LIVRE D'HEURES - NOAILLES (Cardinal de).Livre Rare Book
127 résultats
17650012141765 Paris, Hérissant, 1765. Fort volume petit in-8 (105 X 175 mm) maroquin vert lierre, triple encadrement de filet et fleurons d'angles dorés sur les plats, armes frappées or au centre, dos lisse cloisonné et entièrement orné aux fers dorés, pièce de titre maroquin rouge, coupes et coiffes filetées, roulette dorée intérieure, gardes illustrées de motifs dorés, tranches dorées sur marbrure (Reliure de l'époque) ; (12) ff., 540-345 pages, (2) pages de table. Manque de papier dans l'angle inférieur droit de deux feuillets (pages 37 à 41) avec perte de quelques lettres aux manchettes en latin, taches claires en marge des pages 3 à 6.
14902301100018France: Unknown scribe & illuminator 1490. Manuscripts & Paper Collectibles. Very Good. Gorgeous original hand-drawn leaf on parchment probably from a book of hours. 6 x 4 inches attractively framed and matted. Dimensions in glass-fronted frame: 13 1/4 x 19 inches. No date presumed to be circa late 15th - early 16th cent. 16 lines with painted border in gold and blue; 4 illuminated initials the largest covering 4-lines. Unknown scribe & illuminator unknown
20063832FBGütersloh, Coron Verlag, 2006. Bände: 4°. 28 x 20,5 cm. Kassette: 32 x 24 x 8,5 cm. 44 Blatt; 315 Seiten. Original-Lederband mit reicher floraler Goldprägung, goldgeprägtem Supralibros und Schleifenverschluss und Original-Leinenband mit aufmontierter farbiger Deckelillustration und goldgeprägtem Rückentitel. Original-Lederkassette mit goldgeprägtem Rückentitel, floralem Buchschmuck und Supralibros. [8 Warenabbildungen]
1510151129(Paris, um 1510). Blattgröße: 17,5 x 11,5 cm. Schriftspiegel: 16 x 9,5 cm.
178864283CBMadrid, Verlag Benito Cano, 1788. 2°. 39,5 x 27 cm. [3] Blatt, 526 Seiten. Ledereinband der Zeit mit floraler Goldprägung, Schließenbeschlägen, leinenem Lesebändchen und gepunztem Goldschnitt. [6 Warenabbildungen]
195412920Regensburg, Friedrich Pustet, 1954. 2. Auflage (Editio II (secunda) juxta Novam Typicam) "12° (15-18,5 cm). 16*, 824, [224], (24), 10**; 16*, 824, [216], (24), 11*, 12**; 16*, 900, [252], (24), 11*, 10**; 16*, 780, [216], (24), 6*, 10** SS. " OGanzleder über vier falschen Bünden mit Ganzkopfgoldschnitt und Lesebändchen [2 Warenabbildungen]
184314700Guilbert Paris 1843 1 vol. In-8 de 9 ff.n.ch. 92 pp. 1 f.n.ch., plein maroquin havane, doublure de maroquin bleu pétrole ornée d'une dentelle dorée, plats ornés d'un décor à froid, dos à nerfs orné de caissons à froid avec petites fleurs-de-lys dans les angles, coupes filetées, gardes de moire blanche, tranches dorées, étui bordé (reliure de Carayon).
20084051FBLuzern, Faksimile-Verlag, 2008. Faksimile: 16 x 13 cm. Kassette: 21 x 18,5 x 8 cm. 44 Blatt; 307 Seiten. Original-Samteinband mit gewebtem Muster und Rundum-Goldschnitt und Original-Leinenband mit goldgeprägtem Titel in Original-Schmuckkassette mit Lederbezug und dem Replikat zweier byzantinischer Elfenbeintafeln aus dem Aachener Domschatz. [7 Warenabbildungen]
56522with initial letters in blue mauve and gold the right hand one with a beautifully penned border in the outer margin of trailing roses and other flowers in blue red green and gold together 4 sides 6" x 4½" vellum Flanders or Northern France circa The first leaf contains Psalm 29 'Exaltabo te Domine' 'I will extol Thee O Lord' in the Hebrew and KJV Psalm 30 from verse 3b 'Thou hast kept me alive that I should not go down to the pit' to the end at verse 12 'O Lord my God I will give thanks to thee for ever' the last two letters of 'tibi' being on the second leaf. The second leaf continues with 'Requiem' the antiphon 'Domine abstraxisti ab inferis animam meam' 'Lord thou hast drawn my soul out of hell' and Psalm 39 'Expectans expectavi' 'I waited patiently for the Lord' in the Hebrew and KJV Psalm 40 down to verse 6 '. burnt offering and sin offering hast Thou not required'. These are part of the 'Office for the Dead' namely the Vespers Matins and Lauds of the evening night and early morning preceding a Requiem Mass and Burial Service. They were also included in books of hours for private use on appropriate occasions. hardcover
