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Displayed below are some selected recent viaLibri matches for books published in 1470

        [Book of Hours]

      [northern France (Paris), 1470. Illuminated manuscript on vellum, in Latin and French, 130 leaves (plus 2 vellum endleaves at front and 8 at back), wanting leaves with miniatures at fols. 24, 74, 88, 94 and 129, single column, 14 lines in a fine late gothic bookhand, capitals touched in yellow, red rubrics, one- and 2-line initials in liquid gold on blue and pink grounds heightened with white penwork, eleven border panels of single line foliage with gold and colored leaves and fruit (fols. 18r, 22r, 34v, 44v, 49v, 53v, 57v, 61v, 69v, 122v, 127r), fifteenth-century paper devotional sheet with the heart pierced by the Cross between the inscription: "Ihs est amor meus" pasted to recto of second front endleaf (upper lefthand corner torn away), and with prayers in manuscript on 8 leaves at end. 12mo (142 x 102 mm). Modern tooled calf over pasteboards in medieval style, gilt tooled on spine, a.e.g., by by R. Petit. Some small smudges and slight cockling to a few leaves, else excellent and clean condition. Illuminated manuscript on vellum, in Latin and French, 130 leaves (plus 2 vellum endleaves at front and 8 at back), wanting leaves with miniatures at fols. 24, 74, 88, 94 and 129, single column, 14 lines in a fine late gothic bookhand, capitals touched in yellow, red rubrics, one- and 2-line initials in liquid gold on blue and pink grounds heightened with white penwork, eleven border panels of single line foliage with gold and colored leaves and fruit (fols. 18r, 22r, 34v, 44v, 49v, 53v, 57v, 61v, 69v, 122v, 127r), fifteenth-century paper devotional sheet with the heart pierced by the Cross between the inscription: "Ihs est amor meus" pasted to recto of second front endleaf (upper lefthand corner torn away), and with prayers in manuscript on 8 leaves at end. 12mo (142 x 102 mm). This diminutive Book of Hours comprises: a Calendar (fol. 1r); Gospel Readings (fol. 13r); Obsecro te (fol. 18r); O intemerata with the title "Orison devote a la vierge me" (fol.22r); the Hours of the Virgin, with Matins (fol. 25r), Lauds (fol. 34v), Prime (fol. 44v), Terce (fol. 49v), Sext (fol. 53v), Nones (fol. 57v), Vespers (fol. 61v) and Compline (fol. 69v); the Seven Penitential Psalms (fol. 75), with a Litany (fol. 85r) and prayers; the Hours of the Cross (fol. 89r); the Hours of the Dead (fol. 95r), followed by prayers, including the "xv ioyes nostre dame" (fol.122v) and the "vii requestes nostre seigneur" (fol.127r), both in French.

      [Bookseller: James Cummins Bookseller]
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        Fragmentos de la vida, y virtudes del v. illmo. y rmo. Sr. Dr. D. Vasco de Quiroga primer obispo de la santa iglesia cathedral de Michoacan, y fundador del real, y primitivo Colegio de s. Nicolàs obispo de Valladolid ... Con notas criticas, en que se aclaran muchos puntos historicos, y antiguedades americanas especialmente michoacanenses.

      In the 18th century Mexico saw a birth of great biographical writing focusing on important figures in its history, especially its ecclesiastical history. Vasco de Quiroga (1470-1565) was an imposing and perhaps quixotic figure during the early post-Conquest decades. A learned man, he arrived in Mexico in 1531 as one of the first four judges of the high court (i.e., oidores) and became the first bishop of the far western province of Michoacan. In that "out of the way" region of Mexico he devoted himself to establishing European culture, ensuring fair treatment of the indigenous population, creating towns and cities, and building the first utopian community in the New World. => Not the least of his accomplishments was the creation of two pueblo-hospitals for native Americans, and appended and integral to this biography are his "Reglas, y ordenanzas para el gobierno de los Hospitales de Santa Fé de México, y Michoacàn," which occupy the final 29 pages. Historians still consider this to be the definitive biography of Quiroga. The => engraved portrait of him, handsome and from the burin of José Morales, adds a face to the words of the biographer and to the account of the deeds of the biographee.

      [Bookseller: PRB&M/SessaBks (Philadelphia Rare Books ]
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         Anatomie de l'homme, ou description et figures lithographiées de toutes les parties du corps humain; ... publiée par C. de Lasteyrie. ... Tome premier[-second]. Brussels, Livorno, Leipzig, Auguste Wahlen, 1828[-1831?]. 2 volumes plus a supplement, bound as 1. Royal folio (52 x 35.5 cm). With 2 letterpress title-pages and 300 numbered lithographed plates. Later 19th-century half sheepskin parchment. .

      WorldCat (2 copies); cf. Heirs of Hippocrates, 1470; Norman Library 490; Twyman, Lithography 1800-1850, pp. 50-56. The complete plates-volumes of the first anatomical atlas to be illustrated by lithography, by the professor of clinical surgery Jules Germain Cloquet (1790-1883), here in a very rare Brussels edition, not recorded in the standard literature. Cloquet, who reformed education through the use of pictorial aids, conceived the project together with A. Béchard (who subsequently withdrew): a huge anatomical atlas with more than half of the illustrations newly drawn for the publication, mostly by Cloquet and his sister Lise, and the rest copied from the best earlier ones. The Anatomie de l'homme is believed to have been first published in 51 parts, but is usually found in 5 volumes published from 1821 to 1831, with the plates printed in Paris by Charles-Philibert de Lasteyrie, Godefroy Engelmann and Léon Brégeaut and/or Auguste Belin. Each volume covers a different aspect of human anatomy. The volumes I-IV of this edition appeared shortly after the Paris volumes III & IV were published in 1828, and the fifth volume after soon after the Paris edition appeared in 1831. Most of the plates in this Brussels edition name the artists who transferred the drawings to the stones and the lithographic offices that printed them, but none match those of the Paris edition. So they were all or mostly printed from a new set of lithographic stones. The edges of some plates have been folded, some plates are slightly foxed, but overall in good condition..

      [Bookseller: ASHER Rare Books (Since 1830)]
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        Il cavallo da maneggio. Libro dove si tratta della nobilissima virtu del cavalcare, come il cavagliere deve star' à cavallo ...Vienna, Giovan Giacomo Kyrner, 1650. Small folio (30 x 19.5 cm). Engraved frontispiece; engraved coat of arms on verso of title-page, apparently of the dedicatee King Ferdinand IV of Hungary and Bohemia, with the motto "Arte, Virtute et Marte"; 56 engravings (30 in the text and 26 printed on 14 leaves (1 double-page plate indicates the anatomical parts of the horse)), depicting horse training scenes, harnesses, bridles, spurs etc.; woodcut head- and tailpieces & initials. Contemporary vellum, each board with a central coat of arms (front and back different: probably both members of the family of the Habsburg Kings of Hungary & Bohemia, perhaps Ferdinand III or IV), gold-tooled ornamental triple borders and corner pieces, leather ties, gilt edges.

      Nissen, ZBI, 1470; Quereuil, 1930, 122; VD 17 23:321034Z; cf. Lipperheide 2908 (1659 ed.). Extremely rare first edition of a treatise on horses and horsemanship, especially the training of horses, by Giovanni Battista di Galiberto, a count from Naples, Colonel in the Imperial army of Ferdinand III and teacher of cavalry and horse training for the Emperor in Vienna. It describing the properties of the horse, the training and treatment of horses (magnificently illustrated with various bridles, harnesses and spurs) and the medicinal treatment of horses.With bookplate of John Mortimer Schiff pasted on inside front cover. Last leaves somewhat browned, tooling on binding oxidized. Fine copy of this work on horse-training.

      [Bookseller: ASHER Rare Books (Since 1830)]
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        Single Manuscript Leaf from a French Book of Hours

      France, 1470. Very Good. Text with prayers for the Church. 6 1/4 x 4 1/4 inches. Written on vellum in a fine Gothic hand, text in Latin, single-column, 14 lines per page (the verso with only 10 lines, likely at the end of a section of the text), recto and verso with lovely floral borders in blue, green, red and gilt with an unusual iconography of John the Baptist with the Lamb of God, 3 two-line gilt initials on blue and terra cotta grounds, the beginnings of the prayers marked in red; some very minor soiling to the margins, otherwise, Fine. The text on this fifteenth-century manuscript Book of Hours leaf contains prayers for the Church: "Make thy church shine, we ask, O Kindly Lord, so that illuminated by the teachings of blessed John thy apostle and evangelist it may reach thy eternal gifts.

      [Bookseller: John Howell for Books]
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        Ars Moriendi [Inspiration Against Despair]

      [South Germany, , c. 1470?-80]. Quarto (248 × 188 mm). Single leaf from a block book, contemporary hand-coloured woodcut printed on one side of the leaf only. Mounted and framed. A few small repairs to verso. Excellent condition. An extremely rare block book leaf, one of only two known to survive from this edition of the Ars Moriendi (The Art of Dying). Block books were a short-lived book format that coexisted with the earliest books printed using movable type. They were composed of individual woodcuts (often hand-coloured), and were usually based on older works that had circulated as manuscripts. The Art of Dying taught Christians how to avoid sin on the deathbed, and the illustrations depicted devils competing with angels and saints for a dying man's soul. This leaf is the ninth in a series of eleven images, showing the dying man protected from despair by a vision of the Penitent Thief, St. Peter, Mary Magdalene (carrying her ointment jar), and an angel. The series of images to which this leaf belongs is first recorded in a manuscript of c. 1420?-1430 in the Wellcome Library. The images were then engraved by the Master E.S., an anonymous artist of the Upper Rhine, from which various blocks were cut and used for both block books and incunabular editions (GW 2571 ff). The text accompanying this particular series of woodcuts is known as "Quamvis secundum philosophum tertio ethicorum" and block book editions usually had a page of text and a woodcut printed next to each other on one side of the sheet, which may well have been the case with this leaf. The actual woodblock used for this printing has been traced to its use in an uncoloured block book in the Herzog August Bibliotek, Wolfenbuttel, xylogr. 8, which is dated to c. 1480?-85 (the same woodcut is recorded with the text in the banderoles in German rather than Latin, as here; see HAB xylogr. 7).

