[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 .

Mainz: [Johann Gutenberg], 1460 [second impression, Peter Schoeffer?, c. 1468-69]. 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 evide … [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]

Bruges, ca. 1460. n. Radiant is the word to describe the historiated initial here, its brilliant colors, shining gold, and pure white conveying the essence of the Holy Spirit.. 218 x 152 mm. (8 5/8 x 6"). Single column, 21 lines in a formal gothic book hand. Rubrics in red, two line fillers in pink and blue with gold accent, one- and two-line initials in burnished gold on a pink and blue ground with white tracery, verso with a floral panel border, RECTO WITH A SIX-LINE HISTORIATED INITIAL in pink and white on a burnished gold ground, its center SHOWING A WHITE DOVE WITH A GOLD NIMBUS AND RADIATING GOLD BEAMS OF LIGHT on a sun-like background of orange and yellow surrounded by blue, the same side WITH AN ANIMATED FULL FLORAL BORDER filled with blue and gold acanthus, sprays of flowers and fruit, and many tiny gold bezants. One corner repaired, just touching tip of full border, minor marginal thumbing, small, faint smear to border, otherwise an excellent leaf--smooth, well-margined, and with vibrant colors and glistening gold. Radiant is the word to describe the historiated initial here, its brilliant colors, shining gold, and pure white conveying the essence of the Holy Spirit.

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 er an die … [Click Below for Full Description]

Standort: FLUR Folio ( 26, 5 x 19 cm). Dunkelgrüner Originalleinenband mit goldgeprägtem Rückentitel in dunkelgrüner Originalleinenkassette mit Deckelschild und Rückentitel. 232 faksimilierte Blätter mit zahlreichen farbigen ( 469 ) Miniaturen bzw. 213 Seiten mit 31 teils ganzseitigen Abbildungen (Kommentarband). Sehr gutes, nahezu verlagsfrisches Exemplar. Faksimilie der Handschrift v. 1460, 2 Bände (Vollfaksimile u. Kommentar- bzw. Einführungsband) in Kassette. In kleiner numerierter Auflage erschienene vollständige Wiedergabe nach der Handschrift (Urb.lat. 276) in der Bibliotheca Apostolica im Vatikan, hier in einem Exemplar der einfacheren Ausstattung in Ganzleinen. Mit dem Kommentarband von Cynthia M. Pyle. Candidus verfasste das Tierbuch um 1460 für Lodovico Gonzaga, 1515 wurde es illuminiert. Bei seinem Werk handelt sich um eine der schönsten und zugleich für die Geschichte der Zoologie wichtigsten naturwissenschaftlichen Buchillustrationen des 15. Jahrhundets. Mit Abbildungen von 450 teils exotischen Tierarten wie Nashorn, Seelöwe und Leopard sowie verschiedenen Fabelwesen (Phoenix, Einhorn etc.). Wundervolles und prächtig ausgestattetes Faksimile eines der wertvollsten zoologischen Manuskripte aus der Biblioteca Apostolica Vaticana. Faksimile, Faksimiles, Buchwesen, Buchmalerei

Zustand: wie neu Einzigartige Prachtausgabe der Heiligen Schrift mit über 300 Buchmalereien aus Handschriften aus der Zeit vom frühen 12. Jahrhundert bis zum 15. Jahrhundert, die von der Österreichischen Nationalbibliothek normalerweise zum Schutz vor Verfall und Beschädigung unter Verschluss gehalten werden. Die Wiener Bilderbibel wurde in einer strikt limitierten Auflage von 1.500 Exemplaren aufgelegt. Jedes Exemplar ist ein handgefertigtes Unikat mit Rundum-Goldschnitt und Ledereinband. Es erfüllt damit für Sammler und Liebhaber neben dem künstlerischen Anspruch auch die Voraussetzungen für eine sichere und nachhaltige Wertanlage - ein Familienerbstück für Generationen. Die Illustrationen stammen aus ca. 20 Bibelhandschriften, darunter die Neapolitanische Prachtbibel von 1360, die Soudenbalch-Bibel aus Utrecht von 1460, die Historienbibel aus Urach von 1463 und die legendäre Wenzelsbibel von 1389-99: die erste deutsche Bibelübersetzung, die bereits 140 Jahre vor Luther entstand. Ein auf Archivaufnahmen spezialisierter Fotograf hat alle 300 Illustrationen vor Ort aufgenommen. Mit großem technischen Aufwand wurden die Illustrationen dann reproduziert: Dank Golddruck und Patinierung wirken sie absolut originalgetreu. Etwa ein Drittel der Illustrationen wurde sogar im Zuge eines Spezialverfahrens mit Goldfolie bedruckt. Begleitet werden die 300 faszinierenden Darstellungen von der ökumenischen Fassung "Die gute Nachricht" dem einzigen interkonfessionellen Bibeltext. Jedes Exemplar der Wiener Bilderbibel ist ein handgefertigtes Unikat, dessen Herstellung die traditione … [Click Below for Full Description]