05459Venice: Ex Typographia Balleoniana 1754. A Fine Eighteenth Century Italian Book of Hours in its Original Red Morocco Binding <br /> With Hand-Painted Gauffered Edges<br /> <br /> VENETIAN BINDING. BOOK OF HOURS. Officium Beatae Mariae Virginis S. Pii V. Pontificis Maximi. Venetiis Venice: Ex Typographia Balleoniana 1754. <br /> <br /> Octavo 7 3/4 x 4 5/8 inches; 197 x 117 mm. i-xxxxiv 1-453 3 indices pp. Vignette engraved title-page and seven full page copperplate engravings in the text.<br /> <br /> Full contemporary red morocco covers elaborately decorated in gilt spine with five raised bands decoratively gilt in compartments decorative gilt board edges marbled liners. The edges are gilt and exquisitely gauffered with small diamond shaped lozenges hand-painted in red. An exquisite example in exceptionally fine and untouched condition with just the smallest amount of light scuffing to the extremities. A remarkable survival from nearly two hundred and seventy years ago.<br /> <br /> Books of Hours were bestsellers. They were the first text read across Europe by people at every level of literacy. These devotional books containing a daily routine of prayers for the reader to follow reached a huge audience more than any previously written text. Children were taught to read with Books of Hours. Repeated daily the passages found in these books usually in Latin were committed to heart. Prayers on death plague warfare travel and bad weather were all found in Books of Hours.<br /> <br /> The plates:<br /> <br /> 1. Office of the Blessed Virgin Mary p. xxiv<br /> 2. Office of the Blessed Virgin Mary p. 80<br /> 3. Office of the Blessed Virgin Mary p. 150<br /> 4. Office of the dead p. 226<br /> 5. Seven penitential psalms p. 294<br /> 6. Office of the holy cross p. 334<br /> 7. Office of the holy spirit p. 342. Venice: Ex Typographia Balleoniana, 1754 unknown
17583953<p>Venetiis: Apud Nicolaum Pezzana 1758 1758. 8vo. 180x106mm pp. 8 405 3. Six engraved plates one signed M. Heylbrouck and an engraved vignette to title page. Text in Latin and Italian. Contemporary Italian sheep covers with elaborately tooled gilt borders fan sprays at the inner corners. Centre of the boards have leaf motifs and two gilt oval frames with green morocco onlays bearing initials "G.P" upper cover and "A.P" lower cover. Flat spine decorated in gilt with leaf motifs with three green morocco onlays lettered and decorated in gilt. Edges to boards tooled in gilt. All edges gilt and gauffered with a delicate leaf pattern. Attractive green endpapers. In very good condition with one or two small worn spots. Internally excellent with a little foxing in places. Book label of John Saks loosely inserted along with a slip of paper from Christie's reading "Lot No. 191/1 10 Jun 1981" when a number of Saks's books were sold. Saks the grandson of the founder of the eponymous shop and a vice president of the family firm was a Fellow of the Morgan Library and a member of the Grolier Club. His celebrated library was particularly strong in the private presses of Ashendene Kelmscott and Doves but he also built up a fine collection of eighteenth century Venetian books of which this beautifully bound Book of Hours is a lovely example.</p> Venetiis: Apud Nicolaum Pezzana 1758 hardcover
1795157735Rome: Salvioni 1795. hardcover. fine. Each book is printed throughout in red & black with a fine engraved vignette on the title page and other full-page engravings. 92; 88; 120pp. Thin 12mos. Gloriously bound in contemporary full red straight-grained morocco with heavy floral gilt tooling on the covers and spines; outer dentelles marbled endpapers silk ribbons. The 3 volumes are housed together in a brown calf solander slipcase with blind-stamped decorations. Roma: Per Luigi Perego Salvioni 1795. Fine.<br/> <br/> Salvioni unknown
1795157735Rome: Salvioni 1795. hardcover. fine. Each book is printed throughout in red & black with a fine engraved vignette on the title page and other full-page engravings. 92; 88; 120pp. Thin 12mos. Gloriously bound in contemporary full red straight-grained morocco with heavy floral gilt tooling on the covers and spines; outer dentelles marbled endpapers silk ribbons. The 3 volumes are housed together in a brown calf solander slipcase with blind-stamped decorations. Roma: Per Luigi Perego Salvioni 1795. Fine.<br/><br/> Salvioni unknown books
5581P II V.Pont.Max.iussu éditum Nuncpluribus quàm hactenus vmquam figures oeneis illustratum Officina plantiniana, 162.Petit in 4 EDITION PLANTINIENNE plein maroquin de couleur rouge foncé de l’époque,à nerfs,caissons dorés,6 filets et écoinçons dorés sur les plats,trace de roulette dorée sur les coupes; titre avec vignette gravée,XXXVI pages,696 pages,2 pages index eorum quae officio B Mariae continentur Impression en rouge et noir,91 superbes gravures sur cuivre ,57 pleine page et 34 dans le texte,67 lettrines gravées sur bois, tranches dorées. Antverpiae ex officina Platiniana Apud Balthazarem Morerum & Viduam Joanus Moreti,& Io Meufium 1622.Reliure de l’époque.Raccommodages principalement charnières et coiffes et coins.