      [Bookseller: Peter Harrington]
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        3 Illuminated Vellum Manuscript Leaves from a Book of Hours [Framed]

      Poiters [circa 1470]. () Fine. Three double-sided illuminated manuscripts presented in a gold frame, with metallic gold bevelled-edge matting ontop of a off-white bevelled-edge mat. Framed piece measures 508mm X 222.25mm. Two outside manuscripts (130MM X 97mm) have rubrics in red, leaves with variable numbers of one and two line capitals in blue and white tracery. Burnished gold ground infilled with ivy leaves in blue, orange, and white. Panel borders feature fantastical animals (these manuscripts have been selected for the animals to be framed facing each other, one features a panel on the left and one one the right). Manuscript at center (159MM X 108mm) is a single column of 14 lines in gothic book hand. Panel border on right side features curling blue and gold acanthus leaves at bottom and red, green and gold flowers above with a whimsical hybrid of animal and human (trumpeter with bird legs) at center. These leaves come from a large fragment a Book of Hours, executed by artists whose illumination and zoomorphic inhabitation can only be viewed as incredibly charming. Presented here in a very attractive double-sided framing..

      [Bookseller: Aquila Books]
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        Reizen in de binnenlanden van Australie, in de jaren 1817 en 1818, . . . Uit het Engelsch, met platen en kaarten.Dordrecht, Blussé, Van Braam, 1821. 8vo. With 2 engraved views (1 folding) by J.C. Bendorp and 2 engraved folding maps by C. van Baarsel & son (30.5×62 and 21.5×63 cm). Contemporary sprinkled half sheepskin.

      Ferguson 835; Saalmink, p. 1470; cf. Wantrup, pp. 180-184; not in Tiele, Bibl.; for the author: Dunlop, "Oxley, John Joseph William Molesworth (1784-1828)", in: ADB (online ed.). First Dutch edition of "the foundation work in the field of Australian inland exploration and the first detailed description of the interior of New South Wales" (Wantrup). It details Oxley's two important expeditions into the inlands of New South Wales, then as little known as the mountains of the moon. John Oxley (1784?-1828) had been Surveyor General in New South Wales since 1811. In March 1817 he was selected to lead an expedition to trace the Lachlan River and to determine whether it entered into sea or into an inland lake; the results were rather disappointing. Tracing the river into impassable marshes, Oxley was compelled to return, arriving back at Bathurt on 29 August 1817. In May 1818 he was sent on a second expedition to investigate the Macquarie River. He discovered Castlereagh River, Liverpool Plains, the Peel River and Hastings River. With bookplate on pastedown. Some browning, the plates with a faint waterstain in upper margin, but otherwise in good condition. The binding scuffed with a small piece of leather near the front hinge gone.

      [Bookseller: ASHER Rare Books (Since 1830)]
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        Illuminated Manuscript Leaf with Miniature of Pentecost

      Paris: np. Paris: np. 1st Edition. No Binding. Very Good. llluminated manuscript leaf from a French Book of Hours with beautiful miniature of Pentecost. 16 lines of text on each side written in Latin with brown ink in gothic script on parchment; 2 double-line illuminated initials in burnished gold, with red and blue; 4 single-line illuminated initials in burnished gold, with red and blue; 2 line fillers in blue with burnished gold. Contains text from Hours of the Holy Spirit, Hours of the Cross, and psalm 50. In this stunning miniature of Pentecost, the Virgin is encircled by the apostles; figures are illuminated with gold. Gorgeous foliate border with blue and gold acanthus leaves and red, pink, and blue flowers with gold decorations. On recto, a half-man/half-animal appears on lower border opposite an animal; brown bird featured in border on verso. Colors and gold extremely bright. Paris: c. 1470. Size: Leaf: 135 x 99 mm (5.3 x 3.9 inches). Miniature: 32 x 32 mm (1.3 x 1.3 inches). The text in Latin: …iudicium tuum et animam meam, nunc, et in hora mortis meae: et mihi largiri digneris gratiam et misericordiam: vivis et defunctis requiem et veniam: Ecclesiae tuae pacem et concordiam, et nobis peccatoribus vitam et gloriam sempiternam. Domine labia mea aperies et os meum annuntiabit laudem tuam. Deus in adiutorium meum intende. Domine ad adiuvandum me festina. Gloria Patri, et Filio: et Spiritui sancto. Nobis sancti Spiritus gratia sit data. De qua virgo virginum fuit obumbrata. Cum per sanctum angelum fuit salutata. Verbum caro factum est virgo foecundata. Veni sancte spiritus reple tuorum corda fidelium et tui amoris in eis ignem accende. Emitte spiritum tuum, et creabuntur. Et renovabis faciem terrae. Omnipotens sempiterne deus da nobis illam sancti graciam… English Translation: ...thy judgment and my soul, now, and in the hour of my death and vouchsafe to grant unto me grace and mercy: to the living and the dead rest and pardon: to thy Church peace and concord, and to us sinners life and glory everlasting. O Lord, Thou wilt open my lips: and my mouth shall declare Thy praise. Incline unto my aid O God. O Lord make haste to help me. Glory be to the Father, and to the Son: and to the Holy Ghost. The grace of the Holy Ghost free unto us befall: Wherewith was overshadowed the maid of maidens all. When the angel Gabriel his salutation said, The Word itself flesh became and virgin fruitful made. Come O Holy Ghost, replenish the hearts of thy faithful: and kindle in them the fire of thy love. Send forth thy spirit, and they shall be created. And thou shalt renew the face of the earth. All powerful and everlasting God, grant us the grace of the holy spirit….

      [Bookseller: The Manhattan Rare Book Company]
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        Scrutinium scripturarum. [ Relié avec : ] Margarita Davitica.

      Strasbourg, Johann Mentelin 1470 - In-folio [285 x 201 mm]. Collation : (218) ff., les feuillets 72, 217 et 218 blancs. Peau de truie estampée sur ais de bois à décor floral. (Reliure de l'époque.) Première édition. Pablo de Sancta Maria, dit aussi Paul de Burgos, (1351-1435), de son premier nom Solomon ha-Levi était rabbin et se convertit au catholicisme à la lecture des oeuvres de Thomas d'Acquin. Il passa plusieurs années à Paris, où il fut reçu docteur en théologie, séjourna à Londres et entama une carrière ecclésiastique en Espagne, et finit archevêque de Burgos. Il s'employa activement à la conversion des juifs et composa cet ouvrage l'année précédent sa mort. Le texte se présente sous la forme d'un dialogue entre Saul, un juif, et Paul, un chrétien. Cet écrit servira de base à toutes les publications ultérieures contre les juifs jusqu'à Martin Luther et au delà. Johannes Mentelin ou Jean Mentel (Sélestat,1410 - Strasbourg, 1478) a été le premier imprimeur de Strasbourg; il est très probable que Mentelin avait appris le nouvel d'art d'imprimer auprès de Gutenberg. Il existe deux tirages de ce volume, tous les deux sans date, avec de légères différences typographiques. Dans le premier, selon le BMC, la collation des trois premiers cahiers est : a10, b10, c12. Dans le second, la collation est a10, b12, c10. Cet exemplaire est bien du premier tirage, le second cahier en 10 feuillets et le troisième, 12. Piqûres de vers sur les premiers feuillets. GW M29971. Goff P-201. BMC I, 54. ISTC ip00201000. [Relié avec à la suite :] - Margarita Davitica, seu Expositio psalmorum. [Augsburg, Günther Zainer, vers 1475-76]. In-folio de (122) ff. Première et seule édition incunable. Elle est remarquable par les deux grandes et belles initiales en tête de volume. Ces "perles" des Psaumes de David sont compilées d'après les commentaires de Saint-Jérome, Saint-Augustin et Cassiodore. Günther Zainer était le premier imprimeur d'Augsburg. Il manque les deux derniers feuillets qui contiennent la table; ils paraissent n'avoir jamais été reliés dans cet exemplaire. Un seul exemplaire en France (BNF). BMC II, 323. GW M20961. Goff M262. ISTC: im00262000. Superbe exemplaire dans une reliure strictement contemporaine. 1). First edition, first issue. Paul of Burgos was a Spanish Jew who converted to Christianity, and became an archbishop. He tried his best, frequently with success, to convert his former coreligionists. Impelled by his hatred of Talmudic Judaism, Paul in the year preceding his death composed this book. The text is a dialogue between Saul, a Jew, and Paul, a Christian. It subsequently served as a source for Alfonso de Spina, Geronimo de Santa Fé, and other Spanish writers hostile to the Jews, and Martin Luther in Germany for his treatise 'On the Jews and their Lies'. 2). First edition. Two fine large woodcuts initials at the beginning. Very fine contemporary binding. // You can browse all my books on [Attributes: First Edition; Hard Cover]

      [Bookseller: Hugues de Latude]
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        Il Petrarca. Nuovissamente revisto, e corretto da Lodovico Dolce. 3 Teile in einem Band.

