PENA, Petrus ; LOBEL, Mathia de ; [ PENA, Pierre ; LOBEL, Matthias de ; L'OBEL, Mathias de ]Livre Rare Book
26 128 résultats
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.
170153475Liege: Jean-François Broncart 1701. First edition thus. Hardcover. Very good. Two tomes each in two parts bound in one volume folio: 6 lxxix 1 blank 544; 1 title 1 blank 545-957 1 blank xx Cantique des cantiques 96 La sagesse; Ecclesiastique de Jesus fils de Sirach; 1 title 1 blank 468; 1 title 1 blank 430 16 Oratio Manassae; Liber Esdrae - tertius et quartus pp. Main titles for each tome in red and black; secondary titles in black only all four titles with engraved printer's device; each dated 1701. Text in two columns Latin and French. Illustrated with 6 engraved plates: frontispiece Johann Friederich Karg von Bebenburg; folding plate with 16 vignettes 4x4 depicting well-known biblical scenes; 4 folding maps The Holy Land; The Promised Land Apportioned by Tribe; Jerusalem in the Second Temple Era - after Lamy; The World Known to the Evangelists. Quarter-page engraved vignettes at the head of each of the 30 biblical books; historiated initials; printed marginalia. Exquisitely bound in the 19th century in levant morocco extra over wooden boards with mosaic compartments in crimson ochre; and dark brown bordered in fine gilt line; spine with raised bands lightly rubbed; pair of brass mounts finished in black with steel rivets at both covers clasps and catched perished. All edges gilt and elaborately gauffered in textured floral motif; gilt inner dentelles; decorative endleaves renewed in orange and black; crimson silk ribbon marker. The work of a master binder. Expertly repaired at spine caps. Occasional faint embrowning; marginal dampstains beginning in second half mostly at outer corners; expanding to fore-edge and darkening considerably in final 20 leaves. Overall a very good copy with crisp text throughout though incomplete: lacks Antoine Arnould's "Concorde des quatre Evangélistes" along with its accompanying Latin version and the concluding index.<br /> <br /> Amply margined copy of this sumptuous edition of the Bible comprising the Latin Sixto-clementine Vulgate and the Port-Royal French translation printed in parallel columns. Isaac-Louis Lemaistre de Sacy 1613-1684 was the principal translator of the French version which was edited and completed after his death by Pierre Thomas du Fossé 1634-1698 and Henri-Charles de Beaubrun 1655-1723 who also provide annotations throughout. According to Barbier the French controversialist Thierry de Viaixnes 1659-1735 who found himself often at odds with his superiors was the principal editor of the work; at the time of its preparation he was serving as director of an academy at Hautvilliers in the diocese of Rheims McClintock & Strong.<br /> <br /> Dedicated to Johann Friederich Karg von Bebenburg 1648-1719 whose signed portrait was drawn and engraved by C. Gustav of Amling. An advocate of maximal papal power Karg served as Privy Councilor of the Prince-Bishop of Bamberg and Würzburg Peter Philipp von Dernbach then of Elector Max Emanuel of Bavaria. He served as Dean of Our Lady in Munich and was entrusted by Emperor Leopold I with a legation to Pope Innocence XI. By these efforts he secured in 1688 the election of Prince Joseph Clemens of Bavaria as Archbishop of Cologne as a result of which he was made Chancellor and Minister of State here noted on the frontispiece.<br /> <br /> Provenance and annotations: Bookplate of Herman Blum Blumhaven Library & Gallery with his ticket below; two gilt-stamped ex-libris morocco labels: Henry W. Poor oval; Adolph Lewisohn octogonal. References: Darlow & Moule 3779; Deleveau & Hillard Bibles imprimées du XVe au XVIIe siècles conservées è Paris 605; ADB 15 1882 "Karg: Johann Friedrich; Jean-François Broncart hardcover
