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Displayed below are some selected recent viaLibri matches for books published in 1480

        Miniature of Christ on a leaf from a Missal

      France: circa, 1480. Large illuminated leaf on vellum, 342 x 262 mm., with a miniature upper right, 92 x 74 mm., depicting Christ with his hands held in prayer, framed in gold, with fourteen 2-line initials in gold on red and blue ground, infilled with white penwork decoration; intricately decorated panel border on all sides composed of coloured flowers and leaves on black hairline stems enclosing text on all; 28 lines of gothic text in double columns; the verso is stamped "Edward Ford" at lower left. A grand illuminated leaf, evidently from a most impressive Missal, with a fine miniature representing the Feast of the Assumption, depicting Christ with a golden halo dressed in red robes with his hands held together in prayer. The craggy landscape is planted with lush, green trees. The leaf is richly illuminated with a fine border on all sides and fine illuminated initials. The Missal was introduced in the Carolingian period and by the thirteenth century had supplanted the older Sacramentary, combining in one volume the various components for the performance of the mass. Its development was prompted by the custom of saying private masses and low masses, which were performed by the celebrant alone. This leaf is from the collection of Sir Edward Ford, author of Bibliography of Australian Medicine 1790-1900.

      [Bookseller: Hordern House Rare Books]
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        Illuminated leaf from a Book of Hours

      circa, Rouen 1480 - Illuminated leaf, 182 x 116 mm., with an exquisite panel border on both sides of blue and gold acanthus leaves with unusual orange and red flowers on the verso and red and white flowers on the recto, with ten 1-line initials and two 2-line initials in red and blue, 18 lines of text in a lettre bâtarde; small stain in upper right margin of vers,o slight perforation in fourth line of text from the bottom, else very good. A delightfully decorated leaf from a French Book with fine panel borders, typical of the work of the Rouen illumination workshops of the late fifteenth century. The leaf comes from the Matins service in the "Hours of the Virgin"; the illuminated 'Q' on the recto begins the hymn 'Quen terra ponthus?'.

      [Bookseller: Hordern House Rare Books]
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        The Singers

      An attractive early 17th century engraving of a group of three elegantly dressed male singers performing from a musical manuscript, the artist's initials in the plate at lower right. 174 x 119 mm. Trimmed to just outside platemark. A very good impression on laid paper, although slightly later than the first. . A rare reverse copy of an earlier print by Marcantonio Raimondi (ca. 1480-ca. 1534). Bartsch XIV, 348-4689a. Nagler M IV-925-4.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        FASCICULUS TEMPORUM [Text in Dutch]

      Utrecht: Johann Veldener, 14 February, 1480. Utrecht: Johann Veldener, 14 February, 1480. UNIQUE HAND-COLOURED COPY of this, the First Dutch edition of Rolewinck&#39;s great 15th century Encyclopedia of History. With fine hand-colouring to the more then 30 impressive woodcuts as well as numerous hand-coloured diagrams, coats of arms, etc. Two leaves within broad ornate hand-coloured boarders, opening leaf and colophon leaf also hand-coloured with decorative borders, rubricating all throughout in red and blue. Folio, in contemporary diced calf covered boards, the corners with brass pieces on the board edges, leather straps with brass clasps. 388 ff. leaves A unique hand-coloured copy in excellent state of preservation, the text quite fresh with only occasional and very minor marginal old flaws from use, some with neat repair, a very few leaves with repaired flaws affecting a few lines of text, some old mellowing or staining throughout, all quite minor. Occasional antique and neat manuscript notations as one would expect with a book of this scholarly importance. Werner Rolevinck&#39;s Fasciculus Temporum - the first history of the world. The Fasciculus Temporum was first printed in Cologne in 1474. It passed through more than thirty editions in its author&#39;s lifetime, and was apparently an indispensable work of reference until after 1532, when it was superseded by others more up-to-date. It was translated into Flemish, German, and French, and an edition appeared in Seville in 1480.<br> THIS FIRST EDITION IN DUTCH has extensive supplements oriented to a Dutch public, relating to the history of the dukes of Brabant, bishops of Utrecht, and counts of Holland, Zeeland and Hainaut, as well as the kings of France and England. Veldener had already printed a Latin edition of the Fasciculus Temporum, the first printed chronological history of the world, at Louvain in 1475. For that edition he reprinted Hoernen&#39;s first edition of 1474, adding one further woodcut and bringing the chronicle up to date with an entry for 19 December 1475, only ten days before printing was completed. For his Dutch-language edition Veldener worked from a manuscript; its translator remains anonymous.<br> Twelve woodcuts, strongly based on cuts in the Rudimentum novitiorum (Lübeck 1475), and the set of coats-of-arms are original to the Utrecht edition; they are the work of the "Utrecht woodcutter"<br> Werner Rolevinck was a German monk and historian who created over 50 titles during his lifetime, with the Fasciculus Temporum standing as his most triumphant work. As if an entire history of the world wasn&#39;t a big enough feat in the 15th century, Rolevinck created the book with dual parallel timelines, one running from creation, the other from the birth of Jesus Christ. The work was an instant hit upon its release. It also stands as only the second book ever published by any living author, with only Robertus Valturius&#39; 1472 work, De re militaria, published earlier.

      [Bookseller: Buddenbrooks, Inc.]
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        Lateinisches Stundenbuchblatt auf Pergament.

      Frankreich (Paris), ca. 1480.. Schrift: 12 Zeilen Textura in brauner Tinte. Blattgröße: ca. 18,5 x 12,5 cm. Schriftspiegel: 13 x 9,5 cm. Eine große dreizeiliqe (3,5 x 4 mm) und eine zweizeilige Initiale in Gold und Blau, deckweißgehöht. Recto dreiseitige Dornrankenbordüre in Gold, Blau, Grün und Mauve. Blatt gewellt und stellenweise leicht berieben, sonst aber in sehr gutem Zustand. Dekorativ gerahmt ( mit doppelseitiger Verglasung, Rahmen handvergoldet)..

      [Bookseller: Antiquariat Büchel-Baur]
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        Biblia, deutsch. (GW 4302, HC 3136) (8. Deutsche Bibel) Blatt Cxlviiii das buch des propheten Osee (Hosea), capitel i - iii.

