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        Nonius Marcellus, De proprietate latini sermonis Incunabula 1480

      Parma: [Printer of Hieronymus]. Good with no dust jacket. 1480. Vellum. The book is a large quarto measuring 11.25? x 8?, bound in old vellum with some old repairs, new morocco spine label, end papers and blanks renewed. This copy is lacking the index leaves at the front but the text is complete, pages numbered 2-132, collation b2-8, c-q8, r6, s6, with author and date at the colophon. (a1-b1 are the missing index and blanks). First leaf has some staining and worming, occasional mild foxing or aging throughout, leaf o2 is darkened, marginal notes in an old hand throughout, a few pages trimmed at the margin affecting the notes. Roman type, 37 lines with initial spaces. In Latin with occasional Greek. Goff N 267, istc in00267000. Binding is firm, quite a lovely copy. Nonius Marcellus was a Roman grammarian of the 4th or 5th century AD. His only surviving work is the De compendiosa doctrina, which has been printed under a number of titles, including De proprietate latini sermonis (as here) It is a dictionary or encyclopedia in 20 books that shows Nonius?s interests in antiquarianism and Latin literature from Plautus to Apuleius.The De proprietate latini sermonis is one of the major sources for lost works of the Roman Republic, including the tragedies of Accius and Pacuvius, the satires of Lucilius, and the history of Sisenna. It consists of words, a short definition, and then quotations of authors using the word. It is one of three major Latin dictionaries preserved from antiquity. ; 8vo 8" - 9" tall .

      [Bookseller: Greekdrama Books]
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        Liber Precum. Andachtsbuch.

      Deutscher Kommentarband: James Marrow, Margarita Logutova., Köln um 1480 / 90 (Faksimile-Nachdruck jüngeren Datums). - 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 Eine Rechnung mit ausgewiesener Mehrwertsteuer liegt Ihrer Bestellung bei. Sprache: Deutsch Gewicht in Gramm: 2100

      [Bookseller: Versandantiquariat Karl Heinz Schmitz]
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        Quaestiones de Potentia Dei. Quaestiones de Malo

      Manuscript on vellum, attributed to Venceslaus Crispus as copyist and Matteo Felice as illuminator. Italy, Naples, 30 December 1480. 378 x 260 mm., 2 paper leaves, 378 vellum leaves, one paper leaf, collation: I-V8, VI6, VII10, VIII-XLVII8, XLVIII2 (complete); vertical catchwords. Justification 243 x 160 mm., two vertical and 46 horizontal rules in pale brown ink, written in dark brown ink in a regular and very elegant rotunda, a round semi-humanistic script, by Venceslaus Crispus. Running titles and headings in red, colophon (fol. 376r) in red, paragraph marks alternately blue and red, opening words of each Quaestio in burnished gold capitals. Illumination: two opening leaves (fols. 1 and 177) illuminated each with a large thirteen-line initial extending into a full-length bar border with knots and leaves sprouting in the margins into elaborate sprays of leaves and flowers in blue, purple, and green, with burnished gold bezants on penwork stems and tendrils, the lower margin of the first leaf with the royal arms of the Kings of Aragon and Naples emblazoned in a wreath supported by two winged putti and surmounted by a crown; 179 very fine illuminated initials, seven to eight lines high, containing highly finished designs of variously colored flowers and leaves with delicate white penwork on burnished gold grounds, some with short extenders. Very occasional tiny chips to initials. Overall condition: vertical creases in ff. 2, 8, 26, 50 and 375, old crease mark to fol. 1, partial crease in fol. 38; fol. 1 slightly soiled and with small area of damp-stain at top near hinge affecting the uppermost portion of the illuminated border, chipping to the large initial on that page; some fading or rubbing to ink of the creased leaves and a few faded areas in fewer than 10 other pages; a few wormholes in first 10 leaves, one or two marginal wormholes in last few leaves; small stain to 84v; apart from these minor flaws in very fine, pristine condition. Bound in early 19th-century diced Russia leather over wooden boards, sides with blind roll-tooled borders, spine with olive morocco lettering-piece, edges gilt and gauffred at an earlier date. Worn, joints split; in a modern morocco-backed folding case. A magnificent royal manuscript of exquisite quality in material, calligraphy, and illumination, containing two key philosophical treatises of Thomas Aquinas, the most important Christian philosopher of the Middle Ages. Written for Ferdinand I of Aragon, King of Naples, one of the great art patrons and bibliophiles of the Italian Renaissance, as part of an extraordinary project to assemble a complete set with definitive text of the works of St. Thomas for the royal library of Naples, the manuscript is of well-documented provenance: it has passed through the libraries of three kings, three cardinals, a prince and an earl. PROVENANCE:1. Dated in colophon (30 December 1480, fol. 376v). Written and illuminated for Ferdinand I of Aragon, King of Naples (1456-85), with his royal arms on first leaf. 2. By descent to his son, Federico of Aragon (d. 1504), King of Naples (1496-1501), when he was forced to yield his kingdom to Louis XII of France. 3. Georges d'Amboise (1460-1510), Cardinal, Archbishop of Rouen, prime minister of the Kings of France, bibliophile and patron of the arts; this manuscript described in the inventory of his Château de Gaillon in 1508, his library bequeathed to subsequent archbishops of Rouen. Destrez-Chenu 1953 list 22 manuscripts, and later two more were found but not listed in the inventory, making a total of 24.4. Cardinal Charles II de Bourbon-Vendôme (1550-90) and Cardinal Charles III de Bourbon-Vendôme (1562-94). The latter left part of the archiepiscopal library to the Jesuits of the Collège de Clermont, and the other part to his nephew, the king of France (cf. Delisle, pp. 259-60, and Guigard I, pp. 243-44).5. Henri IV, King of France (1589-1610), who took possession of the entire library, and transferred it to the Cabinet du Roi. Part of the Cabinet was housed in the then-abandoned Collège de Clermont; in 1604 the Jesuits reclaimed this building, which had originally been theirs, as well as their share of the books, including this manuscript.6. The Jesuit Collège de Clermont in Paris, with their 17th-century ownership inscription on fol. 1r, "Collegii Paris. societatis Jesu," and, in the inner margin, the later note "Paraphé au désir de l'arrest du 5 juillet 1763 / Mesnil"; the latter referring to the closing of the college following suppression of the order. The books were sold in Paris in 1764: Catalogus manuscriptorum codicorum collegii Claramontani, no. 539, purchased by:7. Gerard Meerman (1722-71), author of Origines typographicae, who bought a large portion of the Clermont manuscripts (but was forced to present a certain number of them to the royal library of Louis XV in order to obtain permission to export the remainder; his son Jean Meerman (1753-1815), for whom the book was rebound, their joint sale, part IV, 2 July 1824, lot 480.8. Bertram, Fourth Earl of Ashburnham (1797-1878), no. 88 in his Catalogue of the Manuscripts at Ashburnham Place, Appendix, [1861]. 9. Henry Yates Thompson (1839-1928), who bought the manuscripts of the Ashburnham Appendix en bloc in 1897, then sold a selection of them, including this one, under the Ashburnham name, at Sotheby's, 1 May 1899, lot 39, to Emich.10. Tammaro De Marinis (1878-1969), his sale, Hoepli, 30 November 1925, lot 355, illustrated. 11. An unidentified owner; apparently at this time two engraved bookplates were affixed to the front pastedown: that of the Prince de Soragna (1773-1865), and a large 18th-century engraved armorial bookplate.12. An anonymous consignor, Sotheby's London, 23 June 1998, lot 59 (according to the Sotheby's description the manuscript was "sold probably before the last War to a private collection in Lugano, whence it was bought directly by the [unnamed] present owner in the 1980s," sold to: H. P. Kraus (Cat. 220/251).CONTENTS:Part I:fols. 1r -174v: Incipit: De potentia questio prima, Questio est utrum in deo sit potentia…, ending on fol. 174v: Expliciunt quaestiones sancti Thome de potentia dei.fols. 174v-176r: Table of chapters fol. 176v: blank Part IIfols. 177r-376r: Incipit Questio prima de malo. Incipiunt questiones de malo sancti Thome de aquino ordinis predicatorum… ending on fol. 376r explicit Sicut patet in arreptitiis, and colophon: Questiones de malo beati Thome de Aquino ordinis predicatorum Expliciunt feliciter Anno a Jhesu Christi millesimo quadringentesimo et octagesimo die xxx° Decembrisfols. 376v-378r: Table of chaptersfol. 378v: blank Although Thomas Aquinas (ca. 1225-74) earned his reputation teaching at the University of Paris, he was from a southern Italian family with close ties to Naples, the city where he studied before joining the still young Dominican Order in 1244. Two years before his death he founded a theology school in Naples. Called "Doctor Angelicus," Aquinas was the first theologian of the medieval period to adapt Aristotelianism to Christianity. The two treatises in the present volume, De Potentia (fol. 1) and De Malo (fol. 177) are written in the form of quaestiones or debating topics for classroom discussion. They treat a set of fundamental and interrelated philosophical, moral and theological questions centered around God's omnipotence, and the existence of evil, with wider implications for the philosophy of science. Both texts are among the rarest of the major works of Aquinas. The census of Aquinas manuscripts (Dondaine and Shooner 1967-85) so far only covers libraries from A to P, but among thousands of Aquinas manuscripts listed there it apparently records only 34 copies of the De Malo, including fragments, and even fewer of the De Potentia. Thirteen of these are in public libraries in France, seven in Italy, and five in England; there is only a single manuscript of either text in all of North America, an imperfect copy of the De Malo on paper (De Ricci, Census, p. 878, no. 75). The present manuscript was evidently part of an extraordinary program in the royal library of Naples to assemble a complete set of the works of Thomas Aquinas, whom they regarded as Neapolitan. More than that, the Aragonese library seems to have deliberately set out to create a single definitive text of his works, perhaps as exemplars. The manuscript at hand, though unsigned, is securely attributable to the hand of the prolific royal scribe Venceslaus Crispus. He was born in Bohemia and belongs to the period when the royal court of Naples was attracting scribes and scholars from all across Europe. At least sixteen manuscripts of the Aragonese set of Aquinas were copied between 1484 and 1493 by Venceslaus Crispus. The effort and time he expended in writing these vast books is astonishing. The present book alone has more than 16,000 lines of text in a beautiful, elegant, rounded semi-humanistic hand, "almost flawless in its perfection" (De Hamel, Sotheby's, 23 June 1998, lot 59). De Hamel noting further that "30 December in 1480 fell on a Saturday; evidently the scribe was working against time, perhaps to complete the vast project in time for the king's New Year celebration."ILLUMINATION: The 179 illuminated initials and border illustrations are securely attributed to the artist Matteo Felice (fl. 1467-93), who worked for the royal library in Naples. "The slender putti and the handsome foliated initials…are closely related to those of other manuscripts illuminated by Matteo in Naples around 1480 (cf. De Marinis 1952-1957, I, pp. 157-58, pls. 37, 40-43 and 45, and Alexander 1994, no. 12, p. 68). We know for certain that he collaborated with Venceslaus Crispus between 1489 and 1493 in the production of four other manuscripts of Aquinas, for payments to him are recorded in the royal accounts (cf. De Marinis 1952-1957, II, docs. 763, 847 and 876, and IV, pls. 236-38). The present book must have been one of the earliest on which they collaborated. The style of the illumination adopts Paduan and Ferrarese motifs. The full-length illuminated border recalls the elegant and delicate decoration of the margins in the Breviaries and Missals produced in Ferrara for the dukes of Este and Gonzaga. Matteo Felice was "one of the finest interpreters of these new decorative influences in Naples" (De Hamel, loc. cit.). Of the 24 recorded manuscripts from the Aquinas project, twenty codices are now known to survive, another indication of the extreme value attached to these books throughout the ages (15 of which are published on the database: Europea Regia). The series include - along with the present codex: 's-Heerenberg, Castle Huis Bergh, ms. 14, Grenoble, BM, ms. 344, Louviers, Bibliotheque de la Ville, mss. 5, 7, 8; Naples, Biblioteca Nazionale, ms. VII B 4, Paris, BN ms. lat. 495, 674, and 6525, Smith-Lesouef ms. lat. 14; Valencia, Bibl. Univ., mss. 47, 53, 380, 395, 764, 840, 847, 1377, 1718, 2296 and 2301; Vatican, Rossiano ms. 292; and one other manuscript in private hands (sold at Drouot, 19 May 1976, lot 48). The interesting chain of provenance of this manuscript, which left Italy for France so soon after its production, is owed largely to the bibliophilic zeal of the Cardinal d'Amboise. Historians have been able to study his collecting activities in detail thanks to the survival of the account books for the construction of his chateau, the extravagant Château de Gaillon, near Rouen, published by Deville 1850, containing the names of nearly 70 artists and artisans, and of two inventories of the chateau's contents in 1508. This manuscript was one of 38 manuscripts from the Royal Library of Naples that were purchased by d'Amboise.LITERATURE:L. Delisle, Le Cabinet des Manuscrits de la Bibliotheque Imperiale (1868), I, 228, 245 .Jean Destrez and Marie-Dominique Chenu, "Une collection manuscrite des oeuvres complètes de S. Thomas d'Aquin par le roi Aragonais de Naples 1480-1493," In: Archivum Fratrum Praedicatorum, 23 (1953), pp. 309-326.G. Mazzatinti, La biblioteca dei re d'Aragona in Napoli (1897), p. 183, no. 617 (see online: http://archive.org/details/labibliotecadei00mazzgoog).Tammaro De Marinis, La Biblioteca Napoletana dei Re d'Aragona (1952-1957), II: 160.J.J.G. Alexander, The Painted Page: Italian Renaissance Book Illumination, 1450-1550 (1994), p. 68.Christopher de Hamel, Sotheby's 1998, lot 59.On Aquinas manuscripts: H. F. Dondaine and H. V. Shooner, Codices Manuscripti Operum Thomae de Aquino, I-III (1967-85).For a recently discovered companion volume, see: Anne S. Korteweg, Catalogue of medieval manuscripts and incunabula at Huis Bergh Castle in 's-Heerenberg, 's-Heerenberg 2013, no. 27 (ms. 14, inv. no. 266): Thomas Aquinas, Quaestiones de Duodecim Quodlibeta (without attribution to scribe or illuminator).On Cardinal d'Amboise: L. Deville, Comptes de dépenses de la construction du Château de Gaillon, Paris 1850.On Wenceslaus Crispus:http://www.diamm.ac.uk/jsp/Descriptions?op=SOURCE&sourceKey=1190http://gallica.bnf.fr/ark:/12148/btv1b8446957x.