1462001313Mainz: Johann Fust & Peter Schoeffer 14 August 1462 1462. Fust and Schoeffer 48-line Bible Leaf. Royal folio 413 x 286 mm. Leaf 194 from gathering 20 of book one text from 2 Esdras chapter 15 and 16. Double column 48-lines printed in Gothic type. Titles and chapters in alternating red and blue letters red and blue two-line initials rubricated capital initials. Lines 35 to 41 in both columns of recto only are reset. 2 -inch closed tear to outer margin just slightly affecting text expertly repaired two old paper-clip ghosting marks to upper margin. Leaf housed in a cloth portfolio; slipcase with gilt lettered red morocco spine label. A fine leaf from the fourth edition of the Vulgate Bible or the 48- line Bible preceded only by the 42-line Gutenberg Bible the 36-line Pfister Bible Bamberg and the 49-line Mentelin Bible Strassburg. The first also to include the date of publication the place of printing and bear the name of the printer. Mainz: Johann Fust & Peter Schoeffer, 14 August 1462, hardcover
17562896Rome: Gioacchino & Giovanni Giuseppe Salvioni 1756. 8vo 208 x 133 mm. 24 407 1 pp. 2 parts the Office of the Dead separately titled. Printed in red and black. Engraved frontispiece and 12 full-page engravings by Arnold Van Weserhout and Jacob Frey after Joseph Passarus Giuseppe Passaro two engraved title vignettes 12 engraved tailpiece vignettes a few unsigned others by Frey after Passaro or by M. Schedi engraver 3 engraved capital initials numerous red-printed woodcut initials. Foxing occasionally severe short marginal tear to fol. Z7.Slightly later eighteenth-century Roman gold-tooled red goatskin covers with large dentelle border composed of a triple neo-classical roll-tooled outer frame enclosing six large ornaments each with a basketweave design of diagonally crossing gilt fillets framed in volutes and leafy sprigs a few tiny petal or star tools board edges protected with a probably later frame of silver or silver-plated metal discreetly nailed to the binding two elaborately chased silver fore-edge clasps and catches spine in six uniformly gold-tooled compartments gilt edges with gauffred border design pair of green ribbon page markers marbled endpapers; 20th-century black morocco felt-lined case. Provenance: with Gumuchian Catalogue XII/1930/225; Maurice Burrus bookplate purchased from Gumuchian in 1934 purchase notes at end. A striking rococo binding in fine condition on a luxuriously printed and illustrated Office of the Virgin from the official Vatican press.From the mid- to late eighteenth century the Salvioni press used one or more bookbinding workshops that produced finely gold-tooled bindings for their Vatican publications. Although often referred to as the "Salvioni bindery" this appellation is circumstantial: "the Salvioni firm was responsible for promoting the bindings but it is not known which workshop produced them" British Library Database of Bookbindings. Some of these "Vatican" bindings incorporated variously colored or mottled leather. This example with its basketweave cartouches relies purely on tooling for its effect. An example evidently from the same workshop on a book printed at Rome in 1791 by Salomini using analogous cartouches as corner-pieces as well as a similar "spiraling" border design and some of the same leafy spray and star tools is reproduced in Legature papali no. 264."Whereas the . more flamboyant bindings produced by the Salvioni Bindery rely frequently on polychrome enamel heightening these Vatican bindings strike a somewhat more sober note with their very fine dark-red morocco and rich gold-tooling of high quality" Martin Breslauer Catalogue 107/428.Gumuchian Catalogue de Reliures du XVe au XIXe siecle no. 225 plate 68. Cf. British Library Database of Bookbindings Shelfmark c27e18; For other "Salvioni" bindings see Miner / Walters Art Gallery The History of Bookbinding no. 523; Biblioteca Apostolica Vaticana Legature papali da Eugenio IV a Paolo VI no. 264 plate CXCIII. Gioacchino & Giovanni Giuseppe Salvioni hardcover books
204666Lucques, Leonardo Venturini, 1738-1746 20 forts vol. in-4, texte sur deux colonnes, demi-basane fauve racinée, dos lisses ornés de filets, guirlandes et fleurons dorés, pièces de titre et de tomaison cerise, tranches marbrées (rel. du XIXe s.).
