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         Liber chronicarum- Nuremberg Chronicle, an individual page from the Chronicle featuring Sabatz, the Turkish fortress, Plate No. CCLIII.

      Anton Koberger, ca 1460-1494, Germany: - PRICE David 11-3 This work by Schedel [1440-1514] is an illustrated world history which is based on the Bible, which follows the story of human history related in the Bible and includes the histories of a number of important Western cities. Written in Latin by Hartmann Schedel it appeared in 1493. It is a well documented incunabulum, one of the first to successfully combine illustrations and text.This epic history divides human history into 7 ages. Published and printed by Anton Koberger, the godfather of Albrecht Durer and the most successful German publisher of his day. The woodcut illustrations were made in the workshop of Michael Wolgemut [1434 - 1519], with an unpredcedented number of 1,809 illustrations. These woodblocks include views of cities and towns, battles, kings, and saints. Some images represent actual cities, and other images are purely imaginative.The Latin text describes the taking of the city of Liege by the Duke Charles of Burgundy, and the King of Hungary Matthias who took the Turkish fortress of Sabatz. A very detailed image of the fortress shows, '[the] fortress [.] was protected with wood and earth works, surrounded with towers and moats, and manned with many people. It was surrounded with wooden hedges and sharp posts, and the walls were built of wood.' The verso describes Pope Sixtus IV of the Year of Christ 1471, and Pope Innocent VIII of the Year of Christ 1484 with two small images. Approximately 12 x 17 1/4", b & w with red accents in text, tide mark at top of page by title, archivally reinforced corner at top, not affecting text or image, sml faint mark outside of image border. A very interesting image. [Attributes: First Edition]

      [Bookseller: Antipodean Books, Maps & Prints, ABAA]
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         La voie d’enfer et de paradis [The Way to Hell and to Paradise]; decorated medieval manuscript in French on paper

      DECORATED MEDIEVAL MANUSCRIPT IN FRENCH ON PAPER, France, Bourges, c. 1460. 212 x 150 mm. 139 folios, watermark in Briquet, missing some leaves at the beginning and end (collation, i8 [of 12?, the first four leaves now lacking] ii-x12 xi10 [of 12, missing the final two leaves]), written in a bâtarde script with elements of cursive on up to 24 long lines (justification, 144 x 98 mm.), ruled in leadpoint, painted initials in red or blue. BINDING: Sixteenth-century binding of reused parchment over pasteboards composed of binder?'s waste (here, documents emanating from the ?"Officialité de Bourges?") glued together, verso of parchment covered in writing, pastedowns (partially uncovered) from a thirteenth-century manuscript, smooth spine with inscription, ?"Roman de l?'Esperance,?" placed in a fitted articulated box of black shagreen, with smooth spine and gilt title, ?"Songe de la voie d?'Enfer et de Paradis / Manuscrit du quinzième siècle.?" TEXT: This manuscript contains one of only three copies of this versified work, composed by an anonymous author at the end of the fourteenth century and still unpublished. It appears to be an adaptation of the fourteenth-century allegorical work Voie d?'infer et de paradis by Pierre de l?'Hopital and belongs to a rich fourteenth-century tradition of allegorical and visionary literature. Set within the framework of a dialogue and dream vision, the poem recounts a cleric?'s visit to the Seven Deadly Sins and his rescue from Hell by Hope, who brings him to Heaven to encounter the virtues and God. PROVENANCE: Most likely copied in Bourges, as suggested by the watermarks. Belonged to Jacques Thiboust (1492-1555), seigneur of Quantilly (near Bourges), who was notary and secretary to Francis I, as well as a celebrated poet, book collector, and patron of the arts; his ownership inscription on the front cover in his own hand and his armorial ex-libris on f. 1. Belonged to Nicolas Xavier Fouvet; his inscription, dated 1718, at the top of f. 1. Unidentified monogram ?"AK?" pasted on the inside of the articulated box. Sold in Paris, Hôtel de Drouot, 21 November 1969. CONDITION: Articulated box presents a few scratches, first leaves a bit frayed but no text lacking, some stains to paper, but otherwise the manuscript is in fine condition. Full description and photographs available (TM 775).

      [Bookseller: Les Enluminures ]
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         Alphabetum Romanum. Hrsg. von G. Mardersteig. Verona, Officina Bodoni (1960). 4to. 140 S. Mit handkolorierter Titelvignette, 5 Tafeln sowie 25 handkolorierten großen Initialen. Brauner Orig.-Maroquinbd. mit Deckelsignet in Gold, Rückentiel u. Kopfgoldschnitt. In Orig.-Schuber.

      0 - Druck der Officina Bodoni, hier eines von 50 Exemplaren der Vorzugsausgabe in Oasenmaroquin. Das um 1460 entstandene Alphabet des Veronesers Felice Feliciano hat für die Geschichte der Schrift eine besondere Bedeutung. Es ist das erste Traktat und die erste Zeichnung einer Konstruktion von klassischen römischen Majuskeln innerhalb eines Kreises und Quadrates. In diesem Handpressendruck sind die 25 Buchstaben des Originals handkoloriert wiedergegeben. Tadelloses Exemplar. - Mardersteig 120 mit 2 farb. Abb. - Schauer Bd. II,79 mit Abb.

      [Bookseller: Antiquariat Schmidt & Günther]
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         Constantinople, Bologna and a Chess Player in the Liber chronicarum- Nuremberg Chronicle, an individual page from the Chronicle featuring Bisantium (Byzantium, now CONSTANTINOPLE) and Bononia (BOLOGNA), with Chess Player (Plate No. LXII).

      Anton Koberger, ca 1460-1494, Germany: - This work by Schedel [1440-1514] is an illustrated world history which is based on the Bible, which follows the story of human history related in the Bible and includes the histories of a number of important Western cities. Written in Latin by Hartmann Schedel it appeared in 1493. It is a well documented incunabulum, one of the first to successfully combine illustrations and text.This epic history divides human history into seven ages. Published and printed by Anton Koberger, the godfather of Albrecht Durer and the most successful German publisher of his day. The woodcut illustrations were made in the workshop of Michael Wolgemut [1434 - 1519], with an unprecedented number of 1,809 illustrations. These woodblocks include views of cities and towns, battles, kings, and saints.This 4th age print is of Bizantium, with a smaller wood block of a man playing chess. Bononia (now Bologna) is on the verso. Bizantium is a walled city by the water with King Solomon's Temple prominent, with insets of kings on the left, including Nebuchadnezzar & Xerxes along with latin text. Bononia on verso sports many buildings and sailing ships. Approximately 11 1/2 x 17", b & w, slt dusty at edges and scant fox spotting on right edge, just barely touching right edge of image. Some marks at top of page by text. [Attributes: First Edition]

      [Bookseller: Antipodean Books, Maps & Prints, ABAA]
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         De optimo imperatore (or The General) By Onosander, Latin translation by Nicolaus Sagundinus

      RENAISSANCE MANUSCRIPT ON PAPER, Northeastern Italy (Venice?), c. 1460-80, 192 x 138 mm., 30 folios, watermark, unidentified type, complete (collation, i-iii10), written in a small and very regular humanistic cursive bookhand, two blank spaces for four-line initials, small guide letters for one-line initials throughout. BINDING: Nineteenth- or early twentieth-century half leather and marbled paper binding, spine with title in gilt, rubbed with visible wear along the sides and top and bottom of the spine, but overall in good condition. TEXT: This is a military treatise from ancient Greece, in a Latin translation by an eminent Greek humanist and diplomat who spent most of his adult life in Italy, serving the city of Venice and the Pope. There is no modern edition or census of the surviving manuscripts of this important text (possibly surviving in only fifteen manuscripts, including this copy). It is extremely rare on the market, with only one sale since 1947 recorded in the Schoenberg Database: ff. 1-28v, Onasander, De optimo imperatore, translated by Nicolaus Segundinus; although scribe left two blank folios at the end of the quire, the text is complete. Onasander has traditionally been identified with a Platonic philosopher who lived in the first century A.D. The text included here was probably written c. 49-59 A.D. It discusses the moral, social and military qualities and attitudes expected of a virtuous and successful general, as well as his choice of staff, attitude to war, religious duties, military formations, and conduct in allied and enemy territories. It was an influential text among Byzantine military writers, and proved popular in the Italian Renaissance, in both Latin translation, and subsequently in Spanish, German, French and English. This is the Latin translation of the text by the Greek diplomat and scholar, Nicolaus Sagundinus or Nikolaos Sekoundinos (1402-1463/4), a distinguished linguist, humanist, and diplomat, who translated a number of ancient Greek texts into Latin. PROVENANCE: Evidence of the script and codicological details suggests this was written in Northeastern Italy in the second half of the fifteenth century, probably c. 1460-80; Reverend Walter Sneyd of Keele Hall, Staffordshire (1809-1888), bibliophile and antiquarian, who acquired the surplus of Matteo Luigi Canonici?'s library in 1835; Wigan Free Library. CONDITION: first folio darkened and with two small stains within the text space (text remains legible), inside front and back covers stained at the corners, but otherwise in very good condition. Full description and photographs available (TM 661).