      Augsburg: Anton Sorg, 3. Januar 1480. Type 2.. Zweispaltiges 51-zeiliges Original-Inkunabelblatt mit einer Holzschnitt-Bild-Initiale "D" (7,3 x 9 cm) auf festem Papier, im oberen Rand mit hinterlegten kleineren Fehlstellen. Blattgröße 24,3 x 36 cm. Incunable woodcut leaf.. In dieser, im Jahre 1480 gedruckten deutschen Bibel nutzte Anton Sorg die Holzschnittinitialen von Günther Zainer, der diese erstmals 1475 und noch einmal 1477 beim drucken seiner deutschen Bibel verwendete. Der Augsburger Erstdrucker Günther Zainer starb am 13. April 1478. Aus seinem Nachlass erwarb Sorg unter anderem diesen wertvollen Holzstock und nutzte ihn für seinen zweiten Bibeldruck. Der Holzschnitt zeigt den Propheten Hosea vor der Baal-Säule. Die Holzschnittinitiale aus dem Fundus von Zainer gehört zur ersten bebilderten deutschen Bibel. Zeitgleich druckte auch Jodocus Pflanzmann seine deutsche Bibel mit eigenen kleinen Holzschnitten. Das Blatt können Sie unter folgendem Link online einsehen:[image]=321&set[zoom]=default&set[debug]=0&set[double]=0&set[mets]

      [Bookseller: Versandantiquariat Christine Laist]
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        Plenarium, deutsch (GWM 34102, H 6737). Blatt xlvi. Der dritt suntag epistel.

      Augsburg, Anton Sorg, 23. Februar 1480. Type 2.. Einspaltiges, 34-zeiliges O-Inkunabelblatt mit einem altkolorierten Holzschnitt (7,3 x 7,3 cm) und einer altkolorierten Holzschnitt-Initiale des Buchstaben A im Maiglöckchenstil (5 x 5,2 cm) auf festem Papier. Wasserzeichen: Traube. Blattgröße: 19,8 x 26,7 cm.. Rar!

      [Bookseller: Versandantiquariat Christine Laist]
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        Plenarium, deutsch. Blatt lxv. (GWM 34102, Schramm IV, 342)

      Augsburg, Anton Sorg, 23. Februar 1480. Type 2.. Einspaltiges, 34-zeiliges O-Inkunabelblatt mit einem kolorierten Holzschnitt (8 x 8 cm) und einer Maiblumeninitale "B" (5,1 x 5,5 cm) auf festem sauberen Papier. Blattgröße: 19,6 x 26,7 cm. Incunabula text woodcut leaf.. Rar. Seltene Sorg-Ausgabe. Breitrandiges schönes Exemplar! Der Holzschnitt zeigt die Begegnung Jesu mit der heidnischen Frau (Mt 15,21-28), die Jesus bittet ihr Kind zu heilen. Bisher ist nur die Erstausgabe des Sorg#schen Plenariums von 1478, in der Sorg den gleichen Holzschnitt verwendet, online einsehbar: Seite 145 wählen.

      [Bookseller: Versandantiquariat Christine Laist]
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        Die vierundzwanzig (24) Alten oder der goldene Thron: Blatt 172 (Schramm IV, 500). (GWM28503/05).

      Augsburg, Anton Sorg, 10. März 1480. Type 2.. Einspaltiges, 35-zeiliges Original-Inkunabelblatt mit mehrfarbigen Holzschnitt (9 x12,5 cm). Im Randbereich etwas braunrandig und 2 kleine Wurmlöcher außerhalb des Bildbereiches. Blattgröße: 20 x 28,7 cm. Incunabula text woodcut leaf.. Seltenes Blatt mit einem von 26 Holzschnitten des Werkes in erster Ausgabe. Im Werk werden dem Leser in seiner Volkssprache, die Entwürfe der Mystiker des 12. Bis 14. Jahrhunderts nahegebracht. Die Sentenzensammlung von etwa 100 Autoren zusammengestellt im 14. Jahrhundert vom Tauler-Adept Otto von Passau, erfreute sich seit Anbeginn des 15. Jhd. als Erbauungsbuch und Vademecum für alle Lebensfragen größter Beliebtheit. Über den Auto ist nur bekannt, dass er Lektor im Barfüßerkloster der Minderbrüder in der Stadt Basel war. Die Texte wurden überwiegend in Nonnenklöstern rezipiert und in Männerklöstern nur als pastorales Hilfen verwendet. Die Illustration des Bildes stammt vom Druckstock des Sorgmeister. 1483 veröffentlichte Anton Sorg eine zweite Ausgabe des Werkes. (Becker; Overgaauw: Aderlass und Seelentrost 2003, 229ff.) Ein weiteres Bild des Inkunabelblattes wird gerne auf Wunsch per email zugesandt. Das Blatt können Sie online einsehen:

      [Bookseller: Versandantiquariat Christine Laist]
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        Liber Precum. Andachtsbuch.

      Deutscher Kommentarband: James Marrow, Margarita Logutova., Köln um 1480 / 90 (Faksimile-Nachdruck jüngeren Datums).. Limitierte Auflage von 580 Exemplaren. 198 Seiten im Format 13,1 x 9,3cm. Mit 14 ganzseitigen Miniaturen.. Mit der Faksimilierung des St. Petersburger Liber Precum tritt ein bisher kaum bekanntes Meisterwerk der hochgotischen Buchmalerei endlich ins Blickfeld von Sammlern und Wissenschaftlern. Das hervorstechendste Merkmal dieses Gebetbuches ist der wegen seines Umfangs, seiner Erzähldichte und seiner künstlerischen Qualität einzigartige Bilderzyklus, der den faksimilierten ersten Teil der Handschrift, Fols. 1-99, eine Folge von Gebeten zur Vita Christi und eine Litanei, begleitet. Mit seinen 41 ganzseitigen Miniaturen stellt er die vollständigste und ikonographisch reichste Illustrationsfolge zum Leben und Leiden Jesu dar, die aus dieser Epoche erhalten ist. Bl

      [Bookseller: Versandantiquariat Karl Heinz Schmitz]
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        Book of Kells 8. Jahrhundert - Trinity College Library, Dublin, Ms. 58 (A.I.6) Einer der geheimnisvollsten Kunstschätze. Mystisches Zeugnis frühen irischen Christentums.