1654R121051Parisiis [Paris], Apud Ioannem Billaine, Simeonem Piget & Frederic Leonard 1654 Complete series of 17 volumes bound in 12 physical volumes, together ca. 11.324pp., in folio (38x26cm.), with engraved vignet on title pages, uniform contemporary full-vellum bindings (bit soiled, all bindings are intact and in good condition except for a tear on upper side of spine of volume 9, handwritten title on spines, raised bands, blind-tooled decorations on both covers, with 2 intact brass clasps for each volume), text printed in two columns, handwritten ex-libris on blanco leaf Ex Libris Rnd Ingolij prior. d.g. momento mori, .., Volume 17 contains the indices and errata, containing texts in Latin and in Greek, text and interior are clean and bright except for the following: volumes 1-2 have an old large waterstain on left side of the pages and volumes 9 to 15 contain an old waterstain on the lower right corner of the pages (these stains do not affect the reading of the text though), [This work is a monumental collection of early Christian writings compiled by the French theologian Marguerin de La Bigne (1546-1597). In 1575, he published his Sacra Bibliotheca Sanctorum Patrum in 8 volumes, gathering the works of ca. 200 early church writers, many of which were printed for the first time. It was re-edited, with the same title, in 1589 (2nd ed.) and 1610 (3r ed.). Subsequently it was re-edited with the title "(Magna) Bibliotheca Veterum Patrum.." in Cologne (1618-1622 in 14 vols.) and in Paris in 1624 (11 vols.) and 1644 (17 vols). Our 1654-edition is a re-edition of the Paris-1644-edition in 17 volumes. De La Bignes work was a strategic reponse to the Protestant Reformation, aiming to demonstrate that the Catholic doctrine was firmly rooted in the writings of the early Church Fathers. By providing authorized versions of texts and by providing such a large collection of patristic texts which previously existed only as manuscripts and/or separate works de La Bigne is considered to be the founder of modern patrology and precursor of the 19th cy. J.P. Migne, publisher of the famous Patrologia], weight: 45kg., rare complete set, R121051
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
1465ST17243bBruges ca. 1465. 193 x 145 mm. 7 5/8 x 5 3/4". Single column 21 lines in a gothic book hand. <br/> Rubrics in red one two-line initial in gold filled with blue on pink ground WITH THREE LARGE HISTORIATED INITIALS: ONE FEATURING AN OVAL-SHAPED PIECE OF FLESH WITH A GASH IN THE CENTER AND TWO WITH CHRIST'S DISEMBODIED FOOT SHOWING THE PUNCTURE WOUND FROM THE CRUCIFIXION each initial in pink or blue with white tracery filled with dark pink and thin gilt lines and dots four wavy blue rays radiating from behind each appendage all within a thin gilt frame both sides with a three-quarter border consisting of hairline vines gold bezants and a few colorful flowers. ◆Vellum a shade less than bright faint marginal rumpling trivial paint transfer on one initial BUT IN FINE CONDITION the initials richly painted and extremely well preserved.<br/> <br/> From a manuscript probably produced in Bruges for the English market this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck Passion Cycle images enjoyed a particular vogue in 15th century Dutch Flemish and English Books of Hours including those that were exported to England. In the present example the strikingly unusual imagery includes the wounds of the left and right foot as well as the spear injury to Christ's side depicted as an oval piece of flesh with a laceration across the center. A sister leaf to the present item features three additional initials showing a portrait of Christ wearing the Crown of Thorns his gaze fixed directly at the viewer and in separate initials his left and right hands appear disembodied and displaying the stigmata. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 lot 16 the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester with their names crossed out indicating that it was in England through at least the time of the Reformation and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant with miniatures possibly by his chief assistant the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library MS Widener 3 and the Huntington HM 1086--both of which were produced in Flanders or the Netherlands around the same time as the present work. The present leaf surpasses both of these examples in terms of excellence of the artistic hand and attention to detail. unknown
