129 résultats
153162079Valencia, Francisco Diaz Romano, 1531. 4to (205 x 145 mm). Exquisitely bound in a sumptuous richly blind-ornamented and gilt 20th century full calf binding. Five raised bands, gilt lettering, and smaller gilt decorations to richly blindstamped spine. Boards elaborately blindstamped with frames in different patterns and with smaller dispersed gilt ornamentations. Front board with a large centre-piece, also elaborately blindstamed and with gilt ornamentations, at the center of which the words “Libre de Consells de Jaume Roig” in gilt Gothic lettering. Back board with the same large centre-piece repeated, inside which a gilt centre-illustration (reminiscent of Bacchus) and the words “a bon seny no hi valengan” (Old Catalan for “common sense is not worth it”) in gilt lettering underneath. Binding signed Miquerlius to lower inside of front board. Single gilt line to edges of boards and broad inner gilt dentelles. All edges gilt. Leaf A4 with ink-annotations in contemporary hand. First leaves with marginal repairs and a closed wormtract, with loss of a few letters. Leaves L-O with closed wormtract in upper outer margin. Last leaves with marginal repairs and final leaf (woodcut illustration) with closed tear and a few wormholes, with minor loss of the illustration. With occasional brownspotting and a few leaves evenly browned. Washed. 139, (1) pp. (A-R8, S4)
150262086Strasbourg, Johannes Grüninger, 28 August 1502. Folio (298 x 204 mm). Bound in an exquisite later (c. 1850) brown full morocco binding by John Clarke with gilt title and five raised bands to spine. Gilt and blindstamped lines to spine. Boards with gilt and blindstamped lines and gilt fleurons to corners. Edges and inside of boards with gilt and blindstamped lines. All edges gilt. Kept in a marbled slipcase. Slight wear to capitals and outer hinges. Armorial exlibris pasted to inside of front board. Woodcut title page remargined. Several underlinings and interlinear and marginal annotations in at least two different contemporary (or near-contemporary) hands. A6 and colophon leaf mounted (no loss). Four insignificant wormholes in lower margin, not affecting the text, from B1 through E2. A few scattered brownspots, otherwise a clean copy. Text of varying length surrounded by 72 lines of commentary. With all 214 woodcut illustrations as well as numerous woodcut initials. 449 leaves: A6 B-S8 (H +1) T-V10 x-z8 AA-HH8 II6 KK-VV8 XX6 YY-ZZ8 a-f8 aa-cc8 dd10.
1549YTB-17Paris, Rosset, 1549. [ENTREE DU ROY HENRI II]. C'est l'ordre qui a este tenu a la nouvelle et joyeuse entrée, que le Roy treschretien Henry deuzieme de ce nom. Suivi de : C'est l'ordre et forme qui a este tenu au Sacre & Couronnement de treshaulte & tresillustre Dame Catharine de Medicis, Royne de France. Deux ouvrages en 1 volume in-4 de (38) ff. et 11 gravures, (12) ff., le dernier blanc. Maroquin aubergine, riche décor aux armes et chiffre du roi Henri II frappées or sur les plats avec fleurs de lys et chiffre H couronné, dos à nerfs orné de filets or et à froid, filet or sur les coupes, triple filet or intérieur, tranches dorées. Reliure du XIXè siècle. 227 X 160 mm. EDITION ORIGINALE RARE ET PRECIEUSE DU « plus beau livre d'Entrée des rois de France qui ait été publié » (Ruggieri, 245). EDITION ORIGINALE DU SACRE ET COURONNEMENT DE LA REINE CATHERINE DE MEDICIS. Fairfax Murray French, 150 ; Du Colombier, Jean Goujon, p. 67-71, planche LVI-LVII ; Vinet, 471 ; Picot Rothschild, IV, 3114 ; Mortimer French, 202l ; Watanabe,1602. RELATION DE L'ENTREE SOLENNELLE A PARIS D'HENRI II EN ET DE CATHERINE DE MEDICIS EN 1549, deux ans après l'avènement du roi qui succédait à son père François Ier, mort en 1547. LE PREMIER OUVRAGE DECRIT LA CEREMONIE DE L'ENTREE, LE SECOND RELATE LE SACRE DE LA REINE, SIX JOURS AUPARAVANT, A SAINT-DENIS. En marquant la liquidation de la succession de François Ier, l'événement revêtait une importance politique considérable. LA VILLE DE PARIS LUI DONNA UNE SOLENNITE PARTICULIERE, N'EPARGNANT AUCUN EFFORT POUR EN SOULIGNER LE CARACTERE MAJESTUEUX : LES DECORS ET LES EDIFICES FURENT DESSINES ET CONSTRUITS SOUS LA DIRECTION DES PLUS GRANDS ARTISTES, SANS DOUTE Jean Cousin, Jean Goujon et Philibert de l'Orme. La coutume des entrées solennelles de souverains dans une ville, et principalement dans une capitale, remonte à la plus haute Antiquité et s'est poursuivie pratiquement à toutes les époques. Sauf quelques exceptions, ce n'est qu'à partir de 1515, lors de l'Entrée de Charles-Quint à Bruges, que celles-ci auraient donné lieu à des relations imprimées illustrées (von Arnim, Fünf Jahrhunderte Buchillustration, p. 91). CE BEAU ET RARE LIVRE ILLUSTRE CONSERVE LE SOUVENIR DES PLUS BELLES DECORATIONS ARCHITECTURALES DU SEIZIEME SIECLE ET DECRIT