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1590371036Rome: Ex Typographia Apostolica Vaticana 1590. First edition of the Sixtine Vulgate Bible large paper copy. Engraved illustrated title-page. Title in red and black text in double columns. 3 vols. Folio. Italian full red morocco binding of the seventeenth or early eighteenth century elaborately gilt with triple floral scrollwork borders stars in cornerpieces about a central motif stencilled paste paper endsheets a.e.g. Boxed. First edition of the Sixtine Vulgate Bible large paper copy. Engraved illustrated title-page. Title in red and black text in double columns. 3 vols. Folio. The engraved title reads: Biblia sacra vulgatae editionis ad concilii Tridentini praescriptum emendata et a Sixto V.P.M. recognata et approbata.<br /> With the preliminary document the Bull of Sixtus V beginning 'Aeternus ille caelestium terrestriumq. rerum omnium conditr ac moderator Deus .". This is often lacking.<br /> <br /> An extraordinary copy of the Sixtine Bible containing the Vulgate text as edited by Pope Sixtus V intended as the first ecclesiastically authorized text to be used throughout Christendom. "In its text it comes closer to R. Stephanus' Bible of 1538-40 than to the Louvain editions" Darlow & Moule who discuss the textual variations. This copy includes examples of the printed overslips required to correct hurried printing. The association with Aldus II suggested by Renouard and lasting long thereafter is spurious.<br /> Pope Sixtus V died soon after the book was printed and was followed by three short-lived popes. The Sixtine Bible had "aroused antagonism among both clergy and laity" and was swiftly condemned; the edition was withdrawn by Pope Clement VIII soon after his elevation to the papal throne in 1592 and many copies were destroyed. Preparations began in 1591 for a new edition of the Vulgate printed in 1592 and known as the Clementine Bible which long remained the standard Vulgate text.<br /> <br /> The ordinary issue of this printing measures 13-3/8 inches tall as in the Brooker copy sold 2024; the present copy measures 15-3/4.<br /> <br /> AN OUTSTANDING LARGE PAPER COPY OF A NOTABLE EDITION. Copinger 521; Darlow & Moule 6181; Adams B1098; BM STC Italian 1465-1600 p. 93; EDIT 16 CNCE 5805. Provenance: Vincenzo Maria Carafa 1739-1814 Prince of Roccella and Duke of Bruzzano engraved bookplates MS shelfmark :H 5; Douglas Maxwell Moffat bought of Quaritch in Dec. 1939; General Theological Seminary Ex Typographia Apostolica Vaticana unknown
1516ST20620Northern France late 15th or early 16th century. 176 x 128 mm. 7 x 5". Single column 23 lines in a neat batârde hand. i blank 101 ii blank leaves. Lacking one leaf after f. 87 possibly containing a miniature otherwise complete. Contents: Calendar f. 1r; Gospel Lessons f. 7r; Passion according to John f. 10v; Hours of the Virgin f. 15v; Penitential Psalms and Litany f. 45r; Office of the Dead f. 54v; Hours of the Cross f. 68v; Hours of the Holy Spirit f. 70v; Prayers to the Trinity St. Veronica "Obsecro Te" "O Intemerata" and "Stabat Mater" f. 72v; Suffrages f. 79r; Prayers in French to be said on various occasions f. 86v; verse prayer in French beginning "Royne des cieulx glorieuse" f. 90r; additional prayers in French and Latin f. 93v. <br/> Attractive 19th century vellum with lacy gilt border raised bands ruled in gilt gilt lettering tan silk endleaves all edges gilt. Housed in a felt-lined reddish-brown pebbled morocco clamshell box with gilt lettering on spine. Rubrics in red numerous one- and two-line initials in painted gold on burgundy or blue ground WITH 27 SMALL MINIATURES one miniature of Christ Carrying the Cross measuring 60 x 68 mm. the rest depicting saints and measuring between eight and nine lines each surrounded by a full border of acanthus flowers and small dots on bare or painted vellum and 14 LARGE MINIATURES EACH OPENING WITH A FULL BORDER either with acanthus and flowers as before or architectural some borders embellished with figures animals or hybrids two with a small scene in the lower margin and about a dozen with the added coats of arms and/or mottos of Jean Boutin. The subjects of the large miniatures include the following: St. John of Patmos f. 7r; Annunciation f. 15v; Visitation f. 23r; Nativity f. 27v; Annunciation to the Shepherds f. 29v; Adoration of the Magi f. 31v; Presentation in the Temple f. 33v; Flight into Egypt f. 35v; Death of the Virgin f. 38v; Bathsheba bathing f. 45r; Funeral Mass f. 54v; Crucifixion f. 68v; Pentecost f .70v; Trinity f. 72v. See: Fairfax-Murray "French" p. 265-266. Vellum binding soiled but perfectly sound. Small portions of some border figures and perhaps three or four miniatures touched up in the 16th century see below occasional chipping to white paint small hole in the border of ff. 11 & 29 light scattered spotting fading thumb soiling and other minor issues but an attractive and substantially complete manuscript the illumination extensive and mostly well preserved.<br/> <br/> This heavily illustrated Book of Hours is a lovely example of provincial illumination; it calls attention in an interesting way to the influence of printed books on manuscript art; and it contains intriguing traces of an early prominent owner. Our manuscript contains a total of 41 large and small miniatures by a skilled artist who clearly had some training and familiarity with the prevailing styles of the time. The overall appearance of the work suggests the artist or workshop was located in Northern France and although the figures and backgrounds are indicative of a provincial hand the rich colors profuse use of liquid gold and sumptuous borders are unmistakable marks of luxury. The image of the Trinity is particularly lovely demanding the viewer's attention with God the Father's piercing gaze and conveying the majesty of the subject with a patterned throne set against a starry sky. Of special interest here are the compositions of the large miniatures many of which seem to have been copied from printed Books of Hours of the period. When we talk about the transition from manuscripts to print culture in the late-15th and 16th centuries the discussion often focuses on how the art of manuscripts influenced the appearance of printed works. There is no better example than Books of Hours which in printed editions often mimic the look of their manuscript predecessors in appearance and the way many were finished by hand. However as the present example demonstrates the opposite was also true as printed works inevitably made their way into the hands of manuscript artists. Some even worked simultaneously both as illustrators for publishers working with metal- and woodcuts and as manuscript painters. As