Complete set in 26 volumes, together 18.236 pages, text printed in 2 columns, nice uniform hardcover bindings in very good condition (marbled boards, spines in black leather with gilt lettering), 28cm., some foxing at fore edges, stamp at first title page and at verso of title page, text in Latin, pages clean with only few occasional foxing, with an index at the end of each volume, good condition, [Content: Volume 1: De modis significandi sive grammatica speculativa etc. (vi,608pp.) // 2: Quaestiones super libros Elenchorum Aristotelis, super lib. I-II Priorum-posteriorum, in libros I, II et III Physicorum (685pp.) // 3: Quaestiones in libros IV, V, VI, VII, VIII Physicorum Aristotelis, In libros Aristotelis de Anima (782pp.) // 4: Quaestiones Meteorologicae, de rerum principio, De primo rerum omnium Principio (807pp.) // 5: Theoremata, Collationes, Tractatus imperfectus de cognitione Dei, Quaestiones Miscellaneae de formalitatibus, Metaphysicae textualis libri I, II, III, IV (732pp.) // 6: Metaphysicae textualis libri V-XII, Conclusiones Metaphysicae (672pp.) // 7: Quaestiones subtilissime super libros Metaphysicorum Aristotelis (711pp.) // 8: Quaestiones in primum librum sententiarum distinctio prima et secunda (650pp.) // 9: Id. distinctio 3 usque ad 13 (916pp.) // 10: Id. a distinctione 14 usque ad 48 (789pp.) // 11: Quaestiones in secundum librum sententiarum a distinctione prima usque ad secundam (569pp.) // 12: id. a distinctione 3 usque ad 14 (683pp.) // 13: id. a distinctione 15 usque ad 44 (506pp.) // 14: Quaestiones in tertium Librum Sententiarum a distinctione prima usque ad vigesimam secundam (785pp.) // 15: id. a distinctione 23 ad 40 (1104pp.) // 16: Quaestiones in quartum librum sententiarum a distinctione prima usque ad septimam (712pp.) // 17: id. a distinctione 8 usque ad 13 (779pp.) // 18: Id. a distinctione 14 usque ad 22 (830pp.) // 19: Id. a distinctione 23 usque ad 42 (570pp.) // 20: Id. a distinctione 43 usque ad 48 (544pp.) // 21: Id. a distinctione 49 usque ad 50 (575pp.) // 22: Reportata Parisiensia Liber primus dist.1-48, liber secundus dist.1-11 (692pp.) // 23: Id. liber secundus dist.12-44, Liber tertius dist.1-35, Liber quartus dist.1-6 (674pp.) // 24: Id. liber quartus a dist. 7 usque ad 49 (696pp.) // 25: Quaestiones Quodlibetales, a quaestione prima usque ad tertiam decimam (588pp.) // 26: Quaestiones quodlibetales XIV-XXI, Concilationes, Opusculum de contradictionibus, De perfectione statuum (571pp.)], F92326
1891F92326Parisiis [Paris], Ludovicus Vives 1891-1895 Complete set in 26 volumes, together 18.236 pages, text printed in 2 columns, nice uniform hardcover bindings in very good condition (marbled boards, spines in black leather with gilt lettering), 28cm., some foxing at fore edges, stamp at first title page and at verso of title page, text in Latin, pages clean with only few occasional foxing, with an index at the end of each volume, good condition, [Content: Volume 1: De modis significandi sive grammatica speculativa etc. (vi,608pp.) // 2: Quaestiones super libros Elenchorum Aristotelis, super lib. I-II Priorum-posteriorum, in libros I, II et III Physicorum (685pp.) // 3: Quaestiones in libros IV, V, VI, VII, VIII Physicorum Aristotelis, In libros Aristotelis de Anima (782pp.) // 4: Quaestiones Meteorologicae, de rerum principio, De primo rerum omnium Principio (807pp.) // 5: Theoremata, Collationes, Tractatus imperfectus de cognitione Dei, Quaestiones Miscellaneae de formalitatibus, Metaphysicae textualis libri I, II, III, IV (732pp.) // 6: Metaphysicae textualis libri V-XII, Conclusiones Metaphysicae (672pp.) // 7: Quaestiones subtilissime super libros Metaphysicorum Aristotelis (711pp.) // 8: Quaestiones in primum librum sententiarum distinctio prima et secunda (650pp.) // 9: Id. distinctio 3 usque ad 13 (916pp.) // 10: Id. a distinctione 14 usque ad 48 (789pp.) // 11: Quaestiones in secundum librum sententiarum a distinctione prima usque ad secundam (569pp.) // 12: id. a distinctione 3 usque ad 14 (683pp.) // 13: id. a distinctione 15 usque ad 44 (506pp.) // 14: Quaestiones in tertium Librum Sententiarum a distinctione prima usque ad vigesimam secundam (785pp.) // 15: id. a distinctione 23 ad 40 (1104pp.) // 16: Quaestiones in quartum librum sententiarum a distinctione prima usque ad septimam (712pp.) // 17: id. a distinctione 8 usque ad 13 (779pp.) // 18: Id. a distinctione 14 usque ad 22 (830pp.) // 19: Id. a distinctione 23 usque ad 42 (570pp.) // 20: Id. a distinctione 43 usque ad 48 (544pp.) // 21: Id. a distinctione 49 usque ad 50 (575pp.) // 22: Reportata Parisiensia Liber primus dist.1-48, liber secundus dist.1-11 (692pp.) // 23: Id. liber secundus dist.12-44, Liber tertius dist.1-35, Liber quartus dist.1-6 (674pp.) // 24: Id. liber quartus a dist. 7 usque ad 49 (696pp.) // 25: Quaestiones Quodlibetales, a quaestione prima usque ad tertiam decimam (588pp.) // 26: Quaestiones quodlibetales XIV-XXI, Concilationes, Opusculum de contradictionibus, De perfectione statuum (571pp.)], F92326