LA MAGNIFICENCE DE CETTE ENTREE ROYALE. Le texte, attribué à Hardouyn Chauveau par une inscription ancienne dans l'exemplaire Soleinne, serait dû, selon V.L. Saulnier, Les Fêtes de la Renaissance, I, pp. 31-59, au traducteur de Serlio, de Vitruve et de l'Hypnerotomachia Poliphili, l'écrivain Jean Martin, assisté, pour les inscriptions sur les monuments, du poète Thomas Sebillet. LES ONZE PLANCHES SUR BOIS, HORS ET DANS LE TEXTE, QUI DECORENT L'OUVRAGE, EN PARTIE SIGNEES D'UNE CROIX DE LORRAINE, ONT ETE ATTRIBUEES AUX PLUS GRANDS ARTISTES. PAR LA PERFECTION DE LEUR GRAVURE ET L'ELEGANCE DE LEUR DESSIN, EXEMPLES PARFAITS DU STYLE HENRI II DANS SON EXPRESSION PARISIENNE LA PLUS RAFFINEE, ELLES PASSENT POUR L'UN DES CHEFS-D’ŒUVRE DE L'ILLUSTRATION FRANÇAISE DU SEIZIEME SIECLE. La question reste évidemment ouverte de savoir si ces gravures traduisent les dessins ayant servi à élever les monuments de la réception ou si elles en restituent seulement l'aspect. La décoration de ces planches comporte à deux endroits au moins, au pont de Notre-Dame et à la construction flanquant le Beautreillis, le monogramme de Diane de Poitiers ; son emblème, le croissant, qui pourrait passer pour un motif décoratif, figure à plusieurs autres endroits, mais sur ces deux constructions son chiffre s'étale complaisamment à côté, voire à la place, de celui du roi ; le texte mentionne les monogrammes au H du roi mais reste muet sur ceux de sa maîtresse, âgée de cinquante ans, qui figurait dans le cortège de la reine sous son nouveau titre de duchesse de Vale.
1595YTB-7Paris, Abel L'Angelier, 1595. LA PRECIEUSE EDITION ORIGINALE COMPLETE DES ESSAIS DE MONTAIGNE EDITEE PAR MARIE DE GOURNAY, « FILLE SPIRITUELLE » DE L’AUTEUR. ELLE FIXE LE TEXTE DEFINITIF DE CE MONUMENT DE LA LITTERATURE DE LA RENAISSANCE. L’édition originale, parue en 1580, possédait les deux premiers Livres ; le troisième Livre parut en 1588. Tchemerzine, IV, 876 et III, 460 ; Sayce, 7a ; Philippe Desan, Bibliotheca Desaniana, 21 ; Le Petit, 102-105 ; Picot, Catalogue du Baron J. de Rothschild, I, 141 ; Bulletin Morgand et Fatout, 8961 ; En Français dans le texte, n°73. PRECIEUX EXEMPLAIRE AVANT LES CARTONS POSSEDANT LE FEUILLET D’ERRATA ET BIEN COMPLET DE LA CELEBRE PREFACE DE MONTAIGNE « C’est icy un livre de bonne foi » que l’on ne rencontre que dans les exemplaires édités par Abel L’Angelier.
1518102<p>THE UNIQUE PROOF COPY OF AN EXTREMELY RARE BOOK OF HOURS BY THE ATELIER OF GERMAIN HARDOUIN PRINTED ON VELLUM WITH THE ILLUSTRATIONS FROM JEAN PICHOIRE AND THE MASTER OF THE APOCALYPSE OF THE ROSE'S ATELIER AND FINELY ILLUMINATED IN PARIS BY THE MASTER OF NICOLAS DE LA FONS<br />.</p><p>FROM THE COLLECTIONS OF ULRICO HOEPLI & HANS PETER KRAUS BOOK OF HOURS USE OF ROMAN CHURCH.</p><p>Hore divine virginis Marie secundum usum Romanum cum aliis multis folio sequenti notatis una cum figuris Apocalipsis et destructio sic Hierusalem et multis figuris Biblie insertis. Ad colophon: Parisius noviter impressum opera Germani Hardouyn commorantis ante Palatium regis ad intersinium sic dive Margarete ca. 1518. Paris Germain Hardouin 1518</p><p>8vo 170 x 110 mm 17th century brown calf gilt fillets and floral tools a central piece on which is stamped the monogram TCC a similar monogram with the only CC interlaced is gilt on the sides of the gilt frame ff. 84 signature a-k8 l4 not printed in this copy almanac for date 1518-1532 printed on 31 lines text in Latin Germain Hardouin printer device #1 the same device used by Guillaume Eustace from the MASTER OF THE APOCALYPSE ROSE Renouard 434 with the "E" of the crest and the name in the cartouche except the "G" deleted PRINTED ON VELLUM.</p><p>18 FULL-PAGE AND 22 SMALLER WOODCUTS ILLUSTRATING THE GOSPELS AND THE PRAYERS TO SAINTS ALL ILLUMINATED. HEAD-LETTERS ILLUMINATED IN BLUE RED AND GOLD.</p><p>UNIQUE COPY of an illuminated book of hours. Only 2 complete copies of this edition are recorded at BIBLIOTHÈQUE NATIONAL DE FRANCE and NEWBERRY LIBRARY and three uncomplete copies recorded HARVARD UNIVERSITY UNIVERSITY OF VERMONT HOWE LIBRARY COLLEGE OF SAINT BENEDICT/SAINT JOHN'S UNIVERSITY AND CLEMENS LIBRARY/ALCUIN LIBRARY but none of them belongs to this unique variant.</p><p>"RARISSIMUS" Tenschert op. cit.</p><p>The uniqueness of this copy is marked by different features as:</p><p>• lack of signature marks printed on the leaves</p><p>• a different set-up of metalcuts; in some cases different miniatures in others a different positioning within the printed text as well as with a different text in the cartouche under the illustration which is occasionally cropped and replaced by hand by a new version.