a reflection of this point in the present work we find distinct similarities between our miniatures and a series of metalcuts used by Philippe Pigouchet for the publisher Simon Vostre beginning in 1496 Fairfax-Murray's set 2. According to Fairfax-Murray "These cuts . . . were evidently very favourably received by Pigouchet's rivals and imitators for one finds several close copies and adaptations in the various productions of other presses" including a very close imitation of woodcut images commissioned by the publisher Antoine Vérard. Evidently the popularity of these plates extended to manuscript artists and it is fascinating to see the adaptation of each composition to suit the painter's own style and the patron's needs. Most of the compositions in our manuscript are essentially simplified versions of the printed miniatures retaining the central figures their gestures garments and props but with complex backgrounds eschewed as are extra figures deemed unnecessary to fulfill the narrative. The resulting miniatures are far less busy than their printed counterparts allowing the viewer to focus on the central story. In a few instances the artist has added small scenes beneath the large miniatures. An example on f. 35 depicts the so-called "Miracle of the Wheat" featuring harvesters misleading Herod's soldiers by truthfully saying that the fleeing Holy Family passed by when their now miraculously matured crop was just being sown. This kind of inclusion may have been influenced by the copious small metalcut scenes that decorate the borders of numerous printed Books of Hours of this period. The text here follows a fairly typical structure but includes prayers in French to be said for each day of the week and on various occasions such as when one awakens or when one leaves a house. Also in French are additional verses to the Virgin--one of which is credited to the Franciscan preacher Jean Tisserand d. 1497 who founded an order for repentant women. Another accessory prayer included here f. 98 appeared in both prayer books and conjuring manuals of the period straddling the line between religion and popular magic. Based on an apocryphal encounter between Pope Leo III and Charlemagne during the Battle of Roncevaux this prayer was often used as a protective amulet against all manner of evil; here it is said to "conquer demons and one's enemies." Although we do not know for whom this manuscript was originally made the book shows a number of marginal customizations in the form of different coats of arms the motto "Soit avenu" "Let it come to pass" and the name of Jean Boutin written on ff. 23 and 35. This owner could have been Jean Boutin Sieur de la Court et de Chamballan and Mayor of Nantes from 1575-76. In addition to the marginal customizations the manuscript may possibly have some very neat replenishing of white facial paint in a handful of marginal figures and perhaps in a very small number of the miniatures. Using magnification and strong light we are unable to find convincing evidence that this retouching took place at least in the miniatures and if it was we think it was done quite early perhaps in the 16th century. Worst case it would necessarily be termed subtle and skillful enough to cause uncertainty now and whatever the verdict is in this respect the manuscript remains very fresh and attractive features attractively executed paintings is complete but for one leaf and would provide ample room for additional research. unknown
151829908Paris: Germain Hardouyn. Colophon: "ont este imprimees a Paris pour Germain Hardouyn demorant entre les deux portes du Palais a lenseigne de Saincte Marguerite. 1518. First of the edition. Printed on vellum and beautifully illuminated with forty hand-painted miniatures. There are sixteen large and twenty four small miniatures i.e. metalcuts painted in blue red brown green yellow white and gold and numerous one- and two-line initials in gold and blue pictorial metal-cut borders throughout partly illuminated. With full page miniatures: Skeleton Maria with the infant Jesus Jesus on Mount of Olives Flight to Egypt The Three Magi Nativity Crucification etc. 8vo 17.8 x 11/0 cm handsomely bound in eighteenth century full marbled polished calf the edges gilt the spine with raised bands gilt decorated. 112 leaves printed on vellum in a Gothic typeface twenty-four lines per page. Almanach / Calendar for the years 1518 -1525. Signatures: A - O8 14 quires = 112 leaves complete. A handsome and well preserved copy complete. A FINE PRINTED BOOK OF HOURS FROM THE EARLY 16TH CENTURY PARIS. In the late fifteenth and early sixteenth century printed books of hours like the present copy were produced in greater numbers than manuscript horae in part in order to meet the demands of a bourgeoning middle class audience that could afford such items.<br> RARE. Not in Brunet Bohatta Lacombe Mortimer French Adams Germain Hardouyn. (Colophon: "ont este imprimees a Paris pour Germain Hardouyn demorant entre les deux portes du Palais a lensei hardcover
158608537Paris: A. L'Angelier 1586. CONTEMPORARY RICHLY GILT CALF DECORATED IN THE DUODO-STYLE WITH NINETEEN DIFFERENT TOOLS. The outer borders have three double-rules with olive branches trefoils curved rules and a floral roll between. Sewn with S fermés quatrefoils and open circles the central field has twenty ovals each with one of six small tools in it. A single compartment the flat spine presents the same decor but with additional tools its base and crown ruled on the bias; board edges ruled one slightly defective all edges gilt. THICK PAPER COPY. The binding by Clovis Ève adopts the design favored by the Venetian ambassador to Paris Pietro Duodo 1554-1611. The chic S fermé symbolizes love sage seul secret soucieux. Fresh inside and out one lower corner neatly restored.<br /> ¶Balsamo & Simonin A. L’Angelier 163; Delaveau & Hillard Bibles imprimées du XVe au XVIIIe siècle 3417; BnF Enrichissements 1961-1973 1974 1051; Brun Le Livre français illustré 130 & 278 “gravés très délicatementâ€.  For similar Duodo-style decor see Nixon’s Sixteenth-Century Gold-Tooled Bookbindings 59 and Esmerian’s Bibliothèque I 6.VI.1972 59-61 and Hobson & Culot’s Italian and French 16th-Century Bookbindings 68-9. A. L'Angelier unknown
