153 résultats
1470CLe2501Low Countries probably Bruges ca. 1470-80. 186 x 135 mm. 7 3/8 x 5 1/4". Single column 20 lines in a gothic book hand. i blank 108 i blank leaves bound too tightly for a close collation but APPARENTLY COMPLETE. Contents: Calendar f. 1r; Gospel Lessons f. 7r; Hours of the Holy Cross f. 11r; Hours of the Holy Spirit f. 15r; Mass of the Virgin 18r; "Obsecro te" f. 21r; "O Intemerata" f. 23r; Suffrages f. 24r; Hours of the Virgin f. 33r; Office of the Virgin as said throughout Advent f. 71r; Penitential Psalms f. 76r; Litany and petitions f. 81v; Office of the Dead f. 87r. <br/> HANDSOME RENAISSANCE ENTRELAC BINDING upper joint and parts of spine very skillfully repaired covers with a gilt floral border surrounding a central panel of gilt strapwork design with traces of original polychrome painting raised bands spine gilt in compartments original bosses and catchplates clasps renewed all edges gilt. Rubrics in red numerous one-line initials in blue with red penwork or gold with dark purple penwork many two-line initials in burnished gold on pink and blue ground with white highlights most of these with floral sprays extending into the margins 22 SMALL MINIATURES measuring approximately 45 x 37 mm. each with panel borders of colorful acanthus and flowers at the top and bottom of the page connected by a strand of gilt bezants and 14 FULL-PAGE MINIATURES each surrounded by a full border of acanthus flowers and bezants the facing pages also with full borders and a large six-line initial painted pink or blue filled with swirling vines and flowers on gilt and painted ground. Subjects of the large miniatures being: Crucifixion f. 10v; Pentecost f. 14v; Virgin and Child f. 17v; Annunciation f. 32v; Visitation f. 42v; Nativity f. 49v; Annunciation to the Shepherds f. 52v; Adoration of the Magi f. 55v; Presentation in the Temple f. 58v; Massacre of the Innocents f. 61v; Flight into Egypt f. 66v; Coronation of the Virgin f. 70v; David in Prayer f. 75v; Raising of Lazarus f. 86v. Front pastedown with a 16th century inscription see below; rear pastedown with a 17th century ownership inscription in ink signed François le Paige. Lower joint a bit rubbed margins with a little soiling and occasional wrinkle fore-edge border rule just grazed by binder in a few places the other borders quite ample miniatures with tiny chips light fading or rubbing in a couple places etc. but IN EXCELLENT CONDITION the attractive period binding very well preserved with boards showing virtually no signs of wear the vellum generally clean and bright and the miniatures fresh and richly colored.<br/> <br/> This is an extensively illustrated Book of Hours preserved in an especially attractive early binding with richly colored miniatures attributed to the Master of Philip of Cleves' "Book of the Hunt." Active in the Low Countries from approximately 1470-90 this artist was patronized by some of the area's wealthiest elite and is known to have collaborated with another important illuminator called the Bruges Master of 1482. Some trademarks of our painter include faces with subtle blue shading; high arched eyebrows; thin golden halos; and women with very straight shoulder-length hair highlighted with strands of gold. Outdoor scenes often contain narrative elements in the distance such as the figures of a young David and Goliath in the miniature of King David at Prayer or pagan idols dropping from a column in the Flight into Egypt recalling a popular apocryphal tale of pagan relics miraculously falling to pieces as the Holy Family passes by. Some miniatures of note in addition to these two are the Raising of Lazarus for the Office of the Dead--a popular alternative to funeral images particularly among Flemish illuminators--and the Massacre of the Innocents for the hour of Vespers a particularly violent episode in which King Herod commands his soldiers to slaughter the male infants of Bethlehem. Like other miniatures in this work the action in these scenes is spread out between the fore middle and background creating a multi-layered narrative that invites the eye to explore and meditate. The artist's color palette in this manuscript is quite memorable and includes a bright mustard yellow pale green and cherry blossom pink. The Coronation of the Virgin makes particularly strong use of color with a sunset-like gradient giving way to billowy blue clouds. The Annunciation miniature also demonstrates the Master's facility with color; here the Angel Gabriel's red and green wings are fully extended while the Virgin is radiant against a golden yellow wall covering. In addition to the large compositions we are treated to 22 smaller miniatures depicting the Evangelists and saints each of which is charming in its more confined presentation. Although the saints found in the Suffrages are quite typical for a Book of Hours the Calendar is another story. Despite being rather sparsely filled out the calendar here includes several feast days some of them unusual enough to provide additional insight into the manuscript's localization and use. For example there is St. Landoaldi 19 March a missionary to Northern France and Belgium and St. Winnoc 6 November the son of a Breton king with a former abbey in the far north of France. The calendar is idiosyncratic in other ways as well with saints' names that are repeated and others that are either extremely obscure or whose dates seem to be wrong. Whatever the case additional research into the calendar would undoubtedly prove revealing. We are fortunate to have some early provenance information written into this Book of Hours. The inscription on the front pastedown reads: "This last day of September 1590 we name erased but Claude le Paige lieutenant of the guards of his highness of Bar le Duc on the one hand and Alix de la Taxe on the other hand have married in front of the holy Catholic church at the place of Mirecourt." Below this inscription are notes indicating the ages of the bride and groom 17 and 36 respectively as well as the dates of their deaths: he died on 9 May 1610 and she on 14 September 1622. Located in the strategically important Meuse region in northeastern France the Duchy of Bar-le-Duc unified with Lorraine in 1480 and became extremely wealthy during the 16th century. Although we do not know for whom the manuscript was originally made it seems quite possible that it was commissioned for a forebear of the named Bar-le-Duc spouses and was perhaps passed down through later generations of the family. The signature on the pastedown indicates that François le Paige son of Claude and Alix inherited the book from his parents. This manuscript was lavishly and tastefully bound early in the 16th century and has survived in excellent condition to the present day. This binding would originally have been painted but even without its original colors it is still quite attractive perhaps even splendid. In excellent condition inside and out the manuscript is a fortunate survival and a testament to generations of careful stewardship. unknown
