1460. Kl.-8, 2 Bl., 261 num. Blätter. (Nummerierungssprung von 134 auf 155 (also insgesamt 482 S.), Privat-Ldr- des 18. Jhts., Rückenschild u. Goldpräg. marmorierter Schnitt, Exlibris (Wilmont, Viscount Lisburne) a. Vors., Min. fingerfleckig, tadell. (Aldinensammlung Staatsbibliothek Berlin 559. Druckermarke auf Titel und am Schluss. Jehuda (auch: Juda) ben Isaak Abravanel, oft kurz Abravanel oder Abrabanel genannt, italienisch Leone Ebreo, (* um 1460 in Lissabon + nach 1521 in Neapel) jüdischer Philosoph, Arzt und Dichter aus Portugal. 1483 Vertreibung wegen Hochverrats aus Portugal nach Spanien. Dort Leiter der Finanzverwaltung von Königin Isabella I. Trotzdem Vertreibung 1492 nach Neapel. 1495 Vertreibung wegen antijüdischen Progromen nach Genua. Als aber 1501 auch die Republik Genua judenfeindliche Maßnahmen ergriff erneute Flucht. Rückkehr nach Neapel, Aufstieg zum Leibarzt des Vizekönigs. 1510 Vertreibung nach Venedig. Nochmalige Rückkehr nach Neapel. Abravanel gehörte zu den prominenten Vertretern des Platonismus in der Renaissance. Er verfügte über eine hervorragende humanistische Bildung und kannte sich in der christlichen ebenso wie in der jüdischen und der islamischen philosophischen Tradition aus. Sein Hauptwerk, die Dialoghi d'amore ("Dialoge über die Liebe"), knüpft an Platons Konzept des literarisch kunstvoll gestalteten philosophischen Dialogs an. Wie bei Platon und in der traditionellen belehrenden Dialogliteratur bemühen sich in den Dialoghi d'amore die Gesprächspartner gemeinsam um Erkenntnis. Abravanel wandelt jedoch das herkömmliche Konzept ab, indem e … [Click Below for Full Description]

1460. Museum Lot Manuscript Music/ Antiphonals 15th to 17th C Large leaves on vellum, 7 in total, app. 15 X 20 or larger. These are original leaves and not reproductions, offered in Good Antiquarian condition with the usual occaisional flaws including old damp damage or smear, foxing/discoloration etc. on heavy old natural vellum and guaranteed authentic. They are undated from undocumented volumes and have been sparcely embelished with rubrics, aquamarine etc. Early music is in four and five staves hand scribed shape notes. In addition are two large sheets of printed text PSALM and other, post-incunabula, on heavy rag paper, with signs of much ecclesiastical use and margin repair hundreds of years old. The photos do no justice. This will be carefully packed and shipped rolled. 9 antiquarian sheets. Returns within 3 days.

Paris: , ca. 1460. Paris, ca. 1460. Leaf: 195 x 144 mm. (7 3/4 x 5 5/8"); frame: 420 x 345 mm. (16 1/2 x 13 1/2"). Single column, 13 lines in a fine gothic book hand. With gold frame and cream matting, both sides with glass. Rubrics in burnished gold, one inhabited initial with the image of a winged beast painted pink and white on a gold ground, a gold and pink bar surrounding the text on three sides, EACH SIDE WITH EXTRAVAGANTLY DECORATIVE FULL BORDERS of acanthus leaves, flowers, vegetation, vinestem work, and gold bezants, INCORPORATING TWO ROUNDEL MINIATURES DEPICTING THE LIFE OF ST. ALEXIUS.Two of the faces in the roundels a little chipped, remains of mounting tape just visible on inner edge, otherwise A FINE LEAF, extremely clean, with sparkling gold.The extraordinarily lavish and animated full borders, coupled here with extensive use of brushed and burnished gold, suggest that this leaf comes from a Book of Hours that was commissioned for a person or persons of high rank, since it would have been very costly. It comes from a manuscript that included numerous roundels depicting the lives of St. Catherine and the more obscure St. Alexius, and it is possible that this Book of Hours belonged to a husband and wife for whom these saints served as patrons. The story depicted in the two roundels--one showing a king and a kneeling man with a spear, the other showing a spear-wielding man (the same?) walking along a path--is a little difficult to follow, especially as we have only one leaf to go on. According to legend, St. Alexius fled a life of privilege in order to live an … [Click Below for Full Description]

Netherlands: np, 1460. First edition. framed. Very Good. EXQUISITE AND FINELY DETAILED ILLUMINATED MANUSCRIPT MINIATURE (C.1460) OF THE MAGI PRESENTING THEIR GIFTS TO THE BABY JESUS. In the center of the familiar scene Mary, dressed in a blue robe, is holding the baby Jesus while the three kings - Kaspar, Melchior, and Balthasar (generally considered to represent the three continents of Europe, Africa, and Asia, as well as the three stages of life) - offer their gifts in golden vessels. Joseph, in a red robe and brown tunic, stands behind Mary while an unidentified man in a turban stands behind the kings. The large star the Magi have followed shines above the scene in bright gold in the richly-painted blue sky. Above (or behind) the figures (and behind bushes) appear a donkey and two camels and to the right is a large green dragon, a familiar symbol included to ward off evil.The highly detailed scene forms the interior of the initial “N”, which is itself formed by a stout red column with tendril/floral motifs, as well as the body of the dragon (which is chained to the outer structure of the letter). The background is dominated by the blue sky and the entire image is contained within a gold border.The miniature is a cutting from a musical leaf; the verso contains a large red initial on a decorative blue-and-white background and part of an anthropomorphic border to musical notations.Miniature: 4.75x4 inches (100x111mm). Archivally matted and framed with UV-protecting museum glass to an overall size of 10.5x10 inches.Netherlands: c.1460. Illuminated manuscript m … [Click Below for Full Description]