      [Bookseller: Les Enluminures ]
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         Constantinople, Bologna and a Chess Player in the Liber chronicarum- Nuremberg Chronicle, an individual page from the Chronicle featuring Bisantium (Byzantium, now CONSTANTINOPLE) and Bononia (BOLOGNA), with Chess Player (Plate No LXII)

      Germany:: Anton Koberger,. ca 1460-1494.. First edition. Otherwise very good condition. This work by Schedel [1440-1514] is an illustrated world history which is based on the Bible, which follows the story of human history related in the Bible and includes the histories of a number of important Western cities. Written in Latin by Hartmann Schedel it appeared in 1493. It is a well documented incunabulum, one of the first to successfully combine illustrations and text. This epic history divides human history into seven ages. Published and printed by Anton Koberger, the godfather of Albrecht Durer and the most successful German publisher of his day. The woodcut illustrations were made in the workshop of Michael Wolgemut [1434 - 1519], with an unprecedented number of 1,809 illustrations. These woodblocks include views of cities and towns, battles, kings, and saints. This 4th age print is of Bizantium, with a smaller wood block of a man playing chess. Bononia (now Bologna) is on the verso. Bizantium is a walled city by the water with King Solomon's Temple prominent, with insets of kings on the left, including Nebuchadnezzar & Xerxes along with latin text. Bononia on verso sports many buildings and sailing ships. Approximately 11 1/2 x 17", b & w, slt dusty at edges and scant fox spotting on right edge, just barely touching right edge of image. Some marks at top of page by text.

      [Bookseller: Antipodean Books, Maps & Prints]
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         initial C, from an ILLUMINATED CHOIRBOOK ON VELLUM.

      [Lombardy-Emilia] 1460 - FINELY PAINTED INITIAL FOR AN ITALIAN CARTHUSIAN MONASTERY 92x100mm. A MONK IN WHITE SERGE SWINGS THE CLAPPERS OF TWO BELLS inside a point-roofed tower flanked by a foreshortened building, ACCOMPANIED BY A PIPER wearing a blue hat AND A LUTE PLAYER in a yellow and red dress, against a landscape of a green hill and a blue-nuanced sky pointed by floating golden clouds. The stave of light green with white tracery is adorned by fleshy acanthus leaves in crimson and pink highlighted in white and with curled up terminations, a blue pearl enriches the decoration, on a burnished gold ground outlined in black. Framed, in very good condition (not examined on reverse). A FINELY-PAINTED INITIAL FOR A XVTH CENTURY ITALIAN CARTHUSIAN MONASTERY. This initial probably opened the introit 'Cantate Domino canticum novum' on the fourth Sunday after Easter. One of the musicians is a tonsured monk in white hooded serge; it is likely the choirbook from which the leaf came was for a Carthusian monastery. The Carthusians were widely spread in the XVth century in Northern and Central Italy. This is a very beautiful and accomplished miniature; its palette of bright colours, the curled up foliage of the stave highlighted in white, the little clouds and soft brush strokes are reminiscent of the stylistic characteristics of the late works of Belbello of Pavia, after the Missale of Barbara of Brandenburg (F. Lollini, Giovanni Belbello da Pavia in Dizionario bibliografico dei miniatori italiani, a cura di Milvia Bollati, Milano 2004, pp. 273-6). PROVENANCE: The Holford Collection (sold at Sotheby's, 12 July 1927, lot 13). Ref.: Dorchester House catalogue, Oxford 1927, vol. 1, n. 24(b) p.22, Plate XXIV. Engraving

      [Bookseller: Sokol Books Ltd. ABA ILAB]
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         Illuminated Vellum Manuscript Leaf with a Beautiful Miniature of the Ressurected Christ, From a Book of Hours in Latin

      Paris: ca. 1460. 4.75? x 3.5.? Attractively matted illuminated manuscript on vellum, full inhabited border, decorated and illuminated with miniature of Christ rising from the tomb. One trivial (wax?) stain in the right border, small losses of paint here and there (including minor erosion in the faces of Christ and the Angel), top edge of the border just grazed, otherwise very fine, the vellum fresh and bright, the paint rich, and the gold exceptionally lustrous. The verso with a full inhabited border featuring acanthus and other vegetation and fruit as well as two small birds, the border framing a richly detailed arch-topped illuminated miniature of Christ rising from the tomb (measuring approx 68 x 45mm.), the scene with a red banner attached, the empty sarcophagus cleverly angled across the middle of the scene so as to create the illusion of recession in space, two dozing soldiers in armor in the foreground, a third partially visible behind the sarcophagus, on the lid of which an angel has perched, and in the background the steep hills of Judea with a walled city, a forest, and two rock formations. This miniature seems to have been painted by a masterful artist. The tall figure of Christ, although placed to one side, commands the viewer?s attention because of the delicacy with which he is painted and the bright scarlet of his cloak. And this is just one feature of a painting that in every important way suggests a very high level of sophistication. The composition of the scene represents a considerable achievement in that the greatest narrative in Christendom is packed into a very small space in the foreground; the artist?s choice of colors (especially the greens and reds) shows a wonderful feeling for consonance of hue; and the rendering of detail in such things as garments, the armor of the soldiers, even the windows in the distant towers has been done with great skill and verisimilitude (ST11459-138)

      [Bookseller: John Windle Antiquarian Bookseller]
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         Missale s[ecundu]m chorum Saltzeburgen[se] tam de.... sanctis ordinatissime dispositum et emmendatum. Wien, Johannes Winterburger 27. IV. 1510. 4°. 10 Bll., 246 num.Bll., mit (halbs.) Holzschnitt (Titel verso), (ganzs.) altkolor. Kanonholzschnitt, zahlr. kl. Holzschn. u. figürl. Init., einigen Musiknoten sowie 1 Druckermarke in Rotdruck, gepunz. Goldschn., Holzdeckelbd. d. Zt. mit blindgepr. Lederbezug u. 2 farb. Mittelplatten sowie 2 Messingschließen.

      . . VD16 M 5623 - Langer, Winterburger Drucke 61 - Panzer IX, 4, 20 - Weale-B. 1383 - Denis, Wiens Buchdruckergesch. 33 - ÖML V, 2687.- Schöner Druck in Rot u. Schwarz des Wiener Erstdruckers Johannes Winterburger (zw. 1460/65 - 1519). Er kam spätestens 1492 nach Wien, wo er in der Krugerstraße eine Offizin eröffnete. Winterburger druckte über 100 liturgische und wissenschaftliche Werke u. gilt als erster namentlich bekannter Buchdrucker Wiens.- Der Holzschnitt am Titel verso mit den Salzburger Kirchenpatronen Virgil u. Rupert.- Meist gering fleckig, kl. Wurmgang, im Bund tls. etw. wasserfleckig, Ebd. etw. berieben u. bestoßen.

      [Bookseller: Antiquariat Johannes Müller]
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         Epigrammata, Libri I-XVI