ST20837bGermany late 12th or early 13th century. 335 x 224 mm. 13 1/4 x 8 7/8". Double column 29 lines in an elegant proto-gothic book hand. <br/> Rubrics in red several two-line initials in red. Recovered from a binding and so the vellum a bit soiled creased and wavy recto with a lighter patch where a title label was once situated light stains and glue and paper residue on the verso but overall the leaf remarkably clean entirely legible and surprisingly well preserved.<br/> <br/> Once serving as a cover for a later book this leaf comes from a nearly contemporaneous copy of Peter Lombard's "Sentences" considered the most important theological book of the 12th century. Written between 1155 and 1158 and arranged topically Lombard's "Sententiae" summarize past learning about Christian doctrine by quoting authorities in an attempt to resolve textual disagreement by dialectical analysis. As a source collection that continued to spark discussion Lombard's great work enjoyed sustained success as a theological textbook until the 17th century and inspired numerous commentaries including those of Aquinas and Luther. This leaf comes from Book IV "On the Doctrine of Signs" which is primarily concerned with the seven sacraments: Baptism Confirmation the Eucharist Penance Extreme Unction Sacred Orders and Matrimony. The script is an upright and very legible proto-gothic book hand with a few distinctive letter forms and abbreviations that may help determine a more definitive point of origin these include a "g" with a downward cross on its tail and a conjoined "qe" for "que". It is unusual and very lucky that this leaf survives completely intact as Medieval manuscripts used in later bindings were often cut down in size to make smaller covers or used as waste paper for pastedowns or other binding elements. unknown
ST20973Italy 15th century. 364 x 260 mm. 14 3/8 x 10 1/4". Single column 22 lines in a rounded gothic book hand. <br/> Rubrics in red versal initials alternating red and blue with purple penwork one three-line initial in blue with purple penwork A SIX-LINE "A" DEPICTING THE ASSUMPTION OF THE VIRGIN the initial painted pink with red green and blue nodes and acanthus on a burnished gold ground with extensions running the length of the text column incorporating more acanthus and small gold embellishments with sprays of the gold leaves at the top bottom and center. A little rubbing to the paint negligible soiling and small spots to margins but in excellent condition overall.<br/> <br/> This very large handsomely preserved leaf features a strikingly attractive initial of the Virgin opening the beloved hymn "Ave Maris Stella" "Hail Star of the Sea". Dating back to at least the ninth century and traditionally associated with the hour of Vespers on Marian feast days as here the hymn praises the Virgin's purity meekness and mercy calling upon her as the "Nurturing Mother of God" to dispel evil and free us from our sins. Inside the gilt and painted initial is a lovely portrait of the Virgin who is depicted seated against a red mandorla dressed in pink and wrapped in a green and blue mantle--perhaps a reference to the colors of the ocean. Her hands are raised in prayer fingers lightly touching above her heart and her well-defined features appear both strong and serene. Judging from the size of the initial liberal use of gold and the wide margins of this leaf the original manuscript must have been a costly item produced for a wealthy church or monastery. unknown
ST12778-0082South Germany or more probably Austria second half of the 12th century. 429 x 304 mm. 16 7/8 x 12". Double column 36 lines of text in a fine proto-gothic hand. <br/> ◆Text a bit faded on one side an upper corner slightly defective minor soiling and with the grain of the vellum apparent on verso but with the beautiful text entirely legible and the leaf as a whole quite pleasing.<br/> <br/> The hand here is memorable featuring wide upright letters that could not be more regular. Elected pope in 590 Gregory ca. 540-604 was one of the most influential pontiffs in the history of the Church. In addition to revising liturgical worship he wrote extensively on theology offering homespun wisdom rather than esoteric debates. He was declared a saint immediately upon his death. unknown
1475ST19653NNorthern France ca. 1475. 155 x 110 mm. 6 x 4 1/4". Single column 16 lines in a gothic book hand. <br/> Rubrics in dark pink ONE EXQUISITE FOUR-LINE INITIAL painted blue with white detailing filled with red and blue vines and leaves on a burnished gold ground with a painted and gilt bar border on one side each end capped with a flower the text surrounded on three sides with a border of acanthus leaves dense rinceaux colorful flowers gold ivy leaves and bezants. A couple negligible imperfections but IN VERY FINE CONDITION<br/> <br/> One of the most popular optional prayers in the 15th century Book of Hours "O Intemerata" "Oh immaculate virgin" is a brief supplication in which the Virgin is glorified for her purity as the "unspotted and forever blessed singular and incomparable Virgin Mary Mother of God." The present leaf is given special emphasis with the presence of a three-quarter rinceaux border surrounding the text and the opening of the prayer is marked by an especially pretty and finely detailed initial that glitters with burnished gold. The leaf is unusually beautiful precisely rendered and in very fine condition. unknown
ST17587France late 12th century. 176 x 132 mm. 7 x 5 1/4". Single column 18 lines in a protogothic hand text on one side only. <br/> Rubrics in red "Liber" in upper margin in red. Recto and verso with scribblings by later hands the name "Simon Pivante" clearly visible on recto but the others illegible. ◆Recovered from a binding and thus with obvious staining folds and rubbing a couple lines at top and bottom and a few other words here and there too rubbed to make out but by and large still very legible and in a pleasing hand.<br/> <br/> This leaf is primarily of interest for its content containing a rare example of Anastasius Bibliothecarius' "Historia Ecclesiastica" of the Byzantine Church also known as the "Chronographia tripartita" compiled from the works of the near-contemporary Greek authors Theophanes Nicephorus and Syncellus. According to the Catholic Encyclopedia Anastasius Bibliothecarius ca. 810-79 "learned Greek from Greek monks and obtained an unusual education for his era so that he appears to be the most learned ecclesiastic of Rome in the barbaric period of the ninth century." He earned the moniker "Bibliothecarius" from his appointment as librarian of the Roman Church a position he held during the reign of popes Adrian II 867-72 and John VIII 872-82. It is possible that Anastasius was also the same figure elected antipope in 855 as recorded in at least one contemporary chronology but historians disagree on the validity of this identification. Anastasius' work appears to be extremely rare in the marketplace. unknown