</p><p>The cartouche under some miniatures has been erased and handwritten with a different text ILLUSTRATIONS: 18 Full page illuminated illustrations on a written cartouche: • Germain Hardouin Device From Guillaume Eustace from the Master of the Apocalypse Rose • Planetary man in the form of a Skeleton after Vostre's bloodletting man from Pichores Workshop • St. John the Evangelist on Patmos German style for Hardouin in -8° allongé ca. 1516 • Jesus Healing the ear of the servant • The Original Sin of Adam and Eve Master of the Apocalypse Rose style for Hardouin 1503 • Annunciation German style for Hardouin in -8° allongé ca. 1516 • Visitation German style for Hardouin in -8° allongé ca. 1516 • Nativity German style for Hardouin in -8° allongé ca. 1516 • Annunciation to the Shepherds German style for Hardouin in -8° allongé ca. 1516 • Adoration of the Magi Master of the Apocalypse Rose style for Hardouins 1503 • Presentation in the Temple Master of the Apocalypse Rose style for Hardouins 1503 • Flight into Egypt Master of the Apocalypse Rose style for Hardouins 1503 • Coronation of the Virgin Master of the Apocalypse Rose style for Hardouins 1503 • Job and his tormentors for Hardouin ca. 1515 • Crucifixion for Hardouin ca. 1515 • Pentecost Master of the Apocalypse Rose style for Hardouins 1503 • King David and Bathsheba bathing for Hardouin ca. 1515 • Assumption of Mary Immaculate with death watching for the opposite border German style for Hardouin in -8° allongé ca. 1516</p><p>22 small metalcuts illustrating the Gospels and the Prayers: • Luke the Evangelist room small pictures Pichore style for Hardouin ca. 1505 • Matthew the Evangelist small images Pichore style for Hardouin ca. 1505 • Mark the Evangelist small pictures Master of the Apocalypse Rose style for Hardouin ca. 1503 • Holy Mary small pictures Master of the Apocalypse Rose style for Hardouin ca. 1503 • Saint Barbara beheaded small pictures Master of the Apocalypse Rose style for Hardouin ca. 1503 • Holy Trinity three miniatures Apocalypse Cycle – Pichore workshop • Annunciation small pictures Master of the Apocalypse Rose style for Hardouin ca. 1503 • San Micheal small pictures Master of the Apocalypse Rose style for Hardouin ca. 1503 • Saint John the Evangelist • Saints Peter and Paul • St. James small pictures Master of the Apocalypse Rose style for Hardouin ca. 1503 • Saint Lawrence small pictures Master of the Apocalypse Rose style for Hardouin ca. 1503 • St. Sebastian small pictures Master of the Apocalypse Rose style for Hardouin ca. 1503 • St. Nicholas small pictures Master of the Apocalypse Rose style for Hardouin ca. 1503 • Saint Agatha of Sicily • St. Mary Magdalene • Saint Margaret • Santa Barbara repeated • Jesus • San Claudius small pictures Master of the Apocalypse Rose style for Hardouin ca. 1503</p><p>TEXT: • Front Page with Hardouin printer device • Tabula • Gospel Lesson and St John Passion • Hours of the Virgin HV o Matin Lauds Prime Third Sixth Ninth Vesper Compline • Hours of the Holy Cross • Hours of the Holy Spirit • Hours of the conception of Holy Mary • Penitential Psalms and Litany • Eve of the dead • Mass of Holy Mary • Prayers</p><p>CONDITION: occasional vellum flaws restored never affecting text or illuminations the corner of two pages strengthened inconsequential spotting or stains in margins overall a fine copy remarkably well-preserved.</p><p>PROVENANCE: I. TCC & CC monograms 17th-century on the covers attributable to the original client of the binding.</p><p>II. URLICO HOEPLI 1847-1935 one of the dominant figures in the European old books trade across the last two centuries paper ex-libris "H" pasted at inside front board</p><p>III. 1940's ex-libris not identified with the initials S.B. pasted on front flyleaf</p><p>IV. HANS PETER KRAUS 1907-1988 without doubt the most successful and dominant rare book dealer in the world in the second half of the 20th-century paper ex-libris "H.P.K" pasted at inside front board</p><p>V. LIBRAIRIE PINAULT Paris cutting taken from their sale catalogue 38 1971 The volume is housed in a very attractive 18th-century red velvet binding embroidered with silver thread and emblazoned. REFERENCES: Renouard ICP II 1848; Van Praet I p. 112 n°135; Bohatta 1027; Lacombe 290; Brunet Heures V 1638 n°251 ; Philippe Renouard Les marques typographiques parisiennes des XVe et XVIe siècles 1828 #434 ; HERIBERT TENSCHERT Herausgegeben von Heribert Tenschert 2015 vol VII 124.2 including plates provenances but not this unique proof ; Isabelle Delaunay Artistic exchanges between handwritten and printed books of hours produced in Paris doctoral thesis ss. The direction of F. Joubert Pairs IV 2000 p. 98 fig. 130 254 fig. 327 296 380.