Illuminated with six large miniatures, each above a four-line initial and accompanied by a four-sided border. Vellum, i + I + 139 + II + ii leaves, c.155x115mm, paginated sporadically 1–276 but jumping 2 between 201 and 211, foliated in the lower left corner every 5th leaf (used here), collation: 112, 26-1 (1st leaf missing), 38-1 (1st leaf missing), 4–68, 78-1 (1st leaf missing), 88-1 (3rd leaf missing), 98-2 (3rd & 6th leaves missing), 108, 112, 128-1 (1st leaf missing), 138, 14–188, 196-1 (last blank cancelled), written with 15 lines, the ruled space c.95x65mm. Bound in French late 16th-century brown polished calf over pasteboards, the covers densely gilt in panels each with a central oval lettered with a name in gilt capitals, the front board with “Claude Robinet”, the back board with “Catherine Tabouet”, the spine flat and decorated as a single compartment, gilt edges, in a fitted box (the joints and headcaps repaired, traces of ties at the fore-edge).

1460. Illuminated with six large miniatures, each above a four-line initial and accompanied by a four-sided border. Vellum, i + I + 139 + II + ii leaves, c.155x115mm, paginated sporadically 1?276 but jumping 2 between 201 and 211, foliated in the lower left corner every 5th leaf (used here), collation: 112, 26-1 (1st leaf missing), 38-1 (1st leaf missing), 4?68, 78-1 (1st leaf missing), 88-1 (3rd leaf missing), 98-2 (3rd & 6th leaves missing), 108, 112, 128-1 (1st leaf missing), 138, 14?188, 196-1 (last blank cancelled), written with 15 lines, the ruled space c.95x65mm. Bound in French late 16th-century brown polished calf over pasteboards, the covers densely gilt in panels each with a central oval lettered with a name in gilt capitals, the front board with ?Claude Robinet?, the back board with ?Catherine Tabouet?, the spine flat and decorated as a single compartment, gilt edges, in a fitted box (the joints and headcaps repaired, traces of ties at the fore-edge). The Hours of Claude Robinet and his wife Catherine Tabouet who most likely acquired the manuscript and commissioned the binding that bears their names around the time of their marriage in 1591. The style of illumination, especially the female figures with long thin necks and oval heads (notably in the Visitation and Pentecost miniatures), suggest the the present illuminator worked in the orbit of the Master of Adelaide of Savoy (alias the Master of Poitiers MS 30), who is thought to have begun his career in Angers and later moved to Poitiers, both to the west of Bourges (see F. Avril and N. Reynaud, Les manuscrits … [Click Below for Full Description]

BOOK OF HOURS HOURS OF THE VIRGIN (USE OF ROME) N.D. Circa 1460-80; Flanders, Belgium; 173 Leaves of 175, Lacking one leaf after f.84/last blank), 346 Pages; Full 19th Century Miniature Leather; Vellum Pages; Latin Text/few in Italian; w2.6"xh3.5", Text w1"xh1.7"; Extremely Rare! ATTRIBUTES: Beautiful full Miniature Red Morocco leather, Pretty Gold floral boards/binding, Marble end pages, Illuminated manuscript on vellum, 13 lines in Gothic brown ink, Rubrics in red, Capitals touched in yellow, One line initial in blue/gold, 2 line initials in gold with red/blue backgrounds, 7 4-line initials with bar borders full height of page, 6 Full page miniatures/floral borders, 6 Large Initials/full borders, Numerous Illuminated gold initials throughout, Last few (later) prayers in Italian at the end (2 pages), Nice wide margins, Original instructions (word or two) to the artist written in Flemish beneath the miniatures, Brilliant Craftsmanship & Very Rare & Unusual Miniature Size, Smallest I have ever seen, ONE OF A KIND; GLORIOUS! SUMMARY: Preceded by a Calendar, Hours of the Cross and of the Holy Ghost, Mass of the Virgin and Gospel Sequences, Followed by Penitential Psalms & Litany, The Office of the Dead. The subjects of the Miniatures are: The Crucifixion, Pentecost, A Priest saying Mass before a group of laity, The Annunciation, The Last Trump with God in judgement and a mouth of hell, The Burial of the Dead. BACKGROUND: The book of hours is a Christian devotional book popular in the Middle Ages. It is the most common type of surviving medieval illuminated manuscript. Like eve … [Click Below for Full Description]

Netherlands: np, 1460. First edition. EXQUISITE AND FINELY DETAILED ILLUMINATED MANUSCRIPT MINIATURE (C.1460) OF THE MAGI PRESENTING THEIR GIFTS TO THE BABY JESUS. In the center of the familiar scene Mary, dressed in a blue robe, is holding the baby Jesus while the three kings - Kaspar, Melchior, and Balthasar (generally considered to represent the three continents of Europe, Africa, and Asia, as well as the three stages of life) - offer their gifts in golden vessels. Joseph, in a red robe and brown tunic, stands behind Mary while an unidentified man in a turban stands behind the kings. The large star the Magi have followed shines above the scene in bright gold in the richly-painted blue sky. Above (or behind) the figures (and behind bushes) appear a donkey and two camels and to the right is a large green dragon, a familiar symbol included to ward off evil. The highly detailed scene forms the interior of the initial "N", which is itself formed by a stout red column with tendril/floral motifs, as well as the body of the dragon (which is chained to the outer structure of the letter). The background is dominated by the blue sky and the entire image is contained within a gold border. The miniature is a cutting from a musical leaf; the verso contains a large red initial on a decorative blue-and-white background and part of an anthropomorphic border to musical notations. Miniature: 4.75x4 inches (100x111mm). Archivally matted and framed with UV-protecting museum glass to an overall size of 10.5x10 inches. Netherlands: c.1460. Illuminated manuscript miniature on vellum. A few smal … [Click Below for Full Description]