169568550Paris: Chez L'Auteur 1695. BOOK OF HOURS; SENAULT L. First Edition of this Engraved Work<br> <br> BOOK OF HOURS. SENAULT L. illustrator. Heures Nouvelles Tirées de la Sainte Ecriture. Écrites et gravées par L. Senault. Paris: Chez L Auteur 1695.<br> <br> First edition second state without dedication leaf to the Dauphine Marie Anne Christine Victoire de Baviere who died in 1690 and the breasts of the "impudiques sirenes" on p. 210 are not exposed. The prayer for the Dauphine is on p. 69. Octavo. 2 1-46 48-223 223-260 4 blank pp. Engraved throughout the text in a double rule border with numerous lovely engraved vignettes head- and tailpieces initials by Senault.<br> <br> Early full green morocco. Boards tooled in gilt and with gilt central device. Spine elaborately stamped in gilt. With red morocco spine label lettered in gilt. All edges gilt. Marbled endpapers. With some rubbing to board edges and corners. Previous owner's old ink signature on front free endpaper date 1823. Internally very clean. Housed in a felt-lined green cloth clamshell with morocco spine label. Overall a very nice copy.<br> <br> "Louis Senault followed Pierre Moreau in producing two writing books one dated 1688 and then concentrating on successive editions of a devotional work printed from the same plates. But while Moreau finished by producing printed books with some of the characteristics of handwriting Senault endeavoured to preserve in his engraved books the full flavour of a contemporary manuscript. After the death of his daughter Elizabeth Senault he produced some equally attractive smaller engraved Heures Nouvelles dedicated to the Grand Dauphin" Printing and the Mind of Man British Museum Section.<br> <br> HBS 68550.<br> <br> $1800. Chez L'Auteur unknown
186093898HB(um 1860). Manuskript: 2 Bll., 276 Seiten, geschrieben auf Pergament, Ganzpergamentband der Zeit, Goldschnitt, 15,5 x 6,5 cm.
1680136956à Paris, chez l’Auteur, rue de Bussy, Croix blanche au Fauxbourg St Germain 1680 In-12 19,5 x 12 cm. Reliure de l’époque à la fanfare veau vert-amande, dos à nerfs encadrés de fers dorés, plats ornés, tranches dorées, fermoirs en métal doré, 1 ff., 260 pp. erreurs de pagination : page 48 au lieu de 47 qui manque ainsi et page 223 qui apparaît deux fois, texte agrémenté, à la manière des manuscrits calligraphiés pour Versailles, d'une profusion de lettrines, bandeaux, fleurs et animaux, petits paysages et traits de calligraphie pure. La perfection de la gravure le dispute à l'élégance du dessin virtuose. Premier mors légèrement fendillé, intérieur frais. L’ouvrage est protégé par une housse moderne en chamoisine.
200612954Luzern, Faksimile Verlag, 2006. "4° (30-35 cm). 289 num. Bll., 2 Bll. (Faksimile); 244 S., 1 Bl. (Kommentarband)." "Samteinband mit zwei vergoldeten Schließen und Ganzkopfgoldschnitt (Faksimile); Samteinband mit montiertem Rückenschild und Lesebändchen" [3 Warenabbildungen]
188016507<p>n.p. France: n.d. ca. 1880 Full dark brown crushed morocco title in gilt on spine front cover with onlaid gilt metal device. Gilt decorated turn-ins plum colored silk doublures and endleaves. All edges gilt multi-colored silk ribbon market. . 7" x 5 5/8." . Text in gothic style letters with elaborate borders initials and miniatures in watercolor and gold in a style reminiscent of the late Middle Ages. A fine and very interesting manuscript featuring very delicate work of a rather varied nature. Pencil presentation inscription in French to a woman named Marie in memory of the presenter's mother who had once owned the book. We know nothing about either the donor or the donee and can only guess whether they had a relation to the producers of this manuscript.</p>
157068799Paris: Nicolas Du Chemin 1570. BOOK OF HOURS. Paris: Nicolas Du Chemin 1570.<br> <br> Rare early printed Book of Hours. Two parts in one octavo volume 7 x 4 1/4 inches; 177 x 110 mm. 43 114 98 pp. Bound without first title-page. Printed in red and black with engraved allegorical borders throughout. Numerous woodcut miniatures throughout the text. Section two with separate section title with engraved vignette. Final page with engraved printer's device of griffin. We could only find two copies at libraries one of which was also missing its title-page. Aside from this copy we could only find one other copy at auction.<br> <br> Contemporary calf rebacked with original spine laid down. Boards and spine elaborately stamped in gilt and blind. With arabesque central devices. Professional repairs to bottom margin of leaves 91-109 114generally only affecting the blank bottom margin and occasionally touching the engraved border. Section two with some worming also just along blank bottom margin occasionally repaired. Leaf 98 with closed tear repaired no loss of text. Final leaf with colophon and printer's imprint with some repairs but with minimal loss.<br> <br> Nicolas du Chemin was a French printer primarily of music. He was active in Paris between about 1549 and his death in 1576. "Described as a bookseller in a document dated November 1540 Du Chemin issued his first printed book in 1541. In 1543 he moved his shop to the rue St-Jacques-de-Latran under the sign of the silver Griffin the address from which he issued music as well as many books on medicine grammar arithmetic law and Latin literature to the end of his career." Oxford Music Online.<br> <br> "During the early 1540's Du Chemin established himself in Paris as a printer of religious medical philosophical and historical texts. Among his publications for instance we know of an edition of the Latin Psalter with commentaries by the Italian theologian Marcantonio Flamino M. Antonii Flamini in Librum Psalmorum brevis explanatio; 1546 François Chappuys' treatise on cures for the plague Sommaire de certains et vrays remedes contre la peste; 1545 Polydore Vergil's Latin history of the world Polydore Vergil Historiographe a French translation of his De inventoribus rerum libri tres; 1546 and many other works too. 1 Du Chemin continued this line of work even as he ventured into music printing." 2009 Digital Duchemin Project - Richard Freedman.<br> <br> "Nicolas Du Chemin followed by Guillaume Le Bé would attain renown as pioneering engravers type-founders and printers if only because they were among the first in France to design and manufacture their own types and printing equipment." Copyright history dot org.<br> <br> Bohatta 1282; Not in Lacombe.<br> <br> HBS 68799.<br> <br> $4500. Nicolas Du Chemin unknown
152019132Paris, Thielman Kerver, 1520. In-8 de 132 feuillets [A-Q8; R4], plein vélin souple, tranches dorées. Chemise, étui.
