Antiquariat.de
127 résultats
1510151128(Paris, um 1510). Blattgröße: 17,5 x 11,5 cm. Schriftspiegel: 16 x 9,5 cm.
1510151127(Paris, um 1510). Blattgröße: 17,5 x 11,5 cm. Schriftspiegel: 16 x 9,5 cm.
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
140066569Paris 1400. BOOK OF HOURS. Use of Paris In French and Latin illuminated manuscript on parchment France Paris c. 1400-1410 15 large miniatures by the Master of the Bible Historiale MS fr. 159 as described by Les Enluminures<br> <br> This beautifully executed and unusual Parisian Book of Hours was painted at the time of the Duke of Berry. The "realism" seen in the illuminations represents a special moment in Parisian art one exemplifying its northern origins. The miniatures are attributed to one of the artists responsible for the Bible Historiale also referred to as the Master of the Bible Historiale fr. 159 Paris BnF MS fr. 159. The female patron who ordered the book appears twice in the miniatures.<br> <br> 224 folios mostly in gatherings of 8 i12 complete pastedowns and two flyleaves at front and back some catchwords written in a dark brown ink in a gothic liturgical script on 14 long lines by different hands ff. 82-82v and ff. 219v-223v written by a slightly posterior hand ruled in light red ink justification 62 x 85 mm rubrics in red both in French and Latin versals in burnished gold on alternating pink and blue grounds with pink or blue infill and white tracery line endings pink and blue with burnished goldleaf discs and white tracery infill 2-line initials in pink or blue with white tracery on burnished gold grounds with ivyleaves extending in the margins and infill one 3-line initial at the beginning of the Hours of the Virgin pink with white tracery burnished gold and ivyleaf infill on a blue ground 3-line initials marking the start of the main texts pink or blue with white tracery on highly burnished gold grounds with ivyleaf infill one 4-line letter I traced in pink and white with ivyleaf infill on a burnished gold ground richly decorated borders with extending baguettes foliate pattern on burnished gold grounds and dense ivyleaves in borders 15 LARGE MINIATURES at the beginning of the main texts in excellent condition. Nineteenth-century dark brown morocco binding over pasteboards frame of two gilt fillets on covers smooth spine cropped edges affecting very slightly the border decoration at the top edge never affecting text or illuminations in clamshell box. Dimensions 161 x 116 mm.<br> <br> PROVENANCE: 1. Liturgical use and calendar secure a place of origin in Paris. Probably made for the woman patron who appears kneeling on fol.110 and 185. 2. Isydort Bernardon and Marthe Galberict first front fly-leaf. Second front flyleaf reads as follows: "Isydort Bernardon Bon Compaion qui esme Monsieur."Last word is difficult to read; XVIIth century. 3. Du Buisson and Marchand families eighteenth-century notes on family history and marks of ownership 1716 and 1717 back pastedown and fly-leaves: "Ces presentes heures sont tenues de defunst Charles du Buisont . Seigneur de Lublataris demerant a St Michel." ; "Ces presentes heures appartiennent a moy Gabriel Marchand. Je prie ceux et celle quy les trouveront de me les rendre. Je les reconpanseré sic de leurs payne fait a St Michel le traize jour de fevrier 1716" signed Marchand; "Jeanne du Buisson fille de Charles du Buisson a espouzé Gabriel Marchand 1717." The name "Despanage" with the date 1716 also appears on the first flyleaf. 4. Engraved ex-libris pasted on front pastedown eighteenth-century. "M. Titon de Villotran conseiller au Parlement". Jean-Baptiste Titon de Villotran is recorded as a "conseiller" in the Parlement de Paris see Chesnaye-Desbois and Badier Dictionnaire de la noblesse vol. 19 Paris 1876. 5. Les Enluminures/ Bruce Ferrini Catalogue 9 Books of Hours 2000 no. 1 hence Private Collection.