Hamburgi (Hambourg): ex bibliopolio Frobeniano. First edition. Frontispiece and title vignette of the printer to the other three title pages. Printing 2 columns with linear numbering. We did not find this edition in French catalogs, nor English. A copy of the Palatine Library in Germany. 'Although it is poorly printed and on bad paper, this issue deserves to be mentioned as one of our main author. She served as the basis for almost all those who have appeared in the seventeenth century and the beginning of the eighteenth century. This is also the first in which the text of Cicero is divided into chapters. ' Brunet II, 8. Vellum Full time, back with nerves. Great central medallions on the boards. Traces of laces. The first volume has no back and the second has lost its two lower chambers. Scattered spots. This edition of Froben gathers texts of a given in France by Jean Guillaume edition, here it is annotated and commented by John Gruter. Froben comes from a famous dynasty of printers whose most famous member was Johannes Froben (1460-1527) who worked early with Erasmus and Holbein, it was established in Basel. Jan Gruter (1560-1627) was born in Antwerp, he was a philologist and professor of history and librarian at the University of Wittenberg. He was regarded as a tireless worker and his works were popular throughout Europe. Library bookplate teachers St Stanislas Mons. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information!. [Attributes: First Edition]

Muller, America 1460; Sabin 4737; Suriname-cat. UBA 0508a. First edition of a richly illustrated work on Surinam by the Belgian artist Pierre Jacques Benoit (1782-1854), who travelled to Surinam in 1830, with all the illustrations printed on China paper. The lively plates include topographic views, botanical, ethnographical and zoological subjects, and scenes from the life of the native Indians, the African-Americans and the white colonists. The plates are preceded by a historical survey of Surinam, covering the population and their customs, rituals and objects, commerce, topography and geography, plantations, etc.Some occasional foxing and spotting. Spine restored. Overall in good condition.

1460. AMPLY ANNOTATED BY CONTEMPORARY HANDS, THESE SERMONS BY AN UNDERSTUDIED FRANCISCAN AUTHOR WILL REPAY SCHOLARLY ATTENTION. Decorated manuscript on parchment and paper, in Latin with a few notes in Italian, Northern Italy, Milan (?), c. 1460-1475. Dimensions 220 x 150 mm. 519 folios, written in a cursive book hand in two columns of forty-nine lines, two- to five-line initials in bright red, some quoted auctoritates, sources and exempla specified in red in the margin, some rubrics and beginning of a given sermon added on separate strips of paper and pasted in the margin with a system of reference to the text in two columns, many marginal annotations, digressions, additions, and corrections. BINDING: Bound in a later tan sheepskin over pasteboard, smooth spine decorated with simple double gold fillets, a small circular white paper label with "MS" at the foot of the spine, marbled endleaves and pastedowns, edges brushed in dark blue. TEXT: Amply annotated by contemporary hands and transcribed during the author's lifetime, this collection of Quadragesimal sermons (24 of the 61 known sermons) is by the understudied Italian preacher Antonius da Vercelli (d. 1483) of the Observant Franciscan movement. His sermons boast a strong didactic and catechetical character; they are enhanced by a plethora ofexempla as well as plentiful quotes from scriptural, patristic, and lay authors. Known in only three manuscripts, only one of them complete, and unpublished, the collection merits a critical edition. PROVENANCE: Manuscript copied in northern Italy as per script and watermark. Manus … [Click Below for Full Description]

BOOK OF HOURS HOURS OF THE VIRGIN (USE OF ROME) N.D. Circa 1460-80; Flanders, Belgium; 173 Leaves of 175, Lacking one leaf after f.84/last blank), 346 Pages; Full 19th Century Miniature Leather; Vellum Pages; Latin Text/few in Italian; w2.6"xh3.5", Text w1"xh1.7"; Extremely Rare! ATTRIBUTES: •Beautiful full Miniature Red Morocco leather, Pretty Gold floral boards/binding, •Marble end pages, Illuminated manuscript on vellum, 13 lines in Gothic brown ink, •Rubrics in red, Capitals touched in yellow, One line initial in blue/gold, •2 line initials in gold with red/blue backgrounds, •7 4-line initials with bar borders full height of page, •6 Full page miniatures/floral borders, 6 Large Initials/full borders, •Numerous Illuminated gold initials throughout, •Last few (later) prayers in Italian at the end (2 pages), Nice wide margins, •Original instructions (word or two) to the artist written in Flemish beneath the miniatures, •Brilliant Craftsmanship & Very Rare & Unusual Miniature Size, •Smallest I have ever seen, ONE OF A KIND; GLORIOUS! SUMMARY: •Preceded by a Calendar, Hours of the Cross and of the Holy Ghost, •Mass of the Virgin and Gospel Sequences, Followed by Penitential Psalms & Litany, •The Office of the Dead. •The subjects of the Miniatures are: •The Crucifixion, Pentecost, A Priest saying Mass before a group of laity, •The Annunciation, The Last Trump with God in judgement and a mouth of hell, •The Burial of the Dead. BACKGROUND: •The book of hours is a Christian devotional book popular in the Middle Ages. It is the most common type of surviving medieval illuminated m … [Click Below for Full Description]