      . Limitiert Weltweit 1480 Exemplare. Kommentarband in Deutsch. Das Book of Kells enthält so manche Miniatur des frühen Mittelalters, die zu den schönsten zählt, die je geschaffen wurde. Bis auf zwei sind alle Seiten dieser Handschrift mit einer fast unbeschreiblichen Fülle symbolträchtiger und mystischer Malerei ausgeschmückt. Die Handschrift beeindruckt sowohl in der Anzahl als auch in der Größe der Pergamentseiten, die durchschnittlich die Maße von 33 x 25 cm aufweisen. Es wurde nicht für den täglichen Gebrauch und auch nicht für das Studium gefertigt, sondern sollte ein geheiligtes Werk sein und an hohen Festtagen auf dem Altar das Wort Gottes repräsentieren. 680 Seiten, Format: 33 x 25 cm, Einband aus feinstem weißen Leder, mit Schmuckkassette. Das Book of Kells wurde vermutlich im Kloster Iona um das Jahr 800 von unbekannten, genialen Künstlern geschaffen. Ein erster Hinweis auf seine Existenz findet sich in einem Bericht von 1007 über einen Diebstahl in der Kirche von Kells, in dem das Buch "Das große Evangeliar des Columcille, die Hauptreliquie der westlichen Welt" genannt wird. Bald darauf wurde das in Kells vergrabene Buch aufgefunden. Es blieb in Kells, bis man es während der Regierungszeit Cromwells aus Sicherheitsgründen nach Dublin brachte. Um 1661 übergab es Henry Jones, Bischof von Meath, dem Trinity College. Seither wird es in der Bibliothek des College in Dublin gehütet.Das Book of Kells enthält vor allem die vier Evangelien. Aber auch andere Texte fanden Aufnahme: etwa am Anfang der Handschrift Kanontafeln, die die Konkordanzverzeichnisse enthalten, die von Eusebius von Cäsarea zusammengestellt worden waren, oder für das Kloster Kells wichtige besitzrechtliche Urkunden. Der lateinische Text wurde in stolzer insularer Halbunziale geschrieben, die wie auch die Illumination einen Höhepunkt irischen Kunstschaffens darstellt. Das Book of Kells muß in einem Skriptorium entstanden sein, das selbst die ausgeklügelten Finessen der Handschriftenherstellung beherrschte, denn nur mit einem äußerst fundierten technischen Wissen und hervorragenden Kenntnissen über vergangene und zeitgenössische Kunst war es möglich, eine solche Fülle symbolhafter und geheimnisvoller Darstellungen zu schaffen. Die Faksimile-Edition besteht aus einer aufeinander abgestimmten Einheit von Faksimileband, wissenschaftlichem Kommentarband und einer Schmuckkassette. Die Auflage ist weltweit auf 1480 numerierte Exemplare beschränkt, wobei 740 Exemplare für den angelsächsischen Raum reserviert sind. Die 680 Seiten umfassende Handschrift wird bis ins kleinste Detail und vollkommen originalgetreu im Format von ca. 33 x 25 cm wiedergegeben. Sie entstand in einzigartiger Verbindung modernster technischer Verfahren und hochqualifizierter Handarbeit. Der Einband besteht aus feinstem weißen Leder. Die den Originalseiten entsprechend randbeschnittenen Bogen wurden von Hand auf vier echte Bünde geheftet. Der Kommentarband umfaßt 400 Seiten. Die Experten: Dr. J.J. Alexander, Professor für Kunstgeschichte am Institute of Fine Arts, New York; Anthony Cains, Leiter der Restaurierungsabteilung, Trinity College Library, Dublin; Geraoid MacNiocaill, Professor für Geschichte, University College Galway; Dr. Patrick McGurk, Dozent für Geschichte des Mittelalters, Birbeck College, University of London, und Dr. Bernard Meehan, Leiter der Handschriftenabteilung, Trinity College Library, Dublin. Herausgeber der deutschen Ausgabe des Kommentarbandes ist Prof. Dr. Anton von Euw, Konservator am Schnütgen-Museum Köln und Professor für mittelalterliche Kunstgeschichte an der Universität Köln. Der weltbekannte Autor Umberto Eco verfaßte ein mitreißendes Vorwort. Bei dem vorliegenden Exemplar handelt es sich um eine gut erhaltene Ausgabe aus "Zweiter Hand", wie neu! Daher der günstige Preis. COMMENTARY IN GERMAN Bl

      [Bookseller: Versandantiquariat Karl Heinz Schmitz]
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        Biblia Germanica (Achte deutsche Bibel).

      Augsburg, Anton Sorg, 1480. Daraus 1 Blatt mit 2 altkolor. Holzschnitt-Initialen. Folio (36,5 x 25 cm). - Schramm II, 609 ff. - Blatt L (50) aus der Anton Sorg Bibel; die beiden Holzschnitte in schönem Altkolorit, der größere versinnbildlicht Jesu' Stammbaum mit Isai als der "Wurzel Jesse", in der Baumkrone sitzt Maria mit dem Jesuskind im Arm, links an einem Schreibpult sitzt der Prophet Jesaja, eingerahmt von der Initiale "D" und einem Blütenornament. Der kleinere Holzschnitt mit der Initiale "J" für Jesaja ebenfalls mit einem Blütenornament. - Zweispaltiger Druck mit 52 Zeilen (einschl. Kopfzeile). - Breitrandiges bzw. volles Blatt in sehr guter sauberer Erhaltung.

      [Bookseller: Buch & Kunst Antiquariat Flotow GmbH]
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        Stundenbuchblatt. Beidseitig beschrieben, jeweils 22 Zeilen.

      Nordfrankreich, ca. 1480.. 14,3 x 18,8 cm. Mit 16 Initialen in Farben und Gold, 9 farbigen Zeilenfüllern und floralen Zierleisten in Rot, Grün, Blau und Gold.. Sehr dekorativ!

      [Bookseller: Antiquariat Lorych]
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        Das Berliner Stundenbuch der Maria von Burgund und Kaiser Maximilians. Hs 78 B 12; Kupferstichkabinett der Staatlichen Museen zu Berlin, Preussischer Kulturbesitz