<br> <br> TEXT: ff. 1-12 Calendar red blue and burnished gold in French with numerous Paris saints such as Genevieve in gold Germain Landri Marcel Cloud; ff. 13-18 Gospel Sequences; ff. 18-18v Various Prayers : "Protector in te"; "Ecclesiam tuam quesimus"; "Omnipotens sempiterne."; ff.19-22 Obsecro te; ff. 22v-26 O intemerata; ff. 26v-27 Prayer "Deus qui noluisti pro redempcione."; ff. 27-27v Prayer "Commendo tibi Sancta Maria."; ff. 27v-28 Prayer "Signum crucis dominum."; f. 28v blank; ff. 29-80v Hours of the Virgin use of Paris Matins f. 29 Lauds f. 39v Prime f. 50 with ant. "Benedicta tu" and cap. "Felix namque" Terce rubric erroneous f. 55bis; Sext f. 59v; None f. 63v with ant. "Sicut lilium" and cap. "Per te Dei"; Vespers f. 68; Compline f. 75; ff. 80v-81v Suffrage to Sebastian written in a different but contemporary hand "Anthienne de saint Sebastien" et "Oroison de saint Sebastien"; ff. 82-82v Salve regina different hand slightly posterior; ff. 83-83v blank except for a XVIIth century inscription on fol. 83 in brown ink that reads : "Bernardon 1648"; ff. 84-102 Penitential Psalms and litanies; ff. 102v-105v Short Hours of the Cross; ff. 106-109v Short Hours of the Holy Spirit; ff. 110-115v Fifteen Joys of the Virgin in French; ff. 116-119v Seven Requests to Our Lord in French; ff. 120-184v Office of the Dead use of Paris; ff. 185-204 Suffrages; ff. 204-218 Prayers: "La priere Theophilus": "Glorieuse vierge royne." ff. 204-213v ; "Tres devote oroison de la sainte trinité"ff. 213v-217; "Omnipotens sempiterne deus qui dedisti nobis." ff. 217-218; ff. 218-218v Seven verses of St. Bernard; f. 219 Prayer: "Omnipotens sempiterne Deus qui Ezechie."; ff. 219v-221v Prayer for Communion "Tres devote oroyson quant on veult recevoir le corps de nostre seigneur." Different hand; ff. 221v-224v Prayer upon receiving Communion "Tres devote oroison quant on a receu le corps de nostre seigneur".<br> <br> ILLUSTRATION: f. 29 Annunciation; f. 39v Visitation; f. 50 Nativity; f. 55bis Annunciation to the Shepherds; f. 59v Adoration of the Magi; f. 63v Presentation in the Temple; f. 68 Flight into Egypt; f. 75 Dormition of the Virgin; f. 84 God in Judgment; f. 102v Crucifixion; f. 106 Pentecost; f. 110 Female donor presented by patron saint John the Baptist kneeling before the Virgin and Child; f. 116 Last Judgment; f. 120 Funeral Mass; f. 185 Donor kneeling before her patron saint John the Baptist. An unrecorded Parisian Book of Hours this manuscript has a sequence of beautifully executed miniatures attributed by François Avril to one of the artists responsible for the Bible Historiale Paris BnF MS fr. 159 a grand manuscript given to Jean Duke of Berry by Raoulet d'Auquetonville before 1402. Our Book of Hours was painted for an unidentified female donor depicted twice in the manuscript. Once she kneels in prayer before St. John the Baptist who must be her patron saint f. 185. A second time St. John the Baptist presents her to the Virgin and Child whom she adores in prayer f. 110. Her costume befits a lady of the court and suggests a date around 1400. The paintings corroborate this date. The Bible Historiale is regarded as one of the earliest works of an artist surely trained in the Netherlands who appeared in Paris at the beginning of the fifteenth century and cannot be traced after 1405. Bella Martens called him the "Master of 1402" and Millard Meiss in 1967 renamed him the Master of the Coronation of the Virgin after a stunning frontispiece of this subject in a manuscript of Jacobus de Voragine's Golden Legend of 1402-03 Paris BnF MS fr. 242. In Paris working with collaborators on large projects the Coronation Master was responsible for a sequence of richly illuminated volumes that include the Fleur des histories de la terre d'Orient Paris BnF MS fr. 12201 and Boccaccio's Des cleres et nobles femmes Paris BnF MS fr. 12420. Among the related hands in the lavish Bible Historiale emerges as a distinctive personality who must have had his own workshop. Working side by side with the Coronation Master the Master of the Bible Historiale