BOOK OF HOURS HOURS OF THE VIRGIN (USE OF ROME) N.D. Circa 1460-80; Flanders, Belgium; 173 Leaves of 175, Lacking one leaf after f.84/last blank), 346 Pages; Full 19th Century Miniature Leather; Vellum Pages; Latin Text/few in Italian; w2.6"xh3.5", Text w1"xh1.7"; Extremely Rare! ATTRIBUTES: •Beautiful full Miniature Red Morocco leather, Pretty Gold floral boards/binding, •Marble end pages, Illuminated manuscript on vellum, 13 lines in Gothic brown ink, •Rubrics in red, Capitals touched in yellow, One line initial in blue/gold, •2 line initials in gold with red/blue backgrounds, •7 4-line initials with bar borders full height of page, •6 Full page miniatures/floral borders, 6 Large Initials/full borders, •Numerous Illuminated gold initials throughout, •Last few (later) prayers in Italian at the end (2 pages), Nice wide margins, •Original instructions (word or two) to the artist written in Flemish beneath the miniatures, •Brilliant Craftsmanship & Very Rare & Unusual Miniature Size, •Smallest I have ever seen, ONE OF A KIND; GLORIOUS! SUMMARY: •Preceded by a Calendar, Hours of the Cross and of the Holy Ghost, •Mass of the Virgin and Gospel Sequences, Followed by Penitential Psalms & Litany, •The Office of the Dead. •The subjects of the Miniatures are: •The Crucifixion, Pentecost, A Priest saying Mass before a group of laity, •The Annunciation, The Last Trump with God in judgement and a mouth of hell, •The Burial of the Dead. BACKGROUND: •The book of hours is a Christian devotional book popular in the Middle Ages. It is the most common type of surviving medieval illuminated m … [Click Below for Full Description]

Northern France [probably Paris], ca. 1460s. 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 merry grotesque with the body of a goose and a long-nosed human face on a serpentine neck, verso WITH AN ATTRACTIVE MINIATURE (measuring 35 x 33 mm.) OF SAINT GENEVIEVE standing in a room reading, WHILE BEHIND HER AN ANGEL CHASES AWAY A BLUE-WINGED DEMON. Very minor flaking of paint in the miniature (not detracting from the image), two faint black lines (perhaps offsetting from the outline of a miniature on the opposite page) running across the text, one of the lines entering the miniature, otherwise a very clean, bright, and still quite pleasing leaf. In this well composed and complex scene, the patron saint of Paris, Genevieve, who saved the city from Attila the Hun, is protected herself by an angel who has flown in at just the right moment. This celestial guard has a stick in each hand, and pokes the disgusting demon into submission. In this well composed and complex scene, the patron saint of Paris, Genevieve, who saved the city from Attila the Hun, is protected herself by an angel who has flown in at just the right moment. This celestial guard has a stick in each hand, and pokes the disgusting demon into submission.

Northern France [probably Paris], ca. 1460s. 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 yellow bird about to take flight, the same side WITH A VERY ATTRACTIVE MINIATURE (measuring 35 x 33 mm.) OF SAINT CHRISTOPHER BEARING THE CHRIST CHILD ACROSS A RIVER, the saint in a short tunic and flowing red cloak, his passenger in purple, the blue waters of the treacherous river choppy, the approaching bank steep and rocky, and atop it, a hermit lighting their way with a lamp held high. Just a hint of soil in the fore margin, but especially well preserved in general. A very popular saint in the Middle Ages--and so a figure often appearing in the Suffrages--St. Christopher led a life that comprised one long quest to find and serve the world's greatest ruler. The present detailed and intriguing image shows the end of that search, as the saint carries the Son of Man across a swollen river. Even though Christopher is massive (measuring more than seven feet tall) and greatly strong, the Christ Child becomes a ponderous burden, as the saint is carrying, in the Child's words, "not only the weight of the whole world, but also of Him who made it." The crusty-looking hermit with the lantern, who told Christopher to serve Christ by being a human ferry, is a wonderfully charming element here. A very popular saint in the Middle Ages--and so a figure often appearing in the Suffrages--St. Christopher led a life that comprised o … [Click Below for Full Description]

Rouen 1460-1470 1 vol. petit in-4 (197 x 145 mm.) de 135 ff. (190 x 140 mm.), justification du calendrier 90 x 60 mm., 16 longues lignes, criture textura lencre bleue, rouge et or, justification du texte 85 x 63 mm., 15 longues lignes, ff. 97v, 135v blanc. Reliure en maroquin rouge, dos orn, filets dors, composition de dentelles sur les plats, tranches dores (reliure du XVIIe sicle). Manuscrit sur vlin du XVe sicle, orn de 13 grandes miniatures. Ce charmant livre dheures peut tre attribu un suiveur tardif du Matre de Talbot. Le Matre de Talbot a illustr une copie du Roman dAlexandre command par Lord John Talbot et offert par la reine Marguerite dAnjou fille du roi Ren et femme dHenri VI peu aprs le couronnement de ce dernier en 1444. Il a galement peint les miniatures dun livre dheures pour Lord Talbot, premier comte de Shrewsbury et sa femme Marguerite Beauchamp (Cambridge, Fitzwilliam Museum Ms. 40-1950 et 40-1951). On conserve des uvres excutes Rouen aprs le retour de cette ville de la guerre de 100 ans dans le giron franais. Il a travaill peu aprs 1450 pour lՎchevinage de Rouen (Paris, Bibl. Nationale fr. 126). On retrouve dans le prsent manuscrit les voutes en bois et les tentures. Son style est fortement crit, son coloris chatoyant aux tonalits pure (bleu, vert, rouge, rose, marron) et peu model et ses paysage stylis. Cet enlumineur succde stylistiquement au Matre de Fastolf. Il reprend linterprtation sche et graphique des modles du groupe Boucicaut (Fr. Avril, Les manuscrits peintures en France 1440-1520, cat. expo. BnF. 1993 cat. 88). On retrouve un style voi … [Click Below for Full Description]

