, Galeotto Ricasoli. Ce court texte connut un énorme succès dans l'Italie du Quattrocento et fut imprimé à plusieurs reprises dès 1470 [Attributes: Signed Copy; Hard Cover]
[Bookseller: CHAMONAL] |
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SAWYER, Charles J.
English Books
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SAWYER, Charles J. and DARTON, F.J. Harvey. English Books 1475-1900: A Signpost for Collectors. Westminster and New York: Chas. J. Sawyer and E.P. Dutton, 1927. Octavo, contemporary three-quarter burgundy morocco gilt, raised bands, marbled endpapers, top edges gilt, uncut and unopened. $850. First edition, one of 2000 unnumbered copies, of "one of the best guides ever written to the collecting of English books," handsomely bound. "One of the best guides ever written to the collecting of English books" (Webber, 11). Sawyer and Darton's attempt "to show... which books are to-day considered desirable by the book-collector... and why they are desirable" (Preface). Surveys rare books from the days of William Caxton through the private press movement at the turn of the 20th century. With 100 illustrations, including frontispiece and one folding plate. A fine copy.
[Bookseller: Bauman Rare Books] |
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CANDOLLE, Augustin Pyramus de.
Catalogus Plantarum Horti Botanici Monspeliensis, addito observationum circa species novas aut non satis cognitas fasciculo. Montpellier, J. Martel, 1813. 8vo. Modern brown half goatskin, decorative paper sides and marbled endpapers.
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- (8), 155 pp. BMC NH, p. 310; Pritzel 1475; Stafleu & Cowan 991; DSB III, pp. 43-45. Rare first edition of Candolle's catalogue of plants in the botanical garden in Montpellier. From 1808 till 1816 Augustin Pyramus de Candolle was professor of botany in Montpellier. His professional obligations at the university in this quiet provincial town left him ample time to publish his research. The present work contains an alphabetical list of species found in the botanical garden, followed by 230 annotations on unknown or relatively unknown species. Some hand-written annotations in ink and pencil; p. 115: part of outer margin missing, not affecting text. A very good copy of an uncommon botanical catalogue.
[Bookseller: ASHER Rare Books] |
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Duranti, Guillaume
Rationale diuinorum officiorum
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Ulrich Gering, Martin Crantz and Michael Friburger, Paris 1475 - 13 Avril 1475. In-folio (226 x 318 mm), veau, fine roulette dentelée dorée encadrant les plats, dos à nerfs orné, tranches dorées (reliure du XVIIIe s.). 318 ff. (dont un blanc après les seize de sommaire), dont 301 de texte, numérotés à l'époque, à la main et en chiffres arabes. Texte sur deux colonnes à 46 lignes, sans page de titre ni signature. Lettrines, rubriques et bouts-de-ligne à l'encre rouge. Titres-courants manuscrits à l'encre noire et rouge. De la bibliothèque Maurice Burrus, avec ex-libris. BEL EXEMPLAIRE DE CET INCUNABLE ENLUMINÉ À L'ÉPOQUE, dans une reliure du XVIIIe siècle. Reliure frottée et épidermée ; quelques taches (certaines à l'encre rouge) ; f. 283 provenant d'un autre exemplaire et f. 284 remonté ; quelques inscriptions manuscrites de l'époque. UN DES PLUS IMPORTANTS OUVRAGES DU XVe SIÈCLE et même de tout le Moyen Âge sur la liturgie et sa signification. Brunet, II, 905 ; Hain-Copinger, 6476 ; Pellechet, 4496 ; Gesamtkatalog, 9108; Goff D409. TRÈS RARE - VERY RARE (English description available upon request). PHOTO DISPONIBLE - PHOTO AVAILABLE UPON REQUEST. [Attributes: Hard Cover]
[Bookseller: Louis Caron] |
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ILLUMINATED LEAF
Leaf from a Book of Hours
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1475 1475 - (ILLUMINATED LEAF). Illuminated manuscript leaf from a Book of Hours, in Latin. France, circa 1475. Octavo, single leaf on vellum, in black, gold, green, blue, white, brown and red inks. Leaf measures 5 by 7 inches. $2000. Lovely illuminated leaf from a French Book of Hours, with striking and unusual border panel. Scribed in 20 lines in a late gothic script, with capitals of gold ink on blue and red rectangular grounds. One two-line and five one-line capitals, with four line extenders. Border panel along right margin is of acanthus leaves in blue and gold and flowers and leaves in green, blue and red set within a background of vertical stripes of gold and brown. Verso has 20 lines of text, seven one-line capitals, four line extenders and a similar border panel. Fine condition, suitable for framing.
[Bookseller: Bauman Rare Books] |
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A LARGE HISTORIATED VELLUM INITIAL S SHOWING THE STONING ...
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Verona/the Veneto, ca. 1475 150 x 147 mm. (6 x 5 3/4"") in a 14 x 11"" mat. The cutting mounted in a recessed compartment enclosed by a mat the whole within a very pleasing 15 1/8 x 12 1/8 gilt frame. The cutting comprised of a large S in different shades of pink with subtle white tracery the elements of the letter outlined with lush blue and green foliage the initial against a background of burnished gold the lower opening of the S revealing Stephen his hands clasped in prayer blood flowing from his head in which is embedded a stone other bloodied stones at his feet the opening above showing his attackers both about to cast another lithic missile behind them hills topped with castles and a walled city the whole painted in clear bright colors. Two faint horizontal creases (one above the stoning figures one through the top of Stephen's head) loss of paint at very edge and in lower corner in the foliate extension otherwise in very pleasing condition the colors and gold very rich and the three figures extremely well preserved. Saint Stephen the young deacon and the first of Christ's followers to suffer martyrdom is shown here with a bright blond tonsure an elongated face and a suffering resigned expression that gives him great individuality. Stephen had argued that the true temple is the temple of the heart and for this he was stoned the usual punishment for blasphemy. The artist has cleverly entwined the victim and the attackers in the plump initial S. Three towers on improbably steep hills jut up behind the stoners the more youthful of whom has an enormous red hat such as a 15th century wastrel might wear perched on his voluminous pile of hair. His face with its cleft chin snide expression and round rosy cheeks is a contrast to the saintly visage of Stephen. $8500
[Bookseller: Phillip J. Pirages Fine Books & Manuscri] |
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Biblia Latina. Incunable imprimée par Bernhard Richel à Bâle en 1475. Important fragment, le tome 1 seul (de 2), manque la fin des Psaumes (environ 20 folios). Avec une introduction à chaque livre de la Bible par ÔMenardus monachus' (probablement un chartreux de Eisenach).