      . Klein-Oktav. Mit 3 Holzschnitt-Druckermarken, 6 halbseitigen Textholzschnitten und 1 doppelblattgroßen Holzschnittkarte. 27 nicht nummerierte Blatt, S.7 - 400 (mit diversen Fehlpaginierungen, aber so komplett), 64 nicht nummerierte Blatt. Flexibler Pergamentband der Zeit mit altem handschriftlichem Rückentitel.. Kommentierte Zusammenstellung der "Canzoniere" und der "Trifoni" des Francesco Petrarca in einer illustrierten Ausgabe des 16. Jahrhunderts auf Italienisch. - BM, Italien Books S. 505; Adams P - 826; Brunet IV,551. - Zum Inhalt: Teil 1: Die "Canzoniere" - eine Bezeichnung der um 1470 erschienen Lyriksammlung, die erst im 19.Jahrhundert üblich wurde - beschreibt die Liebe des lyrischen Ichs zu einer Dame Laura. Die Geschichte, die die Begegnung, das Liebeswerben, die unerfüllte Sehnsucht des Liebenden und schließlich den Tod der Geliebten beschreibt, gliedert sich in zwei Abschnitte: der Verherrlichung der lebenden und der toten Laura. Teil 2: Die Dichtung "Trionfi" gliedert sich in sechs Teile, in denen "die charakteristischen Schicksale der Seele des Dichters und die Historie des Menschengeschlechts erzählt" werden (siehe KNLL - P 181). Auch hier spielt die Figur der Laura, von der angenommen wird, daß ihr Petrarca wahrscheinlich im April 1327 begegnete und die im April 1348 verstarb, eine Rolle: "Am Jahrestag des Beginns seiner Liebe zu Laura [...] defilieren wie in den militärischen Triumphzügen des antiken Roms sechs allegorische Figuren an dem Dichter vorbei" (KNLL a.a.O.) und zwar: die Liebe, die Keuschheit, der Tod, der Ruhm, die Zeit und die Ewigkeit. Beide Dichtungen - sowohl die "Canzoniere" als auch die "Trionfi" übten "eine einzigartige Wirkung auf die geistige Renaissance aus" (KNLL a.a.O.). In dieser Auswahl sind sie eingerahmt von kurzen Lebensabrissen Petrarcas und Lauras, den Kommentaren des italienischen Gelehrten Giulio Camillo sowie mehreren Registern (Teil 3). - Der Humanist Ludovico Dolce (1508 - 1568) war für den Drucker Gabriele Giolito de' Ferrari über 35 Jahre lang als Übersetzer und Herausgeber tätig. - Brunet (a.a.O.) führt mehrere Ausgaben auf, bezeichnet die vorliegende aus dem Jahre 1559 als "une des meilleurs [editiones]". - Dem "Buch der Lieder - Canzoniere" ist ein ganzseitiger Holzschnitt mit dem Bildnis von Petrarca und Laura, den einzelnen Teilen der "Triumphe" jeweils ein schöner allegorischer Textholzschnitt beigegeben. Die doppelseitige Holzschnittkarte zeigt den vermeintlichen Geburtsort Lauras und die Orte der Begegnung mit Petrarca. - Fleckig (besonders der obere Teil des Vorderdeckel); berieben und bestoßen; leicht gewellt. Fleckig; Titel mit alten handschriftlichen Vermerken; vereinzelt kleinere Ein- und Ausrisse; Blatt 45 - 47 (Register am Ende) fachmännisch angerändert (Blatt 45 bei Überschrift mit Textverlust).

      [Bookseller: Antiquariat Peter Terrahe & Angelika Osw]
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        Stundenbuch Luis de Laval

      Siloe, Bibliotheca Rara,. Bibliotheque nationale de France Ms. lat. 920; Frankreich, Bourges (?), 1470-75 und 1485-89 700 Seiten (350 Folios), 1234 miniaturen, davon 157 ganzseitige Illustrationen; Sprache: Latein Format 24,3 x 17,2 cm. mit deutschem Kommentar von Prof. Dr. Eberhard König Bl

      [Bookseller: Versandantiquariat Karl Heinz Schmitz]
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        Catholicon. (GW 3185, HC 2251, ISTC ib00023000) Blatt "A ante c"

      Strassburg: Adolf Rusch, um 1470 /77. Type 2. (Wohl 4. Ausgabe des Catholicon). Zweispaltiges, 67-zeiliges Original-Inkunabelblatt mit roten und blauen Lombarden, rot gestrichenen Versalbuchstaben und roten Rubriken. Festes und klanghelles Papier ohne Wasserzeichen. Nummernstempel im unteren Rand und Marginale der Zeit. Blattgröße: 41 x 28,5 cm.. Die zeitliche Einordnung der verschiedenen Drucke des Catholicon vor 1480 ist bisher nicht geklärt. Schaut man sich die Ausgaben oberflächlich an, so macht die nur 49-zeilige Ausgabe von Zainer von 1469 (GW 3183) den Eindruck, als handele es sich um eine einfache, erste Ausgabe des Werkes. Alle anderen Ausgaben liegen Papier sparend, zwischen 65 und 67 Zeilen. Die beiden 65- und 67-zeiligen Rusch - Ausgaben, die vom Gesamtkatalog der Wiegendrucke (GW) zeitlich nahe an die Schöffer-Ausgabe herandatiert sind, sind wohl die 3. und 4. Auflage des Werkes. Der ISTC gibt für den 67-zeiligen Rusch - Druck zwei Druckdaten an: um 1470 und 1475-77. - - - - Der Gutenberg-Schöffer-Druck des Catholicon (GW 3182), von dem angenommen wird er ist die Erstausgabe des Werkes, bleibt trotz intensiver Forschung ein Rätsel. Für Lotte Hellinga ist diese 66-zeilige Ausgabe (GW 1182), die im GW den Zusatz "( Johann Gutenberg ?)" 1460 trägt, erst 1469 auf drei zu diesem Zeitpunkt zur Verfügung stehenden Papiersorten und Pressen gedruckt worden (Gutenberg-Jahrbuch 1989, 47-96). Papier war teuer und konnte, wie die heutigen Inkunabeln beweisen, lange aufbewahrt werden. Paul Needhams behauptet dagegen, der Druck GW 3182 sei 1460, 1469 und 1472 druckidentisch auf zu diesen Zeitpunkten zur Verfügung stehenden Papiersorten gedruckt worden. Da die drei Gutenberg-Schöffer-Ausgaben druckidentisch waren, mussten etwa 8 Tonnen Stehsatz in Blei 12 Jahre lang aufbewahrt werden. Sollte aber bereits 1460 der stereotypische Nachdruck erfunden worden sein, bleibt die Frage warum diese technische Errungenschaft nach 12 Jahren Verwendung wieder aufgegeben wurde und erst im 19. Jahrhundert neu entwickelt wurde. Der Prolog zu diesem hier angebotenen Inkunabelblatt aus dem GW 3185 orientiert sich an der Zainer-Ausgabe des Catholicon von 1469. (Hellinga G-J 1989, 59)

      [Bookseller: Versandantiquariat Christine Laist]
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        Inkunabel-Blätter von 24 verschiedenen deutschen Druckern aus 10 verschiedenen deutschsprachigen Druckorten. Incunabula-text-leafs from 24 different german printers of 10 different germanspeaking places.