</p><p>HEURES DE GERMAIN HARDOUYN ILLUMINATED BY THE MASTER OF NICOLAS DE LA FONS</p><p>The style of the illuminator of this BOOK OF HOURS can be recognized in the edition of the Loups Ravissans printed for ANTOINE VÉRARD around 1504 Paris BnF. Rés. Vélins 2258. We recognize the expressionless looks of the illuminated figures with large black pupils lot of white in the eyes and heavy eyelids. On mainly flat illuminations the folds are highlighted by a thicker line often black. WE notice as our artist is very respectful and faithful to the engravings. His style can be seen in several BOOKS OF HOURS. In Paris Hours BnF. lat. 1387-1376 in the Announcement to the shepherds and the Presentation in the Temple he was inspired by engravings from the Thielman Kerver series printed from 1497. Two iconographic themes are peculiar: Saint Gemme and the Virgin handing over to Canon Arnoul the text of the prayer "Missus est Gabriel" themes represented by the MASTER OF ETIENNE PONCHER in the hours Paris BnF. lat. 18017. The two artists collaborate in the HEURES DE LYON Bm. Ms. 5997. In this last manuscript our artist is again inspired by engravings for the Presentation in the Temple Simon Vostre from 1496 and for the Betrayal of Judas Kerver from 1497. Here too he demonstrates originality by representing the Meal at Emmaüs Isabelle Delaunay Artistic exchanges between handwritten and printed books of hours produced in Paris doctoral thesis ss. The direction of F. Joubert Pairs IV 2000 p. 98 fig. 130 254 fig. 327 296 380. His activity as an illuminator of engravings continued into the 16th century. He was responsible for illuminating the HOURS FOR THE USE OF ROME Nicolas Higman for Simon Vostre around 1512 for the same use those of Gillet Hardouin around 1516 and again for the use of Rome those of Guillaume Le Rouge around 1510 H. Tenschert I. Neetekoven Horae BMV 158 Stundenbuckdrucke der Sammlung Bibermühle 1490-1550 Tenschert 2003 vol. 1 cat. 49 and vol. 2 cat. 77 86. We recognize its light gray walls dotted with small darker gray lines. He also illuminates the HOURS OF BRUSSELS Bibl. royal ms. 15079 F. Lyna The main painting manuscripts of the Royal Library of Belgium t. III 2nd part expanded reed. Brussels 1989 notice 341 pl. CXI a prayer book composed at the beginning of the 16th century Paris Bibl. Mazarine Far. 8 the HOURS FOR PARIS use Ms. Lat. 10562 and those of the same use Lat. 18032. Very interesting is the BOOK OF HOURS FOR THE USE OF ROME in Milan Biblioteca Nazionale Braidense AC. VIII 28 illuminated in Paris around 1507 for NICOLAS DE LA FONS. The name of the owner is designated by an inscription in capital letters on five lines alternately in blue and gold ink under the miniature of Saint Nicholas. NICOLAS DE LA FONS originally from Saint-Quentin in Aisne presented himself as "Esleu du Vermandois" a position he held from 1507. He was a wealthy officer who was entrusted with the distribution of the collection of aid in his site in Vermondois and the recruitment of war personnel. IT IS AFTER THIS MANUSCRIPT THAT WE CAN NAME THE ILLUMINATOR OF THE PRESENT "MASTER OF NICOLAS DE LA FONS". A skilful and firm hand compositions stripped of all details a reduced and dull palette and painting mainly in flat areas characterize his style. In the list of his sponsors we include ANNE LA ROUTYE who entered the Hôtel-Dieu in Paris at the age of 14 in 1505 who approached our artist for the addition of two miniatures in a BOOK OF HOURS PARISIAN from the mid-15th century Sydney University Library Ms. Additional 58 see P.R. Monks Patrons and Devotion. The University of Sidney's Hours of Anne de la Routye Sydney 1995 pl. XXIII XXIV.</p><p>Dr. Isabelle Delaunay</p> Germain Hardouin hardcover
15335435Lyons: François Juste 1533. Hardcover. Near Fine. 8vo 14 x 6.3 cm. 1 f. 80 ff. woodcut architectural title border incorporating printer's initials 29 small woodcuts flanked by columns black-on-white woodcut initials. Bound in 19th-century red morocco gilt by Trautz-Bauzonnet gold-tooled green morocco doublures marbled endpapers all edges gilt in a pale blue chemise with green morocco spine label. Binding pristine with the fine ex libris of its previous owners affixed to the front flyleaf. A 1-cm paper flaw at f. 38 affecting a few letters very faint uniform browning. Only recorded copy of a very early illustrated edition 3rd of this anonymous collection of 'nouvelles' a literary genre presenting brief prose narratives taken from bourgeois life. The Parangon des nouvelles honnestes utiles et delectables following the famous Les cent nouvelles nouvelles c. 1460 collected vernacular tales purporting to be both true and current i.e. relating to recent events hence 'nouvelle' and so eschewed more established prose forms which relied on classical mythology historical exempla chivalric fantasy and animal fable in favor of reports on greedy merchants drunken millers lascivious housewives and the like. Largely derived