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Bâle, Bernard Richel, 1475, in-folio, 1 ff. index manuscrit avec note du propriétaire: ÔQui libros aperis hos claudere ne pigriteris / a fatuis fordide libri tractantur vbqz ... / sed nolcens litteras tractat eas vt margaritas' + 207 ff., pages de 48 lignes, belles lettrines (gravées) coloriées à la main en vert, rouge, jaune et bleu, reliure d'origine en plein cuir orné en relief, avec 5 cabochons sur chaque plat, charnères fendus. La ÔBiblia Latina' imprimée par Richel en 1475, se présente divisée en deux tomes: le 1er de 226 ff., comprend les livres de la Genèse aux Psaumes, et le 2e de 234 ff., contient les livres ÔLiber Proverbiorum bis Tabula Menardi'. "Un des anciens compagnons de Gutemberg, Berthold Ruppel, s'établit à Bâle peu de temps après l'invention de l'imprimerie. (...) D'autres imprimeurs contribuèrent à asseoir la réputation de Bâle en tant que métropole de l'imprimerie: Bernhard Richel, Johannes Amerbach, Johannes Froben, et d'autres encore. Aujourd'hui Bâle possède une des plus riches collections de ces premiers livres imprimés, appelées incunables. (...) En 1471, les archives mentionnent une première grève des ouvriers de l'imprimerie à Bâle, ce qui laisse à penser que cette industrie connaissait déjà un large développement" (La Bible en Suisse, Bâle 1997, p. 128). Richel was the first printer to specialize in "ready-to-use" Bibles. Whereas Fust and Schoeffer had printed red rubrics and some small initials in red or blue in their Bible of 1462, Richel provided rubrics in red and printed all of the large and small initials with ornamental woodblocks, so that rubrication by hand was no longer necessary for use. http://smu.edu/bridwell/specialcollections/prothroexhibit/richel.htm ; La Bible en Suisse, Bâle 1997, p. 128 ; Pierre L. Van der Haegen, Basler Wiegendrucke, p. 58 ;
[Bookseller: Harteveld Rare Books Ltd.] |
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BOOK OF HOURS
Leaf from a Book of Hours
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1475 1475 - (BOOK OF HOURS). Illuminated manuscript leaf from a Book of Hours. Low countries, circa 1475. Single vellum leaf (4-1/2 by 6 inches), in black, gold, green, blue and red inks. Matted and framed. $3800. Stunning illuminated leaf from a Dutch Book of Hours, with a beautiful 14-line initial. The text is from the beginning of the rubrics for matins. Scribed in 20 lines in dark brown and red inks in a gothic script, with a magnificent 14-line initial in blue on a field of burnished gold with designs in red, blue and green, all set within a border of acanthus leaves in red, blue and green on hairline tendrils in gold. The opposite side is also scribed in 20 lines, with one three-line initial in red with elaborate extenders. This leaf is from the extremely successful compilation of Geert Grote and is indicative of the "devotion moderna" in the Low Countries; only the Dutch consistently read the Hours in their vernacular language. Fine condition.
[Bookseller: Bauman Rare Books] |
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TOMMASI TOMMASO (PSEUD. DI GREGORIO LETI?)
Vita di Cesare Borgia detto poi il duca Valentino. S.n.l. (Firenze?), 1789
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- Due parti in un volume di cm. 17, pp. xv (1), 269 (1) + 1 c.b.; vii (1), 294 + 1 c.b. Ottima leg. coeva in perg. rigida con titoli in oro su tass. al dorso, tagli spruzzati. Ottimamente conservato. Celebre biografia di Cesare Borgia (1475-1507), uomo politico dalla vita tanto breve quanto avventurosa. A proposito dell'attribuzione cfr. Melzi, III, p. 233: "Dal Catalogo Farsetti assegnasi per vero autore di questa Vita Gregorio Leti, che sembra essersi voluto occultare sotto il finto nome di Tommaso Tommasi. Ma. il non vedere di quest'opera fatto cenno fra le anonime, o pseudonime, delle quali lo stesso Leti ci somministra l'elenco nella sua Vita di Cromwell, ci fa nascere il dubbio che non sia veramente tutto suo lavoro. Ch'egli però vi abbia posto mano e fattevi delle aggiunte. Arroge a ciò che un Tommaso Tommasi ha veramente esistito". Cfr. Iccu. (S126)
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BLACK HOURS (DAS SCHWARZE STUNDENBUCH) Fine Facsimile Illuminated Edition of 15th Century
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Faksimile Verlag Luzern. Black Hours, 15th century - Pierpont Morgan Library, New York, M. 493A splendid jewel in black and silver, gold and blue The Black Hours - a precious rarity The Black Hours M. 493 today in the Pierpont Morgan Library New York were made around 1475 in Bruges, probably in the circle of Willem Vrelant, the leading illuminator of this time. The Black Hours is a product of unequalled luxury. All 121 vellum folios are stained in black. To make the writing stand out against the dark background, only white lead and opaque paints were used for the miniatures, and gold and silver ink for the script. Only three of these black parchment manuscripts bound in codices survive to this day. The production of a manuscript on black parchment was extremely costly and delicate. In a first step the parchment was immersed in an iron copper solution to obtain the black colouring, before it was painted. The immersion in black colour was, however, detrimental to the quality of the manuscript in the long run as the dye made the parchment fragile and brittle. The decorative apparatus of the Black Hours is unique in the world: more than half of the folios are ornate with large borders grounded in a gleaming blue colour. The ornaments contained therein - acanthus leaves abounding with drolleries - are all executed in gold. Additionally, the chapter incipits were highlighted with rubrics written with gold ink. A particular feature are the more than thirty sumptuous initials in gold leaf on an emerald ground which extend over more than one line to divide the text. The 14 full-page miniatures are embellished with glittering gold to amplify the effect of the black stained pages. Finely differentiated shades of grey and a delicate noble colouring allowed the painter to enhance the perspective of interiors and landscapes before the black background. His limitation