[Johann Gutenberg]. A single leaf of the Mainz CATHOLICON, first edition, second impression. Double column, 66 lines. Type: 82G cast on two-line slugs. Rubricated in red with lombard initials (26 on recto and 26 on verso) and paragraph marks (5 on recto and 8 on verso). Royal folio (14 7/16 x 11 1/4 inches), printed on Galliziani paper with the characteristic shadows at wire-line intervals of ca. 5mm and with water-mark present. Now presented unattached, between a cream beveled mounting, older mounting also included and all within a handsome portfolio of tan buckram with paper label on the upper board. Single leaf. A very handsome piece with just a bit of browning along the binding edge, slight tear at bottom margin expertly repaired, no text effected, slight discolouring from old mounting tape at two very small points of the upper edge. A HANDSOME ORIGINAL LEAF from the most substantive of three books printed by Gutenberg from two-line castings rather than moveable types. Three chronologically distinct printings of the CATHOLICON have been identified on the basis of their paper stocks. This leaf containing the dictionary entries from "Cedula" to "Cenomia" from the first edition, second impression. As early as 1905 Gottfred Zedler recognized that the Catholicon edition dated Mainz 1460 exists in three impressions printed from a single setting of type but associated with three presses (with different pinhole patterns) and printed on three distinct paper stock. In 1982 Paul Needham presented evidence that the three issues were printed at different times, according to the data … [Click Below for Full Description]

1460. . . . 1 Vol. . 10 pp. Folio. Pergamino. . Carta ejecutoría del pleito de hidalguía y exención de pechas entre Alfonso de Torres contra los hombres buenos de Villar de Domingo García en Cuenca, dada en el reinado de D. Enrique IV. Manuscrito en pergamino en letra gótica de cuarenta y cuatro lineas de caja que contiene la carta executoría sobre hidalguía y exención de pechos(tributos) pleiteada entre Alfonso de Torres contra los vecinos de Villar de Domingo García en Cuenca en el año de 1460. El peticionario alega su hidalguía de abuelos y padres que combatieron en distintas campañas con los reyes de Castilla, mientras los vecinos reclaman su contribución a un pedido real. Quedan ambas partes reconocidas de sus derechos y obligaciones en sentencia refrendada por el rey Enrique IV. Las ejecutorias de nobleza de este periodo son muy raras y son muy pocas las conservadas del convulso reinado de D. Enrique. No conserva el sello de plomo pendiente aunque si parte de los hilos. Rareza, de las más antiguas de España .

[Johann Gutenberg], 1460. A single leaf of the Mainz CATHOLICON, first edition, second impression. Double column, 66 lines. Type: 82G cast on two-line slugs. Rubricated in red with lombard initials (26 on recto and 26 on verso) and paragraph marks (5 on recto and 8 on verso). Royal folio (14 7/16 x 11 1/4 inches), printed on Galliziani paper with the characteristic shadows at wire-line intervals of ca. 5mm and with water-mark present. Now presented unattached, between a cream beveled mounting, older mounting also included and all within a handsome portfolio of tan buckram with paper label on the upper board. Single leaf. A very handsome piece with just a bit of browning along the binding edge, slight tear at bottom margin expertly repaired, no text effected, slight discolouring from old mounting tape at two very small points of the upper edge. A HANDSOME ORIGINAL LEAF from the most substantive of three books printed by Gutenberg from two-line castings rather than moveable types. Three chronologically distinct printings of the CATHOLICON have been identified on the basis of their paper stocks. This leaf containing the dictionary entries from "Cedula" to "Cenomia" from the first edition, second impression. As early as 1905 Gottfred Zedler recognized that the Catholicon edition dated Mainz 1460 exists in three impressions printed from a single setting of type but associated with three presses (with different pinhole patterns) and printed on three distinct paper stock. In 1982 Paul Needham presented evidence that the three issues were printed at different times, according to th … [Click Below for Full Description]

1460/ 1822 Seiten gebundene Ausgabe Die hier angebotenen Bände stammen aus einer teilaufgelösten Medienbibliothek und tragen die entsprechenden Kennzeichnungen (Rückenschild, Instituts-Stempel...). Schnitt und Einband sind etwas staubschmutzig Der Buchzustand ist ansonsten ordentlich und dem Alter entsprechend gut KOMPLETTPREIS für 2 Bände bei Versand ins Ausland erfragen Sie bitte zuerst die Versandkosten

Low Countries [probably Bruges], ca. 1460. This is an extremely well executed and charming miniature painted by an artist clearly indebted to Willem Vrelant (active in Bruges ca. 1454-81), but far better than most of his routine imitators. The various Vrelant-style artists have never been fully defined, in part because--as copious documentation reveals--he worked with family members and apprentices, who doubtless collaborated with him on manuscripts, and probably also on individual miniatures. This particular bifolium comes from a Book of Hours sold at Christie's in 1994 (and subsequently broken up before we obtained the bifolium), the description for which notes that it was "also containing possibly some of [Vrelant's] own work." The same description also suggests that the rounded Italianate style of script found here could indicate an Italian or Catalan patron (or perhaps a scribe with these connections). The present miniature depicts the Holy Family en route to Egypt, with the Virgin carrying her son on the back of an ass, and Joseph on foot carrying their meager belongings. The grisaille technique used in this miniature points to the skill and quality of the artist, as silver was a notoriously difficult color to deploy. From the French word "gris," meaning "gray," grisaille refers to a style of monochrome painting, normally executed using a black pigment such as lampblack and an inert white pigment. The technique first appeared in the late 13th century and experienced its greatest period of popularity from the second half of the 14th through the end of the 15th century … [Click Below for Full Description]