      Made for the Martinozzi family of Siena. Decorated manuscript in Latin, on vellum, signed by the scribe "Phi Eta." Italy, Siena?, ca. 1460-70. 285 x 190 mm. (justification: 186 x 105mm.). 208 leaves and a recent flyleaf at either end; some vellum leaves show rather prominent hair-sides. Collation, regular quires of 10: I-XX10, XXI10-2 (9 and 10 cancelled blanks), quires numbered at end A to V, and traces of signatures at lower edges. Ruled in dry point for 29 lines, written in brown ink in a fine Littera Humanistica, signed by the anonymous scribe "Phi Eta." Rubrics and running book numbers in red written by the scribe. Large initials in blue at the beginning of all epigrams. Decorated title-page with a large gold six-line vine-stem initial on a rectangular field and a gold coat of arms surrounded by a green wreath, plus 15 more of these square, four-line vine-stem initials, each opening a new book. The gold is outlined in yellow and the white vine-stem is lightly shaded in yellow; background with indented outer edges in dark blue, red and blue green dotted in white or yellow. First and last leaves somewhat wormed, a few lower edges slightly defective, few slight stains. Small clavicula (of vellum) at beginning of each book. Some added notes in a humanistic hand. With wide margins and on the whole in very good condition. Binding: original 15th-century bevelled wooden boards covered with red leather (rebacked), title "Martiale" cut into the front cover. Five small round metal bosses on front and back cover, each with two eyelet holes; traces of four catches and clasps. On pastedown (front) M. 80, X 149. Gilt edges. Preserved in a box. PROVENANCE:1. Presumably made for the Martinozzi family of Siena, based on the contemporary coat of arms (fol. 1r: 3 stelle (6 raggi) di oro su fascia di azzurro su oro. The Martinozzis, a prominent family in Siena, held important positions in both secular and religious life. Nicollò Martinozzi was awarded the title of Conte del Castellucio by the Queen of Naples (1430). The family patronized an important cultural heritage, which is shown in the family residence in the Piazza del Campo and the family chapel decorated by Vecchietta or Lorienzo di Pietro (1445-1448, New York 1988, p. 105, p. 111). The Palazzo is thought to be depicted on the second panel of the Saint Anthony Abbot Series (of eight panels) attributed to the Master of the Osservanza and bearing the Martinozzi coat of arms (idem 1988, no 10b, now: National Gallery of Art in Washington). Paris, BNF, Lat. 7807 was written for the same patron by the same scribe "Phi Eta" (De La Mare/Grazelli 1985, p. 526). Besides the present book the family owned several more manuscripts (cf. Pellegrin 1971, p. 199). Florence, Biblioteca Laurenziana ms. 49,24 bears the same coat of arms and an ownership inscription by Benedetto Martinozzi. Benedetto, exiled from Siena (1480s), is considered the author of two prose texts (University of Pennsylvania Library, Ms. Codex 319).2. Gift of Gorus Gualterutius to Gabriel Faerno (1510-61), according to an inscription on an older (now lost) flyleaf: Munus Gori Gualterutij mihi Ga. Faerno (gift of G. Gualterutius to me, Gabriel Faerno). Faerno was a well-known humanist, scholar and poet who edited Aesop's Fabulae in 1563 (cf. cat. Hoepli Sale, Zürich, 27/28 November 1930, lot 50, pl. VIII). 3. Charles Henry St. John Hornby (1867-1946), his Ms. 50. St. John Hornby was a great bibliophile and founder of the Ashendene Press.4. Major John Roland Abbey, his no. JA 3221, 15-9-1946 (sold London, Sotheby's, 25 March 1975, lot 2960). Part of his famous collection of Italian manuscripts described by Alexander and De la Mare, 1969, no. 35.5. Sold to the British Rail Pension Fund.6. J. Paul Getty Jr. (1932-2003). Written in a distinctive, formal humanistic script (Alexander /De la Mare 1967, p. 96). Signed by the anonymous scribe "Phi Eta," whose hand occurs in four more manuscripts (cf. de la Mare), among others Theophrastus, De Plantis from the library of Federico da Montefeltro of Urbino (Vatican, BAV, ms. Urb. Lat. 2509), Cicero, Orationes in Verrem from the library of Matthias Corvinus, now in Budapest (Univ. ms. 2), Macrobius, Saturnalia (Vatican, BAV, Ross. 448), Phalaris, Epistolae (London, Wellcome Library, ms. 619). See for more details: De La Mare/Garzelli 1985, Vol. I, p. 526.CONTENTS: The manuscript contains all known works written in Rome by Martial (cs. 38-41-d. ca. 103). These are his Epigrams in Books I until XIV, and his Spectacula or Liber Spectaculorum, in Book XVI. The epigrams in Book XV, 235 in number, are attributed to Martial but in fact are the work of an Anglo-Norman poet, Godefridus of Cambrai, also known as Pseudo-Martial (later called "of Winchester," as he became prior of St. Swithin's at Winchester, d. 1107). Four of Martial's five prose prefaces are present, heading Books I, II, VIII and XII, but that to Book IX is not included. Fols. 1-185v: Marci Valerii Martialis Epigrammaton liber primus incipit feliciter: Marcus Valerius Martialis lectori suo salitem. Spero me secutum...Ad Catonem. Nosses iocosae dulce cum sacrum florae: the Epigrammaton Libri XIV. Fol. 54v: a nine-line poem (as in many manuscripts): Rure morans quid agam (as in J.A: 3183, Alexander & De la Mare no. 31, Walther, Initia carminum, 16941)Fols. 185v-205r: [Godfrey of Winchester, also called Pseudo-Martial], Epigrammata Liber XV, Undique susceptum qui miscuit utile (ed. T. Wright, Rolls Series 59, London 1872, II, pp. 103-147). Fols. 205r-208v: M. Valerii Martialis epigrammaton sextusdecimus et ultimus. Ad Caesarem de amphitheatre... liber foeliciter explicit. Deo gratias. Two Greek letters follow: "Phi Eta." Born in Spain and receiving the traditional literary education, Marcus Valerius Martial settled in Rome (ca. 64) as a client of the Seneca family (also of Spanish descent). In Rome, he became an active poet and published, in 80, his Liber Spectaculorum or "On the Spectacles or Games," in celebration of the shows in the Colosseum, the amphitheater that was completed in 79. In 84 or 85 he published two books (confusingly numbered XIII and XIV in the collection of Epigrams) with Greek titles Xenia and Apophoreta, consisting mostly of couplets describing presents given to guests at the Saturnalia. Between ca. 86 and ca. 98 the twelve books of epigrams appeared, which earned him "eternal" fame and a handsome living. Privileges and financial advantages subsequently gave him the opportunity to climb the ladder, reaching the ranks of tribune and eques. His works thrived under Domitian, whom he flattered enormously. He continued his activities under Nerva and Trajan, but when the latter was less responsive, he returned to Spain in 98 after 34 years in Rome. In Spain, his last book (numbered XII) was published, probably in ca. 102, and there he died over a year later. Martial is considered the creator of the modern epigram of which he wrote more than 1500, the majority in elegiac couplets. Most of his compositions are about people and deal with daily life in Rome and show us an urban panorama "as broad, as varied and as full of depraved humanity as any" to have survived from classical times. In supple Latin meters, he wrote "bloody" epigrams about the Colosseum, sycophantic ones to flatter his rulers, tender ones (for instance about a slave girl's early death) and, above all, comic, biting ones aiming at all layers and topics of Roman society: stingy hosts, medical quacks, cosmetics, consumption, the Roman book trade etc. His epigrams offer us the ambience of "a front-row seat at the theatre of Rome" (Coates 2008). Martial's notorious poems constitute perhaps one-tenth of his total output. They have been called "scorpion-tailed epigrams of sexual invective, limerick- and graffiti-like" and have been characterized as "raunchy entertainment" that even by today's standards "are grotesquely obscene, taking us down at some of Rome's sleaziest streets -- but all in good fun" (Coates 2008). Yet scholars mostly praise "the rich setting of wit, charm, linguistic subtlety, superb literary craftsmanship, evocative description, and deep human sympathy" (H.H. Huxley, Encyclopedia Britannica). Martial's outrageous sketches on prostitution, marital infidelity, sex, pederasty and incest, are witnesses of society. Very interesting also is the (now lost) provenance note by Gabriel Faerno (c. 1510-61). Faerno counts as one of the best Renaissance scholars of Latin poetry of ancient Rome. He edited and versified the Aesops' fables and edited as well the comedies of Terence and the Philippicae of Cicero. We know he also studied Horace, Plautus, Suetonius, and Tacitus. The present manuscript is evidence that Martial's epigrams had his attention too. It is in this light that the annotations added in a humanist hand should receive attention. Martial is an author praised for his freedom and his affection toward his friends. In his emphasis on the simple joys of life -- eating, drinking, and conversing with friends -- and in his famous recipes for contentment and the happy life. His more than 1500 epigrams offer us not only lightness but also insight into minute details of Roman culture. Our Martinozzi manuscript would do honor to any library or collector interested in preserving world cultural heritage.LITERATURE:J.J.G. Alexander and A.C. de la Mare, The Italian Manuscripts in the Library of Major J.R. Abbey, 1969, no 35, pp. 95-96, and pls. XLII.Schoenberg database: no. 2407: Sotheby's, Celebrated library; the property of the late Major J.R. Abbey...Pt. 9: Hornby Manuscripts, Pt. 2, Thirty-four Manuscripts of the 9th to the 16th century, 25 March 1975, lot 2960. Provenance: Martinozzi; Faerno; Hornby; Abbey 3221; British Rail; Getty Jr. (the no. duplicates: 11778, 13515, 17273, 30539, 31372).On the scribe "Phi Eta," see: A. De La Mare & A. Garzelli, Miniatura Fiorentina del Rinascimento 1440-1525. Un Primo Censimento. Vol. 1. Le immagini, gli autori, i destinatati. New Research on Humanistic Scribes in Florence; Vol. 2. Illustrazioni, (Inventari e cataloghi toscani, 18-19), Florence 1985, vol. I, p. 526.On the Martinozzi family see: K. Christiansen, L. B. Kanter, C. B. Strehlke, Painting in Renaissance Siena 1420-1500. Exhib. cat. Metropolitan Museum, New York, 1988, p. 105.E. Pellegrin, "Notes sur quelques manuscrits de textes classiques," in: Revue d'Histoire des textes, I, 1971, 199.For Benedetto Martinozzi, see: http://dla.library.upenn.edu/dla/medren/pageturn.html?id=MEDREN_1580941&doubleside=0&rotation=0¤tpage=44On Godfrey of Winchester, see: Dictionary of National Biography, 1885-1900, Vol. 22. .