1510371469Leipzig: Wolfgang Stockel 1510. Title in red and black. A-DⶠEâ´ F-JⶠKâ´ L-Mâ¶. 68 leaves. Extensive annotations throughout in Latin in a contemporary Germanic cursive comprising both interlinear notes and marginal gloss. 1 vols. Folio 12x8-1/2 inches. Early pigskin and oaken boards a remboitage from a thicker volume worn front hinge split between A2 and A3. Housed in a blue cloth slipcase. Provenance: Duplum Bibliothecae Regiae Monacensis pencil annotation; John Pintard inscription presenting the book to; General Theological Seminary bookplate and inked stamps. Title in red and black. A-DⶠEâ´ F-JⶠKâ´ L-Mâ¶. 68 leaves. Extensive annotations throughout in Latin in a contemporary Germanic cursive comprising both interlinear notes and marginal gloss. 1 vols. Folio 12x8-1/2 inches. Edited by Johann Kusthuert this printing of the Epistles of Paul was intended for the student market with the introduction addressed to studiosis sacarum litterarum tyronibus. In addition the colophon reads: Impressum ad altissimi Dei laudem ac studiosorum Sacre Scripture tyronum perfectum in officina libraria prouidi viri Vuolffgangi Stockel ciuis Liptzensis anno Domini 1510 quarto kalendis Septembris.<br /> <br /> The annotations and marginal gloss are impressive and very similar though in a different hand to the copy described by Rosenthal now at the Beinecke suggesting they are by a student at the same institution: "The present copy comes with a vast manuscript apparatus in Latin covering the entire text from St. Jerome's general preface to the last sentence of the last epistle. The annotation . is uniformly intense throughout. The script is a very small at times microscopic Germanic cursive and there is evidence of careful layout especially in the marginal gloss." Estimating the annotations to be approximately 80000 words Rosenthal describes the interlinear notes as "frequently far more than simole reading aids." He continues: "The marginal gloss includes an argumentum for each chapter and its subdivisions . There are also occasional citations from authorities such as St. Thomas and Ambrose."<br /> <br /> It is a handsomely printed volume with the title in large red letters above an 11-line subtitle in black. The verso of the title comprises a table of contents of the Pauline epistles and is followed by an introduction by Kusthuert.<br /> <br /> On the duplicates sold by the Munich royal library including the present volume see: Wagner Bettina. "'Duplum Bibliothecae Regiae Monacensis': The Munich Court Library and Its Book Auctions in the Nineteenth Century." The Papers of the Bibliographical Society of America vol. 111 no. 3 2017 pp. 345-77. Pintard 1759-1844 was a prominent New Yorker of Huguenot origin patron of education and one of the earliest and staunchest advocates for the preservation and study of the history of New York and the United States. Pintard began to work towards the establishment of a historical society in the city in early 1804 and he was the leader in the organization of the New-York Historical Society in November 1804. He was also a patron of the old French Huguenot Church of St. Esprit and the General Theological Seminary to whom he donated this volume in 1826.<br /> <br /> Scarce. OCLC locates three copies in Germany the aforementioned copy at Yale described by Rosenthal and the present example. Rosenthal B.M. Printed books with manuscript annotations 105 for a similarly annotated copy of the same edition; Panzer vii p. 169; VD16 B 4980. Not in BM STC Germany Adams or Darlow & Moule [Wolfgang Stockel] unknown
1527372109Coloniae: Petrus Quentel excudebat 1527. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. Manuscript marginal glosses in red chiefly calling out names names in Kings. 1 vols. Folio. Contemporary blindstamped pigskin over bevelled wooden boards clasps perished. Some soiling repairs to hinges painted fore-edge tabs. Very good. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. Manuscript marginal glosses in red chiefly calling out names names in Kings. 1 vols. Folio. The first Protestant Bible in Latin edited by Johan Rüdel Rudelius printed in Cologne by Peter Quentel or Quentell and notable for the wood engraved illustrations by Anton Woensam Anton von Worms particularly those at the head of each of the four gospels. Matthew faces an angle who is touching his stylus; a lion is seated beside Mark; a bull with Luke; and an eagle stands beside John.<br /> <br /> Quentel was the printer of Tyndale's quarto Cologne English New Testament known from a single surviving fragment in the Grenville Collection where this same illustration to Matthew appears. It is a reasonable inference that each of the four gospels would have carried an illustration. The project which had "'got as far as the letter K' the signature that would have taken the work well into Mark" ODNB was unfinished at the time of Tyndale's flight from Cologne in 1525. Quentel's print shop was raided but sheets of the first gospel translated from the original Greek and printed in English soon began to circulate in England. Tyndale settled in Worms where Schöffer completed an octavo printing of the first complete English New Testament in 1526 a facsimile of the Grenville fragment and its illustration were published in 1871.<br /> <br /> The blocks for the illustrations evidently survived the raid on the Quentel's shop and are used here at the head of each of the four gospels.<br /> <br /> A notable edition in the history of the printing of the Bible. Adams B1007; Darlow & Moule 6107 note; VD16 B2589; Copinger 210. Provenance: Cartusiae Buxiana Buxheim inscription on title; Thomas Raffle early signature on title; General Theological Seminary blindstamps bookplate Petrus Quentel excudebat unknown
1590372093Rome: Ex Typographia Apostolica Vaticana 1590. First edition of the Sixtine Vulgate Bible. Engraved illustrated title-page. Title in red and black text in double columns. 8 479 1; 5 482-899; 5 902-1141pp. Lacks the 4ff preface i.e. the papal bull of Sixtus V beginning "Aeternus ille caelestium terrestriumq. rerum omnium conditr ac moderator Deus ." as often. Folio 13-1/2 x 9-1/2 inches. Later red morocco spine darkened corners bumped some repairs at head and tail of spine marbled endpapers gilt edges. Engraved title and title page paper-backed. Red quarter morocco clamshell box. First edition of the Sixtine Vulgate Bible. Engraved illustrated title-page. Title in red and black text in double columns. 8 479 1; 5 482-899; 5 902-1141pp. Lacks the 4ff preface i.e. the papal bull of Sixtus V beginning "Aeternus ille caelestium terrestriumq. rerum omnium conditr ac moderator Deus ." as often. Folio 13-1/2 x 9-1/2 inches. The Sixtine Bible containing the Vulgate text as edited by Pope Sixtus V intended as the first ecclesiastically authorized text to be used throughout Christendom. "In its text it comes closer to R. Stephanus' Bible of 1538-40 than to the Louvain editions" Darlow & Moule who discuss the textual variations. <br /> <br /> The association with Aldus II suggested by Renouard and lasting long thereafter is spurious.<br /> Pope Sixtus V died soon after the book was printed and was followed by three short-lived popes. The Sixtine Bible had "aroused antagonism among both clergy and laity" and was swiftly condemned; the edition was withdrawn by Pope Clement VIII soon after his elevation to the papal throne in 1592 and many copies were destroyed. Preparations began in 1591 for a new edition of the Vulgate printed in 1592 and known as the Clementine Bible which long remained the standard Vulgate text.<br /> <br /> As often e.g. the Brooker copy this copy without the preface the Bull of Sixtus declaring the text to be immutable and forbidding any reprint without papal permission. Copinger 521; Darlow & Moule 6181; Adams B1098; BM STC Italian 1465-1600 p. 93; EDIT16 CNCE 5805. Provenance: Henry John Farmer Atkinson his sale Sotheby Wilkinson & Hodge March 1896 lot 2752 sold for £18.15s to; Bernard Quaritch; General Theological Seminary bookplate Ex Typographia Apostolica Vaticana unknown