from the Decameron of Boccaccio Lorenzo Valla's Apologues Poggio Bracciolini's Facetiae and the anonymous Germanic Ulenspiegel the Parangon packaged together old and new for popular consumption resulting in what one scholar has called "a magma ready for every kind of metamorphosis" Pérouse 1977 p. 7 that is to say the unformed raw material that soon would cool into the more recognizable and longstanding genres of the novel and short story. These "issues of novelty fictional accreditation historical veracity and the chivalric narrative past . were also played out in a variety of other critical settings encompassing works both of shorter and longer fiction" most famously in François Rabelais' proto-novels Pantagruel 1532 and Gargantua 1534 exact contemporaries of the Parangon G. Norton p. 306. Often bawdy and salacious the nouvelle was initially overlooked by scholars of early-modern literature but today its status as a "non-mimetic self-conscious intertextual ironic perhaps even skeptical mode of writing" has cemented it as a pivotal precursor to a modern literary sensibility LaGuardia p. 16. In short the nouvelle frustrates and delights scholars today much as it did its contemporaries and its importance springs from the uneasy active reading it requires from its readers. The present volume's tall and slender 'agenda' format - a shape associated with easy portability and personal use - is very rare in this period occurring when it does almost exclusively in French Books of Hours a genre which blends private devotion prayer with a need for constant practical reference liturgical hours calendars see the Heures printed by Antoine Chappiel 1504 Pierre le Dru 1505-6 Gillet Hardouin 1509 and 1515 T. Kerver 1514 and Germain Hardouin 1534 and 1526; a notable secular exception is the Manuale Vergilianum Strasbourg Johann Grüninger 1507-10. It is intriguing that the impious casual tales of the Parangon should have been printed in a physical format with such pious overtones: does its unusual form merely result from a desire for easy practical use or does it carry some surplus of ironic meaning Even the book's program of illustration participates in an oddly modern mixing of material: its numerous woodcuts are quite clearly borrowed from other still untraced sources: figures seated at dinner a scholar with his amanuensis women spinning yarn a statue of Mars a monk preaching in his pulpit lovers embracing a man drunk on wine a mourner bent over a shrouded corpse a Janus-faced figure a sword duel - these all invite readers to puzzle out how such images might relate to each other and to the texts they supposedly elucidate. <br/> <br/> François Juste hardcover books
15731669261573. ROMAN EMPERORS. Imagines XXIIII Caesarum a Iulio ad Alexandrum Severum usque ab antiquis marmoribus excerptae nuper impressae. Edited and engraved by Donato Bertelli. Engraved title-page and 24 full-page engraved portraits numbered I-XXIV of Roman Emperors from Julius Caesar to Severus Alexander. 4to. 228 x 168 mm bound in later Italian quarter vellum over boards edges speckled red. Venice: apud Donatum Bertellum ad signum divi Marci 1573. These 24 expressive portrait plates "extracted from antique marbles" show 23 of the 27 emperors who ruled during the Julio-Claudian Flavian and Nervan-Antonian dynasties in profile or three-quarter perspective plus a profile of Lucius Aelius AD 101-138 "L. Helius Verus Imp. XX" the adopted son of Hadrian who never ascended the throne. The group excludes Lucius Verus AD 130-169 co-emperor with Marcus Aurelius; Didius Julianus d. AD 193; Geta AD 189-211; and Macrinus who ruled temporarily with his son Diadumenian both executed in AD 218 according with the other known copies of this book which have 23-25 plates. The engraver and printer of this series Donato Bertelli fl. 1565-1574 is most famous for his cartographic publications notably Le vere imagini et descriptioni delle più belle città del mondo 1569 dedicated to J. J. Fugger von Kirchberg. Sparse annotations in contemporary ink. The plates are mounted on laid paper and bound out of order. Very rare. No known copies in the U.S. and no records at auction in ABPC. OCLC locates just one copy in Freiburg Germany and the Italian census EDIT 16 adds one more Biblioteca Ambrosiana Milan: CNCE 68584. DBI online Bertelli. Le Blanc Manuel de l'amateur d'estampes I p. 307. Not in Cicognara. hardcover books