Low Countries [probably Bruges], ca. 1460. This charming miniature was painted by an artist clearly indebted to Willem Vrelant (active in Bruges ca. 1454-81), but far better than most of his rather routine imitators. The various Vrelant-style artists have never been fully defined, in part probably because--as copious documentation reveals--he worked with family members and apprentices, who doubtless collaborated with him on manuscripts, and probably also on individual miniatures. This particular bifolium comes from a Book of Hours sold at Christie's in 1994 (and subsequently broken up before we obtained the bifolium), the description for which notes that it was "also containing possibly some of [Vrelant's] own work." The same description also suggests that the rounded Italianate style of script found here could indicate an Italian or Catalan patron (or perhaps a scribe with these connections). The present miniature depicts the Coronation of the Virgin within an architectural setting. Mary is shown kneeling upon a starry pillow with three angels attending her, and Christ enthroned in front of her. The grisaille technique used here also points to the skill and quality of the artist. Silver was a notoriously difficult color to deploy, and it was perfected by those artists in the Low Countries that were patronized by the Dukes of Burgundy. From the French word "gris," meaning "gray," grisaille refers to a style of monochrome painting, normally executed using a black pigment such as lampblack and an inert white pigment. The technique first appeared in the late 13th century and … [Click Below for Full Description]

ca. 1460, Low Countries [probably Bruges]. the bifolium measuring 94 x 140 mm. (3 5/8 x 5 1/2"). Single column, 15 lines in an Italianate gothic rotunda. Rubrics in red, one-line initials in blue or gold with red or blue penwork, two-line initials in gold on blue and gold ground, a splendid five-line initial painted blue with branchwork decoration on a gold ground, A FULL-PAGE DEMI-GRISAILLE MINIATURE depicting the Coronation of the Virgin within an arched compartment, WITH FULL BORDERS of acanthus leaves, flowers, vine-stems, and bezants, along with a charming bird in both full borders, all painted in a demi-grisaille fashion (the miniature with no text below and blank on the back). Red letters in the script a little faded, a series of small rust stains in the margin between the attached leaves, tiny moments of trivial soiling, but A BEAUTIFUL SPECIMEN, WITH CRISP DETAIL AND IN AN VERY FINE STATE OF PRESERVATION, with virtually no sign of erosion in the paint or gold. This charming miniature was painted by an artist clearly indebted to Willem Vrelant (active in Bruges ca. 1454-81), but far better than most of his rather routine imitators. The various Vrelant-style artists have never been fully defined, in part probably because--as copious documentation reveals--he worked with family members and apprentices, who doubtless collaborated with him on manuscripts, and probably also on individual miniatures. This particular bifolium comes from a Book of Hours sold at Christie's in 1994 (and subsequently broken up before we obtained the bifolium), the description for which notes t … [Click Below for Full Description]

ca. 1460, Low Countries [probably Bruges]. 93 x 139 mm. (3 5/8 x 5 1/2"). Single column, 15 lines in an Italianate gothic rotunda. Rubrics in red, one-line initials in blue or gold with red or blue penwork, two-line initials in gold on blue and gold ground, a splendid five-line initial painted blue with branchwork decoration on a gold ground, A FULL PAGE DEMI-GRISAILLE MINIATURE depicting the Flight into Egypt within an arched compartment, WITH FULL BORDERS of acanthus leaves, flowers, vine-stems, and bezants, all painted in a demi-grisaille fashion. A few small chips to the paint, one-line initials slightly smudged, and with some minor smudging in the margins, but A BEAUTIFUL SPECIMEN, WITH CRISP DETAIL AND IN AN EXCELLENT STATE OF PRESERVATION. This is an extremely well executed and charming miniature painted by an artist clearly indebted to Willem Vrelant (active in Bruges ca. 1454-81), but far better than most of his routine imitators. The various Vrelant-style artists have never been fully defined, in part because--as copious documentation reveals--he worked with family members and apprentices, who doubtless collaborated with him on manuscripts, and probably also on individual miniatures. This particular bifolium comes from a Book of Hours sold at Christie's in 1994 (and subsequently broken up before we obtained the bifolium), the description for which notes that it was "also containing possibly some of [Vrelant's] own work." The same description also suggests that the rounded Italianate style of script found here could indicate an Italian or Catalan patron (or perhaps … [Click Below for Full Description]

Northern France [probably Paris], ca. 1460s. 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 pray … [Click Below for Full Description]

Northern France [probably Paris]: , ca. 1460s. Northern France [probably Paris], ca. 1460s. 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 disap … [Click Below for Full Description]

- Fishes on shore surrounded by flowers against a river landscape in the background. Signed at bottom right:'Adr. Collaert fec. et exc.' captions above the fishes:'Barbus / Brama / Perca / Fundulus'. Numbered on the bottom left: '24' Engraving on paper, trimmed to platemark: total: 122 x 185 mm; state II/2; some dirt and stains on the verso; New Hollstein 1460; W. 28; Guilmard p. 479, 12; Funck p. 219, 9 OMP (Old Masters Prints Black Folders) C (5)

Fishes on shore surrounded by flowers against a river landscape in the background. Signed at bottom right:'Adr. Collaert fec. et exc.' captions above the fishes:'Barbus / Brama / Perca / Fundulus'. Numbered on the bottom left: '24' Engraving on paper, trimmed to platemark: total: 122 x 185 mm; state II/2; some dirt and stains on the verso; New Hollstein 1460; W. 28; Guilmard p. 479, 12; Funck p. 219, 9 OMP (Old Masters Prints Black Folders) C (5)