19158494Portland Maine: Thomas Bird Mosher 1915. First edition thus number 22 of 25 copies printed on Japan Vellum. 8vo 19x14cm v xvi 3 142 1pp. Two initials printed in red text printed within borders few leaves unopened. Bound in gilt stamped parchment boards and in near fine condition with bumped corners. In original plain paper jacket which shows toning and a few tears and housed in toned paper slipcase with two ownership signatures one being Primrose Rupp Hinton. <br /> <br /> Very scarce and beautiful Mosher printing on Japanese vellum. Sirenica is a 1913 novel by Leith which explores the myth of the Siren Song and the struggle by man for the unobtainable. <br /> <br /> <br /> This copy with an interesting ownership provenance from journalist Primrose Rupp Hinton who was longtime society editor for the Aberdeen Daily World in Aberdeen WA. . Thomas Bird Mosher unknown
148552035France c.1485-1515. Small8vo. 80 x 12 mm. 1 leaf in vellum single column with text to both verso and recte. Fine flower ornamentation in red blue and gold to outer margin both verso and recte. Horisontal catchword. Small worm-hole to upper right corner far from affecting text. hardcover
52102Presumably late 15th century. 4to 195 x 142. 1 leaf of vellum 21 lines of text recte and 18 lines verso. hardcover
ABAA25-1<p>Northern France probably Paris 1230-1250.</p><p>12mo 140 x 93 mm of 1 658 ll.: 1-1524 1620 17-2224 2310 24-2524 2617 without the bl. l. xviii 2726 2828 295 without the bl. l. vi. <strong>Thus complete</strong>.</p><p>Double column of 47 lines written in brown ink in a very fine Gothic writing.</p><p>Justification: 92 x 60 mm.</p><p><strong>78 historiated initials</strong>. Quires numbered in Roman numerals at the foot of the back of the last ll. and signatures at the bottom corner of the text on each recto of the first half of a quire headings in red initials in red letters of running titles and chapters numbers alternately in red or blue initials of chapters on 2 lines alternately in red or blue with a decor of the opposite color initials of 5 to 7 lines at the beginning of the prologues of the same type but with decoration in two colors opening the prologues 78 historiated initials most decorated with foliage and dragons the extension of 29 of them forming borders decorating the margin painted in blue pink orange-red and yellow a few wormholes in the first l. a few running titles cropped last l. restored in the outer margin.</p><p>Stiff vellum gilt Greek roll-stamp around the covers flat spine decorated green morocco lettering piece gilt edges from the 19th century.</p><p>Superb Capetian manuscript from the School of Paris complete and of perfect freshness handwritten on vellum skin and illuminated with exquisite finesse between 1230 and 1250.</p><p><u>Text</u>: List of Books of the Bible: recto and verso of the first endpaper; the Vulgate with the preamble: ll. 1-599v; Interpretation of the Hebrew names: ll. 600-658.</p><p>Superb example of the small vulgate bibles produced in Paris in the 13th century.</p><p>It was in the 13th century in Paris that the masters of theology of the University established what was to become the standard form of the Latin Bible: the selection of the books their order and their division into chapters established by Stéphane Laugton still universally employed the insertion of the forewords of St Jerome and the interpretation of the Hebrew names.</p><p>All these characteristics are present in this very elegant Bible on very thin vellum skin.</p><p><u>Illuminations</u>: A masterpiece from Pierre de Bar's workshop active in Paris between 1230 and 1250 distinguishes itself by the particularly colored and bright shades of its illuminations; the usual whites pinks and blues are enriched with red orange and even more surprisingly by large areas of yellow.</p><p>This Bible contains 78 illuminations of great beauty and of amazing freshness.</p><p>The repertoire of decorative details is peculiar compared to other French illuminations of the time and the foliage contains small clover leaves.</p><p>Branner attributed the illustration of the manuscript to the Parisian workshop that illustrated the most outstanding illuminated manuscripts of the first half of the 13th century Bar's workshop with reference to Cardinal Pierre de Bar 1252 who gave to the Abbey of Clairvaux a Bible in four volumes issued from this workshop and preserved today under the reference Troyes Bibliothèque municipale ms. 106 108 110 and 111.</p><p>This manuscript can be dated from 1230-1250. Remarkable for its large and well-formed heads; the bodies are robust and covered with clothes with deep and dark folds R. Branner <em>Manuscript Painting in Paris during the Reign of Saint Louis</em> 1977 pp. 70-71. He dates the activity of Pierre de Bar's workshop between 1230-1250 and explains its specificities by suggesting the development of its style outside Paris.</p><p>The decoration of the manuscript consists of 78 historiated illuminated initials and a great number of capital letters rubricated in red or blue.</p><p>This very attractive bible seems to have been made in Paris; it represents an interesting addition to the production of a workshop producing according to Branner some of the most beautiful and refined Parisian illuminations of the first half of the 13th century.</p><p>We witness from the years 1220-1230 under the reign of Queen Blanche of Castile a concentration of illuminators in Paris at the expense of abbeys and provincial capitular schools. We can indeed attribute several manuscripts to Blanche of Castile who inaugurated the tradition of female patronage in the royal family. But the peak of these famous small Capetian bibles happened during the reign of Saint Louis.