      Druckorte - printing place: Augsburg, Basel, Freiburg, Köln, Leipzig, Lübeck, Mainz, Nürnberg, Strassburg, Tübingen. Drucker - printer: Amerbach, Bämler, Brandis, Drucker der Vitas Patrum, Drucker der Palude, Fischer, Flach, Froben, Götz, Grüninger, Koberger, Koelhoff, Otmar, Petri, Ratdolt, Schöffer, Schönsperger, Schott, Schüssler, Sensenschmidt, Sorg, Stöckel, Stuchs, Zainer. Gedruckt zwischen - Printed between: 1470 - 1499.. Eine Beschreibung der einzelnen Inkunabelblätter wird in Form einer detaillierten Liste beigefügt. A list of description is enclosed with the leafs.: --- 1. Josephus, Flavius : De antiquitate Judaica. (GWM 15160) Augsburg, Johann Schüssler, 28. Juni 1470, Type 1. Zweispaltiges, 50-zeiliges Original-Inkunabelblatt mit roten Rubriken. Festes und frisches Papier. Erstausgabe. Blattgröße: 28,5 x 39,6 cm. --- 2. Rudimentum novitiorum (GW M39062, H 4996) Lübeck, Lukas Brandis, 15. August 1475. Type 1. Zweispaltiges Original-Inkunabelblatt mit rubrizierten Majuskeln und Rubrikzeichen und einem Holzschnitt. (Blattgröße: 27,5 x 36,5 cm). --- 3. Jacobus de Voragine: Legenda aurea, deutsch (GWM 11410, H 9969) Nürnberg, Johann Sensenschmidt, 28. Juli 1475. Type 3. Zweispaltiges, 53-zeiliges O-Inkunabelblatt mit rubrizierten Majuskeln u. roter Blattzahl. Im Rand etw. fingerfleckig. Blattgröße: 26 x 36,5 cm. --- 4. Jacobus de Voragine: Der Heiligen Leben. (GWM 11352, H 9970, Sant Eustachius. Augsburg, Johann Bämler, 20. März 1475. Type 1a, 2. Einspaltiges 31-zeiliges Original Inkunabelblatt. Blatt gebräunt und knapp beschnitten. Blattgröße: 15 x 21,5 cm. --- 5. Biblia dt. (6. deutsche Bibel), Blatt LXXXXVIIII "Die Weissagung" (GW 4300, H 3134). Augsburg, Günther Zainer, 1477. Type 2. Zweispaltiges, 51-zeiliges O-Inkunabelblatt mit rubrizierten Majuskeln. Blatt wurm-stichig und im Rand mit Einschnitt und knapp beschnitten. Blattgröße: 28 x 34 cm. --- 6. Biblia. Liber Genesis, Blatt IX, (GW 04239, HC 3072). Nürnberg, Anton Koberger, 6. August 1479. Type 3, 4. Zweispaltiges, 51-zeiliges O-Inkunabelblatt mit 3 roten u. blauen Lombarden und rot gestrichenen Versalbuchstaben. Breitrandiges Exemplar auf festem Papier. Blattgröße: 28 x 40,5 cm. --- 7. Biblia. (GW 4235, HC 1025) Nachabe Orum I. Köln: Nikolaus Götz, 9. Mai 1480. Type 1. Zweispaltiges 42-zeiliges O.-Inkunabelblatt mit rot gestrichenen Versalbuchstaben. Breitrandiges Exemplar. Blattgröße: 21 x 29 cm. --- 8. Biblia, deutsch (8. deutsche Bibel). (GW 4302) Das Evangelium Mathei, CCXI. Augsburg, Anton Sorg, 3. Januar 1480. Type 2. Zweispaltiges Original-Inkunabelblatt. Blattgröße: 25,5 x 36,5 cm. Blatt im Rand etwas fleckig. --- 9. Leonardus de Utino: Sermones aurei de sanctis. (GWM 17901, H 16126) Straßburg, Martin Schott, 1483 (laut GW nicht nach 1481). Einspaltiges 41-zeiliges Original-Inkunabelblatt z. T. mit Wurmlöchern und rotgestrichenen Versalbuchstaben. Blattgröße: 19,3 x 27,5 cm. --- 10. Johannes de Bromyard: Summa praedicantium. (GWM 13114, HC 3993) Basel: Johann Amerbach, nicht nach 1484. Zweispaltiges 53-zeiliges O.-Inkunabelblatt mit rotgestrichenen Majuskeln und Rubriken auf festem, breitrandigem Papier. Blattgröße: 26 x 37 cm. --- 11. (Daniel Agricola): Corona beate Marie Virginis Mariae BMV. (GW 7572, H 5747). Straßburg, Drucker des Palude, um 1485. Type 1, 2. 47 Zeilen. Zweispaltiges, 47-zeiliges Original-Inkunabelblatt auf festem Papier. Zwei Wurmlöcher im Text. Blattgröße: 19,8 x 28 cm. --- 12. Johannes de Cuba: Hortus Sanitatis, deutsch (GWM 9751, H8949) Cap. XXXIX bis XL. Augsburg, Johann Schönsperger, 22. August 1485. Type 1. Einspaltiges, 36-zeiliges O-Inkunabelblatt gereinigt u. angeschöpft. Papier gebräunt und stark fingerfleckig, Rand fachgerecht restaurierte Fehlstellen. Blatt: 21x29 cm. --- 13. Jacobus de Voragine: Leben der Heiligen: "Sant Thoman" (GWM 11369, H 9978). Augsburg, Johann Schönsperger, 10. Januar 1485. Type 1. Blatt: CCXXXVI Einspaltiges, 33-zeiliges Original-Inkunabelblatt. Blattgröße: 18,3 x 28,3 cm. --- 14. Vitas patrum, deutsch. Leben der heiligen Altväter (GWM 50899, C 2966). Augsburg, Johann Schönsperger, um 1485. Type 1. Zweispaltiges, 35-zeil. O-Inkunabelblatt mit einer dreizeiligen Holzschnittlombarde. Im Rand etwas fingerfleckig Blattgröße: 19 x 29,3 cm. --- 15. Pseudo-Petrus (de palude): Sermones quadragesimales. (GWM 41835, C 5431) Straßburg, Drucker der Vitas Patrum, 1485. Type 1, 2. Zweispaltiges, 47-zeiliges Original-Inkunabelblatt. Ein Wurmloch. Festes und sauberes Papier. Blattgröße: 20,7 x 29 cm. --- 16. Johannes Gerson: Opera. Hrsg. Geiler von Kaysersberg u. Schott. (GW 10714). Strassburg, Johann Grüninger, 1488. Zweispaltiges, 53-zeiliges Original-Inkunabelblatt mit 2 Wurmlöchern im Rand. Druck mit Typen von Johann Prüss und Martin Flach. Sauberes Papier. Blattgröße: 21,6 x 31,1 cm. --- 17. Christian v. Schachner: Breviarium Pataviense Hrsg. Im Auftrag von Friedrich von Öttingen und Christoph von Schachner Bischöfe von Passau. (GW 5426). Blatt 339. Augsburg, Erhard Ratdolt, 27. November 1490. Type 4, 7. Zweispaltiges, 45-zeiliges Original-Inkunabelblatt. Papier gebräunt. Rot-schwarzer Druck. Blattgröße: 21,7 x 31,6 cm. --- 18. Paratus: Sermones de tempore et de sanctis. Sermo VIII De sancto Stephano (GWM 29382, H 12402). Strassburg, Martin Flach, um 1490. Type 1, 2. Zweispaltiges, 40-zeiliges O-Inkunabelblatt, Papier nachgedunkelt und etwas fleckig. Blattgröße: 14,2 x 18,2 cm. --- 19. Biblia latina. (GW 4267, H 3108). Blatt: Interpretationes dominum hebraicorum Freiburg, Kilian Fischer, 1491. Type 1, 11, 19. Vierspaltiges, 71-zeiliges Original-Inkunabelblatt aus den. Wasserzeichen Stierkopf mit Standarte. Blattgröße: 20 x 27,5 cm. --- 20. Stephan Fridolin: Schatzbehalter. (GW 10329, HC 14507). Nürnberg, Anton Koberger, 18. November 1491. Type 10, 11. Zweispaltiges, 41-zeiliges Original-Inkunabelblatt. Festes u. sauberes Papier mit Marginalglosse. Blattgröße: 21 x 29 cm. --- 21. Aurelius Augustinus: Opuscula. De doctrina christiana, Liber II (GW 02868, HC 1950). Strassburg, Martin Flach, 11. August 1491, Type 1 und 5. Blatt CLXVI Zweispaltiges, 49-zeiliges O-Inkunabelblatt mit der Signatur "B2". Blatt festes Papier mit einigen Würmlöchern. Blattgröße: 26,1 x 18,9 cm. --- 22. Konrad Botho: Cronecken der Sassen. (GW 4963, HC 4990). Mainz, Peter Schöffer, 6. März 1492. Type 1, 2, 4, 7, 8, 9. Einspaltiges Original-Inkunabelblatt mit gr. Holzschnitt der "Sassen unde lunenborch: hermen hildegart" Blatt im Rand fleckig. Blattgröße: 19 x 26,3 cm. --- 23. Biblia mit Postilla des Nicolaus de Lyra und Expositio des Guillelmus Brito in omnes prologos S. Hieronymi (GW 04293, HC 3170). Liber Psalmorum. Nürnberg, Anton Koberger, 12. April 1493. Type 14, 15, 21. Zweispaltiges, 72-zeiliges O-Inkunabelblatt. Bibeltext vom Kommentar umgeben. Blattgröße: 23,2 x 31,5 cm. --- 24. Johannes de Bromyard: Summa praedicantium. (GWM 13114, HC 3993) Basel, Johann Amerbach, (nicht nach 1484) Typen 1, 3 Zweispaltiges, 53-zeiliges Original-Inkunabelblatt (25,5 x 36 cm) auf festem Papier. --- 25. Biblia, cum glossa ordinaria Walahfridi Strabonis, Hrsg. Sebastian Brant. (GW 4284). Basel, Johann Froben + Johann Petri, 1. Dezember 1498. Type 1, 4, 6, 7, 10, 11. 2- + 3-spaltiges Original-Inkunabelblatt auf festem Papier mit zwei blauen Lombarden, roten Rubriken und rotgestrichenen Versalbuchstaben. Blattgröße: 21,8 x 30,5 cm. --- 26. Biblia mit Postilla des Nicolaus de Lyra. Blatt CCLXXIII. Judicum. (GW 4294, HC3171). Nürnberg, Anton Koberger, 6. September 1497. Type 14, 15, 19, 21. Original-Inkunabelblatt mit zweispaltigem Kommentar. Blattgröße: 23 x 33 cm. --- 27. Paulus (Scriptor): Lectura in Johannem Duns scotum super libro sententiarum (Hain 12493, GWM 30260). Blatt CXLI Tübingen, Johann Otmar, 24. März 1498. Type 7, 10 und 11. Zweispaltiges 60-zeiliges O. - Inkunabelblatt (18,4 x 24,1 cm) auf festem Papier. --- 28. Bartholomaeus de Usingen: Parvulus philosophiae naturalis in physicam Aristotelis (GW 3465, Hain 2534). Leipzig, Wolfgang Stöckel, 23.II.1499. Type 1, 2, 3. Einspaltiges Original-Inkunabelblatt (13 x 18 cm) im oberen Drittel leicht gebräunt. --- 29. Missale Hildensemense (GWM 24451, CR 4157). Blatt LI. Nürnberg, Georg Stuchs, 17. September 1499. Type 5, 6, und 11. Zweispaltiges, 31-zeiliges O-Inkunabelblatt in schwarzem und rotem Druck auf festem klanghellem Papier mit fünf 2-zeiligen Lombarden. Blattgröße: 24,8 x 35,3 cm. --- 30. Cronica van der hilliger Stat van Coellen, niederdeutsch. Blatt CCXXXV. (GW 6688). Köln, Johann Koelhoff der Jüngere, 23. August 1499. Type 2, 4, 5. Einspaltiges, 49-zeiliges O. -Inkunabelblatt. Blatt etwas fleckig. Blattgröße: 22 x 31 cm.. Die Inkunabelblätter können Sie auch einzeln in unserem Katalog - Inkunabeln bis 1500 ansehen. Dort sehen ein Foto jedes einzelnen Blattes, jeweils aus dem gleichen Werk. Geben Sie hierzu einfach ein Wort aus dem Titel, den Drucker und die Jahreszahl ein. You can see examples of these leafs in our catalogue - Inkunabeln bis 1500- if you insert in SEARCH the printer, year and one word of the title.