to a small number of carefully selected colours lends the The prayers are each introduced by a full-page picture. The Office of the Virgin alone contains eight of these miniatures, expressing the great veneration reserved for the Virgin Mary. Bruges and the dukes of Burgundy The Flemish city of Bruges was among the busiest trading communities in Europe and a celebrated centre of book illumination. This city, in which the rarest and most precious things abounded, also attracted many art lovers who contributed greatly to both the local culture and craftsmanship. The dukes of Burgundy ruling over Bruges at the time were well known as patrons of the arts and used to commission both manuscripts and tapestries for their residences. The well to do citizens eagerly tried to emulate the court in their lifestyle having their portraits painted, dressed in sumptuous vestments. Besides Vrelant, painters like Jan van Eyck and Simon Bening were active in Bruges. This concentration of highly talented artists was the reason for the rise of Bruges and Gent, which became the heart of European book illumination in the second half of the 15th century. The production of black manuscripts is closely associated with the ascent of the dukes of Burgundy. Out of the six surviving black parchment manuscripts, five were made in the Low Countries and one in Spain, which was strongly influenced by Flemish art in the 15th century. The realm of Burgundy was an unusual and very short-lived state which emerged in the late 14th century at the interface between the kingdom of France and the Holy Roman Empire. Through marriage, purchase, heritage and conquest, Philip the Bold, John the Fearless, Philip the Good and Charles the Bold, constructed a realm which extended from the North Sea down into the heart of France, comprising the homeland of Burgundy and other provinces such as Flanders, Limburg and Luxembourg. The extravagance and pomp of the Burgundian court soon outperformed anything ever known in Europe and became the model for royal households everywhere. The colour black at the court of Philip the Good When his father John the Fearless was stabbed to death on 10 September 1419 by servants of the French king, Philip was only 23 years old. Unable to revenge this murder, he decided to lend his mourning a visible expression. The mourners, who accompanied him during the celebrations and welcomed the French and the English kings on horseback, well befitted the splendour of the house of Burgundy. 2000 black pennants, with black standards and seven cubit long banners, their fringes in black silk, all embroidered or painted with golden coats of arms, adorned the funeral procession. Even the stately seats and coach of the duke were painted black for this occasion. As Philip continued wearing black long after the mourning period was over, this began to "rub off" on the nobility and finally on the rich citizens of Flanders. From then on it was considered good form in Flanders to dress in black. This combination of religious thinking and fashionable splendour is the foundation of the Black Hours produced around 1475. The production of the facsimile edition Black manuscripts are extremely fragile due to their brittle parchment and it seems all the more important to preserve these very rare and unique items for posterity in the form of facsimile editions. Thus our prime interest in facsimile production has always been the protection of the original. The Black Hours in the Pierpont Morgan Library are now reproduced by Faksimile Verlag Luzern in a limited edition of 980 copies world-wide. All 242 pages in the format of approx. 17 x 12 cm with 14 large sized miniatures, blue and golden borders, and golden decorated initials on emerald ground, are reproduced faithfully and true to the original colouring. The binding of the facsimile edition is made of black velvet, ornate with gilded decorative buttons and a gilded clasp. Faksimile Verlag Luzern thus successfully restored to the manuscript a binding which perfectly befits its sumptuous splendour and replaces the current protective 20th century binding. The scholarly commentary The scholarly commentary was written by Bernard Bousmanne, Director of the Manuscript Department of the Bibliothèque Royale Albert 1er in Brussels, in co-operation with William Vœlkle, Curator of the Pierpont Morgan Library in New York. Both the facsimile and the commentary volumes are available in a protective case of acrylic glass. , New
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Anonymous
[Untitled World Map from Mer des Hystoires]
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Rare reduced version of the world map from Rudimentum Novitorum, the monumental encyclopedia of world history issued in 1475, which contains the first printed maps. The work was translated into French under the title Mer des Hystoires in 1488 by Pierre Le Rouge in Paris. Two separate blocks can be identified for these French translations; the first in Paris in 1488, and the second in Lyon in 1491. The version printed in Lyon is clearer and includes several corrections to the earlier works. Tony Campell notes that while the earlier La Mer des Hystoires map of 1488 remained close to the Rudimentum Novitorum prototype, this second derivation of 1491 betrays the work of a thinking individual (Campbell). The map derives from a Christianised medeiveral tradtions without any reference to Ptolemaeic or Portolan sources. The map is oriented with east at the top and Jersulaem in the center. The Pope is shown in a walled cityof Rome. Asian and African countries are noted by hills surrounded by water. The extent of the known world reaches to Taprobana, Ethiopia, Tartary and the Sea of the Amazons. The Pillars of Hercules are shown at the bottom of the map. In lieu of Adam & Eve, two priestly figures are shown in a garden at the top of the map.The outline of Europe and the Mediterranean, along with the names of several countries, appear in a rough outline. Nice example of this highly important map. Shirley 17. (Lyon, 1491 (1517)) [color: Uncolored, size: 12.5 x 12.5 inches, condition: VG]
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ORBIGNY, Alcide Dessalines d'.