1480376224Venice: Octavianus Scotus 1480. Text printed in double column 52 lines. Initials left blank. 460 leaves. 1 vols. Small 4to. Twentieth century brown morocco. Rebacked spine with traces of soiling and fire damage. Bound without a1 blank repair at foot of a1 and at corner of last leaf; cc14 mounted. Lacking H5-6 text supplied in near contemporary manuscript on 3 leaves. Text printed in double column 52 lines. Initials left blank. 460 leaves. 1 vols. Small 4to. Early work from the press of Scotus who became one of the most prolific Venetian publishers issuing numerous books until his death in 1498. Nice example of a smaller format bible. The text for the missing New Testament leaves omittted in binding at a very early stage Titus Philemon Hebrews 1-7 are supplied in a clear near contemporary hand. ISTC ib00570000; GW 4245. Provenance: General Theological Seminary gift of Cornelius Vanderbilt and Dean Augustus Hoffman bookplates and blindstamps Octavianus Scotus 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
17562896Rome: Gioacchino & Giovanni Giuseppe Salvioni 1756. <p>8vo 208 x 133 mm. 24 407 1 pp. 2 parts the Office of the Dead separately titled. Printed in red and black. Engraved frontispiece and 12 full-page engravings by Arnold Van Weserhout and Jacob Frey after Joseph Passarus Giuseppe Passaro two engraved title vignettes 12 engraved tailpiece vignettes a few unsigned others by Frey after Passaro or by M. Schedi engraver 3 engraved capital initials numerous red-printed woodcut initials. Foxing occasionally severe short marginal tear to fol. Z7.<br /> Slightly later eighteenth-century Roman gold-tooled red goatskin covers with large dentelle border composed of a triple neo-classical roll-tooled outer frame enclosing six large ornaments each with a basketweave design of diagonally crossing gilt fillets framed in volutes and leafy sprigs a few tiny petal or star tools board edges protected with a probably later frame of silver or silver-plated metal discreetly nailed to the binding two elaborately chased silver fore-edge clasps and catches spine in six uniformly gold-tooled compartments gilt edges with gauffred border design pair of green ribbon page markers marbled endpapers; 20th-century black morocco felt-lined case. Provenance: with Gumuchian Catalogue XII/1930/225; Maurice Burrus bookplate purchased from Gumuchian in 1934 purchase notes at end. <br /> <br /> A striking rococo binding in fine condition on a luxuriously printed and illustrated Office of the Virgin from the official Vatican press.<br /> <br /> From the mid- to late eighteenth century the Salvioni press used one or more bookbinding workshops that produced finely gold-tooled bindings for their Vatican publications. Although often referred to as the “Salvioni bindery†this appellation is circumstantial: â€the Salvioni firm was responsible for promoting the bindings but it is not known which workshop produced them†British Library Database of Bookbindings. Some of these “Vatican†bindings incorporated variously colored or mottled leather. This example with its basketweave cartouches relies purely on tooling for its effect. An example evidently from the same workshop on a book printed at Rome in 1791 by Salomini using analogous cartouches as corner-pieces as well as a similar “spiraling†border design and some of the same leafy spray and star tools is reproduced in Legature papali no. 264.<br /> <br /> “Whereas the . more flamboyant bindings produced by the Salvioni Bindery rely frequently on polychrome enamel heightening these Vatican bindings strike a somewhat more sober note with their very fine dark-red morocco and rich gold-tooling of high quality†Martin Breslauer Catalogue 107/428.<br /> <br /> Gumuchian Catalogue de Reliures du XVe au XIXe siecle no. 225 plate 68. Cf. British Library Database of Bookbindings Shelfmark c27e18; For other “Salvioniâ€Â bindings see Miner / Walters Art Gallery The History of Bookbinding no. 523; Biblioteca Apostolica Vaticana Legature papali da Eugenio IV a Paolo VI no. 264 plate CXCIII. </p> Gioacchino & Giovanni Giuseppe Salvioni unknown