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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         Epistolae ad Familiares

      Illuminated manuscript in Latin, written on vellum, possibly written by Ser Pietro di Bernardo Cennini and illuminated by Francesco d'Antonio del Chierico. Italy, Florence, ca. 1460-1470. 270 x 175 mm., ii, 156, ii leaves. Collation: I-XV10, XVI6-1 (last blank cancelled), perpendicular catchwords in hand of the scribe. Modern pencilled foliation including front flyleaf. Written in brown ink in a very fine, humanist minuscule between 37 horizontal and two pairs of vertical lines ruled in pale ink, justification: 195 x 105 mm., rubrics in pale red, two-line initials in dark blue throughout (often several on a page), 16 large (five- to nine-lines) white-vine initials in raised burnished gold, entwined with white-vine leaves infilled in blue, pink and green with three or more dots in white and with marginal extensions up and down the margins, the first with a two-sided border with winged putti carrying a wreath (original coat of arms erased), a bird and a butterfly. Lower corner of opening folio slightly thumbed. A few contemporary marginal notes, erasure at end affected several pages (below explicit on fol. 156v caused rubbing on fols. 155v-156r as well), few minor wormholes mostly in margins, few other creases and marks, generally in very fine condition, complete and with clean wide margins. Binding: late 16th-early 17th century (?) gold-tooled brown morocco, nine raised bands, panel design, perhaps Sicilian (see La Bibliofilía, vol. 68 (1966), pp. 181-183), gilt edges (covers a little worn, small sections missing from head and foot of spine); vellum pastedowns (lifted) from a mid 14th-century Italian manuscript of Aristotle's Politics, Book 4 in Latin translation written in 2 columns. In a modern quarter red morocco fitted box with gilt lettering. PROVENANCE:1. Unidentified original patron, his coat of arms (fol. 2r) erased. 2. Perhaps a Sicilian owner by the late 16th-early 17th century when the manuscript received its present binding, presumably contemporary to the inscriptions on the flyleaf: "Di don Francesco st.st.lia. Di Don Domenico."3. Book-label with initials R.L.A. (gilt on blue).4. Giannalisa Feltrinelli (bookplate; F 159 in her library, her sale Christie's London, 3 December 1997, lot 151 sold to Bernard Quaritch).5. Helmut N. Friedlaender, with his bookplate. His library sold (Christie's New York, 23 April 2001, lot 5). Helmut Friedlaender (1913-2008), American bibliophile and lawyer, was an advisor to the Rosenwald family.SCRIBE: The manuscript is written by one excellent hand in a small humanistic script. Spaces for quotations in Greek are left blank. According to P.O. Kristeller, Iter Italicum V, 1990, p. 346 the scribe was identified by the great expert Albinia de La Mare as Ser Pietro di Bernardo Cennini (1463, see also no. 53451 in the Schoenberg database). He was a prolific Florentine scribe (ca. 1445-84) to whom at least 32 other manuscripts are attributed, the first of which dated 1460 (see Garzelli 1985, pp. 445 & 526-29). Piero Cennini was the son of the first book printer in Florence and a professional notary. He mostly wrote an elegant humanist, cursive hand (contrary to the present manuscript that is written in a minuscule). He copied texts for his own use as well as for clients, especially Hungarian clients such as Archbishop Vitez and Matthias Corvinus. The present manuscript is not listed in Garzelli 1985.TEXT:Epistolae ad familiares (fols. 2r-156v), divided into sixteen books. Book I (fol. 2r), Book II (fol. 11v), Book III (fol. 18v), Book IV (fol. 27v), Book V (fol. 35r), Book VI (fol. 46v), Book VII (fol. 56v), Book VIII (fol. 66r), Book IX (fol. 70v), Book X (fol. 84v), Book XI (fol. 98v), Book XII (fol. 107r), Book XIII (fol. 118r), Book XIV (fol. 130v), Book XV (fol. 140r), Book XVI (fol. 150r).Fol. 156v: Ego vos ad III Kal. videbo, tuosque oculos, etiam si te veniens in medio foro videro, dissaviabor. Me ama. Vale. Marci Tullii Ciceronis Epistolarum Familiarium Liber Sextusdecimus et ultimus feliciter Explicit... [following line partially erased repetition of the author's name et Marci Tullii...]. A second hand repeats the last sentence of the last letter. Marcus Tullius Cicero (106-43 B.C.), lived during the final phase of the Roman Republic at the time of the rise, dictatorship and death of Julius Cesar. Much is known of this Roman lawyer, orator, politician and philosopher as his character and time shine through the mass of his works that survived the ages. After the murder of Julius Cesar (44 B.C.), Cicero pleaded for the restoration of the Republic in his famous Philippics. Being an enemy of Marc Antony, he was killed in Rome in 43 B.C. Cicero's works, but most specially his letters reveal his role in the politics and turmoil of his time. This codex containing the sixteen books of Epistolae ad familiares comprises more than ninety letters Cicero wrote to friends and relatives over a period of c. 63-43 B.C. Some letters are addressed to public persons such as Pompeius and Caesar, others are private such as those to his wife Terentia. Originally compsed without thought of publication, the letters -- serious, informative and gossipy -- give an intimate insight into Cicero's life and opinions. In the middle of the 14th century, Petrarch was only acquainted with a small collection of Cicero's letters, but Coluccio Salutati, in 1389, stumbled upon a codex with the 16 books of letters ad familiares (in a 9th-century manuscript in Vercelli). Coluccio Salutati (1374-1406), the humanist chancellor of Florence and correspondent of Petrarch, guided young scholars such as Poggio Bracciolini and Leonardo Bruni. He invited the Byzantine Manuel Chrysoloras to Florence, bringing with him the knowledge of Greek and Greek literature. Salutati amassed a great collection of manuscripts and in searching for classical manuscripts, he made a number of notable discoveries, of which Cicero's Epistolae ad familiares was the most important as it overturned the entire medieval conception of Cicero, the Roman statesman. Salutati also took up Cicero's ideas "in the self" (Greenblatt 2012, p. 124), when he, in his historical studies tied Florence's origin to the Roman Republic, not to the Roman Empire. Since Salutati brought the Vercelli manuscript to Florence, the city became a major centre of distribution of Cicero's text.ILLUMINATION: All books open with a fine, large gold initial, surrounded by white vines on a blue ground, highlighted with soft-rose and green. The vine decoration on the frontispiece is divided into two elements, in the outside border with a bird in green and in the lower margin with two putti holding a wreath that once contained the coat of arms of the original patron, and a butterfly watching from the end and top of the decoration. This handsome border on the openings page and the finely executed so-called white-vine initials are characteristic of the style of Francesco d'Antonio del Chierico of around 1460 and the decoration of this manuscript can securely be attributed to his workshop. Levi D'Ancona 1962 observed that the putti of Francesco d'Antonio can be recognized by their "pollaiuolesca," and the strong emphasis given to the movement of the hips. Also painted birds appear in his decoration, moving through the white spirals, sometimes in the act of catching something with their long beak. Francesco d'Antonio del Chierico was one of the leading illuminators in Florence (ca. 1452-d. 1484). The present decoration can be compared, for instance, with the initials in other Cicero manuscripts such as Ms. Burgess 48 (Eugene, University of Oregon Library) and in Ms. Digby 231 (Oxford, Bodleian Library) and two Corvinian manuscripts, one in Budapest, UL, Ms. Lat 10 (Tertullian, Adversus Marcionem), the other in Vienna, ONB, Cod. Lat. 22 (Titus Livius, Ab Urbe condita; see: http://www.gicas.net/burgess48.html). Moreover, the Bayerische Staatsbibliothek in Munich holds a comparable Corvinus manuscript illuminated in the same style and possibly written by the same hand (CLM 310, Demosthenes, Orationes and Aeschines, Epistola, Florence, ca. 1465). Francesco d'Antonio del Chierico's production was vast and varied (see Levi D'Ancona 1962, pp. 108-116 and De La Mare 1996, p. 180). He illuminated literary, historical, and devotional books, from small format Books of Hours to large humanist texts. He worked not only work for the Medicis but also for the condottiere and bibliophile Federigo da Montefeltro (d. 1482), and the renowned bookseller Vespasiano da Bisticci, through whom he acquired patrons beyond Italy, among whom Ferdinand I of Naples, Louis XI of France, and Matthias Corvinus, King of Hungary (1443-90). The latter's passion for books and learning was greatly influenced by his tutor János Vitéz (d. 1472), archbishop of Esztergom. The Bibliotheca Corviniana, in its time one of the finest libraries, was dispersed after 1561 and manuscripts are now found all over the world. Several Corviniana may originally have come from Vitéz. Infrared research might perhaps reveal traces of the original coat of arms erased on fol.1 and therefore point into the direction of the first patron of this present very fine humanist manuscript.LITERATURE:P. Lejay, "Coluccio di Pierio di Salutati," in Catholic Encyclopedia. New York: 1913.S. Greenblatt, The Swerve. How the World became Modern. New York: 2012, pp. 123-26.M. Levi d'Ancona, Miniatura e miniatori a Firenze dal XIV al XVI secolo. Florence 1962, pp. 108-16.A. de la Mare, "New Research on Humanistic Scribes in Florence," in: A. Garzelli, Miniatura fiorentina del Rinascimento, 1440-1525 : un primo censimento, Florence 1985, pp. 445 & 526-29.A. Garzelli, "Francesco Antonio del Chierico," in The Grove Dictionary of Art, ed. by Jane Turner, New York 1996, Vol. 11, pp. 685-87.Further reading:The Painted Page: Italian Renaissance Book Illumination 1450-1550, edited by Jonathan J. G. Alexander, New York 1994. See also for details of birds and putti: no 50.Painting and Illumination in early Renaissance Florence, 1300-1450, edited by Laurence B. Kanter et al., New York 1994 (exhib. cat. Metropolitan Museum of Art).A. C. de la Mare, "Vespasiano da Bisticci as Producer of Classical Manuscripts in Fifteenth-Century Florence," in: Medieval Manuscripts of the Latin Classics: Production and Use. Proceedings of the Seminar in the History of the Book to 1500, Leyden 1993. Edited by C.A. Chavannes-Mazel and M. M. Smith, Los Altos Hills, 1996, pp. 167-207. .