1504100<p>EXTREMELY RARE BOOK OF HOURS PRINTED ON VELLUM<br />ILLUSTRATION FROM MASTER OF THE APOCALYPSE OF THE ROSE'S ATELIER.<br />THE ONLY KNOWN COMPLETE COPY!</p><p>BOOK OF HOURS USE OF ROMAN CHURCH. A la louenge de dieu et de sa tres saincte et glorieuse mere et a ledification de tous bons catholiques furent commences ces presentes heures A lusaige de Romme. Colophone: " …achevez lan mil. ccccc. et iiii. le. xxii. iour de aoust pour Gillet Hardouyn libraire marchant demourant a Paris sur le pont au change a l'enseigne de la Rose Imprimeez par Anthoine Chappiel imprimeur demourant a Paris en la rue de beau vois a lenseigne des Connins " Paris: Antoine Chappiel for Gilles Hardouyn 22 August 1504. </p><p>8vo 17 x 10 cm binding from a reused middle age handwritten vellum page with Gregorian music notations gilt edges ff. 80 signature A-K8. Gothic type 32 lines. Text in Latin except for the prayer opening the volume and the title A1r the almanac A1v some prayers appearing at the end of the volume and the colophon K8r in French almanac for years 1497-1520.<br />13 FULL-PAGE WOODCUTS 28 SMALLER WOODCUTS ILLUSTRATING THE GOSPELS AND THE VARIOUS PRAYERS; HEAD-LETTERS ILLUMINATED IN BLUE RED AND GOLD. <br />EXTREMELY RARE BOOK OF HOURS PRINTED ON VELLUM BY ANDRE' CHAPPIEL FOR GILLES HARDOUIN: ACCORDING TO WORLDCAT AND USTC THERE ARE ONLY TWO OTHER RECORDED COPIES AT BIBLIOTHEQUE MUNICIPALE DE LYON INCOMPLETE MISSING THE LAST MINIATURE RICH MAN AND LAZARUS AND VERSAILLES MISSING DIFFERENT QUIRES. <br />TEXT: f. A1r: versified prayer: " Jesus soit en ma teste et en mon entendement Jesus soit en mes yeulx et en mon regardement … "; f. A1v: almanac giving the dates of the " Dimanche des Brandons" first Sunday of Lent or Quadragesima Sunday Easter and Advent for the years 1497 to 1520; f. A2r-A4v: calendar; f. A5r-B1v: abstracts from the Gospels of the four Evangelists; f. B2r-F2v: Hours of the Virgin use of Rome f. B3r: Matins; f. B8v Lauds; f. C4v: Matins of the Holy Cross; f. C5v: Matins of the Holy Spirit; f. C6v: Prime; f. D1r: Terce; f. D3v: Sext; f. D6r: None; f. D8v: Vesper; f. D1r: Compline; f. F3r-G1v: seven Penitential Psalms followed by litanies and other prayers; f. G3r-H6r: Office of the Dead; f. H6r-K8r: various prayers; f. K8r: colophon.</p><p>ILLUSTRATIONS:<br />• Tree of Jesse f B2v<br />• Annunciation f B3r<br />• Visitation f B8v<br />• Crucifixion f C4v <br />• Pentecost f C5v<br />• Nativity C6v<br />• Adoration of the Shepherds D1r<br />• Adoration of the Magi D3v<br />• Presentation in the Temple D6r<br />• Flight into Egypt D8v<br />• Coronation of the Virgin E4r<br />• Anointing of King David by Samuel F3r<br />• Rich man and Lazarus G2r</p><p>28 small figures illustrating the Gospels and the various prayers at the end of the book John the Apostle; Luke the Evangelist; Matthew the Apostle; Mark the Evangelist; the Crucifixion; Christ and the Angel; the Holy Shroud; the Flight into Egypt; the Archangel Michael; St. Johan the Baptist; John the Apostle; Saints Peter and Paul; Saint James; Saint Stephen; Saint Lawrence; Saint Christopher; Saint Sebastian; Saint Nicholas; Saint Anthony; Saint Anne; Saint Mary Magdalene; Saint Catherine; Saint Margaret; Saint Barbara; Saint Apollonia; Christ Pantocrator; Holy Mary; Saint Barbara.</p><p>The metalcuts used in this book were part of a series that both ANTHOINE CHAPPIEL and GUILLAUME ANABAT used for the Hardouin brothers. The series comes from the MASTER OF THE APOCALYPSE OF THE ROSE'S ATELIER.</p><p><br />ANTOINE CHAPPIEL printer in Paris 1500-1504 succeeded by Guillaume Anabat 1505–1510. <br />Chappiel's earliest dated book is from 1500. The Inventaire chronlogique records dated books in 1502 1503 and 1504. From 1502 to August 1504 he printed under the sign: "Au college de Triguet en la rue Sainct Jean de Latran; - In collegio Tregorensi or: --nuncupato de Triguet juxta sanctum 1ohannem Lateranensem ".</p><p>In August 1504 and on a Book of Hours without date we read: " Rue de Beauvois a lenseigne des Connins; Rue de rue sainct Jehan de Beauvais a lenseigne des Congnis. "</p><p>CONDITION: Very good copy of an extremely rare book of hours printed on vellum.</p><p>REFERENCES: Bohatta 790; Lacombe Books of Hours Printed in the 15th and the 16th Century p. 87-88 No. 143bis the Versailles copy incomplete; Moreau Inventaire Chronologique des Éditions Parisiennes du XVIe siècle I p. 128: 1504 No. 48; USTC 6689; Andrew Pettegree Malcolm Walsby and Alexander Wilkinson French Vernacular Books Books published in the French language before 1601 Leiden Brill 2007 REF. 29496; Philippe Renouard Répertoire des imprimeurs parisiens Minard 1965; Heribert Tenschert Horae b.m.v. 365 gedruckte Stundenbücher der Sammlung Bibermühle 1487–1586 2015.</p> Anthoine Chappiel for Gilles Hardouyn
153841803On les vend à Paris, par Arnoul et Charles Les Angeliers frères, 1538. In-8 gothique (165 x 98 mm) de (8)-403-(1) ff. (marque de l'imprimeur), 49 bois dont plusieurs répétés, maroquin rouge, dos orné à nerfs, triple filet doré sur les plats, composition florale au centre, dentelle intérieure, tranches dorées (Capé).