156168705Paris: Par Jacques Kerver 1561. BOOK OF HOURS. Heures hours de nostre dame a l'usage de Paris. Paris: Par Jacques Kerver 1561.<br> <br> Printed on vellum. Octavo 6 7/8 x 4 1/4 inches; 175 x 110 mm. With Calendar. With eight large oval illuminated miniatures in the calendar forty-one full page miniatures some with borders and some without for a total of forty-nine large miniatures. And with thirty smaller miniatures in the text of saints and other holy figures. With 171 of 184 leaves. Text leaves after calendar are numbered XV- CLCCCI and the 14 previous leaves not numbered. Of these 14 preliminary and calendar leaves present copy is lacking A1-A5 Title-page next page and the months January-April. Also lacking B6 the calendar facing the miniature for December. Text pages lacking leaves D2 I7 K7 V1 and Z6-8. Text ruled in red. Numerous illuminated one and two-line initial heightend in gold with alternating red and blue backgrounds. Miniatures are beautifully hand-colored and heightened in gold. Some of the large miniatures have architectural borders. We could find no copy of this at auction. Title date and publisher based on Lacombe 453-454.<br> <br> Early French red morocco. Rebacked with spine laid down. Boards triple-ruled in gilt. Spine elaborately stamped in gilt. Board edges gilt. Gilt dentelles. All edges gilt. Marbled pastedown endpapers. Front free endpaper with a small oval illumination on vellum of flaming heart invisibly tipped in not part of the miniature count. Front pastedown with small leather bookplate of famous book collector W.A. Foyle Beeleigh Abbey. Back pastedown with bookseller sticker of W. & G. Foyle LTD. Overall a beautiful example of a French printed book of hours with more illuminated miniatures than usually seen.<br> <br> Printer Jacques Kerver was the son of well known printer Thielman Kerver who left his business to his wife and then son Jacques. "Thielman Kerver was a highly successful Parisian publisher whose business continued for generations within his family. In the early 16th century he published several Books of Hours that conceptually followed the segmented border format used in the manuscript shown nearby. For him the advantage lay in making small metal printing plates that could be recombined and reused. The plates were attached to wooden blocks to make them the same height as the type for the text. The pictorial metalcuts are so densely overpainted that it is hard to see that the images are printed. Kerver inked his types in both red and black in emulation of manuscript text. The main type font however is very different from French manuscripts of a few years earlier and signals a shift in orientation from medieval monasticism to renaissance humanism." Minneapolis Institute of Art.<br> <br> "Miniatures were a large part of the appeal of the Book of Hours the bestselling book in the Middle Ages. It should not come as a surprise therefore that some of the earliest printed Books of Hours are illustrated with woodcuts and metalcuts that were overpainted in imitation of miniatures. These hybrid books demonstrate how the new technologies of printing were used to complement-rather than rival or replace- traditional methods of artistic production. Books of Hours or Horae from the Latin for "hours" get the name from the Hours of the Virgin: a set of devotional texts usually in Latin that in monastic practice are recited at the eight canonical hours of the day. Typically each of the canonical hours has an image of a significant event in the life of the Virgin Mary: Annunciation matins Visitation visit to Elizabeth lauds Nativity birth of Jesus prime Annunciation to the shepherds terce Adoration of the Magi sext Presentation purification in the temple none Flight into Egypt vespers and the Coronation Mary's coronation in heaven by Jesus compline. A number of other texts contained in the Horae including a calendar gospel readings Office for the Dead and prayers to saints as well as the page borders often incorporated images. At the turn of the sixteenth century Parisian printers greatly expanded the market for Horae. Because of the costly materials and especially the skilled labor of scribes and illuminators manuscript Books of Hours were too expensive for most people. Luxury editions-written on large fine sheets of vellum and illuminated by established artists-were the reserve of royalty and the wealthiest religious institutions. With the advent of the printing press Books of Hours became accessible to the members of the professional merchant and artisan classes." The Mass-Produced Original: Printed Books of Hours. Maureen Ward.<br> <br> Bohatta 354. Brunet. Lacombe 453-454.<br> <br> HBS 68705.<br> <br> $29500. [Par Jacques Kerver] unknown