assimilated his style and our manuscript recalls some of these early works. We suspect that our artist like the Coronation Master originated in the North because of the "realism" of the exceptionally fine miniature of the Nativity f. 50 with its hemp floor and wattled fence the tenderness of Joseph seated close to the Virgin Mary and the bare breasts of the reclining Virgin. The finely tessellated diaper backgrounds and the triangular tiled floor that tilts upward both repeatedly used in our Book of Hours also occur in the miniature of the Coronation of the Virgin. In the Funeral Mass f. 120 the dark outlines for the expressive faces are comparable to those in Clerics Singing in the Bible Historiale. Likewise the soft features of the Virgin's rounded face the crisp modeling in her garment and her slender delicate hands are found in the Coronation of the Virgin and elsewhere. Sprinkled with tiny plants the blossom with red blue or white flowers the simple landscapes reappear in the Bible Historiale. The rendering of the donors anticipates the treatment of the female heroines in the Boccaccio manuscript. The engaging style of the Master of the Bible Historiale like that of Jacquemart de Hesdin and the Master of the Breviary of Jean sans Peur exemplifying a "realism" that derives from their northern origins represents a special moment in Parisian illumination one that was short-lived. Art in Paris was to evolve in another direction which the more refined cosmopolitan style of the Boucicaut and Bedford Masters best represent.<br> <br> THIS FULL DESCRIPTION TAKEN FROM THE CATALOG OF THE FIRM LES ENLUMINURES<br> <br> Meiss Millard 300 312 355 II fig. 822; French Painting in the Timede Berry974 I 383-4 II figs. 458-64<br> <br> HBS 66569<br> <br> $350000. Paris unknown
66569Evidence Of A Special Early Moment In Parisian Book Production Expressive Of Northern Realism Book of Hours Use of Paris†In French and Latin illuminated manuscript on parchment France Paris c. 1400-1410 15 large miniatures by the Master of the Bible Historiale MS fr. 159 as described by Les Enluminures This beautifully executed and unusual Parisian Book of Hours was painted at the time of the Duke of Berry. The ìrealismî seen in the illuminations represents a special moment in Parisian art one exemplifying its northern origins.†The miniatures are attributed to one of the artists responsible for the†Bible Historiale†also referred to as the Master of the Bible Historiale fr. 159 Paris BnF MS fr. 159.†The female patron who ordered the book appears twice in the miniatures. 224 folios mostly in gatherings of 8 i12 complete pastedowns and two flyleaves at front and back some catchwords written in a dark brown ink†in a gothic liturgical script on 14 long lines by different hands ff. 82-82v and ff. 219v-223v written by a slightly posterior†hand ruled in light red ink justification 62 x 85 mm†rubrics in red both in French and Latin versals in burnished gold on alternating†pink†and blue grounds with pink or blue infill and white tracery line endings pink and blue with burnished goldleaf discs and white tracery infill 2-line initials in pink or blue with white tracery on burnished gold grounds with ivyleaves extending in the margins and infill one 3-line initial at the beginning of†the Hours of the Virgin pink†with white tracery†burnished gold and ivyleaf†infill on a blue ground 3-line initials marking the start of the main texts pink or blue with white tracery on highly burnished gold grounds with ivyleaf infill one 4-line letter I traced in pink and white with ivyleaf infill on a burnished gold ground richly decorated borders with extending baguettes foliate pattern on burnished gold grounds and dense ivyleaves in borders 15 LARGE MINIATURES at†the beginning of the main†texts in excellent condition. Nineteenth-century dark brown morocco binding over pasteboards frame of two gilt fillets on covers smooth spine cropped edges affecting very slightly the border decoration at the top edge never affecting text or illuminations in clamshell box. Dimensions 161 x 116 mm. PROVENANCE: 1. Liturgical use and calendar secure a place of origin in Paris. Probably made for the woman patron who appears kneeling on fol.110 and 185. 