</p><p>The subjects of the historiated initials are the following:</p><p>l. l St Jerome Prologue; l. 4 The 7 days of Creation Genesis; l. 27 Moses leading his people across the Red Sea Exodus; l. 43 the Jews offering a sacrifice; l. 54 Moses preaching; l. 72 Moses receiving the Tablets of Stone; l. 89 God talking to Joshua; l. 99 Gideon holding his sword; l. 110 Elimelech and Naomi migrating to Moab Ruth; l. 112v Beheading of Eli; l. 128 Beheading of Amalekite before David; l. 141 David's servant bringing Abishag to him; l. 155v Ahaziah falling from a tower; l. 170v the Patriarchs; l. 185 Solomon enthroned; l. 202 The Construction of the Temple; l. 207 Nehemiah presenting the golden cup to Artaxerxes; l. 213v Spraying of the Temple; l. 220v Tobias; l. 225v Judith beheading Holofernes; l. 232 Ahasuerus being merciful to Esther; l. 238v Job on the manure heap; l. 251 David playing the harp; l. 256 anointing of David by Samuel; l. 258v David showing his mouth; l. 261 madman holding the stick and the bread Psalm 52; l. 264 God above David below in the water Psalm 68; l. 268 David ringing the bells Psalm 80; l. 271v Two Singers Psalm 97; l. 275 The Trinity Psalm 109; l. 283v Solomon whipping a young man; l. 294v Solomon teaching to a young man; l. 298 Madonna and Child Enthroned; l. 299v Solomon and a young man carrying a sword; l. 307v Ecclesia; l. 328 Isaiah being sawn in half; l. 353 Stoning; l. 381 Baruch writing; l. 384v Ezekiel in bed with the Tetramorph; l. 412 Daniel in the lions' den; l. 423v Hosea and Gomer; l. 427v Joel preaching to a group of Jews; l. 429v Amos offering the sheep; l. 432v God appearing to Obadiah; l. 433v Jonah in the mouth of the whale; l. 434v the teaching Prophet; l. 437 Nahum lamenting about the fall of Nineveh; l. 438v Habakkuk and the stones; l. 440 the Prophet with his scroll; l. 441v Two Prophets; l. 442v Prophet; l. 447 Two men talking; l. 449 Beheading of the idolatrous Jew; l. 466 the Messenger delivering the letter; l. 478v the Tree of Jesse; l. 494v Saint Mark with the lion; l. 505 Saint Luke with the angel; l. 521v Saint John; l. 535 Saint Paul carrying the cross; l. 541 Saint Paul carrying a sword; l. 546v Saint Paul carrying a sword and a scroll; l. 551 Saint Paul carrying a sword and a book; l. 555 Saint Paul carrying a sword; l. 556v Saint Paul carrying a sword and a book; l. 558 Saint Paul carrying a sword; l. 559 Saint Paul carrying a sword; l. 560 Saint Paul carrying a sword; l. 561v Saint Paul carrying a sword; l. 562v Saint Paul carrying a sword; l. 561v Saint Paul carrying a sword; l. 562v Saint Paul carrying a sword; l. 563v Saint Paul carrying a sword; l. 564 Two men talking; l. 568v. Ascension; l. 585 Jacob holding a book; l. 586v Saint Peter seated holding a book; l. 588 Saint Peter holding a key; l. 589 Saint John writing; l. 590v Saint John; l. 591 Saint John; f. 591 Saint Jude; l. 592 Saint John writing.</p><p>This complete bible dated from 1230-1250 is a masterpiece of Capetian illumination produced under the reign of Saint Louis.</p><p>Provenance:</p><p>- <em>Jean Tornone</em>: doctor from Burgundy: inscription on the verso of the endpaper mentioning his gifting of the book to <em>Stroyff</em>.</p><p>- <em>Assuerus Stroyff</em>: inscription mentioning his reception of the book by Tornone then his gift to <em>Johan Baron de Bronckhorst.</em></p><ul><li><em>Johan Baron de Bronckhorst</em> and <em>Batenburg de Guelders</em>: inscription dated from 1574 mentioning his receipt of the book.</li></ul><p><strong>FR</strong></p><p>Nord de la France probablement Paris 1230-1250.</p><p>In-12 de 1 658 ff. : 1-1524 1620 17-2224 2310 24-2524 2617 sans le f. blanc xviii 2726 2828 295 sans le f. blanc vi. <strong>Ainsi complet</strong>.</p><p>Double colonne de 47 lignes écrites à l'encre brune dans une très fine écriture gothique.</p><p>Justification : 92 x 60 mm.</p><p><strong>78 initiales historiées</strong>. Cahiers numérotés en chiffres romains au pied des versos des derniers ff. et signatures au pied du coin inférieur du texte sur chaque recto de la première moitié d'un cahier rubriques en rouge initiales en rouge lettres des titres courants et numéros des chapitres alternativement en rouge ou bleu initiales des chapitres sur 2 lignes alternativement en rouge ou bleu avec un décor de la couleur opposée initiales de 5 à 7 lignes au début des prologues du même type mais avec des décors des deux couleurs ouvrant les prologues 78 initiales historiées la plupart ornées de feuillage et de dragons le prolongement de 29 d'entre elles formant des bordures décorant la marge peintes en bleu rose orange-rouge et jaune qq. trous de vers ds. le premier f. atteinte à qq. titres courants dernier f. restauré ds. la marge extérieure.</p><p>Vélin rigide du XIXe siècle encadrement d'une roulette grecque dorée autour des plats dos lisse orné pièce de titre de maroquin vert tranches dorées.</p><p>140 x 93 mm.</p><p><strong>Superbe manuscrit capétien de l'école de Paris complet et de parfaite fraicheur calligraphié sur peau de vélin et enluminé avec une exquise finesse entre 1230 et 1250.</strong></p><p><u>Texte</u> : Liste des Livres de la Bible : recto et verso de la première garde ; la Vulgate avec le préambule : ff. 1-599v ; Interprétation des noms hébreux : ff. 600-658.</p><p><strong>Superbe exemple des petites bibles vulgates produites à Paris au XIIIe siècle.</strong></p><p>C'est au XIIIe siècle à Paris que les maîtres de théologie de l'Université établirent ce qui devait devenir la forme standard de la Bible latine : la sélection des livres et de l'ordre de ceux-ci et leur division en chapitres établies par Stéphane Laugton et encore universellement employée l'insertion des prologues de St Jérôme et l'interprétation des noms hébreux.</p><p>Toutes ces caractéristiques sont bien présentes dans cette très élégante Bible sur peau de vélin très fine.</p><p><u>Enluminures</u> : Chef-d'œuvre de l'atelier de Pierre de Bar actif à Paris entre 1230 et 1250 il se distingue par les teintes de ses enluminures particulièrement colorées et vives ; les habituels blancs roses et bleus sont enrichis de rouge orange et de manière plus surprenante encore par de larges zones de jaune.</p><p><strong>Cette Bible possède 78 enluminures d'une grande beauté et d'une étonnante fraicheur.</strong></p><p>Le répertoire de détails décoratifs est particulier en comparaison des autres enluminures françaises de cette époque et le feuillage comporte des petites feuilles de trèfle.</p><p><strong>Branner a attribué l'illustration du manuscrit à l'atelier parisien qui a illustré les plus remarquables manuscrits enluminés de la première moitié du XIIIe siècle l'atelier de Bar</strong> par référence au cardinal Pierre de Bar 1252 qui donna à l'abbaye de Clairvaux une Bible en quatre volumes provenant de cet atelier et conservés aujourd'hui sous les cotes Troyes Bibliothèque municipale ms. 106 108 110 et 111.</p><p>On peut dater le présent manuscrit de 1230-1250. Remarquable par ses têtes larges et bien formées ; les corps sont robustes et recouverts de draperies aux plis profonds et sombres. R. Branner <em>Manuscript Painting in Paris during the Reign of Saint Louis</em> 1977 pp. 70-71. Il date l'activité de l'atelier de Pierre de Bar entre 1230-1250 et explique ses spécificités en suggérant la formation se son style en dehors de Paris.</p><p><strong>La décoration du manuscrit comprend 78 initiales historiées enluminées et d'innombrables capitales rubriquées en rouge ou bleu.</strong></p><p>Cette bible très séduisante semble avoir été réalisée à Paris ; elle représente un ajout intéressant à la production d'un atelier considéré par Branner comme produisant certaines des enluminures parisiennes les plus belles et les plus raffinées de la première moitié du XIIIe siècle.