      Coron-Verlag.Faksimile Verlag-Luzern., Brügge um 1480 (Faksimile von 1999).. Einmalig weltweit lim.Aufl. von 980 Exemplaren. 726 Seiten. 103 x 70 mm. 27 ganzseitige Miniaturen, 16 Ornamentseiten und 47 größere und kleinere Miniaturen. Entstehung: zwischen 1477 und 1482 in Burgund. Faksimile + Kommentar. Samteinband mit aufwendiger Schließe; dreiseitiger Goldschnitt in Lederetui und aufwendiger Samtkassette. sehr gut erhaltene 2. Hand-Edition deutscher Kommentarband Eberhard König, Bodo Brinkmann, Fedja Anzelewsky, Frauke Steenbock. Zustand (1). Die Verbindung der Häuser Habsburg und Burgund durch die Heirat zwischen Maria von Burgund, der einzigen Tochter und Erbin Karls des Kühnen, und dem Sohn Kaiser Friedrichs III., Maximilian, war trotz dahinter stehender politischer Erwägungen ein romantisch-idyllisches Intermezzo und führte zu persönlichem Liebes- und Familienglück. Im Zuge dieser Verbindung aus dem Jahre 1477 entstand eine der schönsten Bilderhandschriften des burgundischen Fürstenhauses: Das Berliner Stundenbuch der Maria von Burgund und Kaiser Maximilians. Alle Miniaturen umgibt farbiger Bordürenschmuck, der in unerschöpflicher Phantasie Ornament und Naturbeobachtung verbindet, sodass aus Akanthus und Blumen, Schmetterlingen und Früchten sowie den Initialen von Maria und Maximilian eine unvergleichliche Pracht entsteht. Diese in viele Bordüren eingestreuten Initialen sowie die eingefügten Wappen lassen keinen Zweifel daran, dass die beiden den kleinen Band besaßen. Ein weiterer Beweis ist ein von Maximilian eingefügtes Autograph, mit dem er das Stundenbuch nach dem frühen Tod Marias ihrer gemeinsamen Tochter Margarete widmete. Der Codex gehört zu den frühesten Zeugnissen eines Stils, der die Spätzeit der burgundischen Buchmalerei bis weit in das 16. Jahrhundert hinein prägen sollte. Mit plastischer Blumenpracht umgeben diese Bordüren ungemein detailreich gestaltete Bildfelder mit ihren minutiösen Darstellungen aus Bibel und Heiligengeschichte. Die Blicke, welche der Maler dort gewährt, sind ebenso ungewohnt wie die Bordüren. Er erschließt Innenräume und weite Landschaften und tritt mit den besten Tafelmalern seiner Zeit in einen Wettstreit, bei dem die Buchkunst nicht selten triumphiert, zumal in Handschriften aufbewahrte Miniaturen sehr viel strahlender erhalten sind als Gemälde. Mehr als eine Generation später hielt sogar der große Simon Bening so manche Bildidee aus dem Stundenbuch für gültig. Epochal hatte sich in diesen zarten Bildern der Blick für die vertrauten Geschichten gewandelt, die Buchmaler seit langem zu wiederholen gewohnt waren. Packend werden die Szenen geschildert, drastisch, wenn es um Passion und Martyrium geht, lyrisch, wenn der Kindheit Jesu und der Muttergottes gedacht wird. Die Miniaturen im Berliner Stundenbuch gehören zu den herausragendsten Beispielen einer Buchkunst, die auch im kleinen Format die Welt perfekt einzufangen versteht. BL

      [Bookseller: Versandantiquariat Karl Heinz Schmitz]
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      France, ca, 1480. 146 x 95 mm (5 3/4 x 3 3/4"). Single column, three lines on the recto, 16 lines on the verso, in a pleasing, careful bâtarde hand. Verso with two one-line initials in blue with red penwork, one pink and blue line filler, and two two-line initials in burnished gold on pink and blue grounds, recto with a three-line "D" in blue on a pink ground with white tracery, the center with four trefoils of burnished gold, the same side WITH A FULL FLORAL BORDER featuring blue and gold acanthus leaves, sprays of pink, blue, and red flowers with green and gold leaves, and numerous burnished gold berries, the border ENCLOSING AN ARCH-TOPPED MINIATURE OF PENTECOST (measuring approximately 72 x 58 mm.), the Virgin sitting on a low dais at the center of the scene, an open book in her lap, the apostles clustered around her, two of them kneeling on the tile floor at her feet, another (perhaps Saint John) standing on the right, his hand extended, apparently after opening the shutter of an arched window in the back to admit the dove of the Holy Spirit, which hovers in front of a pink sun radiating gold beams, the miniature and text within a thin burnished gold frame. Much of the blue rubbed off the "D" and small patches of paint flaked off the green robes of three apostles, otherwise a fine leaf, very clean and bright, with shining gold and ample margins. All eyes are on the Virgin in this Pentecost miniature, the scene most frequently used to begin the Hours of the Holy Spirit, one of the basic texts in the typical Books of Hours. She bends her head in gracious modesty, her sweet face framed by a white coif, and it is clear that everyone in the room is emotionally joined with her. Particularly notable here is the artist&#39;s success at creating space, using deeply receding perspective to create a room of ample proportions and considerable depth. The removal of the shutter to allow the dove to enter is a nice touch and something we have not noticed in other representations of this event.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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      France, ca, 1480. 133 x 191 mm (5 1/4 x 7 1/2"). Single column, three lines on the recto, 16 lines on the verso, in a pleasing, careful bâtarde hand. Rubrics in red, verso with one two-line initial in burnished gold on a pink and blue ground, recto with three-line "S" in the same style, recto also with A FULL FLORAL BORDER containing blue and gold acanthus leaves, sprays of red and blue flowers with green and gold leaves, hairline stems and burnished gold berries, THE BORDER ENCLOSING AN ARCH-TOPPED MINIATURE OF ALL SAINTS showing at least a dozen figures standing on a white tile floor with blue and white sky above. A hint of pigment loss in one or two areas of blue, but IN ESPECIALLY FINE CONDITION, entirely fresh, clean, and bright. Although this is well composed and well painted, its figures are not identified in the usual way. Except for Saint Paul, who has his sword and book, none of the saints depicted here is accompanied by an attribute, so it is difficult to be certain who is being pictured. In the front row of saints, the artist seems to have given Paul an uncanonical full head of hair, while (presumably) Peter sports a monk&#39;s tonsure to Paul&#39;s left. The other three men near the front are all youthful, the bearded figure on the left in ample robe and cloak, the remaining two figures young and clean-shaven; the blond on the right is probably meant to be John the Divine. The cap on the youth in the middle is intriguing, being a tall red cone, so narrow that it seems likely to topple off, and the young blond has a bizarre red feather(?) protruding from his halo (or perhaps this is meant to be a flame of inspiration). This uncommonly-seen All Saints miniature appeared in 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.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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      Rouen, ca, 1480. 121 x 86 mm (4 3/4 x 3 3/8"). Single column, four lines of text on verso, 15 lines on recto, in a very fine bâtarde book hand. Attractively matted. Rubrics in red, recto with one two-line initial, one one-line initial and one line filler in colors and burnished gold, and a quarter panel border with blue and gold acanthus leaves and sprays of red roses and blue violets, VERSO WITH A FULL BORDER containing much swirling vegetation partly on geometric grounds of blue, red, or brushed gold, one gold circle at the bottom containing a large flapping bird, the border ENCLOSING AN ARCH-TOPPED MINIATURE OF SAINT EUSTACE (measuring approximately 55 x 40 mm.), beneath the miniature a four-line "M" in brushed gold on a red ground. A hint of soil and wrinkling, but generally very well preserved, with little or no erosion in the paint and gold, and with especially ample margins. Saint Eustace, patron of hunters, is frequently depicted at the moment when a stag appeared to him with a cross between his horns. Our artist, however, has chosen to portray one of the long-suffering saint&#39;s worst moments, when his two little sons were savaged by a wolf and lion, as told in the story from Jacobus de Voragine&#39;s "Golden Legend." The episode took place at a river crossing, and in our leaf, the saint recreates that moment, standing in the river and dominating our scene. He raises his hands in alarm, but also in the early Christian orant position of prayer, signifying his acceptance of God&#39;s testing of his fortitude. Meanwhile, the two small, limp sons are in the maws of the beasts. The landscape is one of the most appealing features of this illumination. The fields bordering the river are planted with rows of crops, some of them an improbable pink. Small trees separate the fields from each other, tiny boats dot the river, and in the distance, green hills rise against a cloudy sky. It is a carefully painted, esthetically pleasing, and particularly serene backdrop. The image of Saint Eustace is very uncommonly seen in a Book of Hours.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        (Incunabolo). Opus Iacobi Comitis Purliliarum epistolarum familiarum.