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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        TEXT FROM HOURS OF THE HOLY SPIRIT

      Paris, ca. 1480. n. This leaf presents Pentecost, the usual image to begin the Hours of the Holy Spirit, in a highly creative way. The main scene of the Holy Spirit descending on the Virgin and assembled Apostles is conventional: the Virgin is at the center, with Peter and John the Evangelist flanking her on either side, and the other Apostles behind them. But the rest of the leaf has an unusual design. In place of a floral border with acanthus and bezants, we have four additional scenes that portray various episodes of the Resurrection, which, according to Christian tradition, occurred exactly 50 days before Pentecost. In the largest of those scenes, the artist has used the "L"-shaped space next to the left edge and bottom left of the main miniature in an inventive way, showing Christ rising into the air in the long vertical element of the "L," while employing the horizontal part of the letter space at bottom to depict his amazed followers, as they witness the event from the ground below. The other three scenes making up the rest of the very eventful frame show the Road to Emmaus (where Christ reveals himself to two of his disciples), then "Noli me tangere" (a favorite image of Western art, where Christ appears to Mary Magdalene and speaks the words "Do not touch me"), and finally the Incredulity of Thomas (where Christ invites the "doubting" Apostle Thomas to touch his wounds).. 174 x 123 mm. (7 x 4 3/4"). Single column, 19 lines on verso (five on recto), in a gothic book hand. Rubrics in pink, line fillers of blue and red, five one-line initials and one two-line initial painted in gold on either a red or blue ground, one three-line initial in blue on a red ground with gold embellishments, verso with a primarily blue and gold border of acanthus leaves and flowers with long stems, and a HALF PAGE MINIATURE OF PENTECOST SURROUNDED BY FOUR INSET MINIATURES. Some negligible soiling in the margins, occasional trivial chipping to the paint in the inset miniatures (mostly in the lower section), but on the whole in fine condition, the vibrancy of the colors and crispness of the images intact and still very pleasing. This leaf presents Pentecost, the usual image to begin the Hours of the Holy Spirit, in a highly creative way. The main scene of the Holy Spirit descending on the Virgin and assembled Apostles is conventional: the Virgin is at the center, with Peter and John the Evangelist flanking her on either side, and the other Apostles behind them. But the rest of the leaf has an unusual design. In place of a floral border with acanthus and bezants, we have four additional scenes that portray various episodes of the Resurrection, which, according to Christian tradition, occurred exactly 50 days before Pentecost. In the largest of those scenes, the artist has used the "L"-shaped space next to the left edge and bottom left of the main miniature in an inventive way, showing Christ rising into the air in the long vertical element of the "L," while employing the horizontal part of the letter space at bottom to depict his amazed followers, as they witness the event from the ground below. The other three scenes making up the rest of the very eventful frame show the Road to Emmaus (where Christ reveals himself to two of his disciples), then "Noli me tangere" (a favorite image of Western art, where Christ appears to Mary Magdalene and speaks the words "Do not touch me"), and finally the Incredulity of Thomas (where Christ invites the "doubting" Apostle Thomas to touch his wounds).

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Suite de 8 dessins au lavis de la fin du XVIIIe ou du début du XIXe copiés d'après l'oeuvre gravé de Raimondi sur l'Histoire d'apulée. Comme les estampes de Raimondi, chaque dessins est légendé de deux quatrains en italien.

      S.l., fin XVIIIe-début XIXe, fin XVIIIe début XIXe 8 dessins montés sous cache, taille moyenne 24x19 cm.Marcantonio Raimondi (1480 - 1530:1534) célèbre peintre, orfèvre, nielleur et buriniste né et mort à Bologne. Elève de Francia, et, pour l'eau-forte, peut-être de Bartel Beham. Il travaille à Venise avant 1508 où il est employé à copier des oeuvres de Dürer. A Rome où il trouve sa véirtable voie en se plaçant sous la direction de Raphaël (1510-1520), Raimondi donne plein essor à son talent reproduisant les chefs-d'oeuvre du maître. Il est enfermé en 1526 par Clément VII pour la publication de ses Postures d'après Jules Romain et relâché un an plus tard sur l'intervention du cardinal Ippolito de Médicis. Il s'enfuit de Rome ruiné en 1527 lors du sac de la ville, et se réinstalle à Bologne où il mêne une vie obscure. Premier des graveurs de métier, spécialisé dans la reproduction, il travaille d'après Dürer et d'après Raphaël. Son oeuvre est considérable, et ses estampes ont été souvent recopiées. (Laran - Bénézit). L'imprimeur-librairie Antonio Salamanca (1478-1563) publia à Rome au début du XVIe siècle une suite de 32 burins de Marcantonio Raimondi sur Apulée (340x295 mm). "On ne sait pas bien positivement si cette suite fut seulement destinée à être gravée, ou si elle fut peinte par les élèvres de Raphaël, (...) : ce qu'il y a de certain, c'est que les dessins originaux étant perdus, il ne reste plus aujourd'hui de l'histoire de Psyché, composée par Raphaêl, que les gravures, que l'on attribue vulgairement à Marcantonio Raimondi. On pourrait douter que ce célèbre graveur y ait lui-même travaillé, mais il est constant qu'elles aient été faites chez lui et sous sa direction : trois de ces pièces portent la marque d'Augustin de Venise. Antoine Salamanca en publia la collection à Rome, et fit graver au bas de chaque planches des octaves italiennes qui en expliquent le sujet." (Charles-Paul Landon, Les Amours de Psyché et de Cupidon, traduction nouvelle, ornée des figues de Raphaël. Paris, Didot, 1809. p. VI-VII).

      [Bookseller: Librairie Giard]
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        TEXT FROM THE SUFFRAGES

      Paris, ca. 1480. n. This is the most beautifully painted miniature in the present catalogue, and its paint and gold are in a remarkable state of preservation. Its rich colors and fine detail are the work of an obviously talented Parisian illuminator. The style can be attributed to an accomplished follower of the celebrated Maître François (about whom, see item #401, above). Given the stylistic qualities here, it is likely that this follower could be the so-called Master of Jacques de Besançon, often called the "Chief Associate" of Maître François and in his own right one of the most highly sought-after artists of the day. The precision seen in the application of paint, the convincing portrayal of attire and landscape, the discerning judgment in color choice, the intelligence of the design--all these point to the possibility that our miniature was done by an artist of the first rank. The central scene depicts Saint Denis a short time after his execution by decapitation when, according to legend, his corpse miraculously rose from the grave and carried its severed head down from Montmartre (the hill seen in the background of this image) for a distance of several kilometers. The spot at which the headless martyr finally stopped later became the site of the Abbey of Saint Denis (and present-day Basilica of Saint Denis), one of the most important religious monuments of the Middle Ages.. 135 x 88 mm. (5 3/8 x 3 1/2"). Single column, nine lines of text on one side and three on the other, in a fine bâtarde hand. Attractively matted. A lively border with brushed gold hearts and triangles decorated with flowered vines on a ground of burgundy, the space between the gold shapes filled with many swirling blue and gold acanthus leaves, tiny gold bezants, a snail, and two fanciful bird-like creatures, the border enclosing AN ARCH-TOPPED MINIATURE OF SAINT DENIS HOLDING HIS SEVERED HEAD, the saint in a blue chasuble over white robes, a bishop's miter on his head, flanked on either side by angels in blue or gold dalmatics with tall brushed gold wings, the three standing on a road which winds away up a hill behind them, toward a village at the top. Trimmed to the edge of border decoration, four tiny wormholes, three trivial chips to the paint in the border, otherwise IN VIRTUALLY PERFECT CONDITION, WITH PAINT AND GOLD UNUSUALLY RICH. This is the most beautifully painted miniature in the present catalogue, and its paint and gold are in a remarkable state of preservation. Its rich colors and fine detail are the work of an obviously talented Parisian illuminator. The style can be attributed to an accomplished follower of the celebrated Maître François (about whom, see item #401, above). Given the stylistic qualities here, it is likely that this follower could be the so-called Master of Jacques de Besançon, often called the "Chief Associate" of Maître François and in his own right one of the most highly sought-after artists of the day. The precision seen in the application of paint, the convincing portrayal of attire and landscape, the discerning judgment in color choice, the intelligence of the design--all these point to the possibility that our miniature was done by an artist of the first rank. The central scene depicts Saint Denis a short time after his execution by decapitation when, according to legend, his corpse miraculously rose from the grave and carried its severed head down from Montmartre (the hill seen in the background of this image) for a distance of several kilometers. The spot at which the headless martyr finally stopped later became the site of the Abbey of Saint Denis (and present-day Basilica of Saint Denis), one of the most important religious monuments of the Middle Ages.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        FOR NETHERLANDISH USE