2. Isydort Bernardon and Marthe Galberict first front fly-leaf. Second front flyleaf reads as follows: ìIsydort Bernardon Bon Compaion qui esme†Monsieur.îLast word is difficult to read; XVIIth century.††3. Du Buisson and Marchand families eighteenth-century notes on family history and marks of ownership 1716 and 1717 back pastedown and fly-leaves: ìCes presentes heures sont tenues de defunst Charles du Buisont . Seigneur de Lublataris demerant a St Michel.î ; ìCes presentes heures appartiennent a moy Gabriel Marchand. Je prie ceux et celle quy les trouveront de me les rendre. Je les reconpanserÈ sic de leurs payne fait a St Michel le traize jour de fevrier 1716"†signed††Marchand; ìJeanne du Buisson fille de Charles du Buisson a espouzÈ Gabriel Marchand 1717.î The name ìDespanageî with the date 1716 also appears on the first flyleaf. 4. Engraved ex-libris pasted on front pastedown eighteenth-century. ìM. Titon de Villotran conseiller au Parlementî. Jean-Baptiste Titon de Villotran is recorded as a ìconseillerî in the Parlement de Paris see Chesnaye-Desbois and Badier†Dictionnaire de la noblesse vol. 19 Paris 1876. 5. Les Enluminures/ Bruce Ferrini Catalogue 9 Books of Hours 2000 no. 1 hence Private Collection. TEXT: ff. 1-12 Calendar red blue and burnished gold in French with numerous Paris saints such as Genevieve in gold Germain Landri Marcel Cloud; ff. 13-18 Gospel Sequences; ff. 18-18v Various Prayers : ìProtector in teî;†ìEcclesiam tuam quesimusî;†ìOmnipotens sempiterne.î; ff.19-22 Obsecro te; ff. 22v-26 O intemerata; ff. 26v-27 Prayer ìDeus qui noluisti pro redempcione.î; ff. 27-27v Prayer ìCommendo tibi Sancta Maria.î; ff. 27v-28 Prayer ìSignum crucis dominum.î; f. 28v blank; ff. 29-80v Hours of the Virgin use of Paris†Matins f. 29 Lauds f. 39v Prime f. 50 with ant. ìBenedicta tuî and cap. ìFelix namqueî Terce rubric erroneous f. 55bis; Sext f. 59v; None f. 63v with ant. ìSicut liliumî and cap. ìPer te Deiî; Vespers f. 68; Compline f. 75; ff. 80v-81v Suffrage to Sebastian written in a different but contemporary hand ìAnthienne de saint Sebastienî et ìOroison de saint Sebastienî; ff. 82-82v Salve regina different hand slightly posterior; ff. 83-83v blank except for a XVIIth†century inscription on fol. 83 in brown ink that reads :†ìBernardon 1648î; ff. 84-102 Penitential Psalms and†litanies; ff. 102v-105v Short Hours of the Cross; ff. 106-109v Short Hours of the Holy Spirit; ff. 110-115v Fifteen Joys of the Virgin in French; ff. 116-119v Seven Requests to Our Lord in French; ff. 120-184v Office of the Dead use of Paris; ff. 185-204 Suffrages; ff. 204-218 Prayers: ìLa priere Theophilusî: ìGlorieuse vierge royne.î†ff. 204-213v ; ìTres devote oroison†de la sainte trinitÈîff. 213v-217;†ìOmnipotens sempiterne deus qui dedisti†nobis.î ff. 217-218; ff. 218-218v Seven verses of St. Bernard; f. 219 Prayer: ìOmnipotens sempiterne Deus qui Ezechie.î; ff. 219v-221v Prayer for Communion ìTres devote oroyson quant on veult recevoir le corps de nostre seigneur.î Different hand; ff. 221v-224v Prayer upon receiving Communion ìTres devote oroison quant on a receu le corps de nostre seigneurî. ILLUSTRATION: f. 29 Annunciation; f. 39v Visitation; f. 50 Nativity; f. 55bis Annunciation to the Shepherds; f. 59v Adoration of the Magi; f. 63v Presentation in the Temple; f. 68 Flight into Egypt; f. 75 Dormition of the Virgin; f. 84 God in Judgment; f. 102v Crucifixion; f. 106 Pentecost; f. 110 Female donor presented by patron saint John the Baptist kneeling before the Virgin and Child; f. 116 Last Judgment; f. 120 Funeral Mass; f. 185 Donor kneeling before her patron saint John the Baptist. An unrecorded Parisian Book of Hours this manuscript has a sequence of beautifully