1527318283Coloniae: Petrus Quentel excudebat 1527. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. 1 vols. Folio. Recent half calf and marbled boards. Title page soiled old remargining tissue repairs on verso; some marginal worming and soiling generally clean with generous margins. Stamps of Cambridge Public Library in ink or in blind on four leaves. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. 1 vols. Folio. The first Protestant Bible in Latin edited by Johan Rüdel Rudelius printed in Cologne by Peter Quentel or Quentell and notable for the wood engraved illustrations by Anton Woensam Anton von Worms particularly those at the head of each of the four gospels. Matthew faces an angle who is touching his stylus; a lion is seated beside Mark; a bull with Luke; and an eagle stands beside John.<br /> <br /> Quentel was the printer of Tyndale's quarto Cologne English New Testament known from a single surviving fragment in the Grenville Collection where this same illustration to Matthew appears. It is a reasonable inference that each of the four gospels would have carried an illustration. The project which had "'got as far as the letter K' the signature that would have taken the work well into Mark" ODNB was unfinished at the time of Tyndale's flight from Cologne in 1525. Quentel's print shop was raided but sheets of the first gospel translated from the original Greek and printed in English soon began to circulate in England. Tyndale settled in Worms where Schöffer completed an octavo printing of the first complete English New Testament in 1526 a facsimile of the Grenville fragment and its illustration were published in 1871.<br /> <br /> The blocks for the illustrations evidently survived the raid on the Quentel's shop and are used here at the head of each of the four gospels.<br /> <br /> A notable edition in the history of the printing of the Bible. Adams 1007; not in Darlow & Moule but see note to 6107; VD16 B2589.OCLC: 22847218 Petrus Quentel excudebat unknown
1527318283Coloniae: Petrus Quentel excudebat 1527. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. 1 vols. Folio. Recent half calf and marbled boards. Title page soiled old remargining tissue repairs on verso; some marginal worming and soiling generally clean with generous margins. Stamps of Cambridge Public Library in ink or in blind on four leaves. First Protestant Bible printed in Latin. Title-page with large woodcut vignette of arms of Cologne lion and gryphon rampant with and three crowns; numerous illustrations by Anton Woensam and ornamental initials throughout. Ff. 8 CCCXXV 1 LXXXVII i.e. 85 5. 1 vols. Folio. Cologne 1527 : Quentel's Protestant Bible in Latin. The first Protestant Bible in Latin edited by Johan Rüdel Rudelius printed in Cologne by Peter Quentel or Quentell and notable for the wood engraved illustrations by Anton Woensam Anton von Worms particularly those at the head of each of the four gospels. Matthew faces an angle who is touching his stylus; a lion is seated beside Mark; a bull with Luke; and an eagle stands beside John.<br/><br/>Quentel was the printer of Tyndale's quarto Cologne English New Testament known from a single surviving fragment in the Grenville Collection where this same illustration to Matthew appears. It is a reasonable inference that each of the four gospels would have carried an illustration. The project which had "'got as far as the letter K' the signature that would have taken the work well into Mark" ODNB was unfinished at the time of Tyndale's flight from Cologne in 1525. Quentel's print shop was raided but sheets of the first gospel translated from the original Greek and printed in English soon began to circulate in England. Tyndale settled in Worms where Schöffer completed an octavo printing of the first complete English New Testament in 1526 a facsimile of the Grenville fragment and its illustration were published in 1871.<br/><br/>The blocks for the illustrations evidently survived the raid on the Quentel's shop and are used here at the head of each of the four gospels.<br/><br/>A notable edition in the history of the printing of the Bible. Adams 1007; not in Darlow & Moule but see note to 6107; VD16 B2589.OCLC: 22847218 Petrus Quentel excudebat unknown books
1540372229Paris: Ex officina Roberti Stephani typographi Regii 1540. Third edition and the first with these illustrations. Printer's device on title pages woodcut illustrations in text including 5 full-page ornamental initials. 10 268; 1 104 i.e. 103 error in pagination omitting leaf 83; 90; 92 ff. Collation: 10 a-z⸠A-I⸠K-LⶠAa10 Bb-Mm⸠NnⶠAA-KK⸠LL10 2a-2l⸠2mâ´. Early manuscript annotations. 1 vols. Folio 17x11-1/4 inches. Contemporary blindstamped pigskin over bevelled wooden boards title stamped on the upper cover lacks bosses hinges and clasps upper joint cracked darkening to spine other wear. Early vellum manuscript waste at inner hinges. Minor staining minor foxing a few scattered edge tears. Provenance: Christopher Jonas a Taubenheim early inscription mentioning commentary by Rabbi Moses ben Nahman Gerondi; Polling Monastery armorial bookplate; Duplum Bibliothecae Regiae Monacensis; General Theological Seminary stamps bookplate. Third edition and the first with these illustrations. Printer's device on title pages woodcut illustrations in text including 5 full-page ornamental initials. 10 268; 1 104 i.e. 103 error in pagination omitting leaf 83; 90; 92 ff. Collation: 10 a-z⸠A-I⸠K-LⶠAa10 Bb-Mm⸠NnⶠAA-KK⸠LL10 2a-2l⸠2mâ´. Early manuscript annotations. 1 vols. Folio 17x11-1/4 inches. The third and finest folio edition of Latin Vulgate Bible prepared by scholar/printer Robert Estienne 1503-59. Though the edition was entered into the Vatican's Index of Prohibited Books and is correspondingly scarce ultimately this text served as the foundation of the official Roman Vulgate. The illustrations of Noah's ark the Tabernacle of Moses and Temple of Solomon were widely copied.<br /> <br /> The general title page and the Prophetae are dated 1540; that of the New Testament is dated 1539; and that for the Hebraea Chaldaea Graeca & Latina Nomina . cum Interpretationis and Index is dated 1538. "The text was revised from additional MS sources; a list given at the end of the preface enumerates at least 16 MSS and 3 printed editions. This edition contains the first printing of the Prayer of Manasses in Greek and Latin. It is the text of this monumental edition which became the foundation of the official Roman vulgate ." Schreiber. The text of the Oratio Manassae is printed here for the first time leaf v8v.<br /> <br /> This is a tall and generally well preserved copy with good margins. Darlow & Moule 6117; Renouard pp. 48-9 no. 1; Copinger 275; Schreiber Estiennes 359; Adams B1022; Mortimer French 16th cent. 68 Ex officina Roberti Stephani typographi Regii unknown