1579YTB-31Lyon, Benoist Rigaud, 1579. In-16 de 256 pp. Vélin ivoire, tranches jaspées. Reliure de l’époque. 116 x 74 mm. « La plus rare des éditions des Œuvres de Coquillart publiées au XVIe siècle. Elle est la dernière publiée au XVIe siècle. M. Brunet n’a fait que la citer, sans l’avoir vue. » (Catalogue A. Firmin-Didot). Tchemerzine, II, 519 ; Baudrier, III, 351 ; Brunet, II, 267 ; Catalogue A. Firmin-Didot, n°167 ; Bulletin du bibliophile, n°1428 ; J. Gay, p.98. « Edition bonne et rare, faite sans doute sur celle de G. du Pré » (Tchemerzine). « Edition rare » (Bulletin du bibliophile). LES ŒUVRES DE COQUILLART CONTIENNENT : « Les Droitz nouveaux ; Le Playdoyer de Coquillart d’entre la Simple & la Rusée, L’enqueste d’entre la Simple et la Rusée, Le blason des armes, & des dames, Le Monologue de la botte de foin, Le Monologue du Puys, Le monologue des perrucques « Les œuvres de Coquillart se trouvent rarement dans une bibliothèque moderne. De plusieurs des éditions publiées il ne reste qu’un seul exemplaire connu. Quand ces reliques de l’ancienne typographie reparaissent sur l’horizon, les bibliophiles se les disputent et les portent à des prix fabuleux. Lyon, ce berceau des lettres au XVe et XVIe siècles, cette ville où l’imprimerie brilla d’un si grand lustre voulut aussi publier un Coquillart. Le Manuel du libraire cite une édition in-16 donnée par Benoist Rigaud à Lyon en 1579. Nous n’avons pu la consulter. » (Les Œuvres de Guillaume Coquillart, 1847, Tome II). PRECIEUX ET BEL EXEMPLAIRE CONSERVE DANS SON VELIN IVOIRE DU TEMPS. LES GRANDS POETES FRANÇAIS DE LA RENAISSANCE CONSERVES DANS LEUR RELIURE DE L’EPOQUE CONSTITUENT LES CHEFS-D’ŒUVRE DE LA HAUTE BIBLIOPHILIE.
15199666Paris, Durand Gerlier, 1519. In-8 gothique de (148) ff. (a8, A-R8, S4), maroquin vert, filet à froid, encadrement central d’un triple filet à froid avec fleurons d’angle de style italien, dos orné de filets à froid et fers dorés, filets intérieurs et fleurs de lis aux angles, tranches dorées (reliure du XIXe siècle).
1575648K20Medina : Francisco del Canto 1575. First edition. Leather. Good. 12" by 8.5". None. An extremely scarce first edition volume of this early and extremely influential work of world history penned by the highly controversial Jesuit Friar and pseudo-historian Fray Hieronymo Roman. Very scarce. The work is only held within four institutional libraries. The first edition of the work in the original Spanish. Volume one only. A second volume was published simultaneously with a third volume first published in 1595. The work has been rebound and is lacking the first two blank leaves otherwise complete. Pagination is irregular as called for. The work offers a wide ranging comparative history of the world's civilisations and their institutions. The work has a particular focus upon political legal and moral issues and includes reference to the Indies Far East and pre-Columbian America. The author Fray Hieronymo Roman was a clergyman librarian and Spanish historian known to be a close friend of Alonso de la Vera Cruz; considered to be the most important figure in philosophy in the sixteenth century. The work is the author's Magnum Opus and offers a very early example of anti-colonial writing. The comprehensive work was not without its controversy; indeed it faced censorship owing to its implications regarding the first conquistadors including casting doubt on the legitimacy of the Spanish rule in the New World. In 1583 the work was included upon the Spanish Inquisition's list of prohibited books after being denounced by the Council of the Indies. The following year the work was also included upon their index of books to be destroyed. The author managed to avoid further censorship by correcting the most controversial passages in the later 1595 edition. As such first edition copies such as this one are extremely scarce to come across and are considered of greater historical significance in part due to their inclusion of the more controversial anti colonial standpoint particularly in reference to Spanish colonisation in America. A very scarce example of this early anti-colonial writing written by a noted Spanish friar and historian. Rebound in half crushed morocco with marbled boards and gilt detail to the spine. Externally very smart with slight rubbing heavier to the joints and head and tail of the spine resulting in some minor loss to the leather. Hinges strained with cords visible. Bookseller's stamp to rear pastedown. Lacking first two blank leaves. Internally firmly bound. The occasional sympathetic repair particularly to the title page. Decorative contemporary banner has been adhered under title where previously would have read "diuididas en XXVII libros". The occasional tidemark throughout heavier to the first twenty leaves. The occasional contemporary ink annotation including to title page and fore edge. Scattered spotting. Good Francisco del Canto hardcover
1520WRCAM17720Augsburg 1520. 4pp. Small quarto. Later plain paper boards. Marginal tears and old fold marks with slight discoloration else very good. "After the death of Ferdinand II Charles V succeeded to the Kingdom of Spain. In 1517 he proceeded to Spain which he left in 1520. At his departure he was very unpopular; he made this speech when he left and said 'That he did not see the happy faces with which he had been received.' He also mentions America in the following words: 'He might have been satisfied with the Spanish Empire the Balearic Islands and Sardinia the Kingdom of Sicily Italy and a large part of Germany and Gaul AND THAT OTHER GOLD-BEARING WORLD'" - Maggs. <br> <br> EUROPEAN AMERICANA locates only two copies at The New York Public Library and the Bibliothèque Nationale. There is also a Rome edition of which a copy is located at Harvard. The present copy appears to be the only one offered for sale in this century. EUROPEAN AMERICANA 520/17. MAGGS BIBLIOTHECA AMERICANA I:33 this copy. PALAU 44419. ROTHSCHILD 3137. hardcover books
160041404Sans lieu, , 1600. In-8 de (4)-83 pp., manchettes, veau blond glacé, dos orné à nerfs, pièce de titre en maroquin rouge, triple filet doré d'encadrement sur les plats, dentelle intérieure, tranches dorées (Koehler).