Cours Élémentaire de Paléontologie et de Géologie Stratigraphiques.Paris, Victor Masson, 1849-1852. 8vo & 4to. 3 volumes. With 628 mostly wood-engraved figures in the text (except for 1 folding cross-section) and 17 numbered tables (16 folding, 1 full-page). Volumes 1 and 2 (8vo text) contemporary half morocco, marbeled side and endpapers. Volume 3 (4to tables) original printed wrappers with green cloth spine.
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- (4), 300, 258; (4), 259-847, (1); (3) pp. + 1 folding cross-section & 17 tables. BMC NH, p. 1475; Ward 1684; DSB X, pp. 221-222; Karlsruher Virt. Kat. (4 copies); OCLC WorldCat (5 copies). A basic work on stratigraphy and paleontology by the famous d'Orbigny, one of the founders of biostratigraphy, with hundreds of illustrations finely engraved in wood by E. Salle. The illustrations show an enormous variety of plant and animal fossils, from tiny invertebrates to gigantic dinosaurs. The figures also include maps and geological cross-sections. d'Orbigny's precise rendition of surviving skeletons placed in the black background of the reconstructed figure of the animal gives the book a remarkably modern appearance. Alcide d'Orbigny (1802-1857) lectured and published on his new classification of fossils based on his research on geological strata, establishing the vital link between paleontology and stratigraphic geology that has proved so fruitful for both disciplines. Many contemporary geologists opposed his stratigraphic ideas, but despite this controversy he was appointed professor of paleontology at the Museum d'Histoire Naturelle in Paris in 1853. As a pre-evolutionist d'Orbigny believed in the theory of the successive destruction and creation of animals in the earth's history, corresponding to Curvier's theory of catastrophy. Darwin's theory of evolution eventually put an end to all such ideas about new creations, including d'Orbigny's, but important elements of d'Orbigny's theories remain valid. He also introduced a great number of new species and many of his names for species and geological eras continue in use. d'Orbigny may thus be considered one of the founders of modern biostratigraphy.The present work is especially rare complete with the volume of tables.
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CRUCIFIXION
Illuminated miniature of the Crucifixion, from a Book of Hours. Bruges, c. 1460-
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- 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.
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BERNARD OF CLAIRVAUX, Saint (BERNARDUS CLARAVALLENSIS).
Sermones [de Tempore et de Sanctis] Bernardi in Duytssche.[Colophon:] Zwolle, Peter van Os, 27 May 1495. Folio (27.5 x 20.5 cm). Sermons, translated from the Latin into Dutch, with a full-page woodcut on the title-page (with the letterpress title above it) showing Mary and Jesus appearing before the author, a full-page woodcut of the Annunciation, a full-page woodcut of Jesus at the end ("speciosus forma pre filys homi[num]" Psalm 45:3), 17 smaller woodcut illustrations plus 1 repeat (mostly 10.5 x 8 & 7.5 x 6 cm) in the text (6 flanked by any 2 of 6 woodcut decorative strips), and the woodcut armorial device of the printer-publisher (plus 1 repeat). Set in textura types. With 2 large blue manuscript uncial initials with interior decoration
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- (4), cclxxiiii, (1) ll. Arnim, Bib. Otto Schäfer 43; BMC IX, p. 88 (lacking final leaf with full-page woodcut); Goff B-435; GW 3948; Hermans, Zwolse Boeken ZD 107; Hind, Intro. Hist. Woodcut, pp. 582-583; Incunabula in Dutch Libraries 762; V. Thienen & Goldfinch 391; ISTC IB00435000. Second Dutch-language edition (the first extensively illustrated edition in any language) of the Sermones de Tempore et de Sanctis by Saint Bernard of Clairvaux (1090-1153), first published in Latin at Mainz in 1475. The first Dutch edition, by the same printer-publisher (1484-85), has no woodcuts except that of Mary and Jesus appearing before the author ("one of the best Dutch woodcuts of the period" -- Hind) and that with the publisher's armorial device. Van Os used the full-page Annunciation woodcut in 1490 and Gerard Leeu in Antwerp used 9 of the other cuts (plus the decorative strips) in 1487 and 1488. The BMC notes no earlier use for the remaining nine woodcuts, including a matching series of six (7.5 x 6 cm) illustrating scenes from the lives of Jesus and Mary.With extensive marginal restorations in a few leaves, not affecting the text or woodcuts, and with the title-page slightly worn, but otherwise in very good condition and with generous margins. The binding is worn and the original wooden boards have been replaced by modern ones, but most of the tooling is still clear enough to identify. The first well-illustrated edition of Saint Bernard's sermons.