      Absque nota (Venetiis, 1480? - Panzer, 1490? - Brunet, 1507? Capodagli). Porcia, Jacopo, conte di (1462-1578). In-folio, pergamena settecentesca. Titolo e CII ff. Carattere rotondo, meno l' ultimo foglio che è in car. gotico. La lettera iniziale nel recto del secondo f. è ornata. Il titolo è incluso in uno striscione ondulato ad intarsio intagliato in legno. Il primo foglio è rimarginato in testa ed ha un piccolo rinforzo al verso, una macchiolina bruna angolare nei ff. VII-IX e una censura al centro del f. LXXXVII, peraltro esemplare ben conservato. Edizione originale ed unica di grande rarità. Il conte Jacopo di Porcia, illustre umanista di ingegno elevato, fu autore di diverse opere letterarie, storiche e militari edite e inedite. Questo volume, senza luogo, anno e note tipografiche, fu pubblicato probabilmente a Venezia alla fine del Quattrocento o ai primi del Cinquecento, comprende circa 240 lettere indirizzate a distinti personaggi del tempo. Il Foscarini, nella sua Letteratura veneziana a p. 325 le ritiene ricercatissime. Hain-Copinger, 13605. Vouillième, B. 4652. Goff, P. 1138 (una sola copia in USA). I.G.I., IV, p. 344. Caronti, Incunaboli della Bibl. Univ. di Bologna, 710. B.M.C., Italian books, p. 535. Sander, 6061. Brunet, IV, 981. Liruti, Letterati del Friuli, I, pp. 401-05. Manzano, Letterati ed artisti friulani, p. 165. Capodagli, Udine illustrata, p. 286.

      [Bookseller: Brighenti libri esauriti e rari]
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        The Singers

      An attractive early 17th century engraving of a group of three elegantly dressed male singers performing from a musical manuscript, the artist&#39;s initials in the plate at lower right. 174 x 119 mm. & & Trimmed to just outside platemark. & & A very good impression on laid paper, although slightly later than the first. . A rare reverse copy of an earlier print by Marcantonio Raimondi (ca. 1480-ca. 1534). Bartsch XIV, 348-4689a. Nagler M IV-925-4.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Illuminated Manuscript: Prayer to God, the Father

      np: France. 1st Edition. No Binding. Very Good. Large illuminated manuscript leaf (c1480) with a miniature of God. Large leaf from a Northern French Book of Hours (c. 1480) containing the "Oraison à Dieu Le Pere TresDevote" from a Northern French Book of Hours (c. 1480) . 24 lines of text written in French in a gothic script in brown ink with red rubrics. Prominent miniature features God, the Father, in a red robe and golden crown. He stands before a bright gold background. Beautiful borders recto and verso with red & blue flowers, and blue & gold acanthus leaves. A large double line initial "M" painted in gold on a red background opens the prayer. Size: 212 x 136 mm (approx. 8.3 x 5.4 inches) Miniature: 51 x 46 mm The text in French: Oraison a dieu le pere tresdevote. Mon benoist Dieu, je croy de cueur et confesse de bouche tout ce que saincte Eglise croit et tient de vous et que ung bon catholique doibt de vous sentry et croire. Et proteste icy devant vostre tresnoble et precieuse figure que je vueil vivre et mourir en ceste foy et y persever toute ma vie. Et vous recongnois mon Dieu, mon pere et createur de tout le monde. Et moy, vostre pouvre creature, subjecte et servante, vous fais la foy et hommaige que je tiens de vous noblement, comme de vous mon souverain, l&#39;ame et le corps et tous les biens naturelz, spirituelz et corporelz et temporelz que j&#39;ay et que oncques je euz et que je attens a avoir en ce monde et en l&#39;ature. Et de bon cueur treshumblement vous en remercie et loue et rens grace. ...Et en signe de recongnoissance vous paye de ce petit tribut au matin et au soir, c&#39;est que je vous adore de cueur et de bouche en foy et esperance et charite... , de ceste petite oraison qui tant seulement appartient a vostre benoiste majeste, seigneurie et divinite. Et vous requires troys choses. La premiere est misericorde de tant de malz.

      [Bookseller: The Manhattan Rare Book Company]
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        Miniature of Christ on a leaf from a Missal

      France,: circa, 1480.. Large illuminated leaf on vellum, 342 x 262 mm., with a miniature upper right, 92 x 74 mm., depicting Christ with his hands held in prayer, framed in gold, with fourteen 2-line initials in gold on red and blue ground, infilled with white penwork decoration; intricately decorated panel border on all sides composed of coloured flowers and leaves on black hairline stems enclosing text on all; 28 lines of gothic text in double columns; the verso is stamped "Edward Ford" at lower left. A grand illuminated leaf, evidently from a most impressive Missal, with a fine miniature representing the Feast of the Assumption, depicting Christ with a golden halo dressed in red robes with his hands held together in prayer. The craggy landscape is planted with lush, green trees. The leaf is richly illuminated with a fine border on all sides and fine illuminated initials.The Missal was introduced in the Carolingian period and by the thirteenth century had supplanted the older Sacramentary, combining in one volume the various components for the performance of the mass. Its development was prompted by the custom of saying private masses and low masses, which were performed by the celebrant alone.This leaf is from the collection of Sir Edward Ford, author of Bibliography of Australian Medicine 1790-1900.

      [Bookseller: Hordern House Rare Books]
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        Illuminated Manuscript: Mark the Evangelist with Winged Lion form a 15th Century Book of Hours

      Rouen, France: np. Very Good. Saint Mark the Evangelist from a 15th century (c.1480) Book of Hours (Rouen). The scene depicts Saint Mark holding a scroll. Facing the Evangelist is a winged lion, the symbol of Saint Mark. Surrounding the scene is a full border decorated with acanthus leaves and flowers. A peacock and a mythical creature playing the lute further enhance the border. The leaf is rich in blues, reds, greens, yellows, and of course gold. Beneath the miniature are 4 lines of text opening with a grand initial "R" "recumbentibus" (reclining) in red on a blue background with gold decoration. Verso contains 15 lines of text in Latin and a foliate border of red thistles, yellow fruits and blue & gold acanthus leaves. Size: 120 x 85 mm (approx. 4.7 x 3.3 inches) Miniature: 54 x 38 mm.