executed miniatures attributed by FranÃois Avril to one of the artists responsible for the†Bible Historiale†Paris BnF MS fr. 159 a grand manuscript given to Jean Duke of Berry by Raoulet dÃAuquetonville before 1402. Our Book of Hours was painted for an unidentified female donor depicted twice in the manuscript. Once she kneels in prayer before St. John the Baptist who must be her patron saint f. 185. A second time St. John the Baptist presents her to the Virgin and Child whom she adores in prayer f. 110. Her costume befits a lady of the court and suggests a date around 1400. The paintings corroborate this date. The†Bible Historiale†is regarded as one of the earliest works of an artist surely trained in the Netherlands who appeared in Paris at the beginning of the fifteenth century and cannot be traced after 1405. Bella Martens called him the ìMaster of 1402î and Millard Meiss in 1967 renamed him the Master of the Coronation of the Virgin after a stunning frontispiece of this subject in a manuscript of Jacobus de VoragineÃs†Golden Legend†of 1402-03 Paris BnF MS fr. 242. In Paris working with collaborators on large projects the Coronation Master was responsible for a sequence of richly illuminated volumes that include the†Fleur des histories de la terre dÃOrient Paris BnF MS fr. 12201 and BoccaccioÃs†Des cleres et nobles femmes†Paris BnF MS fr. 12420. Among the related hands in the lavish†Bible Historiale†emerges as a distinctive personality who must have had his own workshop. Working side by side with the Coronation Master the Master of the†Bible Historiale†assimilated his style and our manuscript recalls some of these early works. We suspect that our artist like the Coronation Master originated in the North because of the ìrealismî of the exceptionally fine miniature of the Nativity f. 50 with its hemp floor and wattled fence the tenderness of Joseph seated close to the Virgin Mary and the bare breasts of the reclining Virgin. The finely tessellated diaper backgrounds and the triangular tiled floor that tilts upward both repeatedly used in our Book of Hours also occur in the miniature of the Coronation of the Virgin. In the†Funeral Mass†f. 120 the dark outlines for the expressive faces are comparable to those in†Clerics Singing†in the†Bible Historiale. Likewise the soft features of the VirginÃs rounded face the crisp modeling in her garment and her slender delicate hands are found in the†Coronation of the Virgin†and elsewhere. Sprinkled with tiny plants the blossom with red blue or white flowers the simple landscapes reappear in the†Bible Historiale.†The rendering of the donors anticipates the treatment of the female heroines in the Boccaccio manuscript. The engaging style of the Master of the†Bible Historiale†like that of Jacquemart de Hesdin and the Master of the Breviary of Jean sans Peur exemplifying a ìrealismî that derives from their northern origins represents a special moment in Parisian illumination one that was short-lived. Art in Paris was to evolve in another direction which the more refined cosmopolitan style of the Boucicaut and Bedford Masters best represent. THIS FULL DESCRIPTION TAKEN FROM THE CATALOG OF THE FIRM LES ENLUMINURES Meiss Millard 300 312 355 II fig. 822;†French Painting in the Timede Berry974 I 383-4 II figs. 458-64 HBS 66569 $350000 1400 hardcover books
18301075211830 Lugduni, ex Typis rusans, Cleri Typographi - 1830 - Petit In-8, plein basane rouges, 4 nerfs sautés, fleurons, filets et titre doré au dos - Décor dorés et décor à froid sur les plats et le dos, tranches dorées - XXXIX + 628 + CCLII pages - Partitions en fin d'ouvrage
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]
19763830FBGraz, Akademische Druck- und Verlagsanstalt, 1976. Faksimile: 16,5 x 10 cm. Kommentar: 18,5 x 13 cm. Kassette: 21 x 15,5 x 6 cm. [256] Blatt; 91 Seiten. Original-Samtband und Original-Broschur in Original-Leinenkassette. [6 Warenabbildungen] (= Codices selecti phototypice impressi, Band 57).