</p><p>On assiste à partir des années 1220-1230 sous le règne de la reine Blanche de Castille à une concentration des artistes enlumineurs à Paris au détriment des abbayes et des écoles capitulaires de province. On peut en effet imputer plusieurs manuscrits à Blanche de Castille qui inaugura la tradition du mécénat féminin dans la famille royale. Mais l'apogée de ces célèbres petites bibles capétiennes se situe sous le règne de Saint Louis.</p><p>Les sujets des initiales historiées sont les suivants :</p><p>f. l St Jerome Prologue ; f. 4 Les 7 jours de la Création Genèse ; f. 27 Moïse conduit son peuple à travers la Mer Rouge Exode ; f. 43 les Juifs offrent un sacrifice ; f. 54 Moïse preche ; f. 72 Moise reçoit les tables de la Loi ; f. 89 Dieu s'adresse à Joshua ; f. 99 Gédéon tient son épée ; f. 110 Elimelech et Naomi migrent à Moab Ruth ; f. 112v Décapitation d'Eli ; f. 128 Décapitation d'Amalekite devant David ; f. 141 le serviteur de David lui amène Abishag ; f. 155v Ahaziah tombe d'une tour ; f. 170v Les trois juifs patriarches ; f. 185 Salomon intronisé ; f. 202 La Construction du Temple ; f. 207 Néhémie présentant la coupe d'or à Artaxerxès ; f. 213v Aspersion du Temple ; f. 220v Tobias ; f. 225v Judith décapitant Holopherne ; f. 232 Assuérus se montre clément envers Esther ; f. 238v Job sur le tas de fumier ; f. f. 251 David joue de la harpe ; f. 256 onction de David par Samuel ; f. 258v David montre sa bouche ; f. f. 261 fou tenant le bâton et le pain psaume 52 ; f. 264 Dieu au-dessus David dans l'eau dessous Psaume 68 ; f. 268 David sonnant les cloches Psaume 80 ; f. 271v Deux chanteurs Psaume 97 ; f. 275 La Trinité Psaume 109 ; f. 283v Salomon fouette un jeune ; f. 294v Salomon enseigne à un jeune ; f. 298 La Vierge et l'Enfant intronisé ; f. 299v Salomon et un jeune portant une épée ; f. 307v Ecclésia ; f. 328 Isaïe est scié en deux ; f. 353 Lapidation ; f. 381 Baruch écrivant ; f. 384v Ezéchiel au lit avec le Tétramorphe ; f. 412 Daniel dans la fosse aux lions ; f. 423v Osée et Gomer ; f. 427v Joel prechant à un groupe de juifs ; f. 429v Amos offre le mouton ; f. 432v Dieu apparait à Obadiah ; f. 433v Jonas dans la bouche de la baleine ; f. 434v le Prophète enseignant ; f. 437 Nahum se lamente sur la chute de Nineveh ; f. 438v Habakuk et les pierres ; f. 440 le Prophète avec son rouleau ; f. 441v Deux Prophètes ; f. 442v Prophète ; f. 447 Deux hommes en discussion ; f. 449 Décapitation du juif idolâtre ; f. 466 le Messager livre la lettre ; f. 478v l'Arbre de Jessé ; f. 494v Saint Marc avec le lion ; f. 505 Saint Luc avec l'ange ; f. 521v Saint Jean ; f. 535 Saint Paul portant la croix ; f. 541 Saint Paul portant une épée ; f. 546v Saint Paul portant une épée et un rouleau ; f. 551 Saint Paul portant une épée et un livre ; f. 555 Saint Paul portant une épée ; f. 556v Saint Paul portant une épée et un livre ; f. 555 Saint Paul portant une épée ; f. 556v Saint Paul portant une apée et un livre ; f. 558 Saint Paul portant une épée ; f. 559 Saint Paul portant une épée ; f. 560 Saint Paul portant une épée ; f. 561v Saint Paul portant une épée ; f. f. 562v Saint Paul portant une épée ; f. 561v Saint Paul portant une épée ; f. 562v Saint Paul portant une épée ; f. 563v Saint Paul portant une épée ; f. 564 Deux hommes en discussion ; f. 568v. Ascension ; f. 585 Jacob tenant un livre ; f. 586v Saint Pierre assis tenant un livre ; f. 588 Saint Pierre tenant une clef ; f. 589 Saint Jean écrivant ; f. 590v Saint Jean ; f. 591 Saint Jean ; f. 591 Saint Jude ; f. 592 Saint Jean écrivant.</p><p><strong>Cette bible complète datée de 1230-1250 est un chef-d'œuvre de l'enluminure capétienne réalisée sous le règne de Saint Louis.</strong></p><p>Provenance :</p><p>- <em>Jean Tornone</em> : docteur bouguignon : inscription au verso de la garde mentionnant son présent du livre à Stroyff.</p><p>- <em>Assuerus Stroyff</em> : inscription mentionnant sa réception du livre par Tornone puis son présent à Johan Baron de Bronckhorst.</p><p>- <em>Johan Baron de Bronckhorst</em> et <em>Batenburg de Guelders</em> : inscription datée de 1574 mentionnant sa réception du livre.</p> hardcover
1928120551928. Original illuminated large manuscript page on vellum comprising a central panel of calligraphic text in red and black ink with a miniature of a young herald surrounded by a decorative border of larger armorial shields set within a stylised foliate background in blue red green and gilt with a fine miniature of a knight’s tournament at the foot. 41 x 25.5cm. Mounted on card with ink title to the head: “Illuminated page on vellum. / Testimony of study for Board of Education Exam in industrial design 1928.†In very good condition.WITH: Two further pencil drawings by the same artist the first of an elderly gentleman the second of a classical sculpture measuring 57.5 x 38cm and 56 x 39cm respectively each signed “Bate†and dated 1927. The pencil drawings have a few short tears to the edges otherwise they are in very good condition. A fine example of 1920s illumination hardcover
49887Long Melford Sudbury Suffolk: Hannah Stewart 26th February 1839 . Large vellum document. Two vertical folds and three horizontal folds. 18" x 18". Plus probate certificate and paper/wax seal. VG. Long Melford, Sudbury, Suffolk: Hannah Stewart, 26th February 1839 . hardcover
49886Great Waldingfield Sudbury Suffolk: Reverend Francis Cresswell 22nd December 1841 Probate. 22" x 27". 2 vellum sheets written on one side. Two vertical folds and three horizontal folds. Plus the probate certificate is attached including the paper/wax seal. Family history records show Francis Cresswell was born in 1762. He married Jane Okes on October 12 1807 in Cambridge Cambridgeshire England. He died on November 17 1841 in Suffolk England having lived a long life of 79 years and was buried in Great Waldingfield Suffolk. "1807 - Francis Cresswell S.T.B. Clare College Cambridge; B.A. 1785; M.A. 1788; B.D. 1796; Fellow and Tutor; was instituted March 24 1807 enjoying the benefice thirty-five years.He died Nov. 17. and was burried here November 24 1841 aged 78 years. There is a tablet in the church. In the churchyard West of the church is a stone with the initials: "F.C." 1841 J.C. 1870. The Parish register gives Francis Cresswell buried 24 Nov. 1841 aged 78. Jane Cresswell of Melford late of Great Waldingfield buried Feb 5 1870 aged 91." - See Rectors of Great Waldingfield By Rev. Francis Haslewood . Great Waldingfield, Sudbury, Suffolk: Reverend Francis Cresswell 22nd December 1841 (Probate) hardcover
50799Polstead: 10th January 1783 . Large folded vellum document between William Beale Brand of Polstead and Reverend Thomas Cooke Of Semer. Yellowed and lightly soiled. 60cm x 90cm. All handwritten text clearly legible. . Family history records show that : "Anna Mirabella Henrietta baptized at St. James' Bury on Aug. 15 1738 was married in 1761 to William Beale Brand of Polstead in Suffolk. William Brand died in 1799 and his widow in Feb. 18 14. There was no family and after Mrs. Brand's death Polstead passed to Thomas William Cooke grandson of Thomas Cooke rector of Semer who had married William Brand's sister. Elizabeth Holworthy: baptised September 18 1753 Elsworth. Married Rev.Thomas Cooke of Elsworth clerk on May 13 1777 Elsworth. Thomas was from the small village of Semer in Suffolk where his family were the owners of the manor House and a great part of the estate in the parish.Elizabeth bore Thomas at least two children- Thomas Cooke who became the rector of Bildeston in Suffolk was born in Elsworth Cambridgeshire in 1778. He was schooled at Eton for eight years and then attended Cambridge University 1796-1798. He became Lord of the Manor at Bildeston in 1814 when he inherited the estate from his great-uncle William B. Brand Esq. He married Mary Ann Mathews daughter of Richard Mathews of Wargrave Berkshire on September 7 1803 and died without issue on July 27 1825 at Bentworth. Polstead: 10th January 1783 . hardcover
49914Clare Suffolk: 20th July 1729 . 1729 vellum Indenture. 37cm x 67cm. 2 horizontal folds and3 vertical folds. Clear English hand writing. An agreement for Samuel Ralling of Clare Suffolk occupation: Tanner to rent/lease a yard from William Wiseman of Stradishall Suffolk. Vellum with wax Seal27" x 15" Clare, Suffolk: 20th July 1729 . hardcover
45393Will dated 2nd May 1793 . Large folded sheet of vellum. 23" x 26". Clean English text throughout. Last Will And Testament William Haylock the Elder of Ashdon Essex. Born 30th September 1697 - Died 30th December 1793. William Haylock was a carpenter and had built a windmill. The will was proved on 20th September 1794 and the receipt and seal are also attached. Will dated 2nd May 1793 . hardcover
47160Bibury Gloucestshire: 1723 . Original vellum folded and creased document with blue seals. 28.5cm x 32cm. The document begins. "Know all men by these present that I Katherine Sackvlle of Bibury in the County of Gloucester have given and granted and do hereby give and grant unto William Easter of Arlington in the County of Gloucester Shoemaker leave and. to grant bargainand fill onto Richard Hall of Northlath in the County of Gloucester the Cottage and that part of the garden which was given and bequeathed by William Cooke Susannaht he wife of the said William Easter. Dated 1723. In the presence of Thomas Williams and Henry Boulton and the wax seal of Katherine Sackville. "Elizabeth Sackville was born in 1689 in Bibury Gloucestershire the daughter of Hester and Henry. She married Edmund Warneford on 18 July 1713 in London. They had one child during their marriage. She died on 17 May 1756 at the age of 67 and was buried in her hometown." - See Family History Records Bibury, Gloucestshire: 1723 . hardcover
47162Leicester: 1750. Original Vellum Document. Landscape format. 26cm x 32cm. Note to verso: "Probate of the Will of John Bray late of Bitteswell." Document reads: "in The Name of God Amen. John Bray of Bitteswell in the County of Leicester Yeoman being of Sound and perfect mind. I bequeath all goods. to my wife Sarah Bray and my son Thomas Bray. To my sisters Sarah Bray of Lutterworth and Ruth Wood the wife of Thomas Wood of Bitteswell the sum of �5.00. Attested by John Fosell Richard Smith William Wood. G Leicester: 1750. hardcover
46663Kent 1663 . Large 17th century velum document with two horizontal folds and 5 vertical folds plus 3 of the original wax seals. 55cm length x 64cm width. Vellum lightly soiled and worn along the creases. Document begins with a large initial "C". English text in a contemporary hand rubbed in places. The document states that Henry Hills and Edward Gray are at Cliffords Inn London. Also that Harry Welles and Ralph Blundell are from East Greenwich Kent. Also that Ralph Blundell is a Chandler. Notes to verso of the document include an amendment in Latin dated 1664 and signed by "John Walker". Also another note in English signed by Robert Cheke; "Gills Master"; and "Thomas Bosboke Jn." Family history records show a Ralph Blundell was a churchwarden of East Greenwich in 1679. Kent, 1663 . hardcover
45375Kingston upon Hull: 24th December 1667 . Folded vellum ducument. 26" x 22". Between: John Legard Kingston upon Hull; George Newman Kingston upon Hull; & Christoper Bacon. With 3 old wax seals chipped and rubbed to base. Kingston upon Hull: 24th December, 1667 . hardcover
453861695. Small rubbed vellum document. 7.25" x 8.25". 25 lines of neat text rubbed on one side .Names identified include John Gladman and John Swichatt of Watford. On the verso is a further 7 lines of text dated 1695 and signed: "Samuell Anderson". 1695 hardcover
1904ST20796London: Essex House Press 1904. No. 1 OF 140 COPIES all on vellum. 195 x 131 mm. 7 3/4 x 5 1/8". 1 p.l. frontispiece 3-11 2 pp. <br/> Original stiff vellum over thin boards front cover with embossed rose design. In custom-made linen clamshell box with red morocco label on spine. Hand-colored woodcut frontispiece and final tailpiece both by Reginald Savage hand-painted initials in burnished gold red blue or green. Printed in black and red. Front pastedown with red morocco bookplate of William Andrews Clark Jr.; front endleaves with evidence of bookplate and inscription removal. Tomkinson p. 76; Ransom p. 268; Franklin p. 200. A VERY FINE COPY clean bright and free of the splaying that very frequently afflicts the boards of this work.<br/> <br/> This is a most appealing example of the luxurious hand-crafted volumes produced under the auspices of the Essex House Press with our copy coming from the library of a noted Dryden collector. The book is the 11th from the Essex House series of 14 "Great Poems in the English Language" a group of lovely little works all printed on vellum and with delightful colored illustrations and historiated initials. Generally considered to be the best example in English of the choric hymn the present work is set at a feast given by Alexander the Great who finds himself entranced by the poet and lyrist Timotheus. The great leader is lost in reveries of exploits and victory he sighs and cries over battles lost and warriors slain and he finds inspiration for new conquests. Our printer C. R. Ashbee founded the Essex House Press in 1898 by purchasing the presses and other production equipment though not the type formerly owned by the Kelmscott Press which had shut down at the death of William Morris. Ashbee printed books for 12 years with vellum ink and paper identical to that used by Kelmscott in an effort to carry on the tradition Morris had established. But the Essex House Press because it was conceived of and continued as part of a larger enterprise involving various artisans at work in a group of workshops at Ashbee's Guild of Handicrafts located at Essex House in London's Mile End Road always had its own special identity a fact which Cave reflects when he calls it the "Arts and Crafts press 'par excellence.'" The illustrator here Reginald Savage fl. 1886-1904 is deemed by Houfe "a talented and imaginative designer and woodcut artist" and Houfe notes that he was also commended by his fellow illustrator Walter Crane 1845-1915 for his "weird designs." Former owner William Andrews Clark Jr. 1877-1934 put together one of the most distinguished collections of English and French literature of his day. He had strong holdings in many areas but especially in Shakespeare and the other Elizabethans in Dryden in Oscar Wilde and in the French drama. After a fire in his home in 1923 Clark constructed a separate fireproof building to house his collection; in 1926 this library building with its distinguished collection was deeded to the University of California and now serves as a prominent center for literary research. Essex House Press unknown
1626ST19298Antwerp: M. Snyders 1626. FIRST EDITION. 135 x 82 mm. 5 1/4 x 3 1/4". 39 of 40 leaves lacking C4. Two volumes one as issued the other a companion volume containing related plates without any title page. <br/> Very pretty late 18th or early 19th century red morocco covers bordered by delicate cresting roll with leaf cornerpieces smooth spine gilt in compartments with leafy centerpieces gilt lettering turn-in with gilt floral roll pale blue watered silk endleaves all edges gilt. Supplemental volume in late 19th century red half morocco over red paper boards similarly tooled spine. Housed together in a custom-made modern wooden box with sliding panel closure a heart mosaic in multi-colored hard-grain leather on its sides. Amoris Divini WITH engraved title page and 38 of 39; lacking plate XXXIV ENGRAVED PLATES 35 OF THEM ON VELLUM ALL DELICATELY COLORED AND HEIGHTENED IN GOLD plates 19 29 30 31 and 36 bound after text pages for plates 31 36 29 30 and 34 respectively; second volume with 45 plates on paper though without any text including many of these same emblems apparently from a later edition of this work ALL DAINTILY HIGHLIGHTED WITH GILT. Front pastedown of first volume with monogram book label in colors and gilt verso of front free endpaper with oval armorial bookplate "Ex Museo Van Der Helle" see below. De Vries "De Nederlandsche Emblemata" 121; Landwehr "Low Countries" 33; Praz p. 254; Brunet I 240 this copy; Delbergue-Cormont "Bibliothèque de M. Van der Helle" Paris 10 Février 1868 lot 69 this copy. Amoris spine very slightly dulled occasional hints of marginal thumbing but A LOVELY COPY clean and fresh internally with rich colors and glistening gold in a well-preserved binding; supplemental plates with faint marginal browning but excellent internally the engravings gently shimmering with gold and the binding with few signs of wear.<br/> <br/> The main volume here comprises a collection of emblems illustrating concepts of human and divine love; it is made all the more special by being printed on vellum beautifully hand colored and then delicately highlighted with gold. The emblems depict Divine Love as a beardless young man with nimbus who always represents love in its purest form. Human love or worldly love is variously embodied in a winged Cupid sometimes blindfolded who represents erotic love and who is accompanied by symbols of treasure or power that represent worldly desires. Landwehr Praz and De Vries make no mention of a vellum edition but Brunet describes one copy on vellum painted in colors and gold which he says sold at the Duriez auction. That book appeared as lot 3216 in "Catalogue des livres imprimés et manuscrits composant la bibliothèque de feu M. L.-M.-J. Duriez de Lille membre de la Société des Bibliophiles français" Paris J.-S. Merlin 1827 where its binding description matches our copy. Having uncovered no other hand-colored copies on vellum in auction records or in OCLC we think it quite likely that the present volume is in fact the Duriez copy. Louis Duriez 1753-1825 was a Lille lawyer of sufficient skill and cleverness to move without incident from serving as lieutenant provost for his district under King Louis XVI to becoming receiver of the district of Lille after the revolution 1791 and purchasing the estate of an aristocrat which had been seized by the state. He rose to successively more important and remunerative governmental positions and was named Knight of the Royal Order of the Legion of Honor in 1814. In 1820 he was one of the founding members of the Société des Bibliophiles français an elite group limited to 24 scholarly collectors. After his death his collection of more than 5000 carefully chosen works was dispersed at 59 auctions held between 22 January and 1 April 1828 at Maison Silvestre in Paris. A perusal of the lots on offer finds a strong emphasis on fine bindings works on vellum and illustrated books many noting hand coloring. The emblems in the second thinner book here on paper without coloring--but with gold highlighting allow the reader to experience the pleasure to be found in comparing the degrees of decoration and opulence of the two volumes. These illustrations likely come from one of the later printings of this title each of which added new emblems to the original 39 called for in Landwehr and Praz. It is not clear when or by whom this second volume was wedded to the first. After its presumed residence in the Duriez collection our copy of the 1626 edition and perhaps its sidecar volume moved to another distinguished library--that formed by the scholarly and erudite French collector M. Van Der Helle of Lille who amassed a collection particularly rich in illustrated books and works on vellum. In the catalogue for the sale of his library in 1868 Paris auction house Delbergue-Cormont described him as a bibliophile "of the school of Renouard . . . who only liked irreproachable copies." We bought this item without being warned that it is slightly defective but given its distinguished provenance and the many other features it has going for it we did not ask the seller to take it back. M. Snyders unknown
1982ST16482Bayreuth: Printed by Chr. Scheufele Offizin Stuttgart for Bear Press 1982. No. 1 OF 10 COPIES ON VELLUM plus a "special" edition of 25 copies and 185 copies on Kochi Japanese paper. 223 x 148 mm. 8 7/8 x 5 3/4". 50 pp. 2 leaves.Translated and with an afterword by Wolfram Benda. <br/> Publisher's fine burgundy morocco by Erwin Lehr upper cover with gilt rose in recessed square flat spine with gilt titling turn-ins with gilt fillet frame pale yellow silk pastedowns. In the original burgundy suede slipcase. With three large initials in burnished gold and four signed and numbered original etchings by Peter Klitsch. Printed in red and black. Signed in the colophon by the artist the binder and the publisher/translator. In mint condition.<br/> <br/> This is the splendid deluxe version of a finely crafted private press edition of Wilde's fairy tales "The Nightingale and the Rose" "The Happy Prince" and "The Selfish Giant." It is the third work issued by the Bear Press founded in 1979 by literary scholar Wolfram Benda and still in operation. According to the firm's website "at a time when the craftsmanship and ethos of the artisan in bookmaking have been damaged by ever-increasing industrialization and neglect . . . The Bear Press . . . tries to achieve the highest possible degree of technical and artistic perfection in its printed works." The font used to print the text and the artist chosen to illustrate each work are carefully selected to express "the individual author's personality and intention." Even the discriminating aesthete Wilde 1854-1900 would be pleased with the choices here especially for the luxurious vellum printing: the type is set in refined Walbaum Antiqua and shown off with special effect by the creamy leaves; the etchings by Austrian artist Peter Klitsch b. 1934 are meticulous detailed and reminiscent of the work of Wilde's friend Aubrey Beardsley; and the binding is the epitome of tasteful restraint flawlessly executed with premium materials. <br /> <br /> The three tales here first appeared in 1888 and are bittersweet in their themes of love and self-sacrifice. His stories for children were one of Wilde's early successes and DNB notes "Their permanent place in child affections refutes the vulgarism that Wilde's literary reputation arose from his legal notoriety. In all cases the fairy tales are on the child's side celebrating the courage and generosity of the poor and vulnerable while their satire mocks the kind of pomposity and hypocrisy children can recognize." We have been able to trace just two other copies of the vellum printing at auction in ABPC and RBH. [Printed by Chr. Scheufele Offizin, Stuttgart, for] Bear Press unknown
1902ST20771New Rochelle: Printed by the University Press for George D. Sproul 1902. No. 23 OF 30 COPIES 18 for America 12 for Europe; this copy illuminated for Herman A. Metz of the "St. Dunstan Edition" all of them PRINTED ON VELLUM. 270 x 210 mm. 10 5/8 x 8 3/8". 50 leaves last blank. <br/> SUMPTUOUS COBALT BLUE MOROCCO GILT AND INLAID TO AN ARABESQUE DESIGN BY TRAUTZ-BAUZONNET stamp-signed on front doublure covers framed in gilt and inlaid brown morocco blossoms central panel of azure blue morocco outlined in brown morocco large central medallion enclosed in brown morocco and inlaid with an eight-pointed inlaid and gilt fleuron each corner with tan and ivory morocco medallion with gilt "T" at center outlined in brown morocco the spaces between the medallions with curling gilt flourishes raised bands spine compartments with gilt lettering framed by sprays of gilt berries SKY BLUE MOROCCO DOUBLURES inlaid with darker blue squares containing an ivory morocco polygon these forming a frame around a central taupe morocco panel with inlaid blue morocco flowers at corners vellum free endleaves painted with a simple blue frame small flowers at each corner all edges gilt. BEAUTIFULLY ILLUMINATED BY ROSS TURNER the title page and final page with heraldic emblems and WITH 51 LOVELY INITIALS in a range of hues 22 with delicate extensions. Printed entirely in majuscules on rectos only. A couple of small faint water spots to upper board with slight dulling where someone tried to fix these naturally occurring variations in the grain and color of the vellum otherwise A FINE COPY--the vellum creamy and smooth the colors and gilt bright and the binding lustrous.<br/> <br/> A bookmaking tour-de-force this item is part of the remarkable St. Dunstan series of famous works of literature produced at the turn of the century in very strictly limited and particularly luxurious editions by publisher George Sproul. Named for the English bishop Dunstan 909-88 who was known for his skills as an illuminator the St. Dunstan volumes were printed on vellum illuminated by different artists and then put into bindings of striking design executed by Trautz-Bauzonnet one of the premier French binders of the period. While the physical properties of this volume announce themselves more emphatically than the text the narrative here is from Tennyson's "Idylls of the King" a work Day tells us in which the legend of King Arthur is used "to establish the Victorian virtues of marital faithfulness fair play gentlemanly conduct and useful action for self and society." "Guinevere" sets forth the consequences of marital infidelity presenting a penitent queen now withdrawn to a convent groveling for Arthur to pardon her affair with Lancelot. Although the injured king grants her forgiveness he does so with little grace appearing to modern readers as "insufferably self-righteous." Day Reminiscent of the designs used in 15th century illuminated books the painted initials in our volume are well executed and attractive combining fluid shapes and consonant combinations of colors and the binding is a singularly elaborate achievement. German-born binder Georges Trautz 1807-79 apprenticed in Heidelberg Stuttgart and Witemberg before arriving in Paris in 1803. There he trained in “dorure†with the skilled gilder Debès learning to create intricate gilt designs on bindings. In 1833 he was hired as a doreur by Bauzonnet the successor to the celebrated Purgold and soon achieved acclaim for his beautifully gilded bindings. According to Michon he was "the uncontested master of the luxury binding" in 19th century France celebrated for his "sumptuous moroccos" and "dazzling gilt." His bindings were so sought after that the term "Trautzolâtrie" was coined to describe the craze for his work. In 1869 he became the first bookbinder to be named a chevalier of the Legion of Honor. The culmination and termination of the St. Dunstan books was a planned edition of 15 sets of the complete works of Dickens projected to contain 130 large folio volumes—surely the most ambitious undertaking in the history of modern American fine printing. Five volumes only comprising most of "Pickwick" were produced before the grandeur of the project overwhelmed its sponsors. Potter says that in addition to the Dickens edition the St. Dunstan series comprised a dozen volumes of the works of various authors one of them the present Tennyson issued to subscribers at the spectacular amount of $12000 per set. One of the subscribers was our original owner New York chemical manufacturer and U.S. Congressman Herman A. Metz 1867-1934. Not surprisingly this strictly limited "Guinevere" is quite rare: We could trace just two copies at auction since 1975 one of them ours sold in 1998.  . [Printed by the University Press for] George D. Sproul unknown