152966850Lyons: Per Johanem Crespin 1529. BIBLE IN LATIN. Lyons: Per Johanem Crespin 1529.<br> <br> Second Crespin edition reprinted from the 1527 edition. Folio 13 15/16 x 10 inches; 354 x 252 mm. 304 leaves 18 CCLXVIII 18 leaves. Complete with final blank leaf. Gothic type. Text in double columns within rule borders. Title printed in red and black with small woodcut of St. Jerome repeated three times in the text with Jerome's prefaces within a four-part woodcut border showing God the Father and two angels in a tympanum the six days of Creation and the Last Supper. Large six-part Creation woodcut at the beginning of Genesis half-page woodcut of King Solomon at the beginning of Proverbs full-page Nativity woodcut at the beginning of the New Testament and 121 small text woodcuts including twenty-three repetitions: ninety-one Old Testament woodcuts within strip borders including eight repetitions and thirty New Testament woodcuts without borders including fifteen repetitions. Decorative woodcut initials. The Eusebian canons leaves D1-D3 are printed in red and black in a red architectural framework.<br> <br> Contemporary pigskin over wooden boards roll-tooled in blind to a panel design. Lacking clasps. Original index tabs. Binding worn with some loss of pigskin on upper corner of front cover. Title soiled lower margin of first few leaves wormed and frayed with some loss to woodcut title border a few short marginal tears some mostly marginal dampstaining minor worming to lower inner margins a few inkstains slight discoloration throughout. Despite these minor flaws this is a beautiful example of a French woodcut Bible completely unsophisticated. Contemporary ink inscription on back pastedown dated 1534 contemporary ink inscription on the recto of D4 beneath the Nativity cut eighteenth- or nineteenth-century inscription on title: B.V. Maria in Fürstenfeld. Some early underlining and coloring of woodcuts in red. A few early ink marginalia. Housed in a custom quarter brown morocco clamshell case.<br> <br> The illustrations follow the schema of the Sacon Bibles printed in Lyons in 1518 and 1521. Crespin's blocks with the exception of the Creation are close copies of those used in Jacques and Jean Mareschal's Lyons Bibles of 1523-1541 as is the layout of the text within ruled columns. The borders for the Old Testament blocks include a strip with the initials "PBA."<br> <br> Fairfax Murray French 36. Harvard French 66. Not in Brunet Rothschild Darlow and Moule.<br> <br> HBS 66850.<br> <br> $9500. Per Johanem Crespin unknown
152966850Beautiful French Woodcut Bible BIBLE IN LATIN. Textus Biblie. Lyons: Per Johanem Crespin 1529. Second Crespin edition reprinted from the 1527 edition. Folio 13 15/16 x 10 inches; 354 x 252 mm. 304 leaves 18 CCLXVIII 18 leaves. Complete with final blank leaf. Gothic type. Text in double columns within rule borders. Title printed in red and black with small woodcut of St. Jerome repeated three times in the text with JeromeÃs prefaces within a four-part woodcut border showing God the Father and two angels in a tympanum the six days of Creation and the Last Supper. Large six-part Creation woodcut at the beginning of Genesis half-page woodcut of King Solomon at the beginning of Proverbs full-page Nativity woodcut at the beginning of the New Testament and 121 small text woodcuts including twenty-three repetitions: ninety-one Old Testament woodcuts within strip borders including eight repetitions and thirty New Testament woodcuts without borders including fifteen repetitions. Decorative woodcut initials. The Eusebian canons leaves D1-D3 are printed in red and black in a red architectural framework. Contemporary pigskin over wooden boards roll-tooled in blind to a panel design. Lacking clasps. Original index tabs. Binding worn with some loss of pigskin on upper corner of front cover. Title soiled lower margin of first few leaves wormed and frayed with some loss to woodcut title border a few short marginal tears some mostly marginal dampstaining minor worming to lower inner margins a few inkstains slight discoloration throughout. Despite these minor flaws this is a beautiful example of a French woodcut Bible completely unsophisticated. Contemporary ink inscription on back pastedown dated 1534 contemporary ink inscription on the recto of D4 beneath the Nativity cut eighteenth- or nineteenth-century inscription on title: B.V. Maria in F¸rstenfeld. Some early underlining and coloring of woodcuts in red. A few early ink marginalia. Housed in a custom quarter brown morocco clamshell case. The illustrations follow the schema of the Sacon Bibles printed in Lyons in 1518 and 1521. CrespinÃs blocks with the exception of the Creation are close copies of those used in Jacques and Jean MareschalÃs Lyons Bibles of 1523-1541 as is the layout of the text within ruled columns. The borders for the Old Testament blocks include a strip with the initials ìPBA.î Fairfax Murray French 36. Harvard French 66. Not in Brunet Rothschild Darlow and Moule. HBS 66850. $9500 Per Johanem Crespin hardcover books
151056068Augsburg, Johann Otmar für Georg Diemar, 1510. Fol. Mit 6 fast blattgr. Holzschnitten von Hans Burgkmair u. 2 großen Initialen. 210 nn. Bll., Mod. Ldr. im Stil d. Zt. m. Streicheisenlinien u. Kopfgoldschnitt.
154814107Basileae, per Henrichum Petri, 1548. Petit in-folio (290 x 187 mm) de 408 pages mal chiffrées 385 (a6; A-Z6; Aa-Kk6), plein vélin, dos à nerfs, titre doré, triple filet à froid encadrant les plats. Petit manque de peau au premier plat, quelques feuillets légèrement brunis. Ex-libris manuscrit du XVIIIe: Ex bibliotheca Claperoniana au premier contreplat; ex dono sur la page de garde: Charles Freynier, 1825; ancienne collection Michel Slatkine père.