      Flanders, perhaps Tournai, ca. 1480. n. This Book of Hours was not commissioned by a great family or done by the best artists of the period, but it is a perfect reflection of the piety embraced by a 15th century Flemish household with sufficient means to employ a workshop capable of producing scenes that deepened their religious experience and that provide considerable charm and aesthetic interest for us today. The full-page miniatures here are of the Coronation of the Virgin, the Annunciation, David at prayer, and a funeral Mass. The historiated initials show the Madonna and Christ Child, Michael the Archangel doing battle with the Devil, John the Baptist in his hair shirt, Saint George slaying the dragon, Saint Anthony outside his hermitage, Saint Christopher ferrying the Christ Child, Saint Catherine with her wheel, and Saint Barbara reading by her bath-house. The full-page miniatures are probably by two different artists (the one who did the Annunciation, David, and the funeral scene being more gifted than the Coronation artist), and the painter of the historiated initials seems likely to have been a third person because his initials have a greater liveliness, assurance of line, and general level of sophistication than the others. Next to the more naïve scenes of the other two artists, Saint George in his brilliantly reflective and minutely detailed armor represents not just a triumph over the dragon, but also a charming and impressive achievement in a small space. The full-page miniatures are blank on the reverse and would have been inserted, as was typical of Flemish and Netherlandish Books of Hours during the 15th century. The appearance in the Calendar of Saint Eligius on the 25th of June strongly suggests that the manuscript came from Flanders and perhaps from Tournai, the religious capital of Flanders for more than 1,000 years (from 496 to 1559). And the Netherlandish Use has been determined here by Falconer Madan's localization tests (based on the forms of the Antiphon and Capitulum in Prime and None).. 168 x 124 mm. (6 5/8 x 4 7/8"). 105 leaves (three of them blanks), single column, 18 lines to the page, in a quite regular and pleasing gothic book hand; lacking one calendar leaf (September/October), otherwise complete. Modern red velvet, in a fine red morocco folding box with gilt lettering. Rubrics in red, a great many one-line initials either in burnished gold or blue (both with penwork embellishment), quite a number of two-line (and a handful of four- and five-line) initials in burnished gold on a blue and pink ground with white tracery, a total of 21 VERY LARGE INITIALS (six or seven lines high) ALWAYS ACCOMPANIED BY A FULL OR THREE-QUARTER BORDER of acanthus, fruit, and burnished gold ivy leaves, EIGHT VERY CHARMING HISTORIATED INITIALS, AND FOUR FULL-PAGE MINIATURES (the historiated initials accompanied by one of the three-quarter borders mentioned above, and the miniatures always with a facing page containing one of the full borders as well as a seven-line initial). Two of the blanks ruled, the other one with inch-long Medieval stitching to close up a hole in the middle of the vellum leaf. Many leaves with faint dampstain along half inch at the edge of the bottom margin (and very near the end, up the fore margin as well), with consequent minor rumpling, a vague hint of soiling from use, otherwise only quite minor defects: in general A VERY WELL-PRESERVED MANUSCRIPT, the thick vellum quite bright, and the paint and gold virtually without any erosion. This Book of Hours was not commissioned by a great family or done by the best artists of the period, but it is a perfect reflection of the piety embraced by a 15th century Flemish household with sufficient means to employ a workshop capable of producing scenes that deepened their religious experience and that provide considerable charm and aesthetic interest for us today. The full-page miniatures here are of the Coronation of the Virgin, the Annunciation, David at prayer, and a funeral Mass. The historiated initials show the Madonna and Christ Child, Michael the Archangel doing battle with the Devil, John the Baptist in his hair shirt, Saint George slaying the dragon, Saint Anthony outside his hermitage, Saint Christopher ferrying the Christ Child, Saint Catherine with her wheel, and Saint Barbara reading by her bath-house. The full-page miniatures are probably by two different artists (the one who did the Annunciation, David, and the funeral scene being more gifted than the Coronation artist), and the painter of the historiated initials seems likely to have been a third person because his initials have a greater liveliness, assurance of line, and general level of sophistication than the others. Next to the more naïve scenes of the other two artists, Saint George in his brilliantly reflective and minutely detailed armor represents not just a triumph over the dragon, but also a charming and impressive achievement in a small space. The full-page miniatures are blank on the reverse and would have been inserted, as was typical of Flemish and Netherlandish Books of Hours during the 15th century. The appearance in the Calendar of Saint Eligius on the 25th of June strongly suggests that the manuscript came from Flanders and perhaps from Tournai, the religious capital of Flanders for more than 1,000 years (from 496 to 1559). And the Netherlandish Use has been determined here by Falconer Madan's localization tests (based on the forms of the Antiphon and Capitulum in Prime and None).

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        De honesta voluptate. Cividale, Gerardus de Lisa de Flandria, 1480.

      1480. 4to. (93) ff., wanting terminal blank. Bound in contemporary ornate blind-tooled calf over wooden boards, spine with two raised bands; remains of two metallic clasps with engraved devices. Initials calligraphed in red and blue throughout. Housed in a custom clamshell box. Scarce early edition of this landmark work of Western civilization: the first printed book on food and drink. "De Honesta Voluptate" is also an invaluable source for cultural historians tracing early trade routes with the East: Platina's use and discussion of ginger, rice, cinnamon, saffron, cloves, oranges, and so on indicates the already substantial commercial relationship between East and West by the mid-15th century, primarily via Arab traders. A classic text of the Renaissance, no other complete copy in an early binding has been seen in auction records of the last 50 years. - Platina, the future librarian of the Vatican, composed the present work in the early 1460s while on a summer retreat in the hills of Tuscany. The ten books of "De Honesta Voluptate" discuss the origin, properties, and uses of culinary ingredients ranging from herbs and spices to fruits, vegetables, and birds, beasts, and fish. Platina records some 240 recipes employing these ingredients; yet his guide is more than a mere cook-book, and contains much advice on 'the art of good living': of eating and drinking in moderation, of the value of sexual intercourse, and so on. - As the only such printed record of its time, the text of "De Honesta Voluptate" is a fascinating source on the use of exotics in European cooking at an early date. Trade routes reaching as far as China ensured that wealthy Europeans had access to a sometimes surprising variety of spices, grains, and fruits. The most important influence came from the Arab world, particularly via Sicily and Spain. "Arabic influence was clearly welcomed by Italian taste. Numerous recipes call for relatively exotic imported ingredients: aniseed, dates, pomegranates, rice, and oranges... the recipes show an obvious Arabic influence where they use sugar and cinnamon sprinkled over an otherwise savory dish, or sauces flavored with raisins as well as prunes" (Adamson, Regional Cuisines of Medieval Europe, p. 92). Perhaps the most important Eastern contribution to Platina's culinary repertoire was in fact sugar - without which, he laments, the ancient Romans suffered. "Sugar is brought not only from Arabia," he writes (fol. 16), "but also from Crete and Sicily". Discussions of saffron, rose-water, cinnamon, pistachios, coriander, cloves, pomegranates (named after the Muslim kingdom of Granada), rice, almonds, and pepper are also found in Platina's text. Peterson ("The Arabian Influence on Western European Cooking") indeed suggests that "there is reason to believe that Europe made use of Arab cooking manuscripts... in the compilation of their own cooking texts". - "De Honesta Voluptate" was first printed in 1475 at Rome; a subsequent, but undated edition is assumed to predate the present, third edition - the last printed before Platina's death in 1481. All early editions are rare in trade, and the present copy is the only complete example we have seen in a contemporary or indeed near-contemporary binding. - One or two faint marginal annotations in a contemporary hand. Some finger-soiling and toning to title and scattered leaves - commensurate with use - but generally a fresh and very charming example, in what may be its original binding. Front board a little scuffed; some chipping to head and foot of spine; lower clasp with remains of early leather substitute; front endpaper renewed. Small burn hole, affecting a few letters on f 44; small wormhole also affecting a few letters through four leaves of index. Engraved bookplate on pastedown, ca. 1750, with Latin motto: "I am the possession of the Cloister of Wessenbrunn. Ho! Restore me to my master: so right demands". HC (Add) 13052. Goff P-763. GW M33895. Proctor 7266. BMC VII, 1094. BSB-Ink P-561. Opere di Gastronomia 1515. Vicaire 689. Cf. Peterson, "The Arabian Influence on Western European Cooking", in: Journal of Medieval History 6, pp. 317-340 (1980); and Freedman, Food: The History of Taste, p. 181.

      [Bookseller: Antiquariat Inlibris]
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        1480 Magnificent Incunable Bible - 3 Volumes - Glossed Bible

      Biblia Latina cum Glossa Ordinaria. (Strassburg: Adolph Rusch for Anton Koberger, not after 1480) 4 volumes bound in 3. 1209 leaves, Complete (except for 2 blank) 472 x 332mm or 13.5" x 19.5". 2 volumes 5.5" thick & one volume 4.5" thick.The earliest Latin Bible printed with "glosses" is an anonymous and undated edition which came from the press of Adolph Rusch: Strassburg, '1480,' fo: Hain 3173, Copinger 44. It contains in the margins the 'glossa ordinaria' of Walafridus Strabo (a writer of the ninth century), and an interlinear gloss by Anselmus (apparently Anselm of Laon, who flourish c. 1100). A Rusch produced this Bible for A. Koburger of Nuremberg. This Bible contains 1208 printed leaves. The signatures are peculiar. They are not composed of any regular succession of letters, but repeat the same letter throughout a great number of sheets. Possibly they represent the seven or eight presses at which the work proceeded.This bible contains the First Printing of the Glossa Ordinaria: the authoritative Church-sanctioned commentary on the Bible. Incorporating 600 years of Biblical interpretation by the greatest Church Fathers. This is the Largest Incunable Ever printed. The publication of this Bible was the most ambitious printing project of its time, requiring the international cooperation of 3 of the greatest printers of the 15th century. The historical record tells us that Rush of France carried out its printing (using 7 presses); that Amerbach of Switzerland provided the fonts; and that Koberger of Germany saw to its distribution.The last copy I could find that sold was at Christies Auction House. Sale #5513 on April 2008. It sold for $111,400.

      [Bookseller: Cross and Crown Rare Books]
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        La Tentation de Saint Antoine

      Texte original de Paul Valéry, "La tentation de Flaubert" en guise d'introduction 10 illustrations pleine page et en couleurs par Daragnès ainsi que les têtes de chapitres et culs de lampes en bicolore n°847 sur 1480 Exemplaire en parfait état dans une reliure superbe , signée Alloiteau en maroquin vert : travail excetionel :dos a gros nerfs 2 fois 5 nerfs enormes photos sur demande coffret en plus de la reliure

      [Bookseller: Antiquités Duvert Martial]
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        ILLUMINATED MANUSCRIPT LEAF

      A single leaf (130 x 100mm) from a manuscript written on vellum, on the recto the first five lines in red ink, followed by a 3-line illuminated initial "G" in red, blue and gold and ten lines in brown ink, with an historiated border of scrolls, strawberries and a wyvern on a gilt ground, close cropped at fore-edge, the verso with fifteen lines in brown ink. This leaf is highly unsusual in that while it is a French manuscript it is written in the German language. The text is a prayer by Saint Augustine on the forgiving of sins, probably from a Book of Hours, but possibly simply from a book of miscellaneous prayers. Such manuscripts, produced in France for the German market, are not unknown but they are very rare indeed compared with the standard Livre d'Heures.