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. Versand D: 5,00 EUR

Fishes on shore surrounded by flowers against a river landscape in the background. Signed at bottom right:'Adr. Collaert fec. et exc.' captions above the fishes:'Barbus / Brama / Perca / Fundulus'. Numbered on the bottom left: '24'."Engraving on paper, trimmed to platemark: total: 122 x 185 mm; state II/2; some dirt and stains on the verso; New Hollstein 1460; W. 28; Guilmard p. 479, 12; Funck p. 219, 9 OMP (Old Masters Prints Black Folders) C (5) "

Muller, America 1460; Sabin 4737; Suriname-cat. UBA 0508a. First edition. The lively plates include topographic views, botanical, ethnographical and zoological subjects, and scenes from the life of the native Indians, the African-Americans and the white colonists. The plates are preceded by a historical survey of Surinam. According to the text on the title-page, there are one hundred plates (cent dessins ), but the list with illustrations in the book mentions only 99 illustrations, mainly half-page, on 49 plates. It is probable that the full-page lithographed title is included in the cent dessins. The Table des figures and the Table des matières have been bound in, in that order, after the plates. Binding rubbed, some browning or foxing. Good copy of this important work on Surinam.

Muller, America 1460; Sabin 4737; Suriname-cat. UBA 0508a. First edition of a richly illustrated work on Surinam by the Belgian artist Pierre Jacques Benoit (1782-1854), who travelled to Surinam in 1830, with all the illustrations printed on China paper. The lively plates include topographic views, botanical, ethnographic and zoological subjects, and scenes from the lives of the indigenous American Indians, African-Americans and the European colonists. The plates are preceded by an historical survey of Surinam, covering the population and their customs, rituals and objects, commerce, topography and geography, plantations, etc.Some occasional foxing and spotting. Spine restored. Overall in good condition. [Attributes: First Edition]

München und Leipzig, G. Hirth`s Kunstverlag, 1884, 1460. Erster & zweiter Band in einem. 5 nn. Bll., XVI, 297 S.; VIII, 263 Tafelseiten mit über 300 teils ganzseitigen Abbildungen. Fol., HLederband im Stil der Zeit mit eingebundener Original-Broschur Erste Ausgabe dieses Standardwerks. - Handeinband von Fiorella Grimani.

1460. Volume di 239 ff. di finissima pergamena, vergati recto e verso in elegante scrittura minuscola umanistica, in inchiostro bruno, mm.273x180, decorato da 2 grandi iniziali miniate con estensioni nei margini, 14 capilettera su quattro/cinque righe di altezza, 15 iniziali più piccole, tutte decorate a bianchi girari di netto stile fiorentino, in vari colori e oro brunito. Il nome dello scriba appare nell'explicit del colophon posto alla fine dell'Eneide "Liber Virgilii Eneidum explicit. Nicolaus riccius spinosus vocatus scripsit". Conservato nella legatura fiorentina strettamente coeva in cuoio decorato a secco su piatti in assicelle, quattro fermagli in pelle e metallo posteriori. Tre fogli del codice non sono originali, mancanti furono assai bene sostituiti da copie mss. vergate dal noto calligrafo William Graily Hewitt nel 1925. Stupendo manoscritto umanistico con illustri provenienze: collezioni Hornby e Abbey. (Descrizione bibliografica estesa a disposizione).

Venezia, Alfieri, 1976, 1460. 2 vols. Original cloth hardcovers with dustjacket in slipcase. 356 pp. & (4)pp., 871 illustrations on plates; 28.5x25.5 cm. -Minor wear, very good. See picture.

1460. A BEAUTIFUL ILLUMINATED COPY OF THE COMMENTARY ON THE EPISTLES OF PAUL BY HAIMO OF AUXERRE COMMISSIONED BY Jean II Budé. Illuminated manuscript on parchment, in Latin, France, Paris, c. 1460-1480 and c. 1500. Dimensions 278 x 105 mm. 193 folios, catchwords, guide words, numerous small initial in red and blue, TEN LARGE DECORATED INITIALSin blue or red and gold accented with foliage and flowers, LARGE FRONTISPIECE MINIATURE with acanthus leaf border and bas-de-page the arms of Jean Budé. BINDING: Late eighteenth-century red morocco attributed to Bozerian, with fitted red slipcase. TEXT: This manuscript contains the commentary on the Epistles of Paul by Haimo of Auxerre apart from Romans and 1-2 Corinthians which never intended to be included. Haimo of Auxerre taught at the school of the Benedictine house of Saint-Germain at Auxerre in the ninth-century and is the author of many widely-read commentaries on the Song of Songs, Revelations, and the Minor Prophets, as well as of many sermons. He was best known for his pedagogical skills and anticipated scholasticism by three centuries. ILLUSTRATION: The manuscript opens with a two panel, three-quarter page miniature depicting Saint Paul, on the left, sending his letter via messenger to the Galatians, on the right. The frontispiece was added about 20 to 30 years after the text was completed. Stylistic analysis suggests it was painted in Troyes where it could have been completed by one of the sons of Jean Budé, who were canons at the Cathedral St.-Pierre in Troyes, perhaps at the behest of Jean Budé's son Guillaume. The page … [Click Below for Full Description]

162 Seiten, 71 Farbabbildungen, davon 33 ganzseitige montierte Farbtafeln und vier Abbildungen im Text. 38 farbige Kleinabbildungen auf montierten Tafeln, ein Brieffaksimile. 39 cm Originalleinen mit Original-Schutzumschlag. Nur der Seitenvorderschnitt etwas fleckig mit ganz schwachen Farbspuren aus dem ATELIER der MALERIN HILDEGARD AUER im Originalpappschuber.Mit dem Werkstattverzeichnis in Köpfe 1 - 1097 - Landschaften 1098 - 1282 - Stilleben 1283 - 1460 - Zeichnungen 1461 - 1529 - Lithographien 1530 - 1535 - Sammlung Kirchhoff 1 - 33. Führt 1568 Arbeiten auf.