      [Bookseller: The Manhattan Rare Book Company]
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        Illuminated leaf from a Book of Hours

      France,: circa, 1480.. Illuminated leaf, 182 x 118 mm., with a panel border of liquid gold on one side and red ground on the other, nine 1-line and two 2-line initials in red and blue and gold, eighteen lines of text; in very good condition. A well-illuminated leaf from a French Book of Hours with an unusual panel border of red, blue and pink flowers on a liquid gold ground on one side and on a red ochre ground on the other.The leaf is from the Book of the Virgin, the Hour of Sext (the sixth hour), which was recited around noon. The illuminated initial 'N' begins Psalm 123 which appears here in full, 'Nisi quia dominus erat in nobis, dicat nunc Israel: nisi quia dominus erat in nobis' ('But that our Lord was in us, let Israel now say: but that our Lord was in us'). On the verso is the commencement of Psalm 124, 'Qui confidunt in Domino...' ('They that trust in the Lord...').

      [Bookseller: Hordern House Rare Books]
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        Book of Hours (Use of Rouen); illuminated manuscript on vellum Twenty-six miniatures and six historiated initials by two artists (unidentified)

      ILLUMINATED MANUSCRIPT ON VELLUM in Latin and French, France, Normandy (Lisieux, Sées?), c. 1480, 221 x 160 mm. (prickings still visible), 83 folios, wanting some leaves (collation: i4 ii8 [1 a singleton, -7] iii8 iv6 v-vi8 vii2 viii8 ix8 x6 (of 8?-1 and 8) xi8 xii4), written in a fine lettre bâtarde (justification: 120 x 85 mm.), numerous 1- and 2-line gold initials in gold on colored grounds, 3- to 4-line pink or blue initials on gold grounds, SIX HISTORIATED INITIALS, SEVEN SMALL MINIATURES, EIGHT SQUARE MINITAURES, TEN THREE-QUARTER PAGE ARCH-TOPPED MINIATURES, ONE FULL-PAGE ARCH-TOPPED MINIATURE, most miniatures with full illuminated borders of very different types, on reserved or colored grounds with a variety of ornaments (floral and foliate) and drolleries, ONE FULL-PAGED ARCH-TOPPED MINIATURE (f. 4v) with full border. BINDING: Bound in modern red morocco, in fine condition. TEXT: This imposing Book of Hours, richly illuminated with a remarkable series of miniatures, presents a number of intriguing questions. It defies precise localization, although it was undoubtedly made in Normandy, its liturgical use is Rouen. Its miniaturists were familiar with Rouen illumination, but the style is difficult to pin-point and tie to a specific school of illumination. It was made for an unidentified female patron and her daughter (?), who appear in one of the miniatures. An impressive and unusual series of illustrations associate each Gospel readings with a different event of the Marian cycle. ff. 1-3v, Calendar, in French, with numerous Norman and Breton saints; f. 4, blank; ff. 5-10v, Gospel readings and prayers [wanting beginning of prayers]; ff. 11-38, Hours of the Virgin, use of Rouen; ff. 38-40, &#147;Obsecro te&#148;; ff. 40-41, &#147;O intemerata&#148;; ff. 41v-42v, blank; ff. 43-49, Penitential Psalms; ff. 49-50v, Litany [wanting ending]; ff. 51-55, Hours of the Cross [beginning imperfectly]; ff. 55v-58, Hours of the Holy Spirit; ff. 58-61v, Hours of St. Barbara; ff. 61v-64v, Suffrages [wanting ending]; ff. 65-75v, Office of the Dead [beginning and ending imperfectly], use of Rouen?; f. 76, Passion according to John. ILLUSTRATION: Large miniatures: f. 4v, Pietà, with a kneeling female patron and her daughter (?) (full-page); f. 5, Four Symbols of Evangelists; f. 7, Presentation in the Temple; f. 8, Annunciation; f. 9, Assumption of the Virgin; f. 11, Annunciation; f. 16v, Visitation; f. 23, Nativity; f. 26, Annunciation to the Shepherds; f. 28, Adoration of the Magi; f. 30, Flight into Egypt; f. 32, Presentation in the Temple; f. 35v, Coronation of the Virgin; f. 43, King David; f. 51, Christ on Gethsemane; f. 55v, Pentecost; f. 58, St. Barbara; f. 75v, Cross and instruments of the Passion. Small miniatures: f. 61v, Holy Trinity; f. 62, Anthony; f. 62v, Christopher; f. 63, George; f. 63v, Anne, the Virgin and Child; f. 64, Michael; f. 64v, John the Baptist. Historiated Initials: f. 52, Arrest of Christ; f. 52v, Christ before Pilate; f. 53, Flagellation; f. 53v, Crucifixion; f. 54, Deposition of the Cross; f. 54v, Entombment. PROVENANCE: Copied and painted in France, in a highly original and still unidentified style. The liturgical use of the Hours of the Virgin is for Rouen. The calendar is not typical of Rouen, and includes saints from Normandy and Brittany. Owned by the d&#146;Abancourt family from Beauvais in the seventeenth century; belonged to Sir Thomas Phillipps (1792-1872), his MS 2614, apparently from the collection of Juan de Iriarte (1702-1771), Spanish paleographer. Frederick Fermor Hesketh, second Baron Hesketh (1917-1955), with his heraldic bookplate. CONDITION: a few internal stains but overall in very good condition with wide margins and fresh colors. Full description and photographs available. (BOH 72)