      [Bookseller: H M Fletcher]
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        (BIBLIA LATINA).

      Venezia, Franciscus Renner von Heilbroon, 1480. In-4°; 479 cc. (l'ultima bianca assente). Grande iniziale miniata in oro, verde, rosso e viola con estensioni sui margini. Centinaia di iniziali grandi e piccole miniate in rosso e blu. Legatura settecentesca in tutta pergamena con titoli e fregi in oro al dorso. Piccolo restauro di tarli al margine bianco dell'ultima carta e della carta 337. Uno strappo anticamente restaurato senza alcuna perdita alla carta 419. Antica firma di possesso cassata alla prima carta. Buon esemplare. Ex libris nobiliare settecentesco. Questa bella edizione veneziana, qui in un esemplare ornato da una grande miniatura, riprende l'impianto della Bibbia sempre di Renner del 1475 e di Jenson del 1476. Contiene il vecchio e il nuovo Testamento. Dopo l'Apocalisse di San Giovanni segue un ampio registro, di alcune decine di carte, con l'interpretazione delle parole ebraiche. HC 3078. GW 4241. IGI 1647. BMC V, 195. Goff B-566.

      [Bookseller: Libreria Antiquaria Mediolanum]
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        (Incunabolo). Opus Iacobi Comitis Purliliarum epistolarum familiarum.

      1480 ?. 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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        Vita, transito e miracoli (in italiano). (In fine, colophon:) Impresso in Tarvisio per lo diligente huomo Maestro Michele Mançolo da Parma nell'anno MCCCCLXXX a di primo del mese de Decembre (Treviso, Michele Manzolo, 1480)

      Manzolo Michele, 1480. in - 4, ff. 85 n.n. (privo dell primo f. bianco sostituito da altro f. assai simile)), leg. moderna in m. pergamena, carta decorata ai piatti. Raffinato carattere gotico (81 G), usato qui per la prima volta. Questa edizione risulta particolarmente elegante per la composizione delle pagine e la titolazione dei capitoli. Si tratta di un compendio di opere di vari autori dedicate alla vita e al transito di san Gerolamo; comprende: Eusebius Cremonensis, ''Epistola de morte Hieronymi''; Aurelius Augustinus, ''Epistola de magnificentiis Hieronymi''; Cyrillus, ''De Miraculis Hieronymi''; ''Certi miracoli''; ''Certi detti dei santi e dottori sopra S. Girolamo''; ''Inno al S. Girolamo'', il tutto in volgarizzamento italiano. Si tratta della riedizione della raccolta apparsa nel mese di marzo presso il medesimo stampatore. Ottimo esemplare (ex Martini) a grandi margini. Incunabolo trevigiano estremamente raro (conosciuti soli una decina di esemplari in collezioni pubbliche nel mondo).

      [Bookseller: Libreria Antiquaria Pregliasco]
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        The Singers

      A rare reverse copy of an earlier print by Marcantonio Raimondi (ca. 1480-ca. 1534). Bartsch XIV, 348-4689a. Nagler M IV-925-4.. 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; two small [?]19th century signatures and remnants of hinging tape to verso. A very good impression on laid paper, although slightly later than the first.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        Fasciculus temporum (niederl.). Mit zahlr. Textholzschnitten und kl. Holzschnitt-Wappen sowie Holzschnitt-Bordüre und -Druckermarke, vielfach in älterem Kolorit.

      Jan Veldener, 14. Februar . -, Utrecht 1480 - Pgt. d. 17. Jhs. Folio. 330 num. Bll. (ohne die 8 nn. Bll.). Got. Type. - Erste und einzige niederländische Inkunabelausgabe, eines der ersten gedruckten Geschichtswerke in Holland. Die lat. Originalausgabe des berühmten Handbuches der Weltgeschichte erschien 1474 bei Therhoernen in Köln. - Der aus Würzburg stammende Drucker Jan Veldener, der auch Form- und Typenschneider war, ließ sich 1475 in Löwen nieder, wo er eine lat. Ausgabe des Fasciculus druckte. Um 1478 siedelte er nach Utrecht über, wo er die vorliegende Übersetzung verlegte. "Die Formschnitte derselben zeigen Veldeners Kunst in ihrer höchsten Entfaltung. Sie übertreffen durch Anzahl und Reichtum noch die Illustrationen der eben besprochenen Ausgabe [1475] bei weitem. Bekannt sind von ihnen besonders die interessanten Rankenbordüren, die man lange Zeit für die frühesten, graphisch hergestellten Pflanzenleisten gehalten hat . Eine Initiale G und die Umrandung des schönen, neuen Druckerzeichens mit dem wappenhaltenden Löwen sind im selben Stile gehalten . Zum ersten Male treffen wir in einer Fasciculus-Ausgabe Darstellungen richtiger Handlungen an . Von den Illustrationen des Anhangs sind besonders die zahlreichen Wappen erwähnenswert, die hier zum ersten Male in grösserem Umfange in ein gedrucktes Formschnittbuch eingefügt wurden. Es sind ganz kleine Schildchen, in die nur in Umrissen die Embleme der Könige von Frankreich, der Herzöge von Brabant, Holland, Burgund und anderer eingezeichnet sind." (Baer, Historienbücher, S. 66ff.) - Abgesehen von diesen besonderen Holzschnitten stammen die übrigen Illustrationen aus Veldeners Fasciculus-Ausgabe von 1475. Sie zeigen u. a. Brügge, Jerusalem, Köln, London, Rom und Utrecht, wobei die Städte tls. im Bau oder während einer Belagerung gezeigt werden. - Ohne die 8 Bll. zu Beginn. - Etw. (finger-)fleckig und tlw. wasserrandig, wenige kl. Randschäden, Bordüre auf Bl. 1 angeschnitten, 1 Bl. mit ergänzter Ecke. Stellenw. interessante Marginalien und tls. kolor. Randzeichnungen einer Hand des 16./17. Jhs. Einbd. gering bestoßen, Rücken mit kl. Einriß.Hain/Cop. 6946. - GW M38760. - Goff R-278. - BMC IX, 12. - BSB R-256. - Polain (B) 3379. - Schreiber 5122 a. - Juchhoff, Druckermarken 55. - Geldner II, 319-322 (mit Abb.). Onyl Dutch incunabulum edition of the famous world chronicle, one of the first printed historical works in the Netherlands, printed by Johann Veldener "in the heyday of his art" (Leo Baer). With numerous woodcuts and diagrams, partly in somewhat later colouring. 17th cent. vellum. - Lacking first 8 not numb. leaves, else complete. - Some fingerstaining throughout, partly waterstaining, few small marginal defects, 1 mended corner, border of fol. 1 trimmed. With some annotations and small drawings of a 16th or 17th cent. hand (partly coloured). Binding slightly stained, spine with small tear. 2300 g.

      [Bookseller: Ketterer Kunst Hamburg GmbH]
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        Bestiarium aus Peterborough - Signatur: MS 53 - Parker Library, Corpus Christi College (Cambridge, Groábritannien)

      Faksimile Verlag - Munich - Faksimile des Originals Bestiarium aus Peterborough mit der Signatur MS 53 - Parker Library, Corpus Christi College (Cambridge, Groábritannien), auch bekannt als Bestiarium aus Peterborough. *** Daten des Originals: 34.8 x 23.6 cm, 44 Seiten. Abtei / Kathedrale von Peterborough (Vereinigtes K"nigreich), Um 1300 . *** Buchschmuck: 104 Miniaturen und 108 Initialen schmcken alle Seiten der Handschrift. Im Bestiarium von Peterborough, einer liebevoll bebilderten Tierlehre, werden sowohl heimische als auch exotische Tiere und sogar Fabelwesen wie Einhorn und Ph"nix eingehend beschrieben, gemalt und christologisch gedeutet. In ber 100 Miniaturen ber den gesamten Text verteilt zeigt der Buchmaler sein K"nnen bei der m"glichst realistischen Darstellung von Tieren, die er oft selbst noch nie gesehen hatte. Dabei wird zudem auf die prachtvolle Ausgestaltung der Handschrift mit Gold und leuchtenden Farben fr Miniaturen, Initialen und Rankenwerk Wert gelegt. *** Mit dem Werk verbundene Namen: , . Faksimile: 1 Band: Vollfaksimile des Originaldokuments (Umfang, Farbe und Gr"áe) *** Limitierung: 1480 copies (co-edition with Salerno Editrice) Exemplare. Ein in sorgf„ltiger Handarbeit blindgepr„gter brauner Ledereinband, eine getreue Nachbildung eines typischen Einbands aus Cambridge, umschlieát den Faksimileband. Alle Bl„tter wurden zuvor originalgetreu randbeschnitten und von Hand zum Buchblock geheftet. Die Rollenstempel auf der Einbanddecke zeigen, passend zum Inhalt des Buches, als Motive Greif, L"we und Drache. *** Kommentar: 1 Band von Christopher de Hamel und Lucy Freeman Sundler Sprachen: Englisch, Deutsch. Alle Preise inkl. MwSt. Die AGB und Widerrufsbelehrung finden Sie unter ?Anbieter- & Zahlungsinformationen? # Besuchen Sie uns in der Altstadt von Regensburg # Wir bieten mehr als 300 verschiedene Faksimile-Ausgaben an. Bitte kontaktieren Sie uns bei Fragen oder Wnschen - wir helfen gerne! [Attributes: Soft Cover]

      [Bookseller: Ziereis Faksimiles]
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        Peterborough Bestiary - Signatur: MS 53 - Parker Library, Corpus Christi College (Cambridge, United Kingdom)

      Faksimile Verlag - Munich - Facsimile Edition of: Peterborough Bestiary with shelf mark MS 53 - Parker Library, Corpus Christi College (Cambridge, United Kingdom), also known as Bestiarium aus Peterborough. *** Data of the original: 34.8 x 23.6 cm, 44 pages. Peterborough Abbey / Cathedral (United Kingdom), Around 1300 . *** Illustrations: 104 miniatures and 108 initials adorn all pages of the manuscript. The Peterborough Bestiary is a lovely, illustrated story of animals, of both the familiar and fantastic sort. Even mystical creatures like phoenixes and unicorns make their appearance. In over 100 miniatures throughout the entire text, the artist put forth his best effort to depict such creatures and fantasies with as much realism as can be expected. All told, this gloriously embroidered work of calligraphy is endowed with golden and brightly colored miniatures, initials, and other fine illustrations. *** Names related to the work: , . *** Facsimile Edition: 1 volume: Exact reproduction of the original document (extent, color and size) *** Limitation: 1480 copies (co-edition with Salerno Editrice) copies. Blind-tooled brown leather binding, a faithful replica of a typical Cambridge binding. All sheets are trimmed in accordance with the original and stitched to the contents by hand. The cover is tooled using roulettes, showing motives of the griffon, the lion and the dragon. *** Commentary: 1 volume by Christopher de Hamel and Lucy Freeman Sandler Languages: English, German. [Attributes: Hard Cover]

      [Bookseller: Ziereis Faksimiles]
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        BOOK OF HOURS (Use of Paris); illuminated manuscript on parchment with thirty-three miniatures by the workshop of the Master François (active in Paris, c. 1460-1480) and another Parisian painter