      [Bookseller: Versandantiquariat Christine Laist]
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        Kalender. Zwei Kalenderblätter bedruckt mit je einem Holzschnitt: mit je 6 Spalten Text, mit je 6 kleinen Zodiak-Medaillionen (Dm. 2 cm) sowie je 6 großen szenischen Medaillion-Darstellungen (Dm. 6 cm).

      o. O., o. J.. [ca. 29,5 x 41 cm].. ?Wahrscheinlich Abzüge des 19. Jahrhunderts von einem Holzstock um 1470. Vgl. Schreiber, Holzschnitten, 1927, S. 67 Nr. 1903. Bas. 94, 1048. - Mit den lateinischen Heiligennamen im Kalendarium. - Rand etw. beschnitten, kl. Randläsuren. - Außergewöhnlich hübscher Kalender mit zwölf entzückenden Monatsdarstellugnen im Tondo. Der originale Holzstock, wahrscheinlich zwischen 1465 und 1475 geschnitten, wird im Berliner Kupferstichkabinett zusammen mit einem weiteren Abzug aufbewahrt. Ein weiterer alter Abzug auf zwei Blättern ist im British Museum in London vorhanden. Am Ende des Monats Februar findet sich der Name des Verfassers: Hec Magister Johannes De Gamundia. - Schöne Abzüge. (Sprache: Lateinisch)

      [Bookseller: Antiquariat Weinek]
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        Letter signed ("Charles").

      Amiens, 29. III. 1470.. 234 x 216 mm. 1 p. in a neat batarde hand, address to verso with trace of seal.. A military order to Count John IV of Nassau-Dillenberg, addressing him as 'treschier et feal cousin', in which Charles declares himself well-pleased with news he has received in a recent letter regarding the "picquenaires" (pikemen) and orders that they should make their way to him (presumably at Amiens) "par le pluscourt chemin". He also authorises the use of the seal of Brabant. The document is drafted in a neat scribal hand (the clerk's cipher appears at the lower right-hand corner) and is neatly signed by Charles himself. - Charles the Bold, last Valois Duke of Burgundy, was one of the most powerful rulers of medieval Europe, vying with King Louis XI ('The Prudent') for control of much of France and the Low Countries. In the 1470s their feud was concentrated on the territories of Northern France and the Duchy of Brabant (covering large parts of the modern Netherlands and Belgium). - Old folds. Some minor staining and careful reinforcement. Provenance: Otto August Schulz, Leipzig. - Published in the Kronik of the Gennotschap te Utrecht, 15 January, 1859 (an offprint and later manuscript transcript are included with the document).

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
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        Das Schwarze Gebetbuch Ein Rarissimum der flämischen Buchmalerei

      Insel-Verlag /Bibliotheca Rara, Flandern um 1470 (Faksimile neueren Datums).. Östereichische Nationalbibliothek, Wien Cod. 1856 308 Seiten (154 Folios) mit 124 Miniaturen, Lichtdruck in 13 Farben Format ca. 25,5 x 18,2 cm, Handaufbindung der auf 141 Exemplare limitierten Sonderedition in weinrotem Ganzleder als Teili der limitierten Gesamtauflage des Insel-Verlages, sehr gut erhaltene 2. Hand-Edition. Die Handschrift verdankt ihren Namen der schwarzen Einfärbung der Pergamentblätter. Bl

      [Bookseller: Versandantiquariat Karl Heinz Schmitz]
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        De Civitate Dei

      271 (of 274 leaves, without the blank leaves 1, 16, & 274). 50 lines. Roman types. First text page illuminated with elaborate three-sided border in blue, green, red & gold, incorporating two large capitals "I" & "C", Christ's symbol, a hare, and a coat-of-arms (see below). 21 eight-line illuminated initials with floral decoration & extensions in color & pen-work, 2-line initials alternating in red & blue. Chapter numbers supplied in red for the first 6 leaves of the table, chapter headings supplied in red throughout, chapter numbers in upper margin in red. Royal folio (370 x 242 mm.), 18th-cent. English red morocco (well-rebacked), sides panelled in gilt with border of alternating thistle, coronet, flower & crown, spine gilt, green morocco lettering piece on spine, a.e.g. Venice: Johannes & Vindelinus de Spira, 1470. Third or fourth edition (see below) of the most important work of St. Augustine; this is a magnificent copy printed throughout on vellum and finely illuminated for Leonardo Loredano (1436-1521), doge of Venice from 1501 until his death, with his family's coat-of-arms at the foot of the first text page. This is one of nine recorded copies printed on vellum of the fourth book printed in Venice. It was begun by the city's first printer Johannes de Spira, who had possibly learned the art in Mainz and was completed by his brother Vindelinus. The colophon gives a brief and fascinating history of the press and of this edition, stating that Johannes had already produced two editions of Cicero and one hundred copies of Pliny within three months and that he had died during the printing of De Civitate Dei. His death caused Vindelinus to take over the printing of the book. Based on the number of other works printed by Vindelinus in 1470 it has been argued by Ferdinand Geldner in his Die deutschen Inkunabeldrucker, pp. 62-64 that this Venetian edition appeared early in 1470 and thus pre-dates the Sweynheym and Pannartz Roman edition of the same year, making it the third, not the fourth, edition of De Civitate Dei.Saint Augustine (354-430), one of the four great Fathers of the Latin Church, 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 edition: Subiaco, 1467). Provenance: Loredano family (Leonardo, doge of Venice 1501-21), with the family's coat-of-arms on first text page; Dukes of Devonshire, with the Chatsworth bookplate (sold Christie's London, 6 June 1974, lot 1); J.R. Ritman, with bookplate (Margaret Lane Ford, Christ, Plato, Hermes Trismegistus. The Dawn of Printing. Catalogue of the Incunabula in the Bibliotheca Philosophia Hermetica, no. 25). A fine and handsome luxury copy, richly illuminated and printed throughout on vellum. Preserved in a box. ❧ Goff A-1233. .

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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      French Flanders, ca, 1470. Hardcover. 178 x 124 mm (7 x 4 7/8"). Single column, 16 lines in a pleasing, distinctively flourished gothic hand. Rubrics in red, two two-line initials in burnished gold on a blue and pink ground with white tracery, RECTO WITH A PLEASING FIVE-LINE SEMI-GRISAILLE INITIAL outlined in burnished gold, the "D" in shades of blue with dark gray medallion at center featuring a bird with a human head in shades of gray with a light touch of gold at the neck, wing, and feet, THE SAME SIDE WITH AN ANIMATED THREE-QUARTER BORDER with sinuous hairline stems bearing strawberries, blue and lavender flowers, green and brushed gold leaves, and many burnished gold circlets, a rectangular compartment in the head portion of the border with a pink bird on a brown background, another compartment at upper corner with a gray and white bird on an azure background, and a compartment at lower corner with a small gray man on a green and brown background. Prickings visible along fore edge. A trace of thumbing to lower corner, otherwise IN FINE CONDITION, with generous margins, rich colors, and everything fresh. This is a thoroughly distinctive leaf originating in French Flanders (the rubrics are in French), perhaps somewhere like Cambrai, Valenciennes, or Tournai. The unusual script and decoration here are noteworthy. The scribe added flourishes to the ends of words and even to some internal letters, giving the effect of a kind of transitional hand between the gothic and the bâtarde (at a time when such a transition would have been taking place). The initial is darker than the usual grisaille, and the image has a vaguely ominous quality. The border is a study in contrasts: the floral panels are light and airy, but the three illustrated corner panels have darker hues and feeling. The birds do not seem happy, and the poor gray man is obviously frost-laden and shivering.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        De bello italico adversus Gothos.