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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         De Civitate Dei

      Illuminated manuscript on vellum, decorated in the style of Francesco d'Antonio del Chierico. Italy, Florence: ca. 1460. 220 x 158 mm., 347 leaves, on vellum. Collation: I-II8, III-XXXIV10, XXXV8, XXXVI4-1. Foliated as 1-343 (omitting fols. 34bis, 114bis, 145bis, & 238bis). Justification 159 x 95 mm., ruling invisible, 2 columns of 42 lines, written in dark brown ink, rubrics in red, in a small, rounded Italian book hand. Running titles in alternately red and blue letters, all catchwords present. Decorated initials throughout, 3 lines high and often more to a page in red and blue with decorative pen-flourishes extending into the margins, 22 large (6 lines high) illuminated initials, painted on burnished gold panel grounds infield with gold and colors with fine tracery in white and yellow and with scrolling colored "leafy" marginal extensions with clusters of gold bezants within pen-flourishes; one large (7 lines high, 25 x 28 mm.) historiated initial and two-sided border (fol. 17r) enclosing the head and shoulders of St. Augustine. Lower margin of the opening leaf of De Civitate (fol. 17r; perhaps formerly holding a coat-of-arms) cut away and replaced by blank vellum. Some early reader's marks (Notabilia) in a humanistic hand, slight damp-stains in upper margins at end, some pages a bit rubbed, but generally in fine condition. Binding: ca. 1700, Italian, brown-red morocco, triple fillets tooled in blind to a double frame, in the four corners & in the centre flower motives. Cover slightly rubbed, flyleaves renewed. PROVENANCE:1. Florence, ca. 1460, however, the coat of arms of the original patron is lost.2. Lucca, Biblioteca Minutoli Tegrini (dissolved in 1871). Its stamp "Di casa Minutoli Tegrimi" erased but earlier deciphered and identified by comparison with Alexander & De la Mare 1969, pl. XXII and p. 53; a list of other Minutoli-Tegrimi manuscripts in England on p. 55, no. 2. The collection of Conte Eugenio Minutoli-Tegrimi of Lucca was sold in 1871.3. London, School of Jewish Studies (Sotheby's, June 20, 1995, lot 71).4. European private collection.TEXTA complete manuscript copy of De Civitate Dei, the most important work written by Saint Augustine (354-430), one of the four great Fathers of the Latin Church.Fols. 1-15r: List of chapter headings per bookFol. 15rb-va: Interea cum Roma Gothorum irruptioneFol. 16r-v: blankFol. 17: Incipit liber primus: Gloriosissimam Civitatem Dei ... Book II (fol. 30v), III (fol. 41), IV (fol. 54), V (fol. 66), VI (fol. 80), VII (fol. 88v), VIII (fol. 101v), IX (fol. 114v), X (fol. 122), XI (fol. 138v), XII (fol. 150v), XIII (fol. 162v), XIV (fol. 173), XV (fol. 187v), XVI (fol. 204v), XVII (fol. 224v), XVIII (fol. 239), XIX (fol. 263v), XX (fol. 279v), XXI (fol. 301v), XXII (fol. 319v).Fol. 342v: Explicit liber XXII beati Augustini episcopi De Civitate Dei Saint Augustine (354-430), designed this text as a great apologetic treatise in vindication of Christianity and the Christian Church. The City of God was written between 413 and 426 and represents the first Christian philosophy of history. "The impulse to the writing of the 22 books of the 'City of God', which was spread over several years, arose out of the fall of Rome to Alaric in 410. The event had caused consternation throughout the civilized world, and Augustine, who himself was profoundly moved, conceived the book as a reply to pagans who maintained that the fall of the city was due to the abolition of the heathen worship. It led him to deal with the fundamental contrast between Christianity and the world, and has made it the supreme exposition of a Christian philosophy of history."-Cross, F.L., The Oxford Dictionary of the Christian Church, p. 107. "The first five books deal with the polytheism of Rome, the second five with Greek philosophy, particularly Platonism and Neo-Platonism (which are seen as leading inevitably to Christianity in which their problems are finally resolved), and the last twelve books with the history of time and eternity as set out in the Bible. History is conceived as the struggle between two communities -- the Civitas coelestis of those inspired by the love of God, leading to contempt of self, and the Civitas terrena or diaboli of those living according to man, which may lead to contempt of God. This struggle of the two conceptions of life had dominated Augustine's personal life and is here transferred to the wider field of world history. Both these powers fighting for the allegiance of the human soul are inextricably intermingled in society's earthly institutions; but history is understood as a continuous evolution of the divine purpose and all forces work towards redemption of man by God's grace, the central feature of St Augustine's theology. It is for this reason that he is considered as the founder of a new science, to which Voltaire assigned the name 'philosophy of history'. For the first time a comprehensive survey of human history is presented... "In economics Augustine praised labour as a means towards moral perfection; interest charges on money were not allowed under his system, but trade could be carried on, if selling was done honestly and a 'just price' was charged and paid. Many of the medieval regulations about commerce and prices were derived from these ideas, and his contrasting description of a just ruler (imbued with piety, humility, fairness) and the tyrant or Antichrist (impiety, craving for glory) powerfully influenced Renaissance thought... "'The City of God' pervaded the whole Middle Ages...The book remained authoritative until the seventeenth and eighteenth centuries...The idea of international law was partly derived from the book."-Printing & the Mind of Man 3-(1st printed edition: Subiaco, 1467).ILLUMINATION:22 large illuminated initials, painted on burnished gold panel grounds infield with gold and colours with fine tracery in white and yellow and with scrolling coloured "leafy" marginal extensions with clusters of gold bezants within pen-flourishes. On fol. 17r one large historiated initial and two-sided border enclosing the head and shoulders of the author of the text, St. Augustine dressed as bishop with mitre and crozier on a gold panel with foliate and floral border along the inner and upper margins with gold bezants and brown penwork. The painted decoration throughout the book, including the historiated initial and border decoration on the opening page (fol. 17) is in the style of Francesco d'Antonio del Chierico, who ran a workshop in Florence which was active from ca. 1452 until 1484. His production was vast and varied, illuminating theological, literary, historical, and devotional books. This influential text is presented here in a very professional, clearly written book well preserved with wide margins. Preserved in a morocco-backed box.LITERATURE:In the Schoenberg database nos. 364 and 11843, 13513Further reading:Mirella Levi d'Ancona, Miniatura e miniatori a Firenze dal XIV al XVI secolo. Florence 1962, pp. 109-115.J.J.G. Alexander and A. C. de la Mare, The Italian Manuscripts in the Library of Major J. R. Abbey, London 1969 (for the stamp "Di casa Minutoli-Tegrimi" as it occurs in J.A. 3216 on pl. XXII and p. 53).Milvia Bollati, in: Dizionario biografico dei miniatori italiani. Secoli IX-XVI, a cura di Milvia Bollati, Milan 2004, pp. 228-230.A. Garzelli, "Francesco Antonio del Chierico," in The Grove Dictionary of Art, ed. by Jane Turner. New York 1996, vol. 11, pp. 685-687.Jonathan J. G. Alexander (ed.), The Painted Page: Italian Renaissance Book Illumination 1450-1550, New York 1994. .

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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         TEXT FROM GOSPEL LESSONS

      Northern France [probably Paris], ca 1460 - 130 x 98 mm (5 1/8 x 3 7/8"). Single column, 14 lines in a fine gothic book hand. Attractively matted. The text similarly decorated as in the previous entry, but with panel borders on both sides inhabited by a bird flapping its wings, the recto also WITH A PLEASING MINIATURE (measuring 35 x 33 mm.) OF SAINT MARK WITH HIS LION, the saint sitting on a bench writing in a stone room with mullioned windows and a red wall hanging decorated with gold, the lion watching alertly from the right. A hint of thumbing, otherwise in very fine condition--fresh, clean, and especially bright. This leaf comes from the section of Gospel readings near the beginning of the prayer book. Although Mark is pictured here, the text is from the first chapter of Luke, relating the Annunciation.

