Search Results: illuminated bible

Paris, 1400. BOOK OF HOURS. Use of Paris)  In French and Latin, illuminated manuscript, on parchment France, Paris, c. 1400-1410 15 large miniatures by the Master of the Bible Historiale MS fr. 159 (as described by Les Enluminures) This beautifully executed and unusual Parisian Book of Hours was painted at the time of the Duke of Berry. The "realism" seen in the illuminations represents a special moment in Parisian art, one exemplifying its northern origins.  The miniatures are attributed to one of the artists responsible for the Bible Historiale also referred to as the Master of the Bible Historiale fr. 159 (Paris, BnF MS fr. 159).  The female patron who ordered the book appears twice in the miniatures. 224 folios, mostly in gatherings of 8 (i12), complete, pastedowns and two flyleaves at front and back, some catchwords, written in a dark brown ink  in a gothic liturgical script, on 14 long lines, by different hands, ff. 82-82v and ff. 219v-223v written by a slightly posterior  hand, ruled… Read More

Nuremberg, Anton Koberger, 1483. *** Splendide édition de la Bible, illustrée de 109 gravures sur bois, toutes coloriées à l'époque. L'exemplaire est d'un très beau coloris. Les couleurs utilisées, bleu, jaune, vert, parme, marron sont d'une teinte profonde. La majorité de ces gravures sont apparues dans une édition de la bible, en bas allemand, donnée par Bartholomaeus de Unkel et Heinrich Quentell, à Cologne vers 1478-79. Anton Koberger, plus connu pour son "best seller", de l'époque, la "Chronique de Nuremberg" a fait un usage remarquable de ces illustrations. Elles ont été imitées dans les illustrations des bibles parues par la suite. On y trouve même son influence dans la série de gravures de l'Apocalypse de Dürer parues en 1498. Anton Koberger était du reste le parrain d'Albrecht Dürer, dont la famille habitait la même rue. Tout d'abord orfèvre, Koberger s'installa imprimeur en 1471. Il devint vite le premier imprimeur d'Europe, employant jusqu'à une centaine d'ouvriers,… Read More

Bracciano: Andreas Phaeus, 1630. First edition. EXTREMELY RARE LARGE AND THICK PAPER COPY. First edition, extremely rare large and thick paper copy, of the most lavishly illustrated astronomical work published in the first half of the seventeenth century, with many full-page illustrations of Scheiner's observations of the sun and of the optical instruments he had designed for the purpose. "For his masterpiece, Scheiner produced the first monograph on a heavenly body, the Sun. Even today it is still an impressive volume, with scores of engravings of sunspots and the various instruments needed for solar observations" (Jesuit Science in the Age of Galileo). "Scheiner's drawings in the Rosa Ursina are of almost modern quality, and there was little improvement in solar imaging until 1905" (Britannica). In this work "Scheiner agreed with Galileo that sunspots are on the Sun's surface or in its atmosphere, that they are often generated and perish there, and that the Sun is therefore not perfect. Scheiner… Read More

Italy [Florence], colophon dated 1456-57. 268 x 187 mm. (10 1/2 x 7 3/8"). 176 leaves, COMPLETE, single column, 31 lines alternating red ink for Latin and dark brown ink for Italian translation, in a very fine humanist hand. Contemporary Italian panelled calf over wooden boards, cover with mitered frame of blind rules, inner arabesque roll frame, and central panel diapered in ogival compartments formed by interlacing semi-circular rope tools, raised bands, original clasps replaced with modern hardware, edges gilt and gauffered with chevrons and flowers, expertly rebacked to style. Paragraph marks in red or blue, initial letters of each sentence in contrasting color to main text, running titles in red, 10 ORNATE WHITE VINE INITIALS, the first two very large and extending quite far down the page, the letters burnished gold and skillfully linked with white vines against a pink and green background outlined with blue and further decorated with clusters of white dots (the drawing of a crowned female head… Read More

Strasbourg : J. Schott, 1522.
Folio, gothic lettering, 35 ll. (of 37) with 6 large full-page woodcuts; 118 ll. with 1 full-page woodcut; (28) ll. (of 29) with 18 full-page woodcuts; 110 ll. with 6 full-page woodcuts; 41 ll. (of 42, f. 38 missing) with 9 full-page woodcuts. [Postille sur les quatre évangiles pour toute l'année, le carême et les fêtes de quelques saints]. Missing leaves XV-XVI of the 1st part, A1 of the 3rd part, XXXVIII, that is 332 leaves out of 336. Main tears: title page of part 2 torn, half a page of text missing from folio LXIII, tear with missing parts on ff. C6 and E2 part 2. Half vellum with ribbed spine, decorated hardback covers. Contemporary binding.
282 x 192 mm.
Half-vellum, ribbed spine, decorated cased boards. Contemporary binding.
First edition decorated with 141 woodcuts entirely hand-colored in 1522 of which a full-page portrait of Geyler, 40 full-page woodcuts and 100 woodcuts inside the text.
Geiler von Kaysersberg, famous preacher, was born in Schaffhausen in… Read More