1541LCI-5622Bâle Herwagen Johannes 1541 1 Petit in folio Très belle édition grecque de 1541, 2 textes reliés en un volume petit in folio (27x17,5cm), plein veau brun d'époque François 1er, état intérieur chiffon parfait et extérieur, filets d'encadrement à froid sur les plats, 12ff., 410 pp (dernière page numérotée 394); 1f.;307pp (num 237).Qualité "Musée"
157212008A Lyon, Pierre Roussin pour] Antoine Gryphiu, 1572. In-4 réglé de 12 feuillets, maroquin rouge, dos à nerfs, dentelle intérieure, tranches dorées (Thibaron).
159442198Lyon, Thibaud Ancelin, 1594. In-4 de 120 pp. (sign. (A-P4).Les Piliers d'Estat, dédiez au Roy, par E.D.B. où il est clairement monstré, que la piété & justice sont les vrais fondements des empires, & que sans elles ils ne peuvent longuement subsister. Lyon, Thibaud Ancelin, 1594. In-4 de (8)-44-(2) pp. (sign. A-G4).Les deux pièces reliées en 1 vol. in-4, maroquin brun, décor à la Du Seuil, dos orné à nerfs, dentelle intérieure, tranches dorées (Capé).
15455012Paris, Jehan André, 1545. In-8 de (12)-390 ff. (sign. ã12, A-Z, AA-ZZ8, &&8, PP8, aa8), maroquin bleu, dos à nerfs, cartouche doré sur les plats, dentelle intérieure, tranches dorées sur marbrure (Duru et Chambolle 1863).
159711179A Rouen, chez la Veuve Thomas Mallard, 1597. Petit in-12 (90 x 147 mm) de (12)-528 ff., maroquin vert, triple filet à froid d'encadrement sur les plats, dos à nerfs très orné, dentelle intérieure, tranches dorées sur marbrure (Masson-Debonnelle).
158242196Lyon, Benoît Rigaud, 1582. In-8 de 27 pp., maroquin havane, décor à la Du Seuil, fleuron azuré au centre, dos orné à nerfs, filet sur les coupes, large dentelle intérieure, tranches dorées (Chambolle-Duru).
156942200Paris, De l'Imprimerie de Fédéric Morel, 1569. In-8 de 8 ff., maroquin rouge, triple filet doré sur les plats, dos orné à nerfs, dentelle intérieure, tranches dorées sur marbrure (Trautz-Bauzonnet).
1561372709Venice: apud Iuntas heirs of Luca Antonio Giunta 1561. Title page with small woodcut of pope and six bishops; Giunta printer's device in red on title and at end; one full-page woodcut of Crucifixion third-page woodcuts at head of each of three parts 162 woodcuts of liturgical scenes woodcut initials. Text printed in two columns in red and black throughout musical notation in black on staves of four red lines. 4 243 ff. 1 vols. Folio. Contemporary Italian orange morocco gilt boards ruled in gilt central panels in double gilt rule with floral corner tools upper board with cardinal's hat lower board with sunburst initials in central cartouches effaced a.e.g. Spine dark some soiling and rubbing light traces of worming at back. Title page with small woodcut of pope and six bishops; Giunta printer's device in red on title and at end; one full-page woodcut of Crucifixion third-page woodcuts at head of each of three parts 162 woodcuts of liturgical scenes woodcut initials. Text printed in two columns in red and black throughout musical notation in black on staves of four red lines. 4 243 ff. 1 vols. Folio. Liturgical work including the music of the chants and hymns to accompany the services. Adams L1241; EDIT16 CNCE 11860. Provenance: early ownership signature of Joanis Ant. S- on pastedown. General Theological Seminary bookplates and stamps apud Iuntas [heirs of Luca Antonio Giunta] unknown
1598127139Paris, Jean Houzé 1598 In-folio 37,5 x 23 cm. Reliure postérieure, dos lisse demi-basane fauve avec report du titre doré, plats en bois sculptés, le premier avec le portrait en pied d’Athena en bas-relief, [6]-889-138-[3] pp., bandeaux, lettrines et culs-de-lampe. Premier plat fendillé, charnières fendillées, 3 premiers feuillets avec réparations marginale et angulaires, mouillure angulaire en continu sur les 100 dernières pages, page de titre postérieure manuscrite.
158215508A Paris, Chez Claude Michard, au cloz Bruneau à la chaire, 1582. In-16 de (19)-588-(1) pp., titre gravé dans un encadrement historié, maroquin citron décoré, dos orné à nerfs, cadres et rinceaux dorés sur les plats, roulettes et dentelles intérieures, tranches dorées sur marbrure (Pagnant).
150243414Bologne, Benedetto Faelli, 1502. In-folio de (3) ff. 1 f.bl. ccclxxxix ff. (sign. [*]4 (dernier blanc) a-t6 u4 x-z6 &6 [&]6 [rum]6 π6 A-H6 I-K8 L-Z6 AA-BB6 CC8 DD-OO6 PP7 , exemplaire sans le dernier feuillet blanc), maroquin lie-de-vin aux armes de Joaquín Gómez de la Cortina, dos orné à nerfs, titre et date en pied de dos dorés, tranches dorées (reliure du XIXe siècle).