      WITH PAINTINGS TYPIFYING PARISIAN BOOK PRODUCTION AT THE END OF THE FIFTEENTH CENTURY, THIS RICHLY ILLUMINATED BOOK OF HOURS HAS ALSO BEEN PERSONALIZED FOR AN EARLY FEMALE OWNER. Illuminated manuscript on parchment in Latin and French, France, Paris, c. 1480-1490, two miniatures added, Paris, c. 1500-1510. 155 x 100 mm. 198 folios, with two leaves inserted at a later date (ff. 27 and 173), ruled in light red ink, written in brown ink in a Gothic liturgical script on up to 15 lines (justification 92 x 55 mm.), rubrics in pale red, line-fillers in pink and blue highlighted in white with burnished gold besants, a few line-fillers in "bois écotés" (branch-like line-fillers), some line-fillers in brushed gold on red or blue grounds, one small initial in grey highlighted in white on a gold ground with floral motif (f. 173v), 1- to 2-line initials in burnished gold on pink and blue grounds highlighted in white, 3-line initials in pink or blue with white tracery on burnished gold grounds, with flower infills or vine leaves, most folios with illuminated bracket borders with colored acanthus leaves and flowers, fruits on liquid gold grounds or reserved grounds, a few borders featuring birds, beasts, and zoomorphic figures, NINETEEN SMALL MINIATURES and FOURTEEN LARGE ARCH-TOPPED MINIATURES (with the exception of later miniatures on ff. 27v and 173, of square format) set in FULL ILLUMINATED BORDERS similar to bracket borders, but for those on ff. 27v and 173, which have colored acanthus leaves, flowers, and zoomorphic figures set on liquid gold grounds. BINDING: Modern red morocco, spine with five raised bands, gilt fillet frame on front and back cover, parchment pastedowns. ILLUSTRATION: This Book of Hours is a fine example of team work, with two major hands and two added later miniatures, likely taken from another Book of Hours. As for the two first artists, very different in style, working alongside, or at least collaborating with, one another, the association of artists working on the same book is quite frequent in Parisian manuscripts, especially towards the end of the century. The artist responsible for all the large miniatures but for the two later additions shows the influence of the Master François and the Master of Jacques Besançon (active c. 1480-1500), now identified respectively as François Le Barbier, father and son. This influence is particularly visible in idiosyncratic architectural settings, as in the Pentecost miniature (f. 116v); the typical green and blue columns to either side of some miniatures (as in ff. 28 and 84); certain familiar compositions, including the Coronation of the Virgin (f. 84) and Crucifixion (f. 111); and smaller details like the small tufts of hair on male figures' foreheads. The artist responsible for the small miniatures in this book was influenced by Jean Colombe and his workshop (active c. 1465-1493). Our artist imitates Colombe's characteristic female types, with their oval faces, pale complexions, and downcast eyes. Finally, there are two added miniatures, likely included by the second owner, a woman shown kneeling in prayer in a large miniature depicting the Annunciation (f. 27v). These miniatures have been painted in the style of the Master of Philippe of Guelders, active in Paris c. 1495-1510. PROVENANCE: Made in Paris, based on the style of the large miniatures and the book's liturgical use. A second female owner appears to have customized the book, with two added miniatures, one depicting her. More recently, part of a continental European collection. CONDITION: In excellent condition. Full description and photographs available (BOH 129).

      [Bookseller: Les Enluminures ]
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        Huazhong place 309: Hunan Lingling County (4)(Chinese Edition) HUA ZHONG DI FANG 309 : HU NAN SHENG LING LING XIAN ZHI ( TAO ZHUANG QUAN 4 CE )

      hardcover. New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Hardcover Pages Number: 1480 Language: Chinese. Huazhong place 309: Hunan Lingling County (4) can make us a more nuanced understanding of Lingling County. Hunan Province. place all aspects of society. the importance of social history research information. help in the History and prosperity! Satisfaction guaranteed,or money back.

      [Bookseller: cninternationalseller]
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        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 Buechel-Baur]
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        Epistolae [et tractatus]

      Parma: Printer of Hieronymus, Epistolae, 1480. Hardcover. Very Good+. (Parma: [Printer of Hieronymus, Epistolae], January 18 (Vol. 1), and 15 May, (Vol. 2), both 1480). Two volumes, super-median folio (415 x 280mm). Pagination: I: [252] (of [254]); II: [329] (of [330]) leaves (lacking initial and final blanks in first volume and initial blank in second volume). Collation: I: (i)(7 of 8), a(8), b-l(10), m-z(8), aa-dd(8), ee(9 of 10). II: (i)(5 of 6), A-K(10), L-Z(10), AA-KK(8), LL(10), MM-OO(8), PP(6). Roman type with passages in Greek, opening initials in blue with red pen work, initials and paragraph marks alternately red and blue. Early medieval reused manuscript vellum over pasteboard, text is excisions of a Hugh of Saint Victor text; (worn, top and bottom spine compartments defective; contents of first volume generally clean apart from few scattered marginal dampstains, repaired clean tear in blank lower inner corner of A1, cloth folding cases). Sixteenth-century stamp of the Capuchins of Piacenza, a vibrant medieval Franciscan monastic center, and scattered early underscoring and Latin marginalia is evidence their scholastic clergy use. Stamps of St. Charles Borromeo Seminary Library (deaccessioned) and library shelfmarks pasted in ?"C1?" and ?"C206?" to both volumes. Parma incunable edition of the Letters of Saint Jerome, widely appreciated throughout the early modern period for their foundation on moral thought, this copy with distinct Franciscan inscriptions through the margins. Among the earliest books to appear in print, this compilation work of St. Jerome?'s Epistolae, or Letters, was first prepared by Giovanni Andrea de Bussi and was printed in Rome by Sweynheym and Pannartz in 1468. Two years later, another edition followed in Maintz (Schöffer), after which the Epistolae was reprinted in Venice (1476), Rome (1479), Parma (1480) as here, Nuremberg (1485), and in several other places. This Parma edition reprints that of Miscomini (Venice: 1476), with changes and additions. Jerome?'s writings continued to be popular throughout the incunabular period; Goff notes a print run of at least eighteen editions before 1500. The editions vary slightly from one another despite ranging greatly in subject matter and arranged by three great heads: theology, polemics, and morals. The Benedictines endeavored to arrange the rest of the Epistolae by date. The Epistolae covered a wide range of controversies and provided a basis for discussing problems of scholarship and assisting in moral matters. It is supposed Philip Melanchthon owned a copy of this work as it widely circulated within Lutheran schools of thought. This particular copy is enhanced by its distinct connections to the Capuchin center in Piacenza. ISTC ih00169000. Parma incunable edition of the Letters of Saint Jerome, widely appreciated throughout the early modern period for their foundation on moral thought, this copy with distinct Franciscan inscriptions through the margins. Among the earliest books to appear in print, this compilation work of St. Jerome?'s Epistolae, or Letters, was first prepared by Giovanni Andrea de Bussi and was printed in Rome by Sweynheym and Pannartz in 1468. Two years later, another edition followed in Maintz (Schöffer), after which the Epistolae was reprinted in Venice (1476), Rome (1479), Parma (1480) as here, Nuremberg (1485), and in several other places. This Parma edition reprints that of Miscomini (Venice: 1476), with changes and additions. Jerome?'s writings continued to be popular throughout the incunabular period; Goff notes a print run of at least eighteen editions before 1500. The editions vary slightly from one another despite ranging greatly in subject matter and arranged by three great heads: theology, polemics, and morals. The Benedictines endeavored to arrange the rest of the Epistolae by date. The Epistolae covered a wide range of controversies and provided a basis for discussing problems of scholarship and assisting in moral matters. It is supposed Philip Melanchthon owned a copy of this work as it widely circulated within Lutheran schools of thought. This particular copy is enhanced by its distinct connections to the Capuchin center in Piacenza. ISTC ih00169000.

      [Bookseller: Sanctuary Books]
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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; Geraóid 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 Versand D: 5,00 EUR Buchmalerei.

      [Bookseller: Versandantiquariat Schmitz]
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        Inkunabelblad från editio princeps av 'Dialogus creaturarum' (1480).

      Gouda, Gerard Leeu, 3 juni 1480. 27,5 x 19,5 cm. Med avslutningen av den tredje dialogen "De stella transmontana" och början av den fjärde, "De hespero et Lucifero / Dyalogus quartus". Träsnitt inom enkel ramlinje föreställande två stjärnor, bladet med en stor röd handtextad initial och en mindre samt talrika typografiska accenter textade i rött och blått.. För en svensk läsare är "Dialogus creaturarum" (Skapelsens sedelärande samtal) liktydigt med den första boken som trycktes i Sverige (1483). Här föreligger däremot ett blad av den allra första upplagan, tryckt tre år tidigare av den holländske boktryckaren och utgivaren Gheraert (Gerard) Leeu. Han var född i Gouda omkring 1445-50 och dog i Antwerpen 1492. Sin första bok tryckte han i Gouda 1477, där han utgav närmare 70 tryck fram till 1484. Det året flyttade han sin verksamhet till Antwerpen, där han till slut dog för ett knivhugg från en av sina sättare! Den illustrerade fabelsamlingen "Dialogus creaturarum" tryckte han i flera upplagor, däribland denna 'editio princeps' 1480. Bokens 104 blad innehåller 122 träsnitt som är ovanliga på så vis att de faktiskt illustrerar texten, och inte bara dekorerar sidorna. Goudaupplagan av 1480 följdes tre år senare av Johann Snells stockholmsupplaga. Även Goudaupplagan är en stor raritet, som endast förekommit vid enstaka tillfällen på marknaden de senaste 200 åren. Kungl. biblioteket i Stockholm, som naturligt nog intresserat sig för allt som har med Dialogus creaturarum att göra, äger visserligen två exemplar, men båda är ofullständiga. William Morris hade ett exemplar av boken i sitt bibliotek på Kelmscott House. Det såldes efter hans bortgång på Sotheby's 1898, redan då med anmärkningen "Extremely Rare" i katalogen. Exemplaret kom senare till Huntington Library. Hain-Copinger 6124. Proctor 8920. Campbell 569. Polain 1263. ISTC No. id00159100

      [Bookseller: Lorenz B. Hatt]
 24.   Check availability:     Antikvariat     Link/Print  


        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; two small [?]19th century signatures and remnants of hinging tape to verso. 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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        Sermons, including some from Quadragesimale de evangelio aeterno and Quadragesimale de christiana religione; decorated manuscript on parchment and paper

      DECORATED MANUSCRIPT IN LATIN AND ITALIAN ON PARCHMENT AND PAPER, Italy (Tuscany or Umbria?), c. 1480-1500. 290 x 105 mm. 324 folios, preceded and followed by two paper flyleaves, on parchment and paper, incomplete (collation, i-xlvii6 xlviii10 xlix8 l10), vertical catchwords, written in brown ink in a very minute cursive book hand by at least three scribes on up to 62 to 64 lines (justification, 220 x 70 mm.), some guide words for rubrics, headings and lengthy passages underlined in red, rubrics and some marginalia in red, spaces left blank for initials. BINDING: Bound in a modern binding of tan sheepskin over pasteboard, smooth spine decorated with simple double gold fillets, marbled endleaves and pastedowns. TEXT: This manuscript contains 103 sermons presented in a highly original and uncommon format. The authors of most of the sermons have not been identified, but those that have been identified are by Franciscan authors, and this collection is related to the success of the preaching revival of the Franciscan Observance and the pastoral activities of Observant preachers like Bernardino of Siena, the only author actually identified within the volume. Bernardino?'s sermons, along with sermons of two other Franciscan authors and preachers, Michele Carcano and Roberto Caracciolo, and the vast body of anonymous sermons are all unpublished and unstudied, and they offer a fine witness to the extremely rich homiletic output of the Franciscan Observants in Italy. A table at the end of the volume lists all of the sermons?' thematic headings, and is directly preceded by several additional preaching aids. These sermons are also notable for the quantity of exempla they contain and for their references to classical and medieval sources, including Petrarch and Dante (in Italian). PROVENANCE: Copied in Italy, based on script and linguistic features found in the margins. The form of address used in these sermons, ?"cives?" or ?"magistri,?" would suggest that they were directed to an urban audience rather than the clergy. A closer examination of the exempla may yield more evidence as to place of origin. Another manuscript, Lawrence, University of Kansas, Kenneth Spencer Library, MS C82 was copied in one of the same hands and further study of the two manuscripts together may yield further information about the books?' origins. Deaccessioned, with stamp of the Redemptorists of France (see verso of the second flyleaf). The Redemptorists were a missionary society, founded in 1732, which spread rapidly around Naples, then in Italy and France. European continental collection. CONDITION: Some scuffing to binding boards and wear to binding leather, some parchment strips cut out (never affecting text) and some waterstains (never hindering legibility), but otherwise in very good condition. Full description and photographs available (TM 682).