e. London: March 8, 1825 [i.e. London: John Linnell, 1874]. Large folio, title-page and 21 plates printed on India paper. Mounted on large sheets as issued, enclosed in a blue morocco box (slightly worn) lettered in gilt. Bookplate of Robert Pirie. § A very good set of the posthumous edition printed from the original plates (with the word “proof” removed) for Linnell by Holdgate Brothers. The India paper set is the best printing of these famous plates which comprise Blake’s major single achievement as a printmaker after the illuminated books. Illustrations of the Book of Job was Blake’s last completed prophetic book: the text, a series of biblical quotations, is above and below each image. “It was produced while Blake was still working on Jerusalem, his most obscure book; yet the illustrations are Blake’s most lucid; and they are the supreme example of his reading the Bible in its spiritual sense” (S. Foster Damon, A Blake Dictionary, p. 217). “The modest size of the central panels… Read More

Netherlands (probably Zwolle), ca. 1470-80. 138 x 108 mm. 5 1/2 x 4 1/4"). 140 leaves (apparently lacking seven leaves, possibly with initials or miniatures). Single column, 17 lines in a gothic book hand. Contents: Hours of the Virgin (f. 2r); the Hours of the Cross (f. 44r); the Penitential Psalms and Litany (f. 69r); Office of the Dead (f. 96r); Calendar (f. 129r). Inoffensive 18th century black morocco with gilt-tooled border, double raised bands tooled in gilt, compartments with gilt floral tools, turn-ins with gilt chain rule, pink silk endleaves, all edges gilt. Rubrics in red, numerous one-line initials in burnished gold with purple penwork, or painted blue with red penwork, many two-line initials in burnished gold on pink and blue ground with white tracery, most of these with hairline sprays extending into the margins and decorated with gilt bezants, 12 large initials (measuring between four and six lines) painted blue with white tracery, in-filled with pink and/or green flowers, on… Read More

1350. Medieval History, Literature, Law|All Medieval Historical Documents This work takes its place on the lineage of great early works, along with the Arthurian tales These are exceptionally early witnesses to this most important literary text, the most popular secular work of the entire Middle Ages Appearances of this seminal text are uncommon, only a handful having reached the market in decades Linguistic variations suggest a non-Parisian scribe; evidence of re-use in the 17th century from manuscript markings[video width=""1920"" height=""1080"" mp4=""https://raab-collection-uploads.storage.googleapis.com/wp-content/uploads/20231204130246/Roman-de-la-Rose.mp4""][/video] The influence of the Old French allegorical poem, the Roman de la Rose, ripples through the Middle Ages into the Renaissance even into Modernity, attracting the attention, and inspiring the works, of Chaucer, Dante, and C. S. Lewis. Lewis even stated that in cultural importance it ranks second to none except the… Read More

1400. Theology and Scripture|Medieval Art|All Medieval Historical Documents Books of Hours, private devotional books, intended to guide their reader through the various hours of daily prayer, emerged from the Psalter, a book used by monks and nuns to order their daily devotions. From the fourteenth century, wealthy lay-people began to increasingly want to take part in these regular acts of prayer, and so a demand was created for similar books aimed at the laity. These had twin aims – to aid the user in their prayers, for which a set system of prayers and aids to these was developed (though variable depending on location) - and to demonstrate the wealth and influence of the owner, leading to increasingly more decoration and large devotional images, often by professional artists or workshops dedicated to the production of these books. This type of book was steadily produced in continually increasing numbers throughout the Middle Ages into the Early Modern period, becoming something of a medieval… Read More

THE UNIQUE PROOF COPY OF AN EXTREMELY RARE BOOK OF HOURS BY THE ATELIER OF GERMAIN HARDOUIN PRINTED ON VELLUM WITH THE ILLUSTRATIONS FROM JEAN PICHOIRE AND THE MASTER OF THE APOCALYPSE OF THE ROSE'S ATELIER AND FINELY ILLUMINATED IN PARIS BY THE MASTER OF NICOLAS DE LA FONS.
FROM THE COLLECTIONS OF ULRICO HOEPLI & HANS PETER KRAUS BOOK OF HOURS, USE OF ROMAN CHURCH.
Hore divine virginis Marie, secundum usum Romanum cum aliis multis folio sequenti notatis, una cum figuris Apocalipsis et destructio [sic] Hierusalem, et multis figuris Biblie insertis. Ad colophon: Parisius noviter impressum opera Germani Hardouyn commorantis ante Palatium regis, ad intersinium [sic] dive Margarete, [ca. 1518]). (Paris, Germain Hardouin, 1518)
8vo (170 x 110 mm), 17th century brown calf, gilt fillets and floral tools, a central piece on which is stamped