1500ST20810RParis ca. 1500. 163 x 115 mm. 6 1/2 x 4 1/2". Single column 18 lines in a gothic book hand. <br/> Rubrics in red line fillers in blue and pink with gold bezant six one-line initials in burnished gold on pink and blue ground two two-line initials in blue on gold ground with a flower in the center one three-line initial in blue filled with ivy on gold ground verso with panel border of colorful flowers and acanthus recto with A LARGE ARCH-TOPPED MINIATURE OF THE CORONATION OF THE VIRGIN with an "L" shaped frame of burnished gold and painted flowers and A FULL BORDER of acanthus flowers a man playing a bagpipe and a hybrid creature wearing a hat all on a painted gold ground. Very minor wrinkling to vellum but the leaf IN LOVELY CONDITION with the gold everywhere gleaming brightly.<br/> <br/> From a luxuriously appointed Book of Hours this leaf features a handsome miniature of the Coronation of the Virgin attributed to the workshop of Jean Pichore fl. ca. 1502-20 a major figure among illuminators of the period and one of the most sought-after artists in France at the turn of the 16th century. Executed with imagination and delicacy the miniature features the traditional subject associated with the hour of Compline showing the Virgin being crowned Queen of Heaven following her Death and Assumption. The composition here is quite intimate with the Virgin kneeling before her son as she accepts with humility the crown he lays upon her head. Christ is depicted barefoot and slightly bowed toward his mother in a gentle display of respect. The artist creates a wonderful backdrop for this scene composed entirely of seraphim painted gold blue light pink and green closely packed together. Two of the seraphim hold up light pink draperies behind the central figures as if to shield this tender moment from prying eyes. The borders here are a source of delight featuring a figure wearing a jester-like cap and playing the bagpipe as well as a creature with the body of a bird and the face of a human donning a rather fashionable bycocket cap. The illumination here is of high quality features a liberal use of gold and contains unique marginal details suggesting that the original manuscript must have been a costly commission for a wealthy patron. unknown
1500ST20810PParis ca. 1500. 165 x 117 mm. 6 1/2 x 4 5/8". Single column 18 lines in a gothic book hand. <br/> Rubrics in red line fillers in blue and pink with gold bezant five one-line initials in burnished gold on pink and blue ground one two-line initial in blue on gold ground with a flower in the center one three-line initial in blue filled with ivy on gold ground recto with panel border of colorful flowers vase and acanthus verso with A LARGE ARCH-TOPPED MINIATURE OF THE ANNUNCIATION TO THE SHEPHERDS surrounded by A FULL BORDER of acanthus flowers and two birds all on a painted gold ground. Slight soiling to vellum but a very well-preserved leaf in fine condition.<br/> <br/> From what was surely a costly Book of Hours this leaf features a charming and skillfully painted miniature of the Annunciation to the Shepherds attributable to the workshop of Jean Pichore fl. ca. 1502-20 a major figure among illuminators of the period and one of the most sought-after artists in France at the turn of the 16th century. Depicting the traditional subject associated with the hour of Terce our miniature portrays as usual an angel appearing to shepherds tending their flock bringing news of the birth of Christ. Although the biblical narrative suggests that the shepherds were startled by the angel's appearance the three figures in this miniature appear remarkably unmoved--in fact only one of them seems to take any notice at all. The first shepherd sits on the ground looking straight ahead; the second holds his hands in prayer but looks little more than well prayerful at the angel in the sky; and a third figure maintains a slightly aloof expression taking no particular interest in the unfolding miraculous event. What may seem to be indifference can be explained easily enough by the artist's successful portrayal of nighttime cold! All three shepherds are thickly dressed one with his arms pressed tightly against his chest another with a hood partly covering his face and the sheep are tightly huddled together into one woolly white cluster. Another manifestation of the artist's success here is seen in the particularly well done molding of the faces with subtle shading attractively rendered features and clear individuation. Moreover although the shepherds seem essentially unmoved their garments are dusted with a glistening gold radiance from above a further subtle touch revealing a high level of achievement on the part of the painter. Finally the borders are one last source of delight with a small bird shown in mid-flight and a second one investigating a single strawberry that seems to have been placed there just for him. All of these indications of sophistication suggest that the original manuscript must have been commissioned by a patron able to pay a premium for the work of a highly skilled atelier. unknown