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BIBLE
Manuscript Psalter
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1475 1475 - (BIBLE-PSALTER). Illuminated Manuscript Psalter on parchment. Southeastern France, likely Savoy, circa 1475. Small octavo (4 by 5-1/2 inches), modern full brown calf, raised bands, brass clasps, uncut; ff. 184. Housed in a custom clamshell box. $26,000. Illuminated 15th-century manuscript psalter on parchment with a miniature of King David with a harp, illuminated throughout in gold, green, red, blue, brown and black inks. Written in dark brown ink in a batarde bookhand on 22 lines, rubricated in red, with alternating red and blue capitals, two-line gold initials with white tracery infill on blue and red parti-colored grounds, occasional three- and four-line initials in blue or red on highly burnished gold backgrounds. Most pages have several ascenders, occasionally with elaborate strapwork. The miniature, prefacing the Psalter, depicts King David with a harp in a landscape, framed by craggy mountains, in the background a sea with boats and in the distance a castle: tiny red and white flowers decorate the landscape, and the name "David Davides" is written in the sky above his head. Surrounding the image-and seven other pages-is a full foliate border of acanthus leaves, fruit, flowers and animals and grotesques, in red, green, blue and brown inks and liquid gold. The style of the miniature and of the borders recalls that of Savoyard illumination at the end of the third quarter of the 15th century, including the highly saturated colors and the red used in the turrets of the castles in the miniature, both reminiscent of Peronet Lamy and other artists working at the courts of the dukes of Savoy. This Ferial Psalter was made for an ecclesiastic (probably a bishop), whose unidentified arms, a red rampant lion on a gold ground with a blue star, occur in the lower margin on folio 47 and whose cross and initials appear in the border of the miniature on folio 26. At one point it was in the possession of the Jesuit College of Nancy (with their inscription on folio 1, dated 1755, from where it was likely deaccessioned with the suppression of the Jesuits in France. The psalter itself is preceded by a calendar, the Nativity Office of the Virgin Mary, a Short Office of the Dead, and other prayers, comprising the first 25 folios. The remaining 159 folios are the Psalter, in the usual eight divisions. Ferial Psalters are uncommon from this time period, when the favored type of manuscript had become the Book of Hours. Without at least one folio of the calendar at the beginning, rest complete. Bookplate. Old auction description to front free endpaper. Expected marginal embrowning. A wonderful item. [Attributes: Signed Copy]
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Book of Hours - Libro d'ore ROUEN 1475
BOOK OF HOURS USE OF ROUEN ILLUMINATED MANUSCRIPT ON VELLUM - LIBRO D'ORE ALL'USO DI ROUEN MANOSCRITTO MINIATO SU PERGAMENA
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Rouen (France) 1475 - BOOK OF HOURS, USE OF ROUEN. [Illuminated manuscript on vellum, in Latin and French. Rouen, about 1475]. 8vo (165x122 mm), XIXth full calf century binding, gilt tooled borders on both covers and squares, elaborate gilt decorations and rules at spine (recently restored) ff. (108, last two leaves ruled but left blank). Gothic type, 18 lines (16 for the calendar) in sepia ink. EIGHT FULL-PAGE MINIATURES, INSERTED IN A RICH FOLIATED BORDER WITH FLOWERS, FRUITS AND GOLD BANDS ENRICHED BY GOLD AND COLORS THREE LINES ILLUMINATED INITIALS. NINE THREE LINES GOLD AND COLORS ILLUMINATED INITIALS ALONG THE TEXT, SURROUNDED BY A THREE SIDES FULL PAGE RICH FLORAL BORDER WITH ACANTHUS AND FLOWERS. 137 TWO LINES AND HUNDREDS OF ONE LINE GOLD AND COLORS ILLUMINATED INITIALS. CALENDAR ILLUMINATED IN BLUE, RED AND GOLD. END LINES IN GOLD, BLU AND OCHRA. TEXT: Calendar, ff. 1-12; Gospel Lessons, ff. 13-17; Obsecro te, ff. 17-20; O intemerata, ff. 20-23; Hours of the Virgin use of Rouen, ff. 24-56 (last is ruled but left blank); Penitential Psalms and Litany, ff. 57-70; Hour of the Cross, ff. 71-73; Hour of the Holy Spirit, ff. 73-75; Office of the Dead, ff. 76-99; Devotional in French, ff. 100-108 (last two leaves ruled but left blank) FULL PAGE MINIATURES: The four Evangelists, f. 13r; Annunciation, f. 24r; Nativity, f. 41r; David in Penance, f. 57r; Crucifixion, f. 71r; Pentecost, f. 73v; Burial, f. 76r; Lamentation, f. 100r. ORIGIN: some saints highlighted within the calendar, the specificity in liturgy and the style of the miniatures ascribe this Book of Hours to the production of Normandy, and more specifically to the area of Rouen. After a pause of almost hundred years, starting from the second quarter of XVth century we can assist to the renaissance of the manuscript production in Normandy where Rouen, the capital, immediately take the led of the artistic movement of illuminations overtaking in a short time the other very famous illumination site of the region, Caen. After a short period where the style of the illuminators relieved of the strong influence from Paris, the Rouen style started to gain the peculiarity that made him one of the most famous in manuscript production in France. Minor marks of use, but a very good copy with unusual high margins PROVENANCE: I. Contemporary handwritten note Communitati Sancti Coenobii Praemonstratensis at upper margin of first calendar leaf. II. At front inside cover, ex-libris of Edward Hailstone, English bibliophile (1818-1890). LIBRO D'ORE, USO DI ROUEN. [manoscritto miniato su pergamena, in Latino e Francese. Rouen, circa 1475]. In-8° (165x122 mm), legatura ottocentesca in cuoio bruno con ricca cornice dorata ai piatti e alle unghie, elaborate decorazioni dorate e filetti al dorso (trace di recenti restauri), cc. (108, le due ultima carte sono bianche con rigature di riferimento). Gotico, 18 linee (16 per il calendario) in inchiostro seppia. OTTO MINIATURE A PIENA PAGINA, INSERITE IN UNA RICCA CORNICE DECORATA CON FIORI, FRUTTI E BANDE DIAGONALI IN ORO, ARRICCHITE DA CAPILETTERA MINIATI SU TRE LINEE IN ORO E VARI COLORI. NOVE ALTRI CAPILETTERA NEL TESTO, MINIATI IN ORO E COLORI SU TRE LINEE, CIRCONDATI SU TRE LATI DA UNA RICCA CORNICE A PIENA PAGINA DI ACANTO, FIORI E FRUTTA. 137 PICCOLI CAPILETTERA SU DUE LINEE E CENTINAIA SU UNA LINEA MINIATI IN ORO E COLORI VARI. CALENDARIO ILLUMINATO IN BLU, ROSSO E ORO. FINE LINEA IN BLU ORO E OCRA. TESTO: Calendario, cc. 1-12; Letture dai Vangeli, cc. 13-17; Obsecro te, cc. 17-20; O intemerata, cc. 20-23; Officio della Vergine all'uso di Rouen, cc. 24-56 (ultima carta con rigatura ma bianca); Salmi Penitenziali e Litanie, cc. 57-70; Ore della Croce, cc. 71-73; Ore dello Spirito Santo, cc. 73-75; Ufficio dei Morti, cc. 76-99; Devozionale in Francese, cc. 100-108 (ultime due carte con rigatura di riferimento ma bianche). MINATURE A PIENA PAGINA: Tetramorfo (Quattro Evangelisti), c. 13r; Annunciazione, c. 24r; Natività, c. 41r; Re Davide in Preghiera, c. 57r; C
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Leo I, Pope; Gregorius I, Pope; Pseudo-Origines & Johannes Andreas, bishop of Aleria. [Sammelband]
Sermones[bound with:]Gregory & Pseudo-Origines:Homiliae quadraginta super in evangeliis.1475, December 9.