      [Bookseller: Les Enluminures ]
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        The Annunciation to the Shepherds

      French: c. 1480. 180 x 110 mm. Large miniature from a Book of Hours, with borders painted in liquid gold and chocolate with foliation in red, green, blue and gold. The central panel includes sheep highlighted in silver which is unusual, the landscape and the shepherds being in fresh and clean condition. One or two abrasions and two tiny holes in borders, generally very good. A good example suitable for framing or as a gift.

      [Bookseller: John Windle Antiquarian Bookseller]
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        Plenarium, deutsch. Blatt lxv. (GWM 34102, Schramm IV, 342)

      Augsburg Anton Sorg 23 Februar Type 2 1480 - 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.

      [Bookseller: Versandantiquariat Christine Laist]
 28.   Check availability:     ZVAB     Link/Print  


        Sermons, including some from Quadragesimale de evangelio aeterno and Quadragesimale de christiana religione; decorated manuscript on parchment and paper

      - DECORATED MANUSCRIPT IN LATIN AND ITALIAN ON PARCHMENT AND PAPER, Italy (Tuscany or Umbria?), c. 1480-1500. 290 x 105 mm. 324 folios, preceded and followed by two paper flyleaves, on parchment and paper, incomplete (collation, i-xlvii6 xlviii10 xlix8 l10), vertical catchwords, written in brown ink in a very minute cursive book hand by at least three scribes on up to 62 to 64 lines (justification, 220 x 70 mm.), some guide words for rubrics, headings and lengthy passages underlined in red, rubrics and some marginalia in red, spaces left blank for initials. BINDING: Bound in a modern binding of tan sheepskin over pasteboard, smooth spine decorated with simple double gold fillets, marbled endleaves and pastedowns. TEXT: This manuscript contains 103 sermons presented in a highly original and uncommon format. The authors of most of the sermons have not been identified, but those that have been identified are by Franciscan authors, and this collection is related to the success of the preaching revival of the Franciscan Observance and the pastoral activities of Observant preachers like Bernardino of Siena, the only author actually identified within the volume. Bernardino’s sermons, along with sermons of two other Franciscan authors and preachers, Michele Carcano and Roberto Caracciolo, and the vast body of anonymous sermons are all unpublished and unstudied, and they offer a fine witness to the extremely rich homiletic output of the Franciscan Observants in Italy. A table at the end of the volume lists all of the sermons’ thematic headings, and is directly preceded by several additional preaching aids. These sermons are also notable for the quantity of exempla they contain and for their references to classical and medieval sources, including Petrarch and Dante (in Italian). PROVENANCE: Copied in Italy, based on script and linguistic features found in the margins. The form of address used in these sermons, “cives” or “magistri,” would suggest that they were directed to an urban audience rather than the clergy. A closer examination of the exempla may yield more evidence as to place of origin. Another manuscript, Lawrence, University of Kansas, Kenneth Spencer Library, MS C82 was copied in one of the same hands and further study of the two manuscripts together may yield further information about the books’ origins. Deaccessioned, with stamp of the Redemptorists of France (see verso of the second flyleaf). The Redemptorists were a missionary society, founded in 1732, which spread rapidly around Naples, then in Italy and France. European continental collection. CONDITION: Some scuffing to binding boards and wear to binding leather, some parchment strips cut out (never affecting text) and some waterstains (never hindering legibility), but otherwise in very good condition. Full description and photographs available (TM 682). [Attributes: Hard Cover]

      [Bookseller: Les Enluminures (ABAA & ILAB)]
 29.   Check availability:     IberLibro     Link/Print  


        De Censuris Ecclesiasticis, Sive de Excommunicationibus

      1480. Two Principal Texts of Antoninus in a Handsome Chained Binding [Antoninus, Saint (1389-1459), Archbishop of Florence]. [De Censuris Ecclesiasticis, Sive de Excommunicationibus. De Sponsalibus et Matrimonio]. [Venice: Johannes de Colonia and Johannes Manthen, 10 May 1480]. Collation: ab10, c-k8, l6, m-q8, r6. [136] pp. First leaf (a1), a blank, lacking. Text in parallel columns. Thumb-tabbed. Quarto (9-1/2" x 7"). Contemporary chained binding in paneled calf (by Antonius-Meister II of Lubeck), recent clasps and copper corner bosses, rebacked in period style with raised bands and blind ornaments, early hand-lettered title to foot of spine. Light rubbing and a few minor nicks and worm holes to boards, rear endleaves from contemporary vellum manuscript. Text printed in 41-line Gothic type, initial on first leaf in red and blue on gold ground with marginal floral extension, gilded and colored foliage decoration to foot of leaf, many initials in red or blue. Moderate toning, occasional minor worming to bottom margins, dampstaining to heads of several leaves, light soiling and brief early annotations to first leaf, occasional brief early annotations to text, later owner annotation to verso of final leaf. Book housed in recent velvet-lined cloth solander case with a morocco spine with gilt title and raised bands. A handsome volume. * Second complete edition. Antoninus, Archbishop of Florence, had a great reputation as a moral theologian and canonist. He is best-known as the author of the great four-part Summa Theologica Moralis. De Censuris collects two of his principal texts: De Censuris, which deals with censures and punishments, and De Sponsalibus et Matrimonio, which concerns marriage and marital issues, such as infertility. It was first published in 1474. Both editions are rare. OCLC locates 2 copies of the second edition (at the State Libraries of Bavaria and Regensburg). Goff, Incunabula in American Libraries A777. Gesamtkatalog der Wiegendrucke 2071.

      [Bookseller: The Lawbook Exchange, Ltd.]
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        De honesta voluptate.

      Cividale, Gerardus de Lisa de Flandria, 1480.. 4to. (93) ff, wanting terminal blank. Bound in contemporary ornate blind-tooled calf over wooden boards, spine with two raised bands; remains of two metallic clasps with engraved devices. Initials calligraphed in red and blue throughout. Housed in a custom clamshell box.. Scarce early edition of this landmark work of Western civilization: the first printed book on food and drink. "De Honesta Voluptate" is also an invaluable source for cultural historians tracing early trade routes with the East: Platina's use and discussion of ginger, rice, cinnamon, saffron, cloves, oranges, and so on indicates the already substantial commercial relationship between East and West by the mid-15th century, primarily via Arab traders. A classic text of the Renaissance, no other complete copy in an early binding has been seen in auction records of the last 50 years. - Platina, the future librarian of the Vatican, composed the present work in the early 1460s while on a summer retreat in the hills of Tuscany. The ten books of "De Honesta Voluptate" discuss the origin, properties, and uses of culinary ingredients ranging from herbs and spices to fruits, vegetables, and birds, beasts, and fish. Platina records some 240 recipes employing these ingredients; yet his guide is more than a mere cook-book, and contains much advice on 'the art of good living': of eating and drinking in moderation, of the value of sexual intercourse, and so on. - As the only such printed record of its time, the text of "De Honesta Voluptate" is a fascinating source on the use of exotics in European cooking at an early date. Trade routes reaching as far as China ensured that wealthy Europeans had access to a sometimes surprising variety of spices, grains, and fruits. The most important influence came from the Arab world, particularly via Sicily and Spain. "Arabic influence was clearly welcomed by Italian taste. Numerous recipes call for relatively exotic imported ingredients: aniseed, dates, pomegranates, rice, and oranges... the recipes show an obvious Arabic influence where they use sugar and cinnamon sprinkled over an otherwise savory dish, or sauces flavored with raisins as well as prunes" (Adamson, Regional Cuisines of Medieval Europe, p. 92). Perhaps the most important Eastern contribution to Platina's culinary repertoire was in fact sugar - without which, he laments, the ancient Romans suffered. "Sugar is brought not only from Arabia," he writes (fol. 16), "but also from Crete and Sicily". Discussions of saffron, rose-water, cinnamon, pistachios, coriander, cloves, pomegranates (named after the Muslim kingdom of Granada), rice, almonds, and pepper are also found in Platina's text. Peterson ("The Arabian Influence on Western European Cooking") indeed suggests that "there is reason to believe that Europe made use of Arab cooking manuscripts... in the compilation of their own cooking texts". - "De Honesta Voluptate" was first printed in 1475 at Rome; a subsequent, but undated edition is assumed to predate the present, third edition - the last printed before Platina's death in 1481. All early editions are rare in trade, and the present copy is the only complete example we have seen in a contemporary or indeed near-contemporary binding. - One or two faint marginal annotations in a contemporary hand. Some finger-soiling and toning to title and scattered leaves - commensurate with use - but generally a fresh and very charming example, in what may be its original binding. Front board a little scuffed; some chipping to head and foot of spine; lower clasp with remains of early leather substitute; front endpaper renewed. Small burn hole, affecting a few letters on f 44; small wormhole also affecting a few letters through four leaves of index. Engraved bookplate on pastedown, ca. 1750, with Latin motto: "I am the possession of the Cloister of Wessenbrunn. Ho! Restore me to my master: so right demands". - HC (Add) 13052. Goff P-763. GW M33895. Proctor 7266. BMC VII, 1094. BSB-Ink P-561. Opere di Gastronomia 1515. Vicaire 689. Cf. Peterson, "The Arabian Influence on Western European Cooking", in: Journal of Medieval History 6, pp. 317-340 (1980); and Freedman, Food: The History of Taste, p. 181.