      Foligno, Emiliano de Orfini e Ioannes Numeister, 1470. (in fine: Hunc libellum Emilianus de Orfinis Fulginas & Ioannes Numeister theutunicus: eiusq sotii feliciter impresserunt Fulginei in domo eiusde Emiliani anno domini millesimoquadringetesimoseptuagesimo feliciter). (mm. 285). Pergamena seicentesca con titolo manoscritto al dorso. cc. [72](di 74). Mancano la prima e l?ultima bianca. Le carte da 42 a 51 sono mancanti e sono sostituite da altrettante manoscritte, su carta d?epoca, e da mano coeva o di poco posteriore, forse della stessa persona che scrive la nota al primo foglio, datandola 9 martii 1473. Primo testo stampato a Foligno e prima edizione dell?opera del Bruni, in parte traduzione e in parte riassunto del De bello gothico dello storico bizantino Procopius Caesarensis. Bell?esemplare, con solo piccola mancanza di due lettere all?ultima carta e qualche macchia marginale. Uno dei primi rari libri stampati in Italia nel XV° secolo.

      [Bookseller: De Antiquis Libris]
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      France, ca, 1470. Hardcover. 133 x 89 mm (5 1/4 x 3 1/2"). Single column, 16 lines in an attractive bâtarde hand. Rubrics in red, one two-line initial in burnished gold on a blue and pink ground, EACH SIDE WITH A FIVE-LINE HISTORIATED INITIAL in blue and burnished gold, THE ONE ON THE RECTO SHOWING SAINT FIACRE WITH HIS SPADE, THAT ON THE VERSO DEPICTING THE HOLY TRINITY, AND BOTH SIDES WITH A FULL INHABITED FLORAL BORDER containing many flowers, fruits, and acanthus leaves, that on the recto with a human-headed grotesque flapping red wings, that on the verso with two creatures, a similar grotesque having blue wings and a golden moth. A faint hint of wrinkling to tail edge, but IN ESPECIALLY FINE CONDITION, very clean, fresh and bright. In this lavishly illuminated leaf taken from the same manuscript as the previous item, we find Fiacre in his monk's habit, standing outside on the grass holding his spade, as befits the patron saint of gardeners. Behind him is a red backdrop elaborately painted with gold floral tracery. In this typical Holy Trinity image, God the Father and God the Son are seated, holding an open book between them and casting sidelong looks at each other. Both are clad in white and wrapped in a pink cloak that joins them together. Christ holds a tau cross in his right hand, the Father holds an orb and wears a gold papal-style crown rather than a nimbus. A gilt embroidered green tapestry hangs behind them, flanked on either side by fiery seraphim. Unaccountably not pictured is the dove representing the Holy Spirit, perhaps because of the artist's desire to depart from the conventional, a lapse in his concentration, or his lack of understanding.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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      France, ca, 1470. 127 x 89 mm (5 x 3 1/2"). Single column, 14 lines in a very fine bâtarde book hand. Rubrics in red, three decorative initials (one-, two-, and three-line) in colors and gold, the verso with an "L"-shaped baguette composed of lozenges of blue, pink, gold and white, this below and to the left of the text, the same side of the leaf WITH A FULL BORDER featuring much vegetation in many colors and inhabited by a maroon bishop reading a book, the border ENCLOSING A FINE MINIATURE (measuring approximately 66 x 44 mm.) DEPICTING "ALL SAINTS," featuring Saint John the Baptist at the center flanked by Saint Peter on the left and by Saint Martin of Tours on the right, both in handsome blue and gold robes, with five other saints (all at least partially hidden), the group standing within a gothic chapel with tiled floor, stained-glass windows, twisted and gilded columns, and vaulted ceilings, John in a hair shirt and holding his attribute, the lamb sitting on a book tucked into the crook of the saint's left arm, Peter to his right wearing a papal tiara and holding the key to heaven, and Saint Martin on John's left wearing a bishop's mitre and clutching his crozier. The outer border trimmed close, with minute losses, otherwise in fine condition, the other margins ample, and the vellum clean, fresh, and bright. This is an attractive example of an uncommonly seen image for use in what clearly was a manuscript characterized by textual complexity. The miniature begins the Tuesday portion of the Hours of the Days of the Week, an infrequently included Office that would only appear in a very substantial Book of Hours containing many parts beyond the basics. When this image does appear, it will represent not only major, readily identifiable figures, but also various categories of saints: prophets and patriarchs, apostles and evangelists, martyrs, confessors (those who suffered but did not die for the faith), saints of the various religious orders, military saints, virgins, and other female saints. Here, the artist is clearly featuring John the Baptist, as he appears not only at the very center of the scene, but separated from virtually all the others by the two slender columns in the foreground that support the ceiling of the room they occupy. The partly obscured bearded figure in purple robes peering at John's lamb may be Anthony the Abbot, the hermit of the Egyptian desert generally thought of as the founder of the monastic way of life. The other two visible male saints wear martyr's red, and the faceless figures in black and red represent women saints. The sophisticated design here is equalled by the artist's considerable adroitness as a painter, and the miniature is altogether pleasing in its charmingly diminutive size, its colorful and animated border, and its well realized figures with clearly defined garments and facial features.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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      Netherlands, 1470. 159 x 114 mm (6 1/4 x 4 1/2"). Single column, 19 lines in a pleasing gothic book hand. Attractively matted. Rubrics in red, 11 one-line initials in blue with red penwork or burnished gold with black penwork, two two-line initials in burnished gold on blue and pink grounds with white tracery, recto WITH A HANDSOME SIX-LINE "G" IN BURNISHED GOLD delicately chased with scrollwork, the initial on a blue background and infilled with pink and elaborately scrolling white vines, the text with a vertical bar border of pink and gold on either side, AND WITH AN ANIMATED THREE-QUARTER BORDER filled with acanthus leaves and much other vegetation and FEATURING A STATELY PEACOCK trailing gold tail feathers as he struts through the fore-edge border. AN EXTREMELY FINE LEAF, clean, bright, and sparkling with gold. With text from the opening of the penultimate Hour of the Virgin, this extremely pretty leaf clearly comes from a very decorative manuscript that was considered to be a valued possession by its owners. The Dutch text is by Geert Groote (Gerardus Magnus in Latin or, in other Dutch variants, Gerard, Gerrit, or Gerhard Groet, 1340-84). At a time when Books of Hours were almost exclusively in Latin (with occasional calendars, rubrics, or personal prayers in the vernacular), Groote sought to make the communication between the individual and the divine more direct by translating the Office of the Virgin into Dutch in or about 1385. A priest whose life was characterized by luxury and irresponsibility until he experienced a profound spiritual awakening, Groote had established a scriptorium in Deventer in 1371 that would allow impoverished scholars to earn a living copying texts. This organization eventually grew into the Brethren of the Common Life, a teaching order that had a profound influence on European education, establishing the first graded schooling and emphasizing humanistic studies and Latin. Their students included Erasmus, and they had a lasting effect on the development of German humanism.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Catalogi stirpium agri bononiensis prodromus gramina ac hujusmodi affinia complectens

      Constantin Pisarri, Complete with half-title, title in red and black, and printer's device on colophon. With 3 engraved plates (1 folding). Contemporary vellum-backed boards; light marginal browning. An excellent copy from the library of Melvin Edward Jahn, with his book-label. First edition of this valuable descriptive catalogue of Graminiae, which contains wheat, maize, barley and rye, the plant family most economically useful to man. More than three hundred species have been noted by the author, many indigenous to the area around Bologna and others collected on his travels. Monti provides a botanical description and treats the medical properties of each plant. He also makes references to earlier studies, and includes a bibliography, commencing with Pliny's work of 1470.& & Monti (1682-1760) was a professor of botany and natural history at the University of Bologna; the genus Montia is named in his honor. He wrote a number of works on materia medica, and was quite active with the large botanical garden in Bologna.

      [Bookseller: B & L Rootenberg Rare Books & Manuscript]
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      Paris, ca, 1470. 140 x 89 mm (5 1/2 x 3 1/2"). Single column, 16 lines of text in a fine early bâtarde book hand. Attractively matted. Rubrics in red, verso with one two-line initial in burnished gold on a blue and pink ground, EACH SIDE WITH A FULL BORDER filled with swirling blue and gold acanthus leaves, sprays of pink, red, and blue flowers, and numerous burnished gold bezants on hairline stems, and both borders INHABITED BY A CHARMING GROTESQUE with a long neck, a human face, and a jester's hat in the lower border, THE RECTO WITH A FIVE-LINE HISTORIATED "C" FEATURING SAINT ANDREW on a burnished gold ground, THE VERSO WITH A LARGE FIVE-LINE HISTORIATED "B" in blue and white on a burnished gold ground DEPICTING SAINT BARTHOLOMEW holding the knife of his martyrdom. Small black smudge to the lower edge of the initial on the recto, otherwise only trivial defects; a very fine leaf with generous margins and with paint and gold that are bright and fresh. The illuminator of this leaf seems to have had a mind of his own when dressing his subjects. It is a little surprising to find Saint Andrew, brother of Saint Peter and patron saint of Scotland, who normally is garbed in apostolic robes, encased here in a suit of armor, capped with a helmet, and wielding a sword. The "Ecclesiastical History" of Ordericus Vitalis (1075-1143) may be responsible, for in his pages Saint Andrew is transformed into a dragon slayer. On the reverse, Saint Bartholomew is scantily clad as a recluse whose wardrobe has given out, but he, too, wields a sword, or at least a dagger, probably that with which he was flayed. Legend claimed Bartholomew evangelized India, and the sweltering climate may have had something to do with the amount of skin the saint has exposed. Whatever the case, the historiation and the border decoration are both well executed and especially charming.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Illuminated manuscript leaf from the commentary on the sentences