352 Seiten (172 Folios) mit über 850 Bildmotiven, 39 Seiten mit großen Miniaturen, 24 Seiten mit 4-seitigen Bildbordüren und jew. einem Medaillon in Gold-Camaieu, 248 Seiten mit drei Miniaturen Format 25,2 x 17 cm, gebunden in blauem Samt über Holzdeckeln mit 5 sichtbaren Bünden, Goldschnitt. entstanden ca 1460-65 Dreieck Angers, Tours und Poitiers, Museu Fundcao Calouste Gulbenkian, Lissabon, Ms. L.A. 135 BL Eine Rechnung mit ausgewiesener Mehrwertsteuer liegt Ihrer Bestellung bei.

Bruges, ca. 1460. n. The Crucifixion scene is simple but moving: the Virgin Mary and Saint John stand on either side of the cross, looking mournful, as Christ's head bows in submission to his fate. The Deposition has more action, with Joseph of Arimathea struggling to carry Christ down a ladder as the nails that pierced his hands and feet scatter on the ground. Nicodemus stands by to receive the body, and in an especially affecting touch, the Virgin Mary clutches her dead son's outstretched but lifeless hand.. 218 x 152 mm. (8 5/8 x 6"). Single column, 21 lines in a formal gothic book hand. Rubrics in red, one- and two-line initials in burnished gold on a blue and pink ground with white tracery, EACH SIDE WITH A SIX-LINE HISTORIATED INITIAL in pink with white tracery on a burnished gold ground, ONE DEPICTING THE CRUCIFIXION, THE OTHER THE DEPOSITION, BOTH SIDES WITH A FULL FLORAL BORDER alive with blue and gold acanthus, brightly colored fruit and flowers, and many tiny gold bezants. One upper corner repaired, with slight fading to the adjacent tip of the border, short slit to tail margin, just touching the edge of the border, a couple of mild smudges, otherwise an excellent leaf, clean, smooth, and well-margined, with rich colors, intact paint, and shining gold. The Crucifixion scene is simple but moving: the Virgin Mary and Saint John stand on either side of the cross, looking mournful, as Christ's head bows in submission to his fate. The Deposition has more action, with Joseph of Arimathea struggling to carry Christ down a ladder as the nails that pierced his hands and f … [Click Below for Full Description]

Bruges, ca. 1460. n. The small but remarkably detailed scene here shows Jesus tied to a red pillar in the middle of a large room, its tessellated floor, stone walls, and barrel ceiling adding depth. On either side of Christ is a soldier in helmet, tunic, and leg armor with an upraised cat-o'-nine-tails. Tiny red welts have already appeared on Christ's body, but his expression is gentle and forgiving. One soldier shows enthusiasm for his task, while the bored expression on the face of the other brings to mind the phrase "banality of evil.". 218 x 152 mm. (8 5/8 x 6"). Single column, 21 lines in a formal gothic book hand. Rubrics in red, one- and two-line initials in burnished gold on a blue and pink ground with white tracery, recto with a pink and burnished gold bar border on the left of the text, with sprays of flowers bursting from either end, and a floral panel border on the right; verso with A SIX-LINE HISTORIATED INITIAL in pink with white tracery on a burnished gold ground, CONTAINING A DEPICTION OF THE SCOURGING OF CHRIST, the same side with A FULL FLORAL BORDER filled with blue and gold acanthus, sprays of flowers and fruit, and many tiny gold bezants. One corner repaired, with consequent blurring to a tiny bit of the border, minor marginal smudges, otherwise a fine leaf, generally clean and smooth, with comfortable margins, vibrant colors, and glowing gold. The small but remarkably detailed scene here shows Jesus tied to a red pillar in the middle of a large room, its tessellated floor, stone walls, and barrel ceiling adding depth. On either side of Christ is a sold … [Click Below for Full Description]