      [Bookseller: Phillip J. Pirages Rare Books (ABAA)]
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         De rebus gestis francorum a Pharamundo primo rege usq[ue] ad Carolum octavum, libri X. Arnoldi Ferroni. de rebus gestis gallorum libri IX. continuatio Jacobi Henricpetri ad Aemylium & Ferronum adiecta usque ad annum MDCI. Editio ultima. 3 Teile in 1 Band. Basel, S. Henricpetri (1601). Fol. 8 Bll, 360 S.; 6 Bll, 400 S.; 3 Bll., 1 w. Bl., 30 Bll., mit Holzschn.-Druckermarke am Titel u. einigen Holzschn.-Porträts, Prgt. d. Zt. mit hs. Rtit.

      - VD17 39:123537D - BL German books A171 - Brunet I, 64.- Der Veronesische Historiker Emili Paolo (1460-1529) wurde 1499 von Ludwig XII. beauftragt, eine Geschichte der franz. Monarchie zu schreiben.- Letzte Ausgabe der beiden bedeutenden Werke zur französischen Geschichte, bis ins Jahr 1601 fortgesetzt und durch die aktualisierte Zeittafel des J. Tirius ergänzt.- Titel gestempelt, etw. gebräunt u. tls. braunfleckig, Ebd. etw. fleckig u. berieben.

      [Bookseller: Antiquariat Müller]
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         LIBER HORARUM OF GERARD DAVID (Fine Facsimile Illuminated Edition of the 16th C. )

      Madrid: Testimonio. New;. Hardcover.

This small Book of Hours is relatively unknown but is nevertheless of some importance since it contains 15 full-page illuminations attributed to the Flemish master Gerard David (1460-1523). The most beautiful is the Virgin with Child at the beginning of the manuscript; this miniature has the same characteristics of altar pieces of the period and is attributed to David himself. Other illuminations also resemble altar pieces but include reproductions of other miniatures, based on designs by other distinguished illuminators of the Bruges school, such as the Master of the Dresden Book of Hours and the Master of Edward IV of England.

The rest of the illuminations give a unique glimpse of the working methods of the Flemish illuminators. Conserved in the Escorial Library, this Book of Hours is also of especial importance because it is one of a very small number of dated books of hours from the Ghent-Bruges school. Towards the end of manuscript, a page bearing the date 1486 in the margin surrounding a miniature of St Lazarus, identifies this as one of the earliest productions of David's period in Bruges, which dates from 1484.

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      [Bookseller: New Boston Fine and Rare Books]
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         Catholicon. Et originalt blad.

      Mainz. Johann Gutenberg. 1460. Folio. Arkets mål : 36,5 X 28,4 cm. Trykt i rødt og sort. Folio. Size of sheet : 36,5 X 28,4 cm. Printed in red and black.. Arket er lagt inn i "Gutenberg and the Catholicon of 1460. A Bibliographical Essay by Margaret Bingham Stillwell. Together with an Original Leaf of the Catholicon. Edmond Byrne Hackett : The Brick Row Book Shop, Inc. New York. 1936." Med dedikasjon fra Stillwell på foromslaget. Catholicon er den første trykte verdslige bok, og er et leksikon på latin, opprinnelig skrevet i 1286. Omfatter avsnittene fra "Mennonidæs" til "Meretrix". Et fint eksemplar

      [Bookseller: Damms Antikvariat]
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         Magnifique bandeau ornemental sur vélin

      - Livre ancien Bandeau à thème de feuille de vigne stylisée travaillée à l'or à la feuille et de composition florale et fruitière (myosotis, fraises, feuilles de houx) aux gouaches rouge, verte, bleue. Chargée en son centre d'un personnage chimérique mi oiseau mi page désignant dans sa main gauche un ciboire d'or, disposé dans une acanthe à la gouache et à l'or liquide. Cette délicate composition datant de la seconde moitié du XVe siècle (circa 1460) ornait probablement la marge inférieure d'un grand manuscrit enluminé. Condition : Vélin. 4,5 x 25 cm.

      [Bookseller: L'Oeil de Mercure]
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         Lateinische Handschrift auf 1 Blatt Pergament. 15. Jhdt. Blattgr. 46 x 32 cm. Mit Passepartout.

      1460. . Schwarze Handschrift mit Choralnotation auf rotem fünflinigem System. Mit Initiale in rot und blau sowie kalligraphischer Randverzierung. Verso ebenfalls schwarze Handschrift mit Choralnotation und kleinerer Vignette in rot und blau.

      [Bookseller: Antiquariat Daniel Schramm e.K.]
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         Alphabetum Romanum. Hrsg. von G. Mardersteig. Verona, Officina Bodoni (1960). 4to. 140 S. Mit handkolorierter Titelvignette, 5 Tafeln sowie 25 handkolorierten großen Initialen. Brauner Orig.-Maroquinbd. mit Deckelsignet in Gold, Rückentiel u. Kopfgoldschnitt. In Orig.-Schuber.

      . . Druck der Officina Bodoni, hier eines von 50 Exemplaren der Vorzugsausgabe in Oasenmaroquin. Das um 1460 entstandene Alphabet des Veronesers Felice Feliciano hat für die Geschichte der Schrift eine besondere Bedeutung. Es ist das erste Traktat und die erste Zeichnung einer Konstruktion von klassischen römischen Majuskeln innerhalb eines Kreises und Quadrates. In diesem Handpressendruck sind die 25 Buchstaben des Originals handkoloriert wiedergegeben. Tadelloses Exemplar. - Mardersteig 120 mit 2 farb. Abb. - Schauer Bd. II,79 mit Abb.

      [Bookseller: Antiquariat Schmidt & Günther Einzelunte]
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         Illuminated Manuscript Leaf: The Lamentation

      France: np. France: np. 1st Edition. No Binding. Very Good. Fine 15th century leaf with miniature of The Lamentation. Book of Hours leaf featuring a miniature of the Lamentation. In the center of the image is Mary wearing a blue dress, with Christ in her arms. At Christ's feet is Mary Magdalene, holding the left hand of Christ. In the background is a city. Image surrounded by L-shaped bar in green, blue & mauve on a gold background. Beautiful, richly colored border surrounds the image painted in reds, blues, greens & gold featuring acanthus leaves, fruits, & two figures. Below miniature is 4-lines of text in brown ink with red rubrics. Large 3-line initial "D" in blue on gold background. Recto contains 9 lines of text with a 2-line initial "h" elaborately painted in blue on a gold background and a 1-line initial "D" in gold on a blue background. Recto contains marginal border of flowers and acanthus leaves. Northern France: c. 1460. Size: Leaf: 127 x 86 mm (5.0 x 3.3 inches). Miniature: 67 x 45 mm (2.6 x 1.8 inches). Closely cropped border. Tiny hole at bottom of border due to natural imperfection of parchment. A beautiful and colorful depiction of an important medieval theme.

      [Bookseller: The Manhattan Rare Book Company]
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         De rebus gestis francorum a Pharamundo primo rege usq[ue] ad Carolum octavum, libri X. Arnoldi Ferroni... de rebus gestis gallorum libri IX... continuatio Jacobi Henricpetri ad Aemylium & Ferronum adiecta usque ad annum MDCI. Editio ultima. 3 Teile in 1 Band. Basel, S. Henricpetri (1601). Fol. 8 Bll, 360 S.; 6 Bll, 400 S.; 3 Bll., 1 w. Bl., 30 Bll., mit Holzschn.-Druckermarke am Titel u. einigen Holzschn.-Porträts, Prgt. d. Zt. mit hs. Rtit.

      . . VD17 39:123537D - BL German books A171 - Brunet I, 64.- Der Veronesische Historiker Emili Paolo (1460-1529) wurde 1499 von Ludwig XII. beauftragt, eine Geschichte der franz. Monarchie zu schreiben.- Letzte Ausgabe der beiden bedeutenden Werke zur französischen Geschichte, bis ins Jahr 1601 fortgesetzt und durch die aktualisierte Zeittafel des J. Tirius ergänzt.- Titel gestempelt, etw. gebräunt u. tls. braunfleckig, Ebd. etw. fleckig u. berieben.

      [Bookseller: Antiquariat Johannes Müller]
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         Stundenbuch (unvollständig). Lateinische und italienische Handschrift in Schwarz und Rot, 11zeilige Humanistica auf Pergament.