15546212Lyon: Jean de Tournes 1554. First edition. Octavo 6 3/4 x 4 3/4 inches; 171 x 121 mm. . 16 1152 76 pp bound without the last two blank leaves as in most copiese.g. Mortimer OCLC. The penultimate leaf had only a fleuron at the foot of the page and the final leaf was blank. Arabesque title border and 198 with 1 repeat woodcuts in the text by Bernard Salomon. Title-page with faint early ink "ex-Libris petri ------ at top blank margin. Title-page expertly cleaned some occasional mainly marginal faint foxing otherwise a superb example of this wonderfully illustrated mid sixteenth-century Latin Bible. Bound ca. 1880 by Chambolle-Duru in full brown crushed levant morocco spine with five raised bands lettered in gilt gilt ruled board edges decorative gilt turn-ins marbled endpapers all edge gilt. Armorial bookplate "In Memori: Weiler Bibliotheca Trautner Falkiana" on verso of front free endpaper.<br /> <br /> First De Tournes Latin Bible based on Robert Estienne's text and beautifully illustrated with 198 woodcuts by Bernard Salomon. "Considerable work could be done on Salomon's sources for these cuts. The Expulsion from Paradise suggests Holbein's version; the New Testament shows some dependence on the set owned by Sébastien Gryphius. the Apocalypse blocks are enlarged copies of the fine Janot Apocalypse. But the cumulative effect of Salomon's carefully detailed scenes is that of an individual contribution to Bible illustration. Particularly interesting from the point of view of technique are the night scenes in Exodus and the storm over Noah's ark. In this 1554 Bible the New Testament blocks are printed with arabesque strip borders at the sides. Arabesque and type ornament headpieces." Mortimer Contents include: Old Testament; Psalms; New Testament Epistles Acts; Index Testimoniorum & Index Epistolarum.<br /> <br /> Robert I Estienne 1503-1559 was a French protestant printer and scholar born into a printmaking family. He would take over his family's Paris firm in 1526 where he printed significant works in Latin Greek Hebrew and other languages. His 1531 Thesaurus linguae latinae is considered a major milestone in lexicography. Despite his many commissions for the King religious tensions forced Estienne to flee to Geneva. <br /> <br /> This bible was illustrated by Bernard Salomon c.1508-1561 a French artist who is known for engravings and illustrations. Although little is known about his life his art reveals stylistic influences from Mannerism and the School of Fontainebleau executed in a detailed and small scale. Salomon is known to have collaborated with the printer Jean de Tournes and produced decoration for emblem books bibles and classic texts. Many of his engravings also appear as source material for art objects such as a Faience plate at the MET featuring the Sacrifice of Noah.<br /> <br /> Brunet I 876 & Supplement I 125; Darlow & Moule 6134 note; Mortimer French no. 81. Jean de Tournes unknown
1570666651 vol. in-folio reliure de l'époque plein cuir brun, dos à 5 nerfs orné, double filet doré d'encadrement en plats, Excudebat prelum Thomæ Purfœtij [ Thomas Purfoot ], Londinis [ London ], 1570 - 1571 [ titlepage and privilege dated 1570, colophon dated 1571 ], 4 ff. (dont titre gravé), 455 pp., 7 ff. n. ch.
1587ST14247Venetiis Venice: Hieronymus Polus 1587. 213 x 146 mm. 8 3/8 x 5 5/8". 12 p.l. 1126 pp. <br/> ESPECIALLY PLEASING CONTEMPORARY CALF covers with gilt French fillet frame and oval wreath of olive branches the center of the wreath in the shape of a cross flat spine ruled in gilt red morocco label. Title page with elaborate wood-engraved frame text profusely illustrated WITH 600 WOOD ENGRAVINGS depicting scenes from scripture after Holbein Bernard Salomon le Petit Bernard and others a handful of these a bit indistinct. Front pastedown with ex-libris of Leonis S. Olschki. Adams B-1093; STC Italian 93. Not in Darlow & Moule. ◆A little wear to joints and extremities spine a bit crackled separation at hinges but no looseness occasional minor browning or foxing otherwise in remarkably fine condition the text clean and crisp and in a still-lustrous entirely solid unsophisticated original binding.<br/> <br/> This is a very well-preserved handsomely bound and lavishly illustrated edition with distinguished provenance of the Louvain Bible first printed in Venice in 1578. Our edition contains 600 wood engravings illustrating the text ranging from portraits of prophets saints and evangelists to dramatic scenes from the histories of the Old Testament and the life of Christ and ending with an imaginative Apocalypse cycle. Many of these are the work of Lyonnaise artist Bernard Salomon 1506-61 known by the sobriquet "Le Petit Bernard" for his small engravings rich with detail. Others are based on the biblical woodcuts of Hans Holbein. The binding here is likely French; the flat spine with just one large gilt-framed panel and the olive branch decoration on the covers is characteristic of late 16th century and early 17th century French work. The exceptional condition here is typical of books from the collection of Leo Samuel Olschki 1861-1940 scion of a family of Prussian Jewish printers whose interest in printing history led to his becoming a celebrated antiquarian bookseller author founder of the journal "The Bibliophile" and publisher of works in the humanities. Hieronymus Polus unknown
15192682Lyon: Jacques I Mareschal for Simon Vincent 1519. <p>8vo 180 x 126 mm. 30 500 54 pp. with pagination errors. Title and first table printed in red and black text in two columns with printed marginalia indices and summary in 3 columns. Colophon on fol. RR4v. Publisher’s woodcut device Baudrier no. 2 on title and final verso full-page woodcut showing the six days of Creation within ornamental border historiated woodcut initials throughout; red paragraph marks to opening page and red highlighting to the facing woodcut. Mainly faint marginal dampstain in upper margins light discoloration to outer margins. Contemporary Flemish blind-tooled calf over wooden boards sides with leafy roll-tool border enclosing central panel with intersecting triple fillets forming a saltire design the compartments filled with a repeated foliate tool arranged symmetrically one of two fore-edge clasps two catches; many deckle edges preserved worn a few small chips to leather pastedown endpapers renewed. Provenance: early ownership inscriptions on title: Mrr Cornelius Adamus ter Borch; and Siba Lÿken; contemporary marginal notes and some text markings crosses in margins and underlinings in first few books Genesis-Deuteronomy; abundant 17th and/or 18th-century philological annotations in Genesis and Exodus and in the indices including full page of notes on blank page 2E5v.