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Bartholomaeus de Unkel, Cologne: 1475-1476. - Folio. 2 works in 1 volume. 283 x 200mm. [*4, a-l10,m12. Lacks *1 & m12 blanks)] [a-k10, l8, m10, n-o8.] 124 ( of 126 lacking blanks); 134ff. Contemporary blind-stamped calf over wood boards ,sympathetically rebacked, with both original clasps intact; book-label of Schoyen Collection; first leaf has small marginal holes in black outer margin, lower blank margin dampstain at end; 2 rust holes in upper bank margin of last five leaves due to earlier chain attachment; marginal flaw in first leaf of Origines. Binding stamps: (approx. Schunke/Schwenke #s).Doppeladler 436; Hirsch 80; Lowe 108; Rosette 434; Schrift 155; Lille 227; Blattwerk 157. Rubricated in red throughout with Lombard initials with flourishes. Pope St. Leo I (the Great) (Reigned 440-61).ÒPlace and date of birth unknown; died 10 November, 461. Leo's pontificate, next to that of St. Gregory I, is the most significant and important in Christian antiquity. At a time when the Church was experiencing the greatest obstacles to her progress in consequence of the hastening disintegration of the Western Empire, while the Orient was profoundly agitated over dogmatic controversies, this great pope, with far-seeing sagacity and powerful hand, guided the destiny of the Roman and Universal Church.Leo was no less active in the spiritual elevation of the Roman congregations, and his sermons, of which ninety-six genuine examples have been preserved, are remarkable for their profundity, clearness of diction, and elevated style. The first five of these, which were delivered on the anniversaries of his consecration, manifest his lofty conception of the dignity of his office, as well as his thorough conviction of the primacy of the Bishop of Rome, shown forth in so outspoken and decisive a manner by his whole activity as supreme pastor.Ó [CE] Pope St. Gregory I ("the Great") ÒDoctor of the Church; born at Rome about 540; died 12 March 604. Gregory is certainly one of the most notable figures in Ecclesiastical History. He has exercised in many respects a momentous influence on the doctrine, the organization, and the discipline of the Catholic Church. To him we must look for an explanation of the religious situation of the Middle Ages; indeed, if no account were taken of his work, the evolution of the form of medieval Christianity would be almost inexplicable. And further, in so far as the modern Catholic system is a legitimate development of medieval Catholicism, of this too Gregory may not unreasonably be termed the Father. Almost all the leading principles of the later Catholicism are found, at any rate in germ, in Gregory the Great.Ó [CE]Leo:Add: Johannes Andreas, bishop of Aleria, Letter. Symbolum Nicaenum. Testimonia semper verus sit deus et veus homoGregorius add: Origines, Homiliae. Leo:Goff L133. Hain 7947 (II). C 3543. Voull(K) 739. Pell Ms 7124 (7067). CIBN L-114. Zehnacker 1407. IBE 3472. IDL 2907. Coll(U) 947. SchŸling 546. Schmitt I 857,5. Voull(Trier) 530. Ohly-Sack 1791. Sack(Freiburg) 2232. Pad-Ink 429. Finger 646. Oates 628, 629. Sheppard 863. Bodleian L-066. Proctor 1138. BMC I 241. ISTC il00133000.Gregorius:Goff G419. Hain/Copinger 7947 (I). C 2782. Voull(K) 507. Pell 5368. Polain(B) 1708. IDL 2089. IBP 5875. Coll(U) 633. Madsen 1781, T29. Voull(B) 842,15. SchŸling 397. Ohly-Sack 1280. Sack(Freiburg) 1623. Pad-Ink 287. Finger 465. Walsh 408. Oates 624. Proctor 1136. BMC I 240. BSB-Ink G-309. GW 11420. ISTC ig00419000.
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AN ESPECIALLY FINE ILLUMINATED VELLUM MANUSCRIPT BOOK OF HOURS IN DUTCH.
USE OF UTRECHT.