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]
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]
198313281Zürich, Belser Verlag, 1983. 12° (15-18,5 cm). 240 numm. Bll. (Faksimile), 42 S. (Begleitband) Ganzleder über drei falschen Bünden mit vergoldeter Rückenverzierung und Wappensupralibros (Faksimile), OLeinwand mit goldgeprägtem Rücken- und Deckeltitel in OKassette [3 Warenabbildungen]
1974FAKS0196Lizenzausgabe für die Deutsche Buch-Gemeinschaft. Copyright der deutschen Ausgabe bei Prestel-Verlag München 1974. gr.-8°, 264(1) S., mit 127 faksimilierten, farb. Seiten u. 29 Miniaturen in Schwarz-Weiß, OLn. m. farb. OU., sehr schönes Exemplar. Die Belles Heures sind eins der berühmten, zwischen 1410 und 1420 für Johann Herzog von Berry geschaffenen Stundenbücher. Das Buch mit seinen prachtvollen Miniaturen wurde aller Wahrscheinlichkeit nach von den Brüdern Limburg ausgeführt. Es zählt zu den großartigsten mittelalterlichen Werken. [2 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
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]
19722782Paris, Draeger Frères, 1972 ; in-4, cartonnage bleu de l'éditeur à la bradel, titre argent, écusson doré et illustré sur le premier plat, sous jaquette illustrée d'une enluminure en relief couleurs et or, sous étui carton gris ; (1) f. (bl.), 262 pp., (2) ff. (bl.) ; 128 illustrations en couleurs hors-texte (reproduction d'enluminures).
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
ORD-6477Avec les Exercices du matin & du soir, l'Entretien durant la Sainte Messe, & les Prieres pour les sept jours de la semaine. Et la méthode de se bien confesser & communier. Le tout en François. Paris. Jacques Le Gras. 1694. In-16 (84 x 130mm) plein maroquin rouge, dos à 5 nerfs, écoinçons or dans les caissons, pointillés encadrant les plats avec écoinçons également, roulettes sur les coupes, plats peignés, tranches dorées (reliure de l'époque). Gravure intitulée Regina Caeli, de la rue St. Jacques au Pelican, en frontispice, 6ff.n.ch., 454, (2) pages. Un bandeau et une lettrine gravés sur bois et 2 gravures hors texte. Des rousseurs sinon bon exemplaire, reliure ancienne bien conservée.
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
21577Lisieux, Jacques du Roncerey, 1753. In-8, [20]-674-LXXI-[9] pp., maroquin brun, frise dorée en encadrement sur les plats, dos à nerfs orné de caissons dorés, tranches dorées (épidermures, coins émoussés, quelques rousseurs
1763gu4359A Paris, chez Jean-Thomas Herissant, rue S. Jacques, à Saint Paul et à Saint Hilaire, A Paris, chez Cl. J. B. Herissant, rue Notre-Dame, à la Croix d'or Relié 1763 In-12 (10 x 17 cm), reliure plein veau, dos à 5 nerfs orné de dorures, tranches dorées, gardes couleur, 456 pages, avec quelques ruban signets (effilochés aux extrémités) ; manques de cuir aux coiffes et coins, frottements aux mors, nerfs et coupes, mors supérieur fendu en tête, assez bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
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.
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
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.
1890PZX-12Heures romaines avec figures par A. Queyroy gravées par A. Gusman - Tours, Alfred Mame et Fils, s.d. circa 1890 In-12 (12 x 16) reliure plein cuir signée Bouasse Jeune, dos à 5 nerfs, titre estampé, 1er plat décoré d'un monogramme en métal argenté, filets dorés sur les coupes, toutes tranches dorées, contre-plats encadrés de frises dorées. Très bel ouvrage, reliure en très bon état, intérieur frais