<br /> <br /> A complete portable Bible printed in very small types containing an ample scholarly apparatus and finding aids for the use of theology students and scholars; this copy with contemporary annotations and in a contemporary blind-tooled calf binding probably Flemish. This compact glossed Bible densely and economically printed with no break between the Old and New Testaments is enlivened by hundreds of historiated woodcut initials from woodcut alphabets designed by Guillaume Leroy who also designed the six-part full-page woodcut of the Creation. <br /> <br /> Mareschal’s useful “pocket†Bibles were bestsellers this being the fourth of six octavo editions from his press. They were among the first Bible editions to include a rhyming mnemonic Biblical summary by the minorite friar Franciscus Gothi in which each four-line verse summarizes a Biblical chapter. Occupying here the final two quires and called for in the colophon it is not recorded by Baudrier or Gültlingen. Possibly buyers had the choice of including it or not in their copies. Otherwise the text of Mareschal’s octavo Bibles follows that of the Bible printed in Basel in 1509 by Johann Petri and Froben using the text edited by the Dominican Alberto Castellano and supplying for the first time marginal notes citing canon law. The apparatus includes four tables and a glossary of Hebrew names. As in the Petri editions a six-line commendatory poem by Matthias Sambucellus is printed on the title here with the first word of the last line incorrectly given as “Omne†instead of “Omine.â€<br /> <br /> The publisher Simon Vincent belonged to Lyon’s powerful booksellers' guild the Compagnie des Libraires whose members helped Mareschal during his early years impressed by his skill conscientiousness and sobriety â€a rare trait among printers of this period†notes Baudrier qualities which contrasted markedly with those of the printer Michel Topie whose press Mareschal had acquired in 1512 Baudrier 11:383.<br /> <br /> USTC 145003; Adams B-997; Pettegree & Walsby French Vernacular Books III: 57271. Darlow & Moule II: 6093 note; Baudrier Bibliographie lyonnaise 11: 401 and pp. 380 397 & 448; Gültlingen Bibliographie des livres imprimés à Lyon 2:209 no. 56.</p> Jacques I Mareschal [for Simon Vincent] unknown
15192682Lyon: Jacques I Mareschal for Simon Vincent 1519. 8vo 180 x 126 mm. 30 500 54 pp. with pagination errors. Title and first table printed in red and black text in two columns with printed marginalia indices and summary in 3 columns. Colophon on fol. RR4v. Publisher's woodcut device Baudrier no. 2 on title and final verso full-page woodcut showing the six days of Creation within ornamental border historiated woodcut initials throughout; red paragraph marks to opening page and red highlighting to the facing woodcut. Mainly faint marginal dampstain in upper margins light discoloration to outer margins. Contemporary Flemish blind-tooled calf over wooden boards sides with leafy roll-tool border enclosing central panel with intersecting triple fillets forming a saltire design the compartments filled with a repeated foliate tool arranged symmetrically one of two fore-edge clasps two catches; many deckle edges preserved worn a few small chips to leather pastedown endpapers renewed. Provenance: early ownership inscriptions on title: Mrr Cornelius Adamus ter Borch; and Siba Lÿken; contemporary marginal notes and some text markings crosses in margins and underlinings in first few books Genesis-Deuteronomy; abundant 17th and/or 18th-century philological annotations in Genesis and Exodus and in the indices including full page of notes on blank page 2E5v.A complete portable Bible printed in very small types containing an ample scholarly apparatus and finding aids for the use of theology students and scholars; this copy with contemporary annotations and in a contemporary blind-tooled calf binding probably Flemish. This compact glossed Bible densely and economically printed with no break between the Old and New Testaments is enlivened by hundreds of historiated woodcut initials from woodcut alphabets designed by Guillaume Leroy who also designed the six-part full-page woodcut of the Creation. Mareschal's useful "pocket" Bibles were bestsellers this being the fourth of six octavo editions from his press. They were among the first Bible editions to include a rhyming mnemonic Biblical summary by the minorite friar Franciscus Gothi in which each four-line verse summarizes a Biblical chapter. Occupying here the final two quires and called for in the colophon it is not recorded by Baudrier or Gültlingen. Possibly buyers had the choice of including it or not in their copies. Otherwise the text of Mareschal's octavo Bibles follows that of the Bible printed in Basel in 1509 by Johann Petri and Froben using the text edited by the Dominican Alberto Castellano and supplying for the first time marginal notes citing canon law. The apparatus includes four tables and a glossary of Hebrew names. As in the Petri editions a six-line commendatory poem by Matthias Sambucellus is printed on the title here with the first word of the last line incorrectly given as "Omne" instead of "Omine."The publisher Simon Vincent belonged to Lyon's powerful booksellers' guild the Compagnie des Libraires whose members helped Mareschal during his early years impressed by his skill conscientiousness and sobriety "a rare trait among printers of this period" notes Baudrier qualities which contrasted markedly with those of the printer Michel Topie whose press Mareschal had acquired in 1512 Baudrier 11:383.USTC 145003; Adams B-997; Pettegree & Walsby French Vernacular Books III: 57271. Darlow & Moule II: 6093 note; Baudrier Bibliographie lyonnaise 11: 401 and pp. 380 397 & 448; Gültlingen Bibliographie des livres imprimés à Lyon 2:209 no. 56. Jacques I Mareschal [for Simon Vincent] unknown books
1509372247Basel: per Johannem Petri de Langdorff et Johannem Froben de Hammelburg 1509. Printer's device on title hand colored at an early date. Large manuscript initials in red and blue; rubricated throughout. 14 CCCXLVII 28 leaves. Manuscript references and extensive early marginalia in Hebrew in O.T.; citations in Table keyed to N.T. and underlined. Contemporary colored deerskin sectional fore-edge tabs. Folio 13 x 8-1/2 inches. Full burgundy morocco by Zaehnsdorf. Title leaf repaired at gutter and bottom corner; minor staining. Printer's device on title hand colored at an early date. Large manuscript initials in red and blue; rubricated throughout. 14 CCCXLVII 28 leaves. Manuscript references and extensive early marginalia in Hebrew in O.T.; citations in Table keyed to N.T. and underlined. Contemporary colored deerskin sectional fore-edge tabs. Folio 13 x 8-1/2 inches. A scarce Latin bible the first edition of the Vulgate with the printed marginal references to canon law. These 'Concordantiae iuris canonici' according to Masch were compiled by Johannes Niuicellensis an abbot and were printed separately in 1482. This is also the first edition to printed the commendatory hexastich by Matthias Sambucellus on the title page beginning: "Emendata magis scaturit nunc biblia tota."<br /> <br /> A tall copy with generous margins lovely stylish manuscript initials and full rubrication. VD16 B2584. Delaveau & Hillard 771; cf. Darlow & Moule note after 6092. Provenance: Dr. Charles Clay Manchester 19th century inscription on front endpaper sold Sotheby Wilkinson & Hodge May 18 1883; General Theological Seminary bookplate blindstamps; [per Johannem Petri de Langdorff et Johannem Froben de Hammelburg unknown