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Northern Netherlands [Delft?], ca. 1475 - With Extraordinarily Exuberant Elaborated Initials Complete containing 186 leaves single column 21 lines to the page in a very readable clean gothic book hand. CONTEMPORARY BLIND PANELLED CALF OVER WOODEN BOARDS with a large diapered central panel expertly rebacked (perhaps in the 19th century) original brass catches. Capitals struck with red rubrics in red hundreds of one- and two-line initials painted in red or blue and 43 PAGES WITH TWO- TO EIGHT-LINE DECORATIVE MAIBLUMEN INITIALS EACH FEATURING ELABORATE MARGINAL EMBELLISHMENT in red green and blue INCLUDING EIGHT CAPITALS WITH FULL BORDERS OF EXTRAORDINARY INTRICACY 10 with similar three-quarter borders and eight with two-sided borders. Front pastedown with the bookplate of J. F. M. Sterck. Leather a bit scuffed and abraded but the binding entirely solid and generally very well preserved. Opening to the Hours of the Virgin with slight blurring at bottom very occasional fading in the text (though nothing illegible) isolated wrinkling of no great consequence other trivial defects but IN QUITE FINE CONDITION the leaves especially bright and clean and featuring remarkably ample margins with pricking at the fore edge throughout and with quire signatures partly visible. This handsomely written and decorated manuscript includes the Calendar; the Hours of the Virgin; the Hours of Eternal Wisdom; the Hours of the Cross; the Seven Penitential Psalms and Litany; the Hundred Articles on the Passion of Christ; a section of prayers including prayers before and after receiving Communion on the wounds of Christ of Augustine against sudden death and prayers to the Virgin; and the Office of the Dead. The text is in the translations of Geert Groote and written in a littera textualis script. The leaves have been trimmed for binding but there is considerable margin with quire signatures remaining on some leaves (for example folios 19-22 and 140-142). The Calendar has major saints' days of Utrecht use in red. St. Jeroen or Hiero (17 August) an Irish missionary killed by Normans at Noordwijk in 856 also in red establishes the County of Holland as the region of origin. The ecclesiastical authority of the bishop of Utrecht extended over much of the northern Netherlands far beyond the bishopric as a secular state under his temporal power. Internal evidence suggests further localization to Delft an important center for the production of Books of Hours of this type with penwork border decoration but without miniatures. The border decorations in red and occasionally in blue with green washes are unusually varied in style. One leaf (folio 107) has oak branches with acorns and green leaves emanating from a vase. The principal decorated pages (especially folios 11 46 67 91 108 verso and 155) are characterized by exuberant penwork similar to the Delft scallop group type in Korteweg's classification system.The Litany lends further support to a Delft provenance with invocations of Hippolytus and Ursula and her 11000 virgin companions the patron saints of Delft to whom the Oude Kerk and the Nieuwe Kerk were respectively dedicated. The manuscript is an altogether attractive example of a vernacular Book of Hours done for a client of means. Many 15th century Dutch Books of Hours have initials and marginal embellishment that resemble what appears here but these leaves especially those containing major openings are atypically decorated in a memorably flamboyant way. [Attributes: Hard Cover]
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Duranti, Guillaume
Rationale diuinorum officiorum
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Paris: Ulrich Gering, Martin Crantz and Michael Friburger, 1475. 13 Avril 1475. In-folio (226 x 318 mm), veau, fine roulette dentelée dorée encadrant les plats, dos à nerfs orné, tranches dorées (reliure du XVIIIe s.). 318 ff. (dont un blanc après les seize de sommaire), dont 301 de texte, numérotés à l'époque, à la main et en chiffres arabes. Texte sur deux colonnes à 46 lignes, sans page de titre ni signature. Lettrines, rubriques et bouts-de-ligne à l'encre rouge. Titres-courants manuscrits à l'encre noire et rouge. De la bibliothèque Maurice Burrus, avec ex-libris. BEL EXEMPLAIRE DE CET INCUNABLE ENLUMINÉ À L'ÉPOQUE, dans une reliure du XVIIIe siècle. Reliure frottée et épidermée ; quelques taches (certaines à l'encre rouge) ; f. 283 provenant d'un autre exemplaire et f. 284 remonté ; quelques inscriptions manuscrites de l'époque. UN DES PLUS IMPORTANTS OUVRAGES DU XVe SIÈCLE et même de tout le Moyen Âge sur la liturgie et sa signification. Brunet, II, 905 ; Hain-Copinger, 6476 ; Pellechet, 4496 ; Gesamtkatalog, 9108; Goff D409. TRÈS RARE - VERY RARE (English description available upon request). PHOTO DISPONIBLE - PHOTO AVAILABLE UPON REQUEST.. Cuir / Leather. Very Good Condition / Très bon. 22,6cm x 31,8cm.
[Bookseller: Louis Caron ] |
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Michelangelo Buonarroti (1475-1564)
The Paintings of Michelangelo
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New York, Oxford university press. Description: 26 p., 1 l., [4] p. incl. mounted front., illus. (incl. ports., facsim. ) 2 pl. (1 mounted) on 1 l. 169 pl. on 66 l. (2 fold. ) 37 cm. Subjects: Michelangelo Buonarroti, 1475-1564. Near fine copy in the original title-blocked linen cloth. Slightest suggestion only of dust-dulling to the spine bands and panel edges. Remains particularly well-preserved overall; tight, bright, clean and strong.
[Bookseller: Alibris] |
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OROSIUS PAULUS.
HISTORIAE.
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[Vicenza]: Hermannus Liechtenstein, ca. 1475 - The Broxbourne Library Copy of Liechtenstein'sFirst Book with Beautiful Illuminated Capitals [100] leaves. Single column roman type 39 lines to a page. Second Printing, First Printing of this Edition. Modern stiff vellum flat spine brown morocco spine label. Paragraph marks in red or blue 4 two-line 23 three-line and 128 four-line initials in burnished gold on a ground of blue magenta or green enlivened by ornamental painted scrollwork in a contrasting color first leaf of text with an armorial crest of the Caroli family of Bologna at the bottom (three gold stars surrounded by a laurel wreath) and SEVEN BEAUTIFUL HAND-PAINTED WHITE-VINE INITIALS IN SEVERAL COLORS AND BURNISHED GOLD THE ONE ON THE FIRST PAGE OF TEXT 15 LINES TALL (the others: three seven-line two six-line and one four-line). Front pastedown with the armorial bookplate of Albert Ehrman rear pastedown with the bookplate of the Broxbourne Library (containing the initials of his son John Ehrman [J. P. W. E.] and ex dono A. & R. E. indicating that the book came to him from his father and mother). Upper corner of front cover rather bumped but the binding solid clean and otherwise in excellent condition. First 40 leaves with a half dozen small round skillfully filled-in wormholes all in the fore margin except one (which affects text only minimally) frequent but always light foxing minor occasional thumbing else IN EXCELLENT CONDITION