      Italien, um 1460.. 8,6x6,8 cm. 223 Blatt, Buchblock 8,2 x 6 cm, Schriftraum 4,8 x 3,7 cm. Mit einer Miniatur Porträt von Franz von Assisi und 7, 5-7zeiligen Initialen auf Goldgrund mit floralen Ausläufern und zahlreichen Fleuronne-Initialen sowie blau und rot alternierenden Lombarden. Lederband des 17. Jahrhunderts mit Deckelfiletierung und floraler Rückenvergoldung.. Interessantes italienisches Stundenbuch mit Franziskanischem Hintergrund. Die Miniatur auf Fol. 17r zeigt ein eindrückliches Porträt des Franz von Assisi, umgeben mit 4seitige, Rankenmotiv. Dieses Porträt wurde, wahrscheinlich auf Papier, auf einen Blattausschnitt montiert und rückseitig mit einer Initiale "S" und einer stilistisch von den anderen Verzierungen abweichenden Rankenmotiv verziert und zu einem späteren Zeititpunkt (Ende des 17. Jahrhunderts wie der Einband?) eingefügt. Lagenstruktur: (V) + (II) + (VI) + (IV) + (VI) + (IV) + (2V) + (2IV) + (5V) + (V-3) + (IV) + (VI-1) + (V-1) + (V) + (IV) + (VI) + (IV) + (V-2). Fehlen mindestens 6 Blatt. Text: Kalendarium - Kleines Marienofficium - Matutin - Stundengebete - Kreuz-Offizien, Allerheiligenlitanei, Heiligensuffragien. - Einzelne Blätter stärker fleckig und mit sauberen Einschnitten, Vereinzelt knitterfaltig. Wenige Blätter mit kleinen Fehlstellen. Einband berieben. Rückenkante aufgeplatzt.

      [Bookseller: Antiquariat Daniel Thierstein]
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         Publius Vergilius Maro. Bucolica. Georgica. Aeneis.

      Vicent Carcia / Bibliotheca Rara: deutscher Kommentarband Antonie Wlosok., Rom / Neapel um 1460 (Faksimile-Nachdruck jüngeren Datums).. Limitierte Auflage in 1380 Exemplaren. 552 Seiten im Format 31,5 x 22,2cm, mit 38 Miniaturen, davon 11 ganzseitig.. Um sein großartiges Heldenepos, die Aeneis, das er in Neapel begonnen hatte, zu vollenden, unternahm Publius Vergilius Maro, kurz Vergil, eine Studienfahrt nach Griechenland und Kleinasien. Auf der Rückreise mit dem Schiff wurde er krank und verstarb 19 v. Chr. in Brindisi. Von den unter seinem Namen überlieferten Werken sind die Eclogae oder Bucolica, die Georgica und die Aeneis die einzigen Texte, deren Echtheit unumstritten ist. Die Bucolica, die von Theokrits Werk Eidyllia inspiriert wurden, bestehen aus zehn kurzen Gedichten, wobei nur zwei mehr als hundert Verse haben. All diese zeichnen sich mit Ausnahme des vierten Gedichtes durch ihren dyllischbukolischen Charakter aus. Die Georgica, ein Werk von nicht zu übertreffender Schönheit, hatte zum Ziel, dem Herrscher Augustus dabei zu helfen, eine Rückbesinnung auf die Kräfte der Natur zu fördern. Sie ist in vier Bücher unterteilt: Im ersten Buch behandelt Vergil den Ackerbau und schließt einen Landsmannkalender und die Witterungszeichen ein, im zweiten wird die Baumzucht, vor allem der Weinbau dargestellt, im dritten die Viehzucht und im vierten die Apikultur: die Bienenzucht. Bl

      [Bookseller: Versandantiquariat Karl Heinz Schmitz]
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         TEXT FOR JULY, WITH ILLUSTRATIONS OF REAPING AND LEO

      Northern France [probably Paris], ca, 1460. Softcover. 130 x 98 mm (5 1/8 x 3 7/8"). This comes from a large fragment of a very appealing Book of Hours with especially charming borders containing human and zoological inhabitants. On this calendar leaf, the labor of the month consists of the cutting of grain, seen here being accomplished by a peasant kneeling with a sickle in hand and dressed in a full-length red garment, a wide-brimmed straw hat, and a long white cloth hanging down from the back of the head, no doubt as a cooling device. This piece of attire as well as the shadows cast by the sun suggest a hot July day. One would expect the work here to be done by a male, but everything about the figure (the apparel, the lightness of the tool, the fair complexion) strongly suggests a female. The verso shows Leo the golden Lion seated in a field beside a large gray rock. The usual flaking to the gold around the initials, otherwise fine.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         TEXT FOR MARCH, WITH ILLUSTRATIONS OF PRUNING AND ARIES

      Northern France [probably Paris], ca, 1460. 130 x 98 mm (5 1/8 x 3 7/8"). Single column, 18 lines on the recto, 15 on the verso, in a very fine gothic book hand. Attractively matted. Text in red, blue, and burnished gold, two-line "KL" in blue with white tracery on a ground of burnished gold, each side with a quarter panel border filled with curling blue and gold acanthus, that on the RECTO WITH AN ATTRACTIVE ROUNDEL SHOWING TWO PEASANTS PRUNING, VERSO WITH A ROUNDEL SHOWING ARIES THE RAM. Gold around the Kalends a little flaked, trivial loss of paint from acanthus leaves and roundel frame on verso, small dark marginal smudge on recto, otherwise in fine, fresh condition. This comes from a large fragment of a very appealing Book of Hours with especially charming borders containing human and zoological inhabitants. In the calendar leaves, the Golden Numbers are indeed in burnished gold, as are the feast days of major saints. The labor of the month for March depicts two peasants clad in rough work clothes hard at work in an orchard or vineyard, pruning the plants for the coming springtime. The appropriate sign of the Zodiac, Aries, is represented by a docile-looking white ram in a meadow, with a city made up of gray towers in the distance. Although the main text of the manuscript here is in Latin, the calendar leaves are in French, as is very often the case.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         TEXT FOR AUGUST, WITH ILLUSTRATIONS OF THRESHING AND VIRGO

      Northern France [probably Paris], ca, 1460. Softcover. 130 x 98 mm (5 1/8 x 3 7/8"). This comes from a large fragment of a very appealing Book of Hours with especially charming borders containing human and zoological inhabitants. Here, the labor of the month shows two men vigorously threshing grain inside a stone barn; verso with Virgo depicted as a maiden in red, standing between two large sheaves of grain. Usual flaking from gold around the Kalends, thin line of paint missing from the border and roundel on verso, otherwise excellent.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         TEXT FROM THE SUNDAY HOURS OF THE HOLY TRINITY

      Northern France [probably Paris], ca, 1460. 130 x 98 mm (5 1/8 x 3 7/8"). Single column, 14 lines in a fine gothic book hand. Attractively matted. The text similarly decorated as in the previous entry, but with the panel border on the verso inhabited by a spotted yellow hybrid beast with a long neck and a fox-like head, the recto WITH A MINIATURE OF THE TRINITY (measuring 35 x 33 mm.), the Father and the Son seated, their garments joined as if one, Christ on the left with the Cross on his shoulder, the Father across from him holding an orb, and the two displaying an open book between them, the dove of the Holy Spirit hovering between their heads directly above the book, the background with gold-embellished red and blue wall hangings. In extremely fine condition with only the most trivial of imperfections. The artist has chosen to place the Trinity in a contemporary room here, such as the owner of a 15th century Book of Hours might inhabit, rather than in a more exalted celestial environment. At the very least, we might expect a throne rather than a humble bench, but this ordinary setting would remind the reader that the Trinity is always and everywhere present. The connection between faith and scripture is emphasized by the fact that a book (probably a Bible or Book of Hours) is opened at the very center of the miniature, and both God the Father and God the Son have their hands firmly grasping it.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         TEXT FOR AUGUST, WITH ILLUSTRATIONS OF THRESHING AND VIRGO

      Northern France [probably Paris], ca Northern France [probably Paris], ca, 1460. Softcover. 130 x 98 mm (5 1/8 x 3 7/8"). This comes from a large fragment of a very appealing Book of Hours with especially charming borders containing human and zoological inhabitants. Here, the labor of the month shows two men vigorously threshing grain inside a stone barn; verso with Virgo depicted as a maiden in red, standing between two large sheaves of grain. Usual flaking from gold around the Kalends, thin line of paint missing from the border and roundel on verso, otherwise excellent.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         TEXT FOR MARCH, WITH ILLUSTRATIONS OF PRUNING AND ARIES

      Northern France [probably Paris], ca Northern France [probably Paris], ca, 1460. 130 x 98 mm (5 1/8 x 3 7/8"). Single column, 18 lines on the recto, 15 on the verso, in a very fine gothic book hand. Attractively matted. Text in red, blue, and burnished gold, two-line "KL" in blue with white tracery on a ground of burnished gold, each side with a quarter panel border filled with curling blue and gold acanthus, that on the RECTO WITH AN ATTRACTIVE ROUNDEL SHOWING TWO PEASANTS PRUNING, VERSO WITH A ROUNDEL SHOWING ARIES THE RAM.Gold around the Kalends a little flaked, trivial loss of paint from acanthus leaves and roundel frame on verso, small dark marginal smudge on recto, otherwise in fine, fresh condition. This comes from a large fragment of a very appealing Book of Hours with especially charming borders containing human and zoological inhabitants. In the calendar leaves, the Golden Numbers are indeed in burnished gold, as are the feast days of major saints. The labor of the month for March depicts two peasants clad in rough work clothes hard at work in an orchard or vineyard, pruning the plants for the coming springtime. The appropriate sign of the Zodiac, Aries, is represented by a docile-looking white ram in a meadow, with a city made up of gray towers in the distance. Although the main text of the manuscript here is in Latin, the calendar leaves are in French, as is very often the case.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         TEXT FROM GOSPEL LESSONS