      [Bookseller: Antiquariat Inlibris, Gilhofer Nfg. GmbH]
 31.   Check availability:     ZVAB     Link/Print  


        Psalterium [with] Commune sanctorum

      Ulm: Johann Zainer, 1480. [293 of 296 leaves; lacking first 2 leaves of the Calendar, and final blank. [?6 ??8 a-x8 y12 z8 A-L8 M3]. 1 vols. 8vo; 111 x 90 mm. Bound in 18th-century paper boards, with remnant of morocco spine label, edges stained red. Spine defective and covers rubbed, but binding is sound; several leaves bear stubs at outer edge from former index tabs; first leaf of Psalter extended at inner margin; final two leaves slightly waterstained; some browning and occasional stains; text block seriously trimmed but never into text. Notes on front endpapers, and a presentation inscription in 1826 from a member of the German Methodist Episcopal Church U.S. In a custom half-morocco slipcase and chemise. [293 of 296 leaves; lacking first 2 leaves of the Calendar, and final blank. [?6 ??8 a-x8 y12 z8 A-L8 M3]. 1 vols. 8vo; 111 x 90 mm. An Incunable of the Utmost Rarity. Johann Zainer the Elder (fl. 1472-93) established the first printing press at Ulm, where his first book is dated 1473. Zainer's little pocket psalter is undated; the colophon gives only the printer's name and the city. ISTC gives a conjectural date of around 1480. The book's handy but fragile format doubtless guaranteed a low survival rate, and indeed the few copies which have survived are often incomplete fragments, or in poor condition. ISTC gives the following locations France: Strasbourg BNU (imperfect, wanting Commune sanctorum) Germany: Bamberg SB; Berlin SB; Fulda HLB; Leipzig DB/Buch (fragment, missing); München BSB (2, imperfect); Stuttgart WLB (3) U.S.A: Washington DC, Washington Cathedral Library (this copy) The present copy - the only copy in America - is complete, save for the first two leaves of the Calendar, and the blank leaf at the end.

      [Bookseller: James Cummins Bookseller]
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        Practica Gordonii. Praxis omnibus medicine studiosis maxime utilismedicine lilium nuncupata

      Sixth edition (the first five are all incunables) of the Practica or Lilium medicinae, the principal work of one of the medical luminaries of the Middle Ages, Bernard of Gordon (c.1258-1318) of Scottish descent but born in France, a professor at Montpellier from 1283 to 1307. He spent his entire teaching career at Montpellier and contributed greatly to the university's fame as the outstanding medical school in Europe. He completed the Lilium in 1305.In the Dark Ages (476-1000), European medicine was entirely in the hands of the Jewish and Arabian physicians when the founding of the medical school at Salerno in the eleventh century began to breathe new life into medicine. The Lilium preserves the Arabic tradition, but also contains much original material, and is one of the works which laid the foundations of medical literature in the fourteenth century, from the schools of Montpellier, Paris, Bologna and Padua. It contains, inter alia, the first description of a modern truss, the first mention of spectacles (oculus berellinus), and the suggestion that muscles move due to a mechanical action of the nerves. Modern studies have been made of Bernard's treatises on epilepsy, marasmus, smallpox, and urology.The Lilium was translated in the Middle Ages into French, German, Hebrew, Irish, French and Spanish, but never into English, although Bernard is mentioned in the prologue to Chaucer's Canterbury Tales. Demaitre says of Bernard (p. 169): "It would be difficult to find a more worthy representatives of Montpellier's claim to fame, of the academic tradition, and of the medical profession around 1300 than Bernard of Gordon."See Stillwell, The awakening interest in science, III, 312 (first edition of 1480). Luke E. Demaitre, Doctor Bernard de Gordon: professor and practitioner (Toronto, 1980) includes a list of the 11 editions printed from 1480 to 1617.Folio, 124 leaves. Text in double columns, woodcut initials, woodcut device on last page. Modern binding using old vellum boards with new spine, corners, and endpapers. Several small diminishing wormholes in the first few leaves, lower blank corner of title-page damaged and neatly restored, otherwise a fine and fresh copy. Some early annotations (cropped) in margins of several leaves; stamp on first and last page of Dr. Aldo Frugoni; bookplate of Piergiorgio Borio.

      [Bookseller: Nigel Phillips]
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        Quaestiones de Potentia Dei. Quaestiones de Malo

      Manuscript on vellum, attributed to Venceslaus Crispus as copyist and Matteo Felice as illuminator. Italy, Naples, 30 December 1480. 378 x 260 mm., 2 paper leaves, 378 vellum leaves, one paper leaf, collation: I-V8, VI6, VII10, VIII-XLVII8, XLVIII2 (complete); vertical catchwords. Justification 243 x 160 mm., two vertical and 46 horizontal rules in pale brown ink, written in dark brown ink in a regular and very elegant rotunda, a round semi-humanistic script, by Venceslaus Crispus. Running titles and headings in red, colophon (fol. 376r) in red, paragraph marks alternately blue and red, opening words of each Quaestio in burnished gold capitals. Illumination: two opening leaves (fols. 1 and 177) illuminated each with a large thirteen-line initial extending into a full-length bar border with knots and leaves sprouting in the margins into elaborate sprays of leaves and flowers in blue, purple, and green, with burnished gold bezants on penwork stems and tendrils, the lower margin of the first leaf with the royal arms of the Kings of Aragon and Naples emblazoned in a wreath supported by two winged putti and surmounted by a crown; 179 very fine illuminated initials, seven to eight lines high, containing highly finished designs of variously colored flowers and leaves with delicate white penwork on burnished gold grounds, some with short extenders. Very occasional tiny chips to initials. Overall condition: vertical creases in ff. 2, 8, 26, 50 and 375, old crease mark to fol. 1, partial crease in fol. 38; fol. 1 slightly soiled and with small area of damp-stain at top near hinge affecting the uppermost portion of the illuminated border, chipping to the large initial on that page; some fading or rubbing to ink of the creased leaves and a few faded areas in fewer than 10 other pages; a few wormholes in first 10 leaves, one or two marginal wormholes in last few leaves; small stain to 84v; apart from these minor flaws in very fine, pristine condition. Bound in early 19th-century diced Russia leather over wooden boards, sides with blind roll-tooled borders, spine with olive morocco lettering-piece, edges gilt and gauffred at an earlier date. Worn, joints split; in a modern morocco-backed folding case. A magnificent royal manuscript of exquisite quality in material, calligraphy, and illumination, containing two key philosophical treatises of Thomas Aquinas, the most important Christian philosopher of the Middle Ages. Written for Ferdinand I of Aragon, King of Naples, one of the great art patrons and bibliophiles of the Italian Renaissance, as part of an extraordinary project to assemble a complete set with definitive text of the works of St. Thomas for the royal library of Naples, the manuscript is of well-documented provenance: it has passed through the libraries of three kings, three cardinals, a prince and an earl. PROVENANCE:1. Dated in colophon (30 December 1480, fol. 376v). Written and illuminated for Ferdinand I of Aragon, King of Naples (1456-85), with his royal arms on first leaf. 2. By descent to his son, Federico of Aragon (d. 1504), King of Naples (1496-1501), when he was forced to yield his kingdom to Louis XII of France. 3. Georges d'Amboise (1460-1510), Cardinal, Archbishop of Rouen, prime minister of the Kings of France, bibliophile and patron of the arts; this manuscript described in the inventory of his Château de Gaillon in 1508, his library bequeathed to subsequent archbishops of Rouen. Destrez-Chenu 1953 list 22 manuscripts, and later two more were found but not listed in the inventory, making a total of 24.4. Cardinal Charles II de Bourbon-Vendôme (1550-90) and Cardinal Charles III de Bourbon-Vendôme (1562-94). The latter left part of the archiepiscopal library to the Jesuits of the Collège de Clermont, and the other part to his nephew, the king of France (cf. Delisle, pp. 259-60, and Guigard I, pp. 243-44).5. Henri IV, King of France (1589-1610), who took possession of the entire library, and transferred it to the Cabinet du Roi. Part of the Cabinet was housed in the then-abandoned Collège de Clermont; in 1604 the Jesuits reclaimed this building, which had originally been theirs, as well as their share of the books, including this manuscript.6. The Jesuit Collège de Clermont in Paris, with their 17th-century ownership inscription on fol. 1r, "Collegii Paris. societatis Jesu," and, in the inner margin, the later note "Paraphé au désir de l'arrest du 5 juillet 1763 / Mesnil"; the latter referring to the closing of the college following suppression of the order. The books were sold in Paris in 1764: Catalogus manuscriptorum codicorum collegii Claramontani, no. 539, purchased by:7. Gerard Meerman (1722-71), author of Origines typographicae, who bought a large portion of the Clermont manuscripts (but was forced to present a certain number of them to the royal library of Louis XV in order to obtain permission to export the remainder; his son Jean Meerman (1753-1815), for whom the book was rebound, their joint sale, part IV, 2 July 1824, lot 480.8. Bertram, Fourth Earl of Ashburnham (1797-1878), no. 88 in his Catalogue of the Manuscripts at Ashburnham Place, Appendix, [1861]. 9. Henry Yates Thompson (1839-1928), who bought the manuscripts of the Ashburnham Appendix en bloc in 1897, then sold a selection of them, including this one, under the Ashburnham name, at Sotheby's, 1 May 1899, lot 39, to Emich.10. Tammaro De Marinis (1878-1969), his sale, Hoepli, 30 November 1925, lot 355, illustrated. 11. An unidentified owner; apparently at this time two engraved bookplates were affixed to the front pastedown: that of the Prince de Soragna (1773-1865), and a large 18th-century engraved armorial bookplate.12. An anonymous consignor, Sotheby's London, 23 June 1998, lot 59 (according to the Sotheby's description the manuscript was "sold probably before the last War to a private collection in Lugano, whence it was bought directly by the [unnamed] present owner in the 1980s," sold to: H. P. Kraus (Cat. 220/251).CONTENTS:Part I:fols. 1r -174v: Incipit: De potentia questio prima, Questio est utrum in deo sit potentia..., ending on fol. 174v: Expliciunt quaestiones sancti Thome de potentia dei.fols. 174v-176r: Table of chapters fol. 176v: blank Part IIfols. 177r-376r: Incipit Questio prima de malo. Incipiunt questiones de malo sancti Thome de aquino ordinis predicatorum... ending on fol. 376r explicit Sicut patet in arreptitiis, and colophon: Questiones de malo beati Thome de Aquino ordinis predicatorum Expliciunt feliciter Anno a Jhesu Christi millesimo quadringentesimo et octagesimo die xxx° Decembrisfols. 376v-378r: Table of chaptersfol. 378v: blank Although Thomas Aquinas (ca. 1225-74) earned his reputation teaching at the University of Paris, he was from a southern Italian family with close ties to Naples, the city where he studied before joining the still young Dominican Order in 1244. Two years before his death he founded a theology school in Naples. Called "Doctor Angelicus," Aquinas was the first theologian of the medieval period to adapt Aristotelianism to Christianity. The two treatises in the present volume, De Potentia (fol. 1) and De Malo (fol. 177) are written in the form of quaestiones or debating topics for classroom discussion. They treat a set of fundamental and interrelated philosophical, moral and theological questions centered around God's omnipotence, and the existence of evil, with wider implications for the philosophy of science. Both texts are among the rarest of the major works of Aquinas. The census of Aquinas manuscripts (Dondaine and Shooner 1967-85) so far only covers libraries from A to P, but among thousands of Aquinas manuscripts listed there it apparently records only 34 copies of the De Malo, including fragments, and even fewer of the De Potentia. Thirteen of these are in public libraries in France, seven in Italy, and five in England; there is only a single manuscript of either text in all of North America, an imperfect copy of the De Malo on paper (De Ricci, Census, p. 878, no. 75). The present manuscript was evidently part of an extraordinary program in the royal library of Naples to assemble a complete set of the works of Thomas Aquinas, whom they regarded as Neapolitan. More than that, the Aragonese library seems to have deliberately set out to create a single definitive text of his works, perhaps as exemplars. The manuscript at hand, though unsigned, is securely attributable to the hand of the prolific royal scribe Venceslaus Crispus. He was born in Bohemia and belongs to the period when the royal court of Naples was attracting scribes and scholars from all across Europe. At least sixteen manuscripts of the Aragonese set of Aquinas were copied between 1484 and 1493 by Venceslaus Crispus. The effort and time he expended in writing these vast books is astonishing. The present book alone has more than 16,000 lines of text in a beautiful, elegant, rounded semi-humanistic hand, "almost flawless in its perfection" (De Hamel, Sotheby's, 23 June 1998, lot 59). De Hamel noting further that "30 December in 1480 fell on a Saturday; evidently the scribe was working against time, perhaps to complete the vast project in time for the king's New Year celebration."ILLUMINATION: The 179 illuminated initials and border illustrations are securely attributed to the artist Matteo Felice (fl. 1467-93), who worked for the royal library in Naples. "The slender putti and the handsome foliated initials...are closely related to those of other manuscripts illuminated by Matteo in Naples around 1480 (cf. De Marinis 1952-1957, I, pp. 157-58, pls. 37, 40-43 and 45, and Alexander 1994, no. 12, p. 68). We know for certain that he collaborated with Venceslaus Crispus between 1489 and 1493 in the production of four other manuscripts of Aquinas, for payments to him are recorded in the royal accounts (cf. De Marinis 1952-1957, II, docs. 763, 847 and 876, and IV, pls. 236-38). The present book must have been one of the earliest on which they collaborated. The style of the illumination adopts Paduan and Ferrarese motifs. The full-length illuminated border recalls the elegant and delicate decoration of the margins in the Breviaries and Missals produced in Ferrara for the dukes of Este and Gonzaga. Matteo Felice was "one of the finest interpreters of these new decorative influences in Naples" (De Hamel, loc. cit.). Of the 24 recorded manuscripts from the Aquinas project, twenty codices are now known to survive, another indication of the extreme value attached to these books throughout the ages (15 of which are published on the database: Europea Regia). The series include -- along with the present codex: 's-Heerenberg, Castle Huis Bergh, ms. 14, Grenoble, BM, ms. 344, Louviers, Bibliotheque de la Ville, mss. 5, 7, 8; Naples, Biblioteca Nazionale, ms. VII B 4, Paris, BN ms. lat. 495, 674, and 6525, Smith-Lesouef ms. lat. 14; Valencia, Bibl. Univ., mss. 47, 53, 380, 395, 764, 840, 847, 1377, 1718, 2296 and 2301; Vatican, Rossiano ms. 292; and one other manuscript in private hands (sold at Drouot, 19 May 1976, lot 48). The interesting chain of provenance of this manuscript, which left Italy for France so soon after its production, is owed largely to the bibliophilic zeal of the Cardinal d'Amboise. Historians have been able to study his collecting activities in detail thanks to the survival of the account books for the construction of his chateau, the extravagant Château de Gaillon, near Rouen, published by Deville 1850, containing the names of nearly 70 artists and artisans, and of two inventories of the chateau's contents in 1508. This manuscript was one of 38 manuscripts from the Royal Library of Naples that were purchased by d'Amboise.LITERATURE:L. Delisle, Le Cabinet des Manuscrits de la Bibliotheque Imperiale (1868), I, 228, 245 .Jean Destrez and Marie-Dominique Chenu, "Une collection manuscrite des oeuvres complètes de S. Thomas d'Aquin par le roi Aragonais de Naples 1480-1493," In: Archivum Fratrum Praedicatorum, 23 (1953), pp. 309-326.G. Mazzatinti, La biblioteca dei re d'Aragona in Napoli (1897), p. 183, no. 617 (see online: http://archive.org/details/labibliotecadei00mazzgoog).Tammaro De Marinis, La Biblioteca Napoletana dei Re d'Aragona (1952-1957), II: 160.J.J.G. Alexander, The Painted Page: Italian Renaissance Book Illumination, 1450-1550 (1994), p. 68.Christopher de Hamel, Sotheby's 1998, lot 59.On Aquinas manuscripts: H. F. Dondaine and H. V. Shooner, Codices Manuscripti Operum Thomae de Aquino, I-III (1967-85).For a recently discovered companion volume, see: Anne S. Korteweg, Catalogue of medieval manuscripts and incunabula at Huis Bergh Castle in 's-Heerenberg, 's-Heerenberg 2013, no. 27 (ms. 14, inv. no. 266): Thomas Aquinas, Quaestiones de Duodecim Quodlibeta (without attribution to scribe or illuminator).On Cardinal d'Amboise: L. Deville, Comptes de dépenses de la construction du Château de Gaillon, Paris 1850.On Wenceslaus Crispus:http://www.diamm.ac.uk/jsp/Descriptions?op=SOURCE&sourceKey=1190http://gallica.bnf.fr/ark:/12148/btv1b8446957x .