1511LC8BK00LLGOIcolophon: Paris: Thomas Kees for Antoine Vérard 1511. Dark brown gold- and blind-tooled goatskin morocco ca. 1870 signed HARDY-MENNIL in the foot of the front turn-in sewn on 5 supports gold-tooled turn-ins gold double-fillets on boards edges marbled endpapers similar to Wolfe 150 headbands in red blue and yellow with a matching ribbon marker gilt edges. 8vo 18 x 12 x 2.5 cm. Printed on vellum in red and black throughout with illustrations printed from mostly metal relief blocks: 17 nearly full-page mostly 12.5 x 8 cm plus 1 repeat 27 small about 3.5 x 2 cm plus 2 repeats in the text many additional small in the decorated border pieces that surround nearly every page many in all three groups with criblée backgrounds and further un-illustrated decorative border pieces. Set in a roman type 77 mm/20 lines with incidental textura 118 mm/20 lines. With manuscript initials in gold on red blue or red and blue divided diagonally three 3-line hundreds of 2-line and thousands of 1-line and about 60 manuscript line-fillers in gold on red or blue. Second known copy apparently the only known copy printed on vellum of a Paris book of hours in Latin probably published in 1511 the almanac and calendar for 20 years covers the years 1511 to 1530 the only known book of hours printed by Thomas Kees or Caseus from Wesel in the Rhine valley recorded as a printer in Paris from 1507 to 1516. The illustrations are finely cut many with criblée backgrounds and many are thought to have been printed from metal relief blocks rather than woodcuts. Most of the small illustrations in the text depict saints. The illustrations in the border strips include scenes from the Old and New Testament dance of death scenes apostles saints scenes from daily life fantastic beasts and more. The large illustrations may have been cut for Antoine Vérard ca. 1503 to 1507. The work was rebound by Hardy-Mennil in Paris ca. 1870. Little is known about Hardy himself. "Mennil" is not separately recorded. He used the name Hardy-Mennil by 1864 and was certainly a celebrated binder by 1868 when the books he bound were often gold-tooled by one of the most famous finishers of all time Jean Michel 1821-1890.Possibly from the great library assembled by Robert Harley 1661-1724 first Earl of Oxford chief advisor to Queen Anne and his son Edward Harley 1689-1741 which descended to Edward's daughter Margaret Cavendish Bentinck 1715-1785 Duchess of Portland many of whose printed books were sold in London 1816-1817.Trimmed close to the decorative borders at the head shaving a border on 1 page and just touching a few others with a tiny chip slightly affecting the corner of another border but generally in very good condition the binding fine.l Bohatta 932; French vernacular books 67388 BN Paris copy only; KVK & WorldCat BN Paris copy only; Moreau II 115 p. 83 BN Paris copy only; Van Praet Cat. Livres imprimés sur vélin bibl. Tant publiques que particulières I 1824 176 citing Bibl. Harl. 18352 possibly the present copy; Robins Bibliotheca Harleiana: a catalogue of the Harleian Library 18352 vol. IV 1817 p. 781 not seen possibly the present copy; Ludwig Rosenthal Bibliotheca evangelico-theologica cat. 70 part 7 1892 p. 96 not seen possibly the BN Paris or the present copy; Tenschert Horae B.M.V.: 158 Stundenbuchdrucke der Sammlung Bibermühle 2003 80 lacking title-page & 2 text ll.; USTC 183113 BN Paris copy only; cf. Davis Fairfax Murray French 253-259 & table on p. 289; very similar illustrations in Pigouchet eds. 1496-ca. 1508; MacFarland Antoine Vérard table on p. 133 the present illustrations in Vérard eds. 1503-1511; Mortimer Harvard French 295 ca. 1507 Hardouyn ed. noting the present illustrations in a 1510 Vérard ed.; not in Alston & Hill Books printed on vellum in the British Library; Brunet; Graesse; Paul Lacombe Livres dheures imprimés 1907; Van Praet Cat. livres imprimés sur vélin Bibl. Du Roi; for the binder Hardy and finisher Marius-Michel: Fléty pp. 120-121 183. Thomas Kees [for Antoine Vérard?]), hardcover