      Northern France [probably Paris], ca Northern France [probably Paris], ca, 1460. 130 x 98 mm (5 1/8 x 3 7/8"). Single column, 14 lines in a fine gothic book hand. Attractively matted. The text similarly decorated as in the previous entry, but with both panel borders inhabited, that on the recto by a brown dog with a shaggy plume on his forehead riding a blue and orange goose, and that on the verso by a half-woman, half-serpent, the recto also WITH A PLEASING MINIATURE (measuring 35 x 33 mm.) OF SAINT MATTHEW, the seated Evangelist writing on a scroll and reaching out to dip his quill in the ink pot held by his angel, who wears a lavender deacon's dalmatic over his white robe.Four nearly invisible pinholes, one in the background of the miniature, otherwise especially clean, fresh, and bright. This miniature provides the standard--and an artistically agreeable--depiction of Saint Matthew and his helpful attributive angel, but what really stands out here are the two exceedingly charming drolleries in the borders. On the recto, the dog is riding the goose with such enthusiasm and in such a posture as to suggest a coital agreement, while the grotesque on the verso shows an extremely vivid imagination: the combination of female human and serpent has spotted yellow wings, wears a curling red hat and a green bodice tucked into a similarly colored tail resembling a large horn, and holds a tightly swaddled infant wearing a hat that matches her own. It is entirely possible that the child's nether region is also reptilian, though it is obscured by the swaddling clothes, which look very much like a cocoon.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         TEXT FROM THE SUFFRAGES OF THE SAINTS

      Northern France [probably Paris], ca Northern France [probably Paris], ca, 1460. 130 x 98 mm (5 1/8 x 3 7/8"). Single column, 14 lines in a fine gothic book hand. Attractively matted. The text similarly decorated as in the previous entry, but with the panel border on the recto inhabited by a charming bird in brown and yellow, the verso WITH A TOUCHING MINIATURE (measuring 35 x 33 mm.) OF SAINT ANNE AND JOACHIM MEETING AT THE GOLDEN GATE in Jerusalem, the white-haired Joachim gently embracing his wife, the pair standing before an impressive gate of brushed gold, with the towers of the city visible over the gray stone wall.One tiny smudge in the margin, otherwise in very fine condition. The miniature here contains the very uncommon image of Saint Anne and Joachim at what legend suggests was a crucial moment in the family history of the Savior. The story of the two figures in our miniature first appeared in the second century apocryphal Gospel of James, in which Anne is said to be the mother of the Virgin Mary. As such, Anne became a personage of great interest, and the legend that grew up around her life--a legend given credence in Voragine's 13th century "Golden Legend"--is certainly curious. The growth of Marian devotion in the Middle Ages prompted the thorny theological question of whether the Mother of God was free of original sin, and the obvious desire to see such a condition accepted nourished the notion that the Virgin Mary was "immaculately conceived" and therefore sin-free from the beginning of her life. Her parents, Anne and Joachim, were bitterly disappointed at being childless, and both prayed to be blessed with offspring. Each was instructed by an archangel to meet the other at the Golden Gate at Jerusalem and promised that this would bring them a child. Legend has it that when the anxious pair met and fell into each other's arms, Mary was miraculously conceived without the stain of carnal contact. The scene was a popular subject in Medieval art, but is very rarely encountered in a Book of Hours. Our miniature has many delicately painted details, and the almost rapturous expression of the two figures--so appropriate for this charged moment--has been clearly communicated by the artist.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         TEXT FROM "OBSECRO TE."

      Northern France [probably Paris], ca, 1460. 130 x 98 mm (5 1/8 x 3 7/8"). Single column, 14 lines in a fine gothic book hand. Attractively matted. The text similarly decorated as in the previous entry, but with the panel border on each side inhabited by a pretty brown and white bird in flight, the recto WITH A GLITTERING MINIATURE (measuring 35 x 33 mm.) OF THE VIRGIN AND CHILD, the pair seated on a red-canopied bed, its hangings with golden stippling, the Virgin's blue robe also with much gold, and the Christ Child looking like a small prince in a gold and red open robe. A couple of minor marginal stains, otherwise an especially fine, fresh leaf. In this simple but very pleasing miniature, the Virgin sits with a playful and energetic Christ Child on her lap. The face of the young Jesus is convincingly infantile, but his slender body prefigures his manhood, a Medieval artistic convention suggesting that Our Lord possessed all the wisdom of an adult from the time of his birth. The "Obsecro te" is a prayer to the Virgin, begging for her aid. Frequently used in Books of Hours, the prayer is most often accompanied, as here, by a scene of the Virgin cuddling her child or by a Pieta.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         TEXT FOR NOVEMBER, WITH ILLUSTRATIONS FOR THE GATHERING OF ACORNS FOR PIGS AND SAGITTARIUS

      Northern France [probably Paris], ca, 1460. Softcover. 130 x 98 mm (5 1/8 x 3 7/8"). This comes from a large fragment of a very appealing Book of Hours with especially charming borders containing human and zoological inhabitants. The labor of the month shows a man in a wide-brimmed hat herding swine, the pigs rooting about in mud for acorns at the edge of a forest; verso depicting Sagittarius as a half-man, half-lion archer. The painting of the gathering scene here is especially detailed--for example, in the leaves of the forest trees, the acorns on the ground, and the bristles on the pigs' backs. Apart from minor flaking, in very fine, fresh condition, the miniatures especially detailed and vivid.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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         TEXT FROM THE THURSDAY HOURS OF THE HOLY SACRAMENT

      Northern France [probably Paris], ca, 1460. 130 x 98 mm (5 1/8 x 3 7/8"). Single column, 14 lines in a fine gothic book hand. Attractively matted. Rubrics in red, recto with two two-line initials and three one-line initials in blue with white tracery and enclosing scrolling flower stems of pink, red, and blue, all on a ground of burnished gold; verso with a one-line and a two-line initial in the same style, both sides with a pleasing quarter panel border filled with swirling acanthus and fruit in blue, gold, red, and green, that on the verso inhabited by a pretty green bird; the verso also WITH A PLEASING MINIATURE (measuring 35 x 33 mm.) SHOWING A COMMUNION SERVICE in a lavender-walled chapel with four arched windows, the priest in a blue chasuble holding aloft the communion wafer before a carved wooden altar, an acolyte kneeling behind him holding a very large candle, and A NOBLE LADY IN PINK AND BLACK (no doubt the owner of the manuscript) KNEELING TO RECEIVE THE SACRAMENT. A nearly invisible pinhole in the backgound of the miniature, otherwise IN VERY FINE CONDITION, quite clean, fresh, and bright. This very pleasing leaf comes from a large fragment of a very appealing Book of Hours with especially charming borders containing human and zoological inhabitants. The miniature here pictures the woman who commissioned the manuscript or for whom it was commissioned. She appears in her distinctive pink gown elaborately brocaded in gold and trimmed in black and with her head adorned by a matching black hennin and lappets. The manuscript in question was textually complex, as it included the Hours for Each Day of the Week, the Hours of the Holy Sacrament (from which this leaf comes), and the Hours of the Conception of the Virgin--texts normally absent from the vast majority of Books of Hours but found in more deluxe versions. Although their measurements are not large, these leaves are characterized by careful painting, an excellent scribal hand, and charming features like the lovely panel borders appearing on every page, many of them inhabited by grotesques or delightful creatures like the bird seen here. Our small Communion miniature is surprisingly detailed: we can see the gilded carvings on the altar, the stonework around the windows, the reverent expressions on the faces of the participants, the clearly defined folds of the robes worn by the priest and acolyte, and especially the subtle golden decoration in the lady's robe.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        TEXT FOR DECEMBER, WITH ILLUSTRATIONS FOR SLAUGHTERING A PIG AND CAPRICORN

      Northern France [probably Paris], ca, 1460. Softcover. 130 x 98 mm (5 1/8 x 3 7/8"). This comes from a large fragment of a very appealing Book of Hours with especially charming borders containing human and zoological inhabitants. The labor of the month depicts a man in a white apron raising a cudgel over the head of a pig he is about to kill; verso showing Capricorn the Sea-Goat with his cornucopia-like lower half, looking rather out of place in a green meadow. Minor loss of gold around the Kalends, a couple of tiny marginal stains, otherwise excellent.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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More rare books found from 1460


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