ST20973Italy 15th century. 364 x 260 mm. 14 3/8 x 10 1/4". Single column 22 lines in a rounded gothic book hand. <br/> Rubrics in red versal initials alternating red and blue with purple penwork one three-line initial in blue with purple penwork A SIX-LINE "A" DEPICTING THE ASSUMPTION OF THE VIRGIN the initial painted pink with red green and blue nodes and acanthus on a burnished gold ground with extensions running the length of the text column incorporating more acanthus and small gold embellishments with sprays of the gold leaves at the top bottom and center. A little rubbing to the paint negligible soiling and small spots to margins but in excellent condition overall.<br/> <br/> This very large handsomely preserved leaf features a strikingly attractive initial of the Virgin opening the beloved hymn "Ave Maris Stella" "Hail Star of the Sea". Dating back to at least the ninth century and traditionally associated with the hour of Vespers on Marian feast days as here the hymn praises the Virgin's purity meekness and mercy calling upon her as the "Nurturing Mother of God" to dispel evil and free us from our sins. Inside the gilt and painted initial is a lovely portrait of the Virgin who is depicted seated against a red mandorla dressed in pink and wrapped in a green and blue mantle--perhaps a reference to the colors of the ocean. Her hands are raised in prayer fingers lightly touching above her heart and her well-defined features appear both strong and serene. Judging from the size of the initial liberal use of gold and the wide margins of this leaf the original manuscript must have been a costly item produced for a wealthy church or monastery. unknown
1420ST12005fFrance probably Paris ca. 1420. 210 x 146 mm. 8 1/4 x 5 3/4". Single column recto with five lines of text verso with 16 lines all in a very pleasing very regular gothic book hand. <br/> Attractively matted. Rubrics in red verso with a one-line and two two-line initials as well as a line filler in colors and burnished gold recto with a one-line initial and a line filler in the same style and with a quite large five-line "D" in pink and white with enclosed floral diapering all on a burnished gold ground the same side WITH A LOVELY FULL BORDER of swirling hairline stems bearing numerous leaves and berries of burnished gold and with sprays of acanthus leaves and flowers in multiple colors spilling from the corners this ENCLOSING A POIGNANT ARCH-TOPPED MINIATURE OF THE REMOVAL OF CHRIST FROM THE CROSS measuring approximately 85 x 60 mm. the miniature within a thin gold frame and enclosed in turn on three sides by bars in colors and gold the scene showing two men on ladders unfastening Christ's lifeless body from the cross while Joseph of Arimathea waits below clutching cloth to be used for a burial shroud as the Madonna at the lower left of the picture reaches up to clasp her son's bloody arm. With a small cross stitched in white thread in each upper corner. ◆A little soiling right along hinge edge a few smudges in the border a couple of tiny flakes of paint missing from the cross and the sky otherwise fine the vellum clean and fresh the colors rich and the gold lustrous.<br/> <br/> This is an especially sorrowful scene depicted with power grace and sensitivity by an artist demonstrating very considerable skill in composition and execution. The scene is well designed with the cross providing a device for focus at the center of the miniature. Nicodemus identified by his expensive attire is atop a ladder behind the cross lowering Christ's limp body onto the shoulder of another man probably a servant whose ladder is set against the front. Despite the fact that the corpse is more bones than flesh the artist has made it seem a heavy burden draped over the shoulder of the man as he walks backward down his ladder. Fully stretched out Christ's left arm is held for balance by Nicodemus at the top right while the other arm hangs down toward the Virgin. While we can only see her back her image evokes great pathos as she reaches up with both hands to grasp the mangled arm of her son his blood running from his hand onto hers. Joseph of Arimathea whose position anchors the right side of the picture looks on with concern tightly holding linen to shroud the body. St. John and Mary Magdalen conventional participants in the Deposition are not present in this miniature. While it is possible and even likely that the same artist produced this scene and the miniature of Christ Carrying the Cross this one is better as the faces are more deftly painted and the folds in the various garments are more clearly defined. unknown
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
1840JLJ-7447 volumes séparés en deux, soit 14 volumes – Complet. Parisiis, Excudebant Firmin Didot Fratres, Instituti regii franciae typographi, 7 volumes séparés en 2 soit 14 volumes - Complet. 1840-1850. Dos de cuir verts, plats cartonnés. Titre auteur et tomaisons dorés. Pages non rognées. Bel ensemble.