1490ABAA25-2<p>Bourges n.d. c. 1490.</p><p>8vo 174 x 117 mm of 170 ll. on vellum. 14 large miniatures 10 small. A few scratches to the miniatures. Red morocco important decor of gilt fillets and fleurons on the covers spine ribbed and decorated with gilt fillets and fleurons inner frame of the same skin decorated with gilt borders endleaves in vermilion fabric gilt edges. <em>L. Peeters. Boekb. Antw.</em></p><p>Precious book of Hours on vellum with wide margins illustrated with 24 miniatures attributed to the Master of Spencer 6 and to Jean de Montluçon.</p><p>Handwritten text in black and red ink on a column of 17 calendar and 14 long lines per page. Headings small capitals and end-of-lines in blue red and black with highlights of yellow. Many gilt initials on a deep red background. Rules in purple ink.</p><p><u>Composition</u>:</p><p>- l. 1 bl.</p><p>- Calendar <u>complete</u> l. 2r-13v notably including Saint William Bishop of Bourges January 10 with red ink Saint Lunair Bishop in Brittany July1st the translation of Saint Martin Bishop of Tours July 4 Saint Gilles Abbot September 1st Saint Maurilius Bishop of Angers September 13 Saint Maurice of Agaunum September 21 Saint Hubertus Bishop of Liège November 4</p><p>- Pericopes of the four Gospels l. 13r-21r</p><p>- Hours of the Virgin for the use of Bourges l. 22r-83v</p><p>- "Oratio de beata Maria" : "Salve Regina" "Ave Regina cælorum" "Regina cæli lætare" "Interveniat pro nobis" l. 83v-85r</p><p>- l. 86 bl.</p><p>- Psalms of penance followed by litanies with Saint Privat martyr Saint Lauriane worship in Bourges Saint Ursin Bishop of Bourges Saint William Bishop of Bourges Saint Austrégésile Bishop of Bourges Saint Radegonde Queen of France etc. l. 87r-108r</p><p>- Hours of the Cross then of the Holy Spirit l. 109r-116v</p><p>- Liturgy of deaths for the use of Bourges 117r-151r</p><p>- "Obsecro te" l. 151v-155v</p><p>- Suffrages to Saint John the Baptist Saint John the Evangelist Saint Sebastian Saint Ann Saint Nicholas Saint Claude Saint Roch Saint Madeleine Saint Catherine Saint Margaret and Saint Barbara l. 155v-165r</p><p>- "Stabat Mater" l. 165v-168r</p><p>- l. 169 and 170 bl.</p><p>Our manuscript is illustrated with 14 large miniatures arched in framings with a polychrome decor of semi-lobes bands rhombuses arabesques leaves and flowers highlighted with gold:</p><p>- Saint John the Evangelist on the island of Patmos l. 14r</p><p>- the Annunciation l. 22r</p><p>- the Visitation l. 43v</p><p>- the Nativity l. 58r</p><p>- the Announcement to the Shepherds l. 64v</p><p>- the Adoration of the Magi l. 68v</p><p>- the Presentation in the Temple l. 72r</p><p>- the Flight to Egypt l. 75v</p><p>- Madonna and Christ l. 79r</p><p>- David in prayer l. 87r</p><p>- the Crucifixion l. 109r</p><p>- the Holy Spirit descending on the Virgin and the Apostles l. 113r</p><p>- Job on a pile of manure l. 117r</p><p>- the Virgin and the Child l. 151v.</p><p>It also contains 10 small square or rectangular miniatures inserted within the text representing saints: Luke l. 16r Matthew l. 18r Mark l. 20r Nicholas l. 158v Claude l. 159r Roch l. 160v Madeleine l. 161v Catherine l. 162v Margareth l. 163r and Barbara l. 164r.</p><p>The miniatures of the leaves 16r 18r 20r 43v 58r 64v 68v 72r 75v 79r 151v 160v 161v 162v 163r and 164r can be attributed to the Master of Spencer 6 active in Bourges between 1490 and 1510.</p><p>the other 8 are likely due to Jean de Montluçon active in Bourges at the same period.</p><p>We know that the Master of Spencer 6 and Jean de Montluçon both influenced by Jean Colombe the finisher of the <em>Très Riches Heures du Duc de Berry</em> collaborated several times to illuminate books of hours see in particular the Ms 5141 of the Lyons Municipal Library.</p><p>Binding of <em>Laurent Peeters</em> working in Antwerp.</p><p><u>Provenance</u>: <em>Eymar de Vesc episcopusm de Agata 1480</em> handwritten ex-libris on the l. 1r; we know a Aymar de Vesc Bishop of Vence from 1494 to 1507 following his brother John who was Bishop of Vence from 1491 to 1494 then of Agde Agata from 1494 to 1525; <em>Gabriel Fiorelli a Salien a Droma</em> handwritten ex-libris l. 1r covering another handwritten ex-libris partially erased; <em>Jacques Seguhet</em> in Grignan in 1764 handwritten ex-libris on l. 170v; <em>Ernest Périer</em> annotation; auction in Brussels 29 mars 1946 n° 519 sold 24 000 Fr. very high price.</p><p><u>Bibliography</u>: J. Plummer <em>The last flowering: French Painting in Manuscripts 1420-1530 from American collections</em> 1982; F. Avril and N. Reynaud <em>Les manuscrits à peinture en France</em> 1440-1520 1993 pp. 338-346; K. Airaksinen-Monier <em>Vision and devotion in Bourges around 1500 : An Illuminator and His World 2014</em>.</p><p><strong>FR</strong></p><p>Bourges s.d. vers 1490.