INTERNALLY especially fresh and bright and THE FINE GILT AND PAINTED INITIALS BEAUTIFULLY PRESERVED. Goff O-97; BMC VII, 1035. This is an important early Christian book offered here in a beautifully illuminated copy from an edition with a noteworthy place in printing history as well as with fine modern provenance. Written in the wake of the Visigoths' sack of Rome in 410 Orosius' Histories is in Britannica's words a pragmatical chronicle of the calamities that have happened to mankind from the Fall down to the Gothic period the first attempt to write the history of the world as a history of God guiding humanity. Its purpose gave it value in the eyes of the orthodox and it remained influential for centuries. Orosius a priest from Roman Spain came to Hippo in North Africa in 413 to sit before St. Augustine at whose suggestion the history was undertaken and to whom it is dedicated. Like Augustine in his great City of God Orosius attempts to counter the prevailing view among the pagans that their divinities had permitted the sack to punish the Romans for abandoning traditional worship in favor of Christianity. Through his narrative Orosius demonstrates that the history of humankind has always been abundantly provided with a variety of horrors shows that the dawn of the new religion did not measurably increase such catastrophes and proffers the theme of a beleaguered Christianity triumphant an emphasis that made the book understandably popular. Our second printing of Orosius (the original edition was issued in Vienna in 1471) is believed to be the first work produced at the press in Vicenza of Hermann Liechtenstein. BMC draws this conclusion because ours is the only Liechtenstein volume printed without signed gatherings a feature that became less and less typical as the incunabular period progressed. Our editor Aeneas Vulpes of Vicenza describes himself as prior of Holy Cross and subsequent printings relied on his edition. Liechtenstein who came from Cologne printed 12 books in Vicenza between 1475 and 1480. The Orosius is rare and the present copy is particularly lovely because of its hand-illuminated initials done in the white-vine style characteristic of Italian 15th century decoration. The gold for the initials is lavishly laid on and the white vines embrace the letters in intricate loops subtending a patchwork of blue red and green areas sowed with white dots clustered in threes. This copy comes from the celebrated Broxbourne library of Albert Ehrman (1890-1969) a diamond merchant who gathered a fine collection of books at his home at Brox [Attributes: First Edition; Signed Copy; Hard Cover]
[Bookseller: Phillip J. Pirages Rare Books (ABAA)] |
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PERALDUS GUIL.
Mysterious edition of a mediaeval work on church law De fide et legibus.
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(Augsburg, Günther Zainer, 1475-1476). - Small folio. Contemporary richly blind-stamped vellum over wooden boards, with two brass clasps, blue painted edges. With all initials supplied in red, rubricated throughout. (139) leaves. Editio princeps of a mediaeval work on Church Law by Guilielmus Peraldus, or Guillaume Pérault or Peyraud, doctor at the Paris University and bishop of Lyon (ca. 1190-1255). The work is mostly ascribed to Guillermus or Guillelmus Arvernus, bishop of Paris, and a very popular author, who died in 1248. In our copy the author is called: "Wilhelmi Epilugdunensis", and "doctoris parisiensis". The present, somewhat mysterious edition, was probably the only edition and published by the first printer of Augsburg, Günther Zainer. His first book, the "Meditationes" of Bonaventura was published in 1468 and Zainer died on April 13, 1478. Hain and Polain date the present work at ca. 1469, but other bibliographers date the work at ca. 1475-1476. The book is well produced, printed in a fine small Roman type, with 43 lines to a page, and is finished by hand and rubricated throughout. The first blank is lacking. On top of the first text-leaf a contemporary ms. note reads: "Cart. in Buxheim", and a small stamp of the "Bibl. Buxheim:" is present at the bottom. So the book originally belonged to the Carthusians at Buxheim in Germany. The publisher Zainer was after his death remembered for his gifts to the Carthusian Monastry at Buxheim, and our copy may have been one of these. The Monastry's library was sold in the 19th century. Our copy has also an interesting contemporary German binding. Fine large paper copy, with the additional bookplate of the Library of George Dunn of Woolley Hall, near Maidenhead.- (Binding sl. stained and rubbed). Goff G 711; Proctor 1556; BMC II 323; Hain-Copinger 8317; Polain 1807; Oates 883; IGI 4602; STC German p. 681. [Attributes: Hard Cover]
[Bookseller: Antiquariaat FORUM BV] |
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Josephus Flavius
OPERA
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Belgium Not after 1475 - RARE PRINTING AND A HIGHLY ELUSIVE EDITION. ONE OF THE FIRST BOOKS PRINTED IN BELGIUM. Handsomely illuminated: 9-line initial in gold on [a]1; 18-line initial in blue and white on [a]2; 7- to 11-line book opening initials in red and blue with pen-work decoration; 3-line chapter-opening initials in red or blue; [aa]1 with leafy borders on both side of leaf. Early annotations in a fine calligraphic hand. Folio [390 x 281 mm.] , bound in contemporary Renaissance styled half pigskin over wooden boards, the spine with raised bands. 417 leaves (of 420). A beautiful and finely preserved copy. Without the blank leaves at the end of each text) only; [aa]1 remargined and probably supplied from another copy; and with the tabula complete and bound at the front. ONE OF THE FIRST BOOKS PRINTED IN BELGIUM. THE RAREST OF ALL INCUNABLE PRINTINGS OF JOSEPHUS Ð and very probably the rarest of all printings of Josephus altogether Ð this book remains a bibliographic "mystery." No printer (or town) has been assigned to this book and the dating is a terminus ante quem based on an acquisition note (dated "1475") in the British Library copy. The text appears to have been based on a corrupt manuscript source, and this particular copy has been closely read and neatly corrected in the text body at an early date. Goff lists this edition second in his Josephus entry in Incunabula in American Libraries, suggesting that itÕs actual dating may in fact be earlier than 1475. We think that the bibliographic study of this particular copy -- the comparison of its text and corrections with other early editions -- may reveal this editionÕs relative positioning to other incunable editions with greater certainty. As it stands, the current ascription of this edition to "Belgium, not after 1475" makes this One of the First Books Printed in Belgium. Only a very small number of copies of this edition are known to exist: some 3 or 4 copies are in American libraries; the British Library and Oxford own copies; but there is apparently no copy at the Bibliotheque Nationale, and no copies are listed in the World Catalog. [Attributes: Hard Cover]
[Bookseller: Buddenbrooks, Inc. ABAA]
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1474