1557254216Basilaea Basel: Nicolaum Bryling Nicolaus Brylinger 1557. Woodcut border and printer's device on title. INCOMPLETE. 8 479 of 500 8 leaves. Lacking ff. 46-56 & 61-70. 1 vols. 8vo. Bound in contemporary blind panel-stamped pigskin over bevelled wooden boards clasps removed binding worn exposing boards on rear cover title page detached contemporary marginalia by Johannes Weneken throughout. Woodcut border and printer's device on title. INCOMPLETE. 8 479 of 500 8 leaves. Lacking ff. 46-56 & 61-70. 1 vols. 8vo. Brylinger published the only 16th century edition of Luther's Bible in Switzerland published one of the earliest Greek and Latin diglot Bibles and published a series of 8vo editions of the Bible with diglot and Greek-only text which was popular with students. Darlow & Moule makes no mention of this or any other Latin-only edition by Brylinger.<br /> Front paste-down endpaper and front free endpaper display extensive annotations in Greek and Latin presumably by Johannes Weneken. The marginal annotations provide a fascinating insight into how this book was used. Not in Darlow & Moule but cf. 4621; Adams 1056; OCLC: 46973017 6 copies only 3 of which in U.S. Nicolaum Bryling [Nicolaus Brylinger] unknown
1557254216Basilaea Basel: Nicolaum Bryling Nicolaus Brylinger 1557. Woodcut border and printer's device on title. INCOMPLETE. 8 479 of 500 8 leaves. Lacking ff. 46-56 & 61-70. 1 vols. 8vo. Bound in contemporary blind panel-stamped pigskin over bevelled wooden boards clasps removed binding worn exposing boards on rear cover title page detached contemporary marginalia by Johannes Weneken throughout. Woodcut border and printer's device on title. INCOMPLETE. 8 479 of 500 8 leaves. Lacking ff. 46-56 & 61-70. 1 vols. 8vo. Brylinger published the only 16th century edition of Luther's Bible in Switzerland published one of the earliest Greek and Latin diglot Bibles and published a series of 8vo editions of the Bible with diglot and Greek-only text which was popular with students. Darlow & Moule makes no mention of this or any other Latin-only edition by Brylinger.<br/>Front paste-down endpaper and front free endpaper display extensive annotations in Greek and Latin presumably by Johannes Weneken. The marginal annotations provide a fascinating insight into how this book was used. Not in Darlow & Moule but cf. 4621; Adams 1056; OCLC: 46973017 6 copies only 3 of which in U.S. Nicolaum Bryling [Nicolaus Brylinger] unknown books
1587ABC_48453Antwerp: Christoffel Plantin 1587. Contemporary elaborately blind-tooled pigskin over bevelled wooden boards sewn on 4 double supports with the corresponding raised bands on the spine the manuscript title in the first compartment and the original manuscript shelf mark label "H.36" of the Monastery of Buxheim in the fifth compartment both boards with an ornamental roll and a roll with the portraits of Salvater sic! Maria S. Bruno and S. Johannes in a panel design two original brass clasps and catches ornamented with a small star leather tabs and six original bookmarkers plaited into a big knot. 8vo. With a woodcut vignette with Peter and Paul by Peeter van der Borcht on the title page 6 full-page woodcuts ca. 112 x 75 mm by Antoon van Leest after Peeter van der Borcht 6 half-page square woodcuts 55 x 55 mm in border one signed by Antoon van Leest one woodcut 90 x 76 mm by Antoon van Leest after Peeter van der Borcht and 2 smaller oval woodcuts. The work is printed in red and black. Plantin edition of the revised Roman Missal following the directives of the Council of Trent first published in Rome in 1570 by order of pope Pius V 1504-1572 and later approved by Clemens VIII 1536-1605 and Urbanus VIII 1568-1644. The work was quite popular as Plantin published a new missal nearly every year from 1571 onwards. All editions were printed in different sizes and in two issues one with woodcut illustrations and one with engravings. The present copy is the octavo edition with woodcut illustrations and comes from the library of the famous Carthusian monastery of Buxheim Maria Saal near Memmingen Bavaria.The monstery of Buxheim was founded in 1402 and dissolved after the secularisation in 1803. The rich library was auctioned in 1883 by Förster and in 1884 by Ludwig Rosenthal in Munich. The Museum of the Charterhouse Buxheim today is actively studying the history of the library and the present location of its books and manuscripts. The present copy is bound in contemporary pigskin which was likely bound for the monastery itself as the rolls depict Saint Bruno who was the founder of the Carthusian order. The Missal is therefore probably bound in a South-German bindery in the surroundings of the monastery.With an ownership annotation on the title page "Cartusiae Buxheim". The binding is somewhat rubbed and soiled. The leaves are lightly browned some of the leaves are slightly stained especially around the leather tabs. Otherwise in good condition.l Belg. Typ. 6335; Imhof Plantins 1574 Missale Romanum in octavo in: De Gulden Passer 73 1995 pp. 67-82; Nagler I 1459; USTC 406791; Voet 1701 A; Weale-Bohatta no. 1269; not in Haebler. Christoffel Plantin, hardcover
158410643Paris, Jean Richer, 1584. In-12 (134 x 77 mm), 8 ff. n. ch., 301 ff., 1 f. n. ch. Chagrin vert, double filet doré d'encadrement sur les plats, dos à nerfs richement orné, titre, auteur et date dorés, filet doré sur les coupes, tranches rouges, petite tache marginale au verso du feuillet 151 et au recto du feuillet 152, petit manque de papier au coin inférieur du feuillet 198, deux traits d’encre dans la marge au feuillet 217 (reliure du XIXe siècle).
15330036011533 Sans lieu [Paris], Venundatur a Joanne Parvo, Petro Gaudoul, & Petro Vidoueo, Bibliopolis iuratis, 1533. In-folio (223 X 315) veau fauve granité, large encadrement de filet à froid sur les plats, dos quatre larges nerfs, caissons ornés d'un fleuron central et de fers d'angles dorés, pièce de titre maroquin brun, dentelle dorée en queue et tête, tranches jaspées en rouge (reliure du XVIIe siècle) ; (1) f. blanc, (16) ff. dont titre, XXXII [32] pages, CCCCCCXXII [622] pages, XL pages, (1) page de marque de l'imprimeur, (22) ff., (1) f. blanc. Reliure habilement restaurée, ors ternis ; taches brunes sur la page de titre et aux derniers feuillets.