</p><p>In-8 de 170 ff. sur peau de vélin. 14 grandes miniatures 10 petites. Quelques frottements aux miniatures. Maroquin brique important décor de filets et fleurons dorés sur les plats dos à 5 nerfs orné de filets et fleurons dorés cadre intérieur de même peau orné de roulettes dorées contre-gardes et gardes d'étoffe vermillon tranches dorées. <em>L. Peeters. Boekb. Antw.</em></p><p>174 x 117 mm.</p><p><strong>Précieux livre d'heures sur peau de vélin à belles marges orné de 24 miniatures attribuées au Maître du Spencer 6 et à Jean de Montluçon. </strong></p><p>Texte manuscrit en textura à l'encre noire et rouge sur une colonne de 17 calendrier et 14 longues lignes par page. Rubriques petites capitales et bouts-de-lignes en bleu rouge et noir avec rehauts de jaune. Nombreuses initiales dorées sur fond vieux rouge. Réglures à l'encre parme.</p><p><u>Composition</u> :</p><p>- f. 1 blanc</p><p>- Calendrier <u>complet</u> f. 2r-13v comprenant notamment saint Guillaume évêque de Bourges 10 janvier à l'encre rouge saint Lunaire évêque en Bretagne 1er juillet la translation de saint Martin évêque de Tours 4 juillet saint Gilles abbé 1er septembre saint Maurille évêque d'Angers 13 septembre saint Maurice d'Agaune 21 septembre saint Hubert évêque de Liège 4 novembre</p><p>- Péricopes des quatre Évangiles f. 13r-21r</p><p>- Heures de la Vierge à l'usage de Bourges f. 22r-83v</p><p>- " Oratio de beata Maria " : " Salve Regina " " Ave Regina cælorum " " Regina cæli lætare " " Interveniat pro nobis " f. 83v-85r</p><p>- f. 86 blanc</p><p>- Psaumes de la pénitence suivis des litanies avec saint Privat martyr sainte Lauriane culte à Bourges saint Ursin évêque de Bourges saint Guillaume évêque de Bourges saint Austrégésile évêque de Bourges sainte Radegonde reine de France etc. f. 87r-108r</p><p>- Heures de la Croix puis du Saint-Esprit f. 109r-116v</p><p>- Office des morts à l'usage de Bourges 117r-151r</p><p>- " Obsecro te " f. 151v-155v</p><p>- Suffrages à saint Jean-Baptiste saint Jean l'Évangéliste saint Sébastien sainte Anne saint Nicolas saint Claude saint Roch sainte Madeleine sainte Catherine sainte Marguerite et sainte Barbe f. 155v-165r</p><p>- " Stabat Mater " f. 165v-168r</p><p>- f. 169 et 170 blancs.</p><p><strong>Notre manuscrit est orné de 14 grandes miniatures cintrées</strong> dans des encadrements à décor polychrome de semi-lobes de bandes de losanges d'arabesques de feuilles et de fleurs rehaussé d'or :</p><p>- saint Jean l'Évangéliste sur l'île de Patmos f. 14r</p><p>- l'Annonciation f. 22r</p><p>- la Visitation f. 43v</p><p>- la Nativité f. 58r</p><p>- l'Annonce aux bergers f. 64v</p><p>- l'Adoration des mages f. 68v</p><p>- la Présentation au Temple f. 72r</p><p>- la Fuite en Égypte f. 75v</p><p>- la Sainte Vierge et le Christ f. 79r</p><p>- David en prière f. 87r</p><p>- la Crucifixion f. 109r</p><p>- l'Esprit Saint descendant sur la Vierge et les Apôtres f. 113r</p><p>- Job sur un tas de fumier f. 117r</p><p>- la Vierge et l'Enfant f. 151v.</p><p><strong>Il comprend aussi 10 petites miniatures carrées ou rectangulaires insérées dans le texte</strong><strong></strong> représentant des saints et saintes : Luc f. 16r Mathieu f. 18r Marc f. 20r Nicolas f. 158v Claude f. 159r Roch f. 160v Madeleine f. 161v Catherine f. 162v Marguerite f. 163r et Barbe f. 164r.</p><p>Les miniatures des feuillets 16r 18r 20r 43v 58r 64v 68v 72r 75v 79r 151v 160v 161v 162v 163r et 164r peuvent être <strong>attribués au Maître du Spencer 6 actif à Bourges entre 1490 et 1510. </strong></p><p><strong>Les 8 autres reviennent vraisemblablement à Jean de Montluçon actif à Bourges à la même période.</strong></p><p>On sait que le Maître du Spencer 6 et Jean de Montluçon <strong>tous deux influencés par Jean Colombe</strong> l'acheveur des <em>Très Riches Heures du duc de Berry</em> collaborèrent à plusieurs reprises pour enluminer des livres d'heures voir notamment le Ms 5141 de la Bibliothèque municipale de Lyon.</p><p>Reliure de <em>Laurent Peeters</em> exerçant à Anvers.</p><p><u>Provenance</u> : <em>Eymar de Vesc episcopusm de Agata 1480</em> ex-libris manuscrit sur le f. 1r ; on connaît un Aymar de Vesc évêque de Vence de 1494 à 1507 à la suite de son frère Jean qui fut évêque de Vence de 1491 à 1494 puis d'Agde Agata de 1494 à 1525 ; <em>Gabriel Fiorelli a Salien a Droma</em> ex-libris manuscrit f. 1r recouvrant un autre ex-libris manuscrit partiellement effacé ; <em>Jacques Seguhet</em> à Grignan en 1764 ex-libris manuscrit sur le f. 170v ; <em>Ernest Périer</em> annotation ; vente à Bruxelles 29 mars 1946 n° 519 vendu 24 000 Fr. prix fort élevé.</p><p><u>Bibliographie</u> : J. Plummer <em>The last flowering: French Painting in Manuscripts 1420-1530 from American collections</em> 1982 ; F. Avril et N. Reynaud <em>Les manuscrits à peinture en France</em> 1440-1520 1993 p. 338-346 ; K. Airaksinen-Monier <em>Vision and devotion in Bourges around 1500 : An Illuminator and His World 2014</em>.</p> hardcover