1465ST11151bBruges ca. 1465. 181 x 127 mm. 7 1/8 x 5". Single column 19 lines in a careful pleasing gothic book hand. <br/> In a very attractive new gilt wooden frame. Rubrics in pink or faded red one two-line initial in blue magenta and burnished gold two lines with undulating line fillers in blue and gold both sides of the leaf with a three-quarter panel border incorporating foliage blossoms and ivy leaves on hairline stems the vertical part of this frame with a bar border composed of colors and burnished gold terminating at top and bottom in colorful acanthus leaves and WITH TWO SMALL BUT VERY PLEASING MINIATURE PAINTINGS SAINT ELIZABETH ON THE RECTO AND SAINT GERTRUDE ON THE VERSO. ◆Tiny wormhole in fore edge where it has done negligible damage small portions of the blue paint in the Elizabeth miniature eroded gray paint slightly smeared as well but apparently at the time of painting otherwise in fine clean fresh condition.<br/> <br/> This leaf is characteristic work from the circle of Willem Vrelant the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century. His leading position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. The illuminator of our Book of Hours shows a number of distinctive stylistic traits. Among these are a preference for boldly patterned cloth backdrops tessellated flooring landscapes filled with stylized bushes and trees and persisting prominent architectural constructions that frame the subject frequently in a corner in these leaves it is a waist-high outdoor wall or an indoor feature resembling wainscoting. The inclination for strong geometrical patterning is manifested in the artist's angular treatment of human figures and their garments. Dressed in pink and blue Elizabeth is depicted with a sweet round face. She is saluted here as the woman worthy to be the mother of John the Baptist the forerunner of the Redeemer. Gertrude is dressed in monastic black although a pink undergarment is visible and her inky habit is trimmed in gold. This shimmering feature is a reminder that Gertrude 626-59 was the daughter of Pepin I of Landen Mayor of the Palace for the Frankish realm of Austrasia and the forebear of Charlemagne. Gertrude is a natural choice for illustration by an artist of Bruges since she was the patron of nearby Nivelles. The saint was routinely invoked for aid in coping with mice and is here shown surrounded by four animated rodents as black as her habit. No legend survives to explain why she had such power over the creatures who seem here to be more her pets one climbs her staff of office than her victims. unknown
1612FDC-20Paris, Guillaume Marette, 1612, in-4, 103 pp., vélin ancien.
'Opera omnia' complete in 28 volumes: 26 volumes + 2 volumes of indices, text in latin, original 1856-1878-edition (except 'Indices'), Editio nova (second edition, the first of which was printed in 1740-1751 in Venice), 27cm., text printed in 2 columns, all vols. including the compendium are uniformely bound (cart.cover with marbled plates, gilt lettering & decorations on leather spines, marbled endpapers) except for the indices (vols.27-28, anastatic reprint of the Paris 1878-edition: Bruxelles, Culture et civilisation, 1963, 29cm., full cloth), few foxing, small library stamp at titlepages, nice set in a beautiful binding, to which is added: 'Summa seu Compendium' by Fr.Noel (complete in 2 volumes, original Migne-edition of 1858), [Opera omnia: cfr. De Backer & Sommervogel, VII col.1680 no.24, Suarez Franciscus S.J., Grenada 1548 - Lisbon 1617 / Compendium: cfr. De Backer & Sommervogel V col.1793 no.12, Franciscus Noel, Hestrud 1651 -Lille 1729], R66464
1856R66464Parisiis [Paris] / Petit-Montrouge, apud Ludovicum Vivès / J.-P. Migne 1856-1878 (1963) / 1858 'Opera omnia' complete in 28 volumes: 26 volumes + 2 volumes of indices, text in latin, original 1856-1878-edition (except 'Indices'), Editio nova (second edition, the first of which was printed in 1740-1751 in Venice), 27cm., text printed in 2 columns, all vols. including the compendium are uniformely bound (cart.cover with marbled plates, gilt lettering & decorations on leather spines, marbled endpapers) except for the indices (vols.27-28, anastatic reprint of the Paris 1878-edition: Bruxelles, Culture et civilisation, 1963, 29cm., full cloth), few foxing, small library stamp at titlepages, nice set in a beautiful binding, to which is added: 'Summa seu Compendium' by Fr.Noel (complete in 2 volumes, original Migne-edition of 1858), [Opera omnia: cfr. De Backer & Sommervogel, VII col.1680 no.24, Suarez Franciscus S.J., Grenada 1548 - Lisbon 1617 / Compendium: cfr. De Backer & Sommervogel V col.1793 no.12, Franciscus Noel, Hestrud 1651 -Lille 1729], R66464
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