      [Italy, ca. 1470]. 8-1/4 x 11-1/4 inches. Black ink on vellum. 37 lines, two columns in a humanistic book hand, paraphs in red and blue, two initials in red or blue, one highly finished polychrome gilt initial N on a field of green and red within a blue border. Fine, mounted in card folder . Beautifully executed manuscript leaf from this standard text by St. Thomas Aquinas, in a humanistic book hand with a small (3/4 inch square) but very finely executed gilt initial. Bright and attractive

      [Bookseller: James Cummins Bookseller]
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        DE SPHAERA Fine Facsimile Edition of the Most Beautiful Astrological Book of the Italian Renaissance

      Il Bulino. New. Hardcover. <p>Illuminated manuscript on parchment (1470 c. ) , 17 × 24 cm, made up of 16 sheets forming a 32 page book. Of these, 7 are red ink framed blank pages, 15 fully illuminated, 9 with astronomical drawings and one with a table of climates. The text, in Italian, is in semi-Gothic copyist script in red, sepia and light blue ink. </p><p>The De Sphaera is unanimously regarded as the most beautiful astrological book of the Italian Renaissance. It was illuminated by a refined artist of the Lombard school (thought to be Cristoforo de Predis) for the Milan court and reached the Estense in Ferrara via the frequent artistic and cultural exchanges between them and the Sforza. </p><p>The codex sums up, with an unparalleled elegance, the astrological knowledge of its time and testifies the renewed authority, the reputation enjoyed by faith in the stars &#150; a fashion and a culture at the same time &#150; in the most powerful and refined courts. The De Sphaera adds its personal, superlative touch &#150; with the splendour of its illuminated pages and the rhyming verses of its horoscopes &#150; to a field, that of planet and zodiac iconography, which was already successful. </p><p>The facsimile edition of the codex is printed on paper imitating the original parchment; a gold embossed decoration is heat impressed. The kidskin binding is stamped with the Visconti-Sforza coat-of-arms. The 120 page commentary contains a study by Ernesto Milano and essays by Leandro Ventura and Giancarlo Malacarne. This is a world exclusive edition of 999 numbered and certified copies. </p> .

      [Bookseller: New Boston Fine and Rare Books]
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      France, probably Rouen, ca, 1470. 165 x 114 mm (6 1/2 x 4 1/2"). Single column, 17 lines of text on the verso (four lines of text under the miniature on the recto), in a fine gothic book hand. Verso with quarter panel border featuring gold and blue acanthus, other foliage, red flowers, and blue berries on hairline stems accented with nine gold bezants, recto with a three-line initial in colors and burnished gold on a brushed gold ground decorated with flowers and butterflies and WITH A FULL BORDER filled with swirling acanthus leaves, berries, and flowers in shades of blue, gray, pink, green, red, and blue on a brushed gold ground, and INHABITED BY TWO VERY LARGE, CHARMING GROTESQUES: in the fore margin a beast with the head of a man, ears and neck of a camel, torso of a winged dragon, and hindquarters of a lion, and at the bottom of the page a winged dragon with a head in the usual spot and another at the end of its tail (both looking humorously truculent), THE WHOLE ENCLOSING AN ARCH-TOPPED MINIATURE OF SAINT MARK COMPOSING HIS GOSPEL, with his lion at his feet. Mounting traces on verso, a couple of light ink smudges to the border, a very small, faint stain to the lower margin, but still IN EXCELLENT CONDITION, generally bright and clean, and WITHOUT ANY LOSS OF PIGMENT in border or miniature. Between the whirling, animated border and the intriguing, detailed miniature, this is a leaf that is especially colorful, esthetically significant, and entirely engaging. As often is the case, the border--full of dramatic movement--presents a strong contrast to the delicately painted scene of gentle piety. Mark, clothed in red and blue robes heavily accented with gold and with the short hair of a Medieval monk, is seated in a tower room in a large armchair, with a scribe&#39;s fold-up(?) wooden writing desk propped up in front of him. An ink horn, book weight, and scroll hang from the top edge of the desk, and, lovingly, the saint looks away from his manuscript down at the protective lion sitting at his feet. In the background, the stone walls and diamond-paned windows are elaborately detailed, and a gilt-embroidered red tapestry hangs behind and protrudes above the saint. The scene is topped by three gold gothic arches reminding us of the Trinity. The artist has departed here from typical iconographic models, as we see the Evangelist from a point on the opposite side of his desk, rather than from the side. This allows for the optimum representation of facial expression, as well as for a greater sense of depth. The artist is accomplished: he has modeled the gospeler&#39;s face quite sensitively, making Mark appear to be middle-aged and worn with thought; he has indicated a light source from the left with the consistent use of shadow; he has successfully foreshortened the central figure; and he has designed the whole scene in an intricately balanced way. Furthermore, the book weight is historically interesting and a bit unusual as a reflection of the painter&#39;s intimate knowledge of the Medieval equipment involved with manuscript production. The grotesques, subtly colored in green, blue, and yellow, are more than usually delightful.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Illuminated Manuscript: Decorated Leaf with Crucifixion Scene Miniature

      France: np. 1st Edition. No Binding. Very Good. Crucifixion Scene from a French Book of Hours (c. 1470). Beautiful miniature from a French Book of Hours circa 1470 painted on vellum. Recto: The scene depicts the Crucifixion with Mary and Mary Magdalen mourning beside the cross. To the right of the central figure, an army watches on, led by a captain on horseback. Before the leader lays a skull and bones. The clothing of the principle figures (except Christ) is especially brilliant textured in gold. In addition to gold, the artist used primarily a blue, red, green, and white palette. The border surrounding the miniature is a magnificent full border containing two drolleries amidst rich foliage of blue and red flowers, green leaves, and blue and gold acanthus leaves. Contains 8 lines of text with a 4-line initial "D" painted in gold on a mauve background. 2 additional single-line initials painted in blue, red & burnished gold. Verso: 16 lines of text written in brown ink with red rubrics. 2 2-line initials and 3 1-line initials in red, blue and burnished gold. Partial border containing a bird surrounded by thistles, green & gold leaves and blue & gold acanthus leaves. From the Hours of the Holy Cross. Size: 133 x 93 mm (approx. 5.3 x 3.7 inches) Miniature: 47x 36 mm The text in Latin: Domine labia mea aperies. Et os meum annuntiabit laudem tuam. Deus in adiutorium meum intende. Domine ad adiuvandum me festina. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat...Patris sapientia, veritas divina, Deus homo captus est hora matutina: A notis discipulis cito derelictus: English translation: Thou O Lord wilt open my lips. And my mouth shall declare Thy praise. Incline unto my aid O God. O Lord make haste to help me. Glory be to the Father, and to the Son, and to the Holy Spirit... The wisdom of the Father, and truth divine beside, God and man surprised was even at the morning tide: His known disciples left Him for to follow more.