      [Bookseller: Les Enluminures ]
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      Venetiis: Johannes de Colonia and Johannes Manthen, 30 March, 1480. Hardcover. A Manual Containing the Best WaysTo Interrogate Penitents of Various Ranks. 235 x 171 mm (9 1/4 x 6 3/4"). 100 unnumbered leaves (of 102; without first and last blank). Double column, 40 lines of text, gothic type. Modern vellum over stiff boards, flat spine with ink titling in antique style. In a (lightly rubbed) vellum-lipped suede-lined slipcase. Capitals struck with red, paragraph marks in red or blue, three-line red or blue hand-painted initials throughout, and three six-line initials. First leaf of text with 17th century monastic ownership inscription. Goff A-807; BMC V, 236. Minor marginal thumbing and smudging throughout (two quires with more noticeable wax[?] stains at bottom, but well away from text), first gathering with four tiny wormholes in the gutter margin, otherwise excellent, the text still fresh and rather bright, the margins extremely ample, and the binding unworn. This is a rubricated copy of an uncommon edition of a guide for confessors, written by one of the most important moral theologians of the day, a man whose writings on Christian ethics were ranked with those of Aquinas. Antoninus, the Dominican Archbishop of Florence (1389-1459, canonized 1523) was one of the most revered figures of his time. Pious, simple in appearance and demeanor, self-denying, and devoted to his office, he displayed tireless courage in helping the Florentine populace through the plague and famine in 1448 and 1453, an effort of will that provided only the most public evidence of his abiding faith and strength of character. Antoninus wrote three works on hearing confessions, distinguished by their incipit but usually lumped together under the title "Summa Confessionum" or "Confessionale." In this work, which begins "Defecerunt Scrutantes Scrutinio" ("they have failed in their search"), he begins by explaining who is authorized to hear a confession and what qualities that confessor should have, including, in particular, humility, modesty, and discretion. He cautions against ever revealing the contents of a confession, and outlines the powers of the confessor. There are instructions for the best ways to interrogate penitents of various ranks, and advice on the granting of absolution and the imposition of penanaces. Printer Johannes de Colonia married the widow of prominent Venetian printer Johannes de Spira, and worked in partnership with Wendelin de Spira until 1473. His partnership with fellow German emigré Manthen was a continuation of that business and utilized many of the de Spira fonts. It was a productive partnership, printing more than 85 editions from 1474 to 1480, mostly works of theology and law, which were far more profitable than Greek and Roman classics. Antoninus&#39; guides for confessors were widely published: Goff lists 52 printings in Latin of the various "Confessionales" by 1500, and nine vernacular editions in Italian and Spanish. But, given the nature of their use as practical reference works, these imprints, at least singly, are uncommon today. ISTC lists just seven copies in American and British libraries of our 1480 edition, and no copy has been recorded at auction by ABPC or Americana Exchange since at least 1975.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        PTOLOMEI COSMOGRAPHIA Fine Facsimile Edition

      Vallecchi. New. Hardcover. <p>The extraordinary antiquities fund of the Biblioteca Nazionale Centrale di Firenze (BNCF) conserves a work of exceptional beauty and historical interest, known as the &#147;Grande Tolomeo&#148; or &#147;Codice Magliabechiano&#148;. It is a manuscript collection of geographical maps based on the studies of Ptolemy and termed &#147;Cosmographia Jacobo Angelo interprete, cum tabulis Henrici Martelli Germani&#148;. The work consists of 39 plates and respective comments, that is, the introductory pages of each section which occupy 72 complete sheets of the codex for a total of 144 pages, in addition to the initial pages with dedication and incipit. Made in Florence by Enrico Martello Germano around 1480, it is one of the world&#146;s most impressive and fascinating Renaissance geographical codices in existence. Not only an aesthetic masterpiece, this work constitutes a document of unique interest in the history of cartography, marking a decisive watershed. While on one hand, it is a painstaking elaboration of ancient Greek knowledge, ignored for a millennium and updated with then recent European navigations in the Atlantic and in eastern seas, on the other hand it is also the last collection of geographical maps before the discovery of America. An extensive introductory commentary thoroughly sets the work in history and in its own context, also by means of comparisons with other plates of analogous works. The result is an overall picture of the knowledge of the time, and of how the science of cartography took shape. Critical Apparatus Sebastiano Gentile, professor at the Università di Cassino, has historically situated the work, with an essay on Humanism and Cartography; Angelo Cattaneo, researcher at the European University of Fiesole, handles the geographical part with particular reference to the figure of Ptolemy and Ptolemaic maps; Antonia Ida Fontana, Director of the Biblioteca Nazionale di Firenze (BNCF) is the author of the presentation. Historical Notes The codex was commissioned by the Vitelli family of Città di Castello (whose crest is reproduced on the cover) and opens with an illuminated map with gold inserts, inspired by the frescoes of Nero&#146;s Domus Aurea. Ptolemy Claudius Ptolemy (Klaudios Ptolemaios in Greek, Claudius Ptolemaeus in Latin, ca. 85 AD &#150; 165 AD ca. ) , known simply as Ptolemy, was a Greek astronomer of the imperial age who lived and worked in Alexandria in Egypt. Considered one of the fathers of geography, he was the author of numerous scientific works, the most important of which is the astronomical treatise known as the Almagest (in Greek, Hè Megalè Syntaxis, &#147;The Great Treatise&#148;). Like most of classical Greek science and philosophy, he has come to the present day in Arabic manuscripts which were then translated into Latin by Gherardo da Cremona only in the XII century.  </p><p>Technical Features </p><p>The volume has a total of 208 pages. Format: 43 x 59 cm A facsimile of the original with the addition of a rich critical apparatus. Printed on special paper, specially made by the Cartiere Magnani in Pescia. The volume comes in a slip-case, is hand-bound in leather and has gold tooling. Edition of 1000 copies. </p> .

      [Bookseller: New Boston Fine and Rare Books]
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        La vergine stolta

      Bulino, circa 1480/85, monogrammato in lastra in basso a sinistra. Esemplare nel secondo stato di due, con i ritocchi a bulino delle ombre. Magnifica prova di questa rara incisione, ricca di toni, impressa su carta vergata coeva priva di filigrana, completa della linea marginale, minimo restauro all?angolo superiore destro, per il resto in ottimo stato di conservazione. L?opera rappresenta una delle cinque vergini stolte. Il tema è affrontato in una parabola evangelica raccontata da Matteo, in cui dieci fanciulle andarono incontro allo sposo portando con se delle lampade; ma cinque di esse improvvidamente non presero l?olio da bruciare. Quando a mezzanotte giunse lo sposo, le cinque vergini savie entrarono nella casa, mentre le altre trovarono la porta chiusa. La parabola delle vergini savie e stolte rappresenta la metafora del Giudizio Universale, con cui Gesù invitava ad essere sempre pronti per la Seconda Venuta. Le vergini savie vengono rappresentate con la fiamma della lampada accesa, mentre quelle stolte con la lampada spenta e capovolta. Israel van Meckenem iniziò la sua carriera nella bottega del padre, orafo ed incisore. La sua attività ebbe un notevole sviluppo lavorando a fianco del Maestro E.S., celebre incisore conosciuto solamente attraverso il monogramma con cui firmava i lavori. Il van Meckenem producendo oltre cinquecento lavori fu uno dei più conosciuti ed importanti incisori del Quattrocento. L?opera della vergine stolta deriva da Martin Schongauer, che fu il primo artista a creare nella grafica una serie di lavori dedicati al tema, che era invece molto familiare nelle sculture che adornavano i portali delle cattedrali gotiche.Esemplare con timbro della collezione Lichtenstein al verso. Engraving, 1480/85 circa, signed with monogram on lower left. Example in the second state of two, with changes in the shadow. Magnificent sample of this particular engraving, printed on contemporary laid paper without watermark, with complete marginal line, small restoration on the upper right corner, in excellent conditions. The work represents one of the five foolish Virgins. The subject here reproduced is the same of a Parable in St. Matthews? Gospel, in which ten young girls went to meet the Bridegroom carrying their lamps; five of them foolishly forgot to bring some extra oil to burn. The Bridegroom came around midnight and the five wise Virgins entered the house with Him, while the others were left outside. The Parable of the wise and foolish Virgins is a metaphor of the Last Judgment: Jesus meant to remind that we have always to be ready for the Second Coming. The wise Virgins are here represented with shining flames on their lamps, while the foolish Virgins have their lamps already extinguished and turned upside down. Israel van Meckenem learned his trade in the shop of his father, who was a goldsmith and engraver, and his first efforts were copies of his father's prints. He joined the shop of the Master ES, an artist who is now known only through his monogram. With more than five hundred works, Van Meckenem is one of the main and most famous engravers of the XV century. The engraving of the Foolish Virgin has been inspired by Martin Schongauer, first to create a series on those topics, often represented in the sculptures of Gothic Cathedrals. Printed on verso, with the Lichtenstein Collection mark. Lehrs 429, Hollstein 427 II. 80 118

      [Bookseller: Libreria Antiquarius]
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        Epistolarum Familiareum Sextidecimi & ultimi finis. [Ciceros brev til venner.]