      [Bookseller: Jonathan A. Hill, Bookseller, Inc.]
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        Illuminated Manuscript Leaf with Miniature of Mary

      France: np. 1st Edition. No Binding. Very Good. Beautiful, richly colored illuminated 15th-century manuscript leaf containing the beginning of the popular prayer to Mary, "Obsecro te" ("I beseech you"). With miniature of Mary and the baby Jesus in the initial "O" and miniature of man at the bottom border. The historiated "O" (32x37mm, 6 lines), featuring Mary and Jesus, is painted with a blue outline surrounded by reddish-pink with gold leaves. Mary and Jesus have fine gold lines in their hair. The bottom figure (35x61mm), possibly the donor, has gold strands of hair and is placed before a stunning blue and green background. The text and images are handsomely framed on three sides by a brown border. The verso contains 17 lines of text. Full leaf size: 110x155mm (approx. 4.25 x 6 in). France: late 15th-century (c.1480). A few light spots, pieces of matting tape at top edge of verso (not near text); otherwise fine. An exquisite leaf with outstanding color. The text of the leaf (in Latin) contains the entire first part of the "Obsecro te", beginning with: Obsecro the, Domina Sancta Maria, Mater Dei, pietate plenissima, summi regis filia, Mater gloriosissima, Mater orphanorum, consolatio desolatorum… [I beseech thee, Lady Holy Mary, Mother of God, most full of piety, daughter of the Most High King, Mother most glorious, Mother of orphans, consolation of the desolate…] to "Ecce ancilla Domini. Fiat mihi secundum verbum tuum." ["Behold the handmaid of the Lord. Be it done according to thy word."] (Full text available upon request.).

      [Bookseller: The Manhattan Rare Book Company]
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        Illuminated Leaf From the Book of Hours in Dutch, Circa 15th Century.

      Published for owner 1480 - 7 x in. Mounted. Leaf from Illuminated vellum Book of hours. Single column. 21 lines in blackletter Gothic Dutch. Handwritten in contemporary black ink. Blue and red foliage along borders. Slight soiling to edge of vellum.

      [Bookseller: Sequitur Books]
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        Orphei Argonautica Latina.

      Senza Data, Luogo Di Stampa Ne Tipografia, Ma Fine Sec. XV Circa. - [Incunabolo-Raro] (cm. 26) solida piena pergamena sec. XIX.-- consta di 18 carte nn. con registro A,B,C, tutti terni. 40 linee, con autore e titolo ripetuti in cima ad ogni carta. Carattere rotondo. Al recto della prima carta su due linee è: "Orphei Argonautica latina". Al verso, la dedica di Joannes Baptista Pius: "Ad clarissimum.senatorem D. franciscum elephantutium bonon.". A carta 2 recto inizia il testo che termina a carta 18 verso e finisce col: "Regestum Aiii Biii Ciii". Nonostante accurate ricerche su tutte le edizioni di orfeo della fine del '400 e i primi del '500, non abbiamo trovato alcun riferimento di questo forse incunabolo apparentemente sconosciuto. I fogli sono filigranati con: "monte a 3 cime sormontato da una croce". Simile ai n° 11711-2-3 del Briquet "Les Filigranes" vol. III che a pag. 591 dichiara di Bologna 1480-1485 circa. Margine in basso corto che alle ultime 6 cc. tocca il testo. Altrimenti esemplare bellissimo, nitido e marginoso di questa edizione forse impressa a Bologna intorno al 1500. Il Census, Iccu, non registra alcun esemplare presente nelle biblioteche italiane il che fa supporre un' edizione del XV secolo.[f46] [Attributes: Hard Cover]

      [Bookseller: LIBRI ANTICHI E RARI FRANCESCO&CLAUDIA]
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        Illuminated Manuscript: Prayer to God, the Father

      France 0, np - 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'ame et le corps et tous les biens naturelz, spirituelz et corporelz et temporelz que j'ay et que oncques je euz et que je attens a avoir en ce monde et en l'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'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. [Attributes: First Edition]

      [Bookseller: Manhattan Rare Book Company, ABAA, ILAB]
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        Psalterium [with] Commune sanctorum

      Ulm: Johann Zainer, [c. 1480] - Johann Zainer the Elder (fl. 1472-93) established the first printing press at Ulm, where his first book is dated 1473. Zainer's little pocket psalter is undated; the colophon gives only the printer's name and the city. ISTC gives a conjectural date of around 1480. The book's handy but fragile format doubtless guaranteed a low survival rate, and indeed the few copies which have survived are often incomplete fragments, or in poor condition. ISTC gives the following locations France: Strasbourg BNU (imperfect, wanting Commune sanctorum) Germany: Bamberg SB; Berlin SB; Fulda HLB; Leipzig DB/Buch (fragment, missing); München BSB (2, imperfect); Stuttgart WLB (3) U.S.A: Washington DC, Washington Cathedral Library (this copy) The present copy - the only copy in America - is complete, save for the first two leaves of the Calendar, and the blank leaf at the end (BIBLE, PSALMS) 8vo; 111 x 90 mm. [293 of 296 leaves; lacking first 2 leaves of the Calendar, and final blank. [ 6 8 a-x8 y12 z8 A-L8 M3]. Bound in 18th-century paper boards, with remnant of morocco spine label, edges stained red. Spine defective and covers rubbed, but binding is sound; several leaves bear stubs at outer edge from former index tabs; first leaf of Psalter extended at inner margin; final two leaves slightly waterstained; some browning and occasional stains; text block seriously trimmed but never into text. Notes on front endpapers, and a presentation inscription in 1826 from a member of the German Methodist Episcopal Church U.S. In a custom half-morocco slipcase and chemise. Goff Suppl. P1041a; H 13475*; C 4927; GW M36206; ISTC No.: ip01041500 [Attributes: First Edition; Hard Cover]

      [Bookseller: James Cummins Bookseller, ABAA]
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        A devil on a leash

      French: c. 1480. 138 x 98mm. Miniature, without text, image of a white-robed Saint with halo holding a devil on a leash; the devil painted entirely in gold. Framed. Not examined out of the frame. In good condition. Origin and provenance unknown; from a private California collection.

      [Bookseller: John Windle Antiquarian Bookseller]
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        Illuminated leaf from a Book of Hours

      Rouen: circa 1480-, 1500. Illuminated leaf, 166 x 112 mm., panel border on each side of the leaf composed of blue and gold acanthus, coloured flowers on hair-line stems; 4-line initial in dark red and heightened in grey and white on a liquid gold panel enclosing a coloured flower, three 1-line initials in liquid gold on blue or red grounds; 20 lines of text in an accomplished lettre bâtarde, ruled in red; outer edge of border trimmed, framed. A fine leaf from a French Book of Hours with illumination typical of the Rouen scriptoria of this period. The text of the prayers is in French, indicating that this Book of Hours was produced for the local market and not intended for export. The exquisite 4-line initial 'D', which is intricately worked with white tracery and a red rose, introduces Les Sept Requestes.

      [Bookseller: Hordern House Rare Books]
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