      [Bookseller: The Manhattan Rare Book Company]
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      Nuremberg: [Johann Sensenschmidt and Heinrich Kefer], 1470. FIRST PRINTING. Softcover. The Fine Broxbourne-Friedlaender CopyOf the 1470 First(?) Printed Book from Nuremberg. 438 x 286 mm (17 1/4 x 11 1/4"). 287 unnumbered leaves; without five of the six blank leaves, the internal blanks having been cancelled, as in most copies (the intention to cancel these leaves being confirmed by the printed index, where the foliation assumes their absence). Double column, 49 lines in a fine, clean gothic typeface. FIRST PRINTING. Contemporary Nuremberg blindstamped calf over thick wooden boards, covers paneled with contrasting designs, the front with a broad frame of palmettes enclosing a complex diapered central panel with unicorn, double-headed eagle, bird, and ornamental floral stamp, the back cover with single fillets forming much simpler and larger lozenges, upper board with vellum title label under (damaged) horn with brass framing strips (and below it, an early library paper label); raised bands, two old (16th century?) paper labels on spine, two brass catches, remnants of leather straps, bosses on covers no longer present, hole for chain attachment at top of lower board. Contemporaneous rubrication throughout: leaves foliated, capitals struck, and paragraph openings marked with red, decorative red or blue initials (generally three-line, but some with long marginal extenders), opening nine-line initial beneath a three-line manuscript incipit. Early round armorial paper bookplate of the Nuremberg City Library pasted (as a very unusual feature) within surrounding opening initial; front pastedown with bookplate of "HNF" (Helmut N. Friedlander); rear pastedown with bookplate of the Broxbourne Library. Goff R-150; BMC II, 403. Perhaps ten percent of the leather covering gone (mostly at bottom of rear board, but also the portion above the top and below the bottom spine cords), joints cracked, other general signs of use to the binding, text with occasional small marginal stains or smudges and additional insignificant imperfections, but AN EXCELLENT WIDE-MARGINED CONTEMPORARY COPY THAT IS FINE INTERNALLY, the binding still firm and retaining much of its original appeal (despite its defects), and the leaves quite clean, fresh, and bright. This is a very desirable copy of what is apparently the first work printed in Nuremberg (and certainly the first from that city with a date), a book printed on extremely thick, wonderfully textured paper, our copy in its original Nuremberg binding and with distinguished provenance. The text is the original printing of the chief work of Franciscus de Retza (ca. 1343 - ca. 1427), an Austrian Dominican theologican and professor of theology at Vienna, the work dealing with the seven deadly sins and the corresponding virtues. Thought by Haebler to be a native of Eger in Hungary who learned his trade in Mainz, Johann Sensenschmidt (ca. 1420-91) was the prototypographer in the important printing center of Nuremberg. His career was divided into four stages, during which he changed partners, backers, and location (he moved to Bamberg in 1478). The present work comes from his earliest period, when he worked in partnership with Heinrich Kefer to produce as many as 20 books and was financed by Heinrich Rumel. Hawkins says that our "Comestorium" was "probably the first book printed at Nuremberg. A strong reason for assigning it to Sensenschmidt and Kefer in partnership rather than to the former alone, and also for regarding it as the first production of the press, is the phrase &#39;patronarum formarum concordia et proportione impressus&#39; in its colophon, the words being taken from that to the Catholicon of Balbus printed at Mainz in 1460, anonymously, but almost certainly by Gutenberg, Kefer&#39;s old master" (Kefer was identified in legal documents of 1455 as one of Gutenberg&#39;s workmen). Haebler notes that Sensenschmidt&#39;s "close connection with . . . Gutenberg&#39;s press would lead us to expect the influence of Mainz in his work. But in the design of his types he is remarkably independent." The faces he created were imitated, and, among others, the great Koberger, with whose name Nuremberg books will always be associated, "began to print with a similar type." In a later partnership with Andreas Frisner, Sensenschmidt "also cut new types, one of which exercised great influence on German printing." There is no doubt that this volume was bound at Nuremberg, though, somewhat curiously, its tools appear to belong to three different shops: the Carmelite convent (Kyriss shop 22, Schwenke-Sammlung Adler 52 and 407a), the Carthusian monastery (Kyriss shop 23, Schwenke-Sammlung Blattwerk 351 and Granatapfel 112a), and the Nuremberg "Laubstab" shop (Schwenke-Sammlung Einhorn 29 and Hirsch 20). The modern owners of our volume lend it considerable distinction. This copy comes, first of all, from the celebrated Broxbourne library of Albert Ehrman (1890-1969), a diamond merchant who gathered a fine collection of books at his home at Broxbourne in Hertfordshire. He spent half a century collecting books, specializing in incunabula and early bindings (as well as early type specimens and bibliographies). Feather says that "his collecting was intelligent and scholarly, for he sought to illustrate the history of printing and the book trade, and the early development of trade binding." Ehrman also authored learned articles on fine bindings and the history of printing. A German emigré, Helmut N. Friedlaender, who died at 95 in 2008, was a New York lawyer and financial adviser who collected early books and manuscripts with unerring discrimination over 30 years. A member of the Grolier Club, he was prominent in his support of libraries and book projects, and the sale of the bulk of his collection at Christie&#39;s in 2001 was not only a major bibliophilic occurrence, but also a significant social event occasioning notable celebration. While Retza&#39;s "Comestorium" item is well represented in institutions, it is not often at auction. ABPC lists just two copies sold since 1975: a copy in 19th century half calf in 1987, and the present volume in 1978 and then again at the Friedlaender auction in 2001 (selling for a hammer price of $30,000).

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Homiliae super Johannem

      Translated by Franciscus Griffolinus (Aretinus). 279 leaves (of 280, without initial blank). 33 lines, Roman letter, 5-line initial "C" on [b]6r in gold with white vine stem decoration on a red, blue, & green ground, [b]7v with a 7-line gold initial "Q" with white vine stem decoration on a red, blue, green, & gold ground extending into upper & outer borders, 2- to 3-line initials supplied in blue. Folio (339 x 225 mm.), early 19th-cent. brown morocco (last leaf a little defective & stained at edges), sides richly decorated in gilt, spine richly gilt, a.e.g. Rome: Georgius Lauer for the Monastery of St. Eusebius, 29 October 1470. First edition of this most attractive book, one of the first books from the fifth Roman press. It is dedicated to Cosimo de&#39; Medici. St. John Chrysostom (ca. 347-407), Bishop of Constantinople, studied law and theology at Antioch. After living as a hermit in a cave for several years, he returned to Antioch where he became famous as a preacher, which earned him the name Chrysostom, or "golden-mouthed." His great powers of oratory were directed especially to the instruction and moral reformation of the nominally Christian city of Antioch. His series of homilies, here printed, established his title as the greatest of the Christian expositors. The homilies combine a great facility for seeing the spiritual meaning of the author with an equal ability for immediate practical application. The translator, Franciscus Griffolinus (14518-83), was also known as Francesco Accolti. He was known as "le prince des jurisconsultes des son temps" and taught at many of the leading academies. He also translated for publication the letters of Phalaris and Diogenes Cynicus. A fine copy preserved in a box. From the libraries of Sir John Hayford Thorold at Syston Park (sale: Sotheby&#39;s, 16 Dec. 1884, lot 1040; John William Pease, and Lord Wardington, all with bookplates. &#10087; B.M.C., IV, p. 36. Cross, ed., The Oxford Dictionary of the Christian Church, pp. 282-83. Goff J-286. .

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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        Concordantiae maiores, cum declinabilium, utriusque instrumenti, tum indeclinabilium, dictionum. Apud Inclytam Basileam M.D. XXI

      Folio. ff. [444] plus 6 extra leaves in this copy as signature G is repeated. Colophon: Basileae per Ioannem Frobeniu, Mense Maio. Anno M.D.XXI. Title page contains decorative woodcut border with 10 figures including images symbolizing the four evangelists, Peter, Paul and four early Bishops. Printer&#39;s device also on title page and on verso of final leaf. The introductions to both part I and part II contain woodcut initials. The title to the second part reads: "Concordantiae partium sive dictionum indeclinabilium totius Bibliae." The main text is in 3 columns per page. Bound in period blind tooled pigskin over wooden boards - attractively age-toned. Metal corner pieces and catches present; one clasp is lacking although the strap is present. Title page contains three tiny and unobtrusive worm holes. There is also an area of abrasion next to the printed title proper which affects a tiny area on the inner edge of the woodcut border. Small holes present in upper inner corner of the title page (affecting recto boarder and a couple of letters on the verso) are neatly patched. Some moderate water staining is visible in the upper margins of the first few gatherings (including title). Pages are otherwise generally clean with periodic small areas of mild staining in upper margins; occasional minor marginal tear or chip; a few lines of marginalia written in a miniscule old hand. Outer marginal corner of leaf A3 clipped (no text effected). 16th century edition of Konrad von Halberstadt&#39;s Latin Biblical word concordance - Part I is attributed to Konrad and part II to Juan de Segovia. Konrad von Halberstadt (fl. 1290) was a German Dominican scholar. His Biblical concordance, based on the Vulgate, eventually became the first printed concordance (Strasburg, 1470). Later, Juan de Segovia (d. 1458) compiled a concordance of all the indeclinable words of scripture. This work was first added as an appendix to the Halberstadt concordance in the work of Sebastian Brandt (Basel, 1496). (See Catholic Encyc). [VD16 C4900, VD16 J753; BM STC German, p. 122 ].

      [Bookseller: Robert McDowell Antiquarian Books]
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      [Cologne: Conrad Winters de Homborch, 1470. 419 x 305 mm (16 1/2 x 12"). [311] leaves (of 312; lacking the final blank). Excellent contemporary Louvain blind tooled calf over wooden boards, single fillet border, central panel framed by and diapered with triple fillets, upper cover with title label under horn with brass framing strips, raised bands, carefully rebacked and with neat repairs to corners and sides, brass corner guards, new (but appropriate) endpapers. In a handsome and sturdy quarter morocco folding box. Rubricated in red, many two- to five-line initials in red, opening six-line initial in red with penwork infill and extensions in brown. Front pastedown with morocco bookplate of Estelle Doheny; first page of text with ink ownership inscription of the Jesuit College in Louvain, dated 1643; isolated early ink marginalia. Goff L-144; Pollard 65; Poulain 2474; not in BMC. Last leaf with three tiny holes neatly patched on blank verso with an old slip of paper, half a dozen leaves with tiny marginal tears carefully repaired with tape, isolated thumbing, small marginal stains, or smudges, other trivial imperfections, otherwise AN EXTRAORDINARILY FINE COPY, the leaves crisp, clean, and bright, with generous margins, and the restored binding entirely sound and lustrous. This is the especially fine and very tall Doheny copy (bought from A. S. W. Rosenbach) of the first book known to have been issued by the early Cologne printer Conrad Winters. It is a really excellent example of an incunable from the 1470s, with text deeply impressed on thick paper, with leaves remarkably fresh and bright, with unusually ample margins, with attractive rubrication, and with a binding (even if restored) that retains much of its antique appeal. The earliest dated work from Winters in BMC was printed in 1476, but we know from a rubricator's note dated 1475 in the Munich copy that the present work preceded it. Although little is known about Winters, Pollard tells us that he printed about 60 works between the years 1475 and 1482. According to Haebler, the Homburg-born Winters must have trained with Cologne prototypographer Ulrich Zell, because their typefaces are so similar. Leonardus de Utino (1400-70) was an acclaimed Dominican preacher who served as professor of theology and rector of the Dominican school at Bologna before becoming prior of the convent of St. Dominic in that city. He preached in many cities, including Rome, Venice, and Milan, his sermons displaying a freedom and forcefulness unusual for the time. A devoted follower of St. Thomas Aquinas, he drew on the scholastic's theological precepts in his own work. This is a very rare edition of the "Sermones quadragesimales": OCLC finds only three copies, all in European libraries, and ABPC lists just one other copy at auction since 1975.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
 33.   Check availability:     Biblio     Link/Print  


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