      Venetiis [Venezia], Ph. Petri 1480. Stor 8vo. 296 ark: 8 a-d + e 1-6 + 8 f-y + 10 z [v og w utelatt som vanlig] samt 8 A - O. Arkene a4 - g6 er håndpaginert i øvre h. hjørne. Komplett. Uten tbl. som utgitt, kolofon bakerst. Latinske typer, hovedteksten i midten av hver side, kommentarer i mindre font omkring. De fargelagte initialene er ikke utført i denne boken, kun skrevet smått inn med blekk. Mange notater i margene med sepia blekk i gammel hånd. Senere, enkelt pergamentbd. m. håndkskr. tekst på rygg. Marmorerte dekler. Blå hele snitt. En liten merkelapp klebet på fordekkelet. Side B6 er rep. i to forskjellige omganger. Et stempel på s. a1 verso, papirsprekk samme sted. Overtrekkspapiret noe avskrapet. Materien i godt bøttepapir, vakker og fast med nydelig typografi.. Hain 5187. Large 8vo. 296 sheet: 8 a-d + e 1-6 + 8 f-y + 10 z [v and w omitted as usual] + 8 A - O. The sheets a4 - g6 are paginated by hand in upper, right corners. Complete as published. Colophone at the rear, no title pg. as published. Roman types, the main text in the middle of each leaf, annotations printed around. No coloured initials in this book, just a small letter penned in in ink. Several notes in old hand in margins. Later quarter vellum with hand-written text on spine. Paper on boards marbled. All edges blue. A small label pasted on front board. Pg. B6 repaired twice. A stamp on pp. a1 verso, paper on hinge cracked at the same place. The marbled paper somewhat rubbed. The text block in beautiful hand-made paper, cream-coloured and firm. Beautiful typography

      [Bookseller: Norlis Antikvariat]
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        BOOK OF HOURS, Use of Cambrai

      France, Hainaut (Cambrai?), ca. 1480. 142 x 95 mm. 158 folios, complete (collation: i4, ii6, iii8, iv4, v-xviii8, xix12, xx4, xxi10 [of 12, with xi and xii cancelled], xxii5 [of 6, with vi likely blank cancelled]), written in a large gothic liturgical bookhand in 15 long lines, red rubrics, sometimes in French, pen-flourished versals in alternating blue and burnished gold, 2-line initials in burnished gold on alternating blue and red grounds with white tracery, large initials 5- to 3--lines in blue with white tracery on burnished gold grounds with floral infill, SEVEN BRACKET BORDERS in blue, red, and liquid gold acanthus, set with rinceaux and floral and foliate motifs, FIVE HALF-PAGE MINIATURES WITH FULL BORDERS, including a peacock (f. 41), and a bird (f. 130). TEXT: ff. 1-12, Calendar in French; ff. 13-19v, Prayers: ?O intemerata,? ?Deprecor te domina,? ?Anima mea desideravit?; ff. 19v-22, Gospel Sequences, John and Luke only; ff. 22v-23, Prayer at the elevation of the host, ?Ave domine Ihesu Christe?; ff. 23v-24, Prayers, ?Inviolata integra? and ?Ominipotens sempiterne deus?; f. 24v, blank; ff. 25-32v, Short Hours of the Cross; ff. 33-41v, Short Hours of the Holy Spirit; ff. 41-95v, Hours of the Virgin (use of Cambrai); ff. 96-113, Seven Penitential Psalms and Litany; ff. 113-122v, Prayers, including the ?Salve regina? and others; ff. 122v-129v, Suffrages, including Geri [Gaugericus], bishop of Cambrai (f. 124); ff. 130-158, Office of the Dead, unidentified use [use of Cambrai (?)], with only three readings. ILLUMINATION: f. 25, Crucifixion; f. 33, Pentecost; f. 41, Annunciation; f. 96, David in prayer; f. 130, Raising of Lazarus. This manuscript fits with the ?Group Betremieu,? seven manuscripts from Hainaut isolated by Bert Cardon; see B. Cardon, ?Saint Betremieu en andere heiligen. Over Henegouwse verluchte gebeden- in getijdenboeken uit de tweede helft van de 15de eeuw,? in Leuvens Palet aangeboden aan de Heer P.V. Maes, ereconservator van het O.C.M.W.-Leuven, naar aanleiding van zijn 65ste verjaardag (Arca Lovaniensis artes atque histoiae reserans documenta, 18), ed. M. Smeyers, Louvain, 1989, pp. 41-62. These manuscripts are influenced to some degree by Simon Marmion, the ?prince of illumination? who worked in nearby Valenciennes and died in 1489. In the present manuscript the denuded light green landscapes are distant echoes of Marmion?s style. Two artists painted this manuscript. One executed all but the Annunciation in a distinctive style with robust figures and faces, exaggerated gestures, and verdant green landscapes (see f. 130, Raising of Lazarus). The Annunciation (f. 41) is painted by the second artist in a more refined style. BINDING: Eighteenth-century red morocco gilt binding, covers with ornate gilt leaf and floral design, spine gilt in 5 compartments, gilt dentelles, gilt edges, green morocco slipcase. PROVENANCE: Likely made for use in the diocese of Cambrai, based on the calendar and the use of the Hours of the Virgin, and probably made for a woman (feminine forms in the prayers); the only special saint in red is Saint Nicasius, martyr saint of Reims, also venerated at the parish church of Saint Nicasius in the Diocese of Tournai, bordering the Diocese of Cambrai, calendar also includes St. Gaugericus, a sixth-century bishop and the patron saint of Cambrai, and there are a number of linguistic forms that confirm French-Flanders origin; belonged to Denys François du Rieu, 16 Febraury 1686, ownership inscription, final leaf, verso. CONDITION: In good clean condition, margins slightly cropped.

      [Bookseller: Les Enluminures ]
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