147068622Ghent 1470. BOOK OF HOURS. ANONYMOUS GHENT ARTIST. Book of Hours.In Latin. Ghent c.1470s-1480s.<br> <br> Illuminated manuscript on vellum. Illuminated in Ghent in the 1470s-1480s bearing the stylistic features of works painted by the great illuminators active in the city such as the Vienna Master Mary of Burgundy. According to Christie's apparently textually complete but likely lacking one or two full-page miniatures. 6 3/4 x 4 1/2 inches; 170 x 115 mm. 1 110 1 leaves. With modern pencil foliation. Text in 15 lines.<br> <br> With numerous rubrics in red and one-line initials heightened in gold blue and red. Many two-line initials in gold on pink and blue grounds throughout. One four-line illuminated initial with partial border of acanthus and hairline tendrils with gold leaves 7 six-line initials in gold leading to partial borders 6 full-page seven-line initials on gold grounds. Initials and text bordered in gild within full borders also featuring fruits flowers birds animals and grotesques. Four of these facing four full-page miniatures within full borders. 10 additional small miniatures with partial borders.<br> <br> Seventeenth-century full calf rebacked preserving original spine. With paper pastedowns. Boards and spine ruled in gilt. Boards with some wear. Some occasional marginal staining or small holes. Marginal corners of leaves 63 66 78 and 106 with some repair not affecting manuscript. A minor amount of light rubbing to borders and miniatures. Overall a beautiful example of illumination and miniatures. With colors extremely bright and gold exceptionally brilliant. Housed in a custom morocco clamshell.<br> <br> From Christie's: "Provenance: 1 The liturgical use is generic for Rome while the style of decoration and the calendar suggest an origin in Ghent: the latter features Sts Amalberga 10 July; in red and Macarius 9 May; the elevation of his relics in Ghent. 2 An early owner was presumably responsible for the pilgrim stamps added to f.1 traces of which still remain. 3 Sotheby's 10 July 1968 lot 300. 3 Christie's 16 July 1969 lot 144. 4 Christie's Paris 29 November 2011 lot 121.<br> <br> Content: Calendar ff.1-6; Hours of the Cross ff.7-9 presumably lacking opening miniature; Hours of the Holy Spirit ff.11-13v presumably lacking opening miniature; Mass of the Virgin ff.14-19v; Gospel extracts ff.20-25; Memorials opening with St John the Baptist ff.25v-27v; Obsecro te ff.28-31v; O intemerata ff.31v-34; Office of the Virgin use of Rome ff.35; Penitential Psalms and Litany ff.80-94v; Short Office of the Dead ff.96-110.<br> <br> Illumination: The rather sparse borders of blue and gold acanthus sprays and flowers on plain vellum with birds or grotesques at mid-height were popularised in Ghent in the 1470s: they are very close to the borders painted in the Ordonnance du premier écuyer copied in by Nicholas Spierinc for Charles the Bold in 1469 Vienna ÖNB Cod. s. n. 2616 which reappear in the Hours of Engelbert of Nassau Oxford Bodleian Library Ms Douce 219-220 illuminated in Ghent on the 1470s by the Master of Mary of Burgundy. The miniatures with their realistic scaling of the figures to their settings must originate in the rich pattern pool fed by compositions from the great illuminators active in Ghent from the 1470s onwards such as the Master of Mary of Burgundy and Lieven van Lathem. The Funeral Mass miniature f.95v for example is a simplified version of a composition that appears in two Books of Hours painted in Ghent in the 1470s or 1480s: one held in Oxford Bodleian Library Gough Liturg. 15 f.94 and another in the Bibliothèque de l'Arsenal ms 638 f.75.<br> <br> The subjects of the four full-page miniature are as follows: Pentecost f.10v; Virgin and Child f.34v; David in Prayer f.79v; Funeral Mass f.95v. The subjects of the small miniatures are as follows: St John f.20 St Luke f.21; St Matthew f.22v; St Mark f.24; St John the Baptist f.25v; St Andrew f.26; St Laurence f.26v; St Barbara f.27; St Katharine f.27v; Deposition f.28.<br> <br> Portions of description taken from Christie's London.<br> <br> HBS 68622.<br> <br> $67500. Ghent unknown