8vo. Dünndruck. Flexibles rotes/braunes OLdr. m. goldgeprägt. Deckel- u. Rückentitel. Kopfgoldschnitt. Sarkowski 1460. - Bd. 1-2: Dramatische Dichtungen Bd. 3: Gedichte und Erzählungen Bd. 4: Philosophische Schriften Bd. 5: Historische Schriften Bd. 6: Übersetzungen. - Gesamtausstattung unter Leitung v. Harry Graf Kessler u. Emery Walker. Buchtitel u. Überschriften v. Eric Gill, Halbtitel v. Edward Johnston. - Exlibris in Innendeckeln. Band 1 und 2 in Rot, der Rest in Braun. 2. u. 3. Bd. m. Fleckenam Rücken. Rücken ein wenig verblichen, Deckel m. einzelnen kl. Kratzern, sonst wohlerhalten.

1460. Firenze, dalla Stamperia Piatti, 1840, in-4, cartonatura edit. con decorazioni tipografiche, pp. IX, [1], 327, [1], CCIV. Con grande albero genealogico tipografico più volte ripiegato e 6 tavole incise in rame da Gio. Paolo Lasinio. Bellissimo esemplare.

Faksimile: (13,5 cm x 10.5 cm), 318 S., 47 farb. Miniaturen., 360 Zierleisten Kommentarbd.: Gr.8, 310 S., zahlr. Abb., Faksimile: Samteinband m. je vier vergoldeten Eckbeschlägen und je ein vergoldetes Medaillon mit zwei Schließen. Kommentarbd.: OLwd. auf Schuber montiert mit Plexiglasabdeckung., Fakismile: tadell. Kommentarbd.: Deckel Minimal angeschmutzt, tadell. VERGRIFFEN. Nr. 688 der 980 arab. num. Auflage (zusätzl. 80 röm. num. Ex., diese nicht im Handel).Karl der Kühne, Herzog von Burgund liess sich um 1460 vom Buchmaler Lieven van Lathem, dem Wiener Meister der Maria von Burgund sowie dem Schreiber Nicolas Spierinc ein Gebetbuch zum persönlichen Gebrauch anfertigen: das Gebetbuch Karls des Kühnen. Es legt Zeugnis davon ab, daß der mächtigste Mann in Europa auch als Mäzen nicht seinesgleichen hatte - ist doch das Buch Seite für Seite mit Gold ausgestattet! Auf 159 Blättern im Format 124 x 92 mm entfaltet sich in insgesamt 47 Miniaturen die überbordende Pracht burgundischer Bücherliebe. Die zeichnerische Fabulierlust setzt sich bis in die erfindungsreichen Bordüren fort, wo sich zwischen farbigem Akanthus und Goldpollen ungezählte Drolerien, Menschen und Vögel tummeln. Drei Porträts des Auftraggebers belegen die sehr persönliche Beziehung Karls zu seinem Gebetbuch.Auch die Textseiten beeindrucken durch reichen Schmuck. Die feine Kalligraphie wird von mehr als 360 Initialen auf zumeist ziseliertem Goldgrund gegliedert jede Textseite ist zudem mit einer ornamentalen Bordüre verziert. So spiegelt das Gebetbuch Karls des Kühnen Seite für Seite Pracht und Luxus Burgunds w … [Click Below for Full Description]

Faksimile: (13,5 cm x 10.5 cm), 318 S., 47 farb. Miniaturen., 360 Zierleisten Kommentarbd.: Gr.8, 310 S., zahlr. Abb., Faksimile: Samteinband m. je vier vergoldeten Eckbeschlägen und je ein vergoldetes Medaillon mit zwei Schließen. Kommentarbd.: OLwd. auf Schuber montiert mit Plexiglasabdeckung., Fakismile: tadell. Kommentarbd.: Deckel Minimal angeschmutzt, tadell. VERGRIFFEN. Nr. 688 der 980 arab. num. Auflage (zusätzl. 80 röm. num. Ex., diese nicht im Handel).Karl der Kühne, Herzog von Burgund liess sich um 1460 vom Buchmaler Lieven van Lathem, dem Wiener Meister der Maria von Burgund sowie dem Schreiber Nicolas Spierinc ein Gebetbuch zum persönlichen Gebrauch anfertigen: das Gebetbuch Karls des Kühnen. Es legt Zeugnis davon ab, daß der mächtigste Mann in Europa auch als Mäzen nicht seinesgleichen hatte - ist doch das Buch Seite für Seite mit Gold ausgestattet! Auf 159 Blättern im Format 124 x 92 mm entfaltet sich in insgesamt 47 Miniaturen die überbordende Pracht burgundischer Bücherliebe. Die zeichnerische Fabulierlust setzt sich bis in die erfindungsreichen Bordüren fort, wo sich zwischen farbigem Akanthus und Goldpollen ungezählte Drolerien, Menschen und Vögel tummeln. Drei Porträts des Auftraggebers belegen die sehr persönliche Beziehung Karls zu seinem Gebetbuch.Auch die Textseiten beeindrucken durch reichen Schmuck. Die feine Kalligraphie wird von mehr als 360 Initialen auf zumeist ziseliertem Goldgrund gegliedert jede Textseite ist zudem mit einer ornamentalen Bordüre verziert. So spiegelt das Gebetbuch Karls des Kühnen Seite für Seite Pracht und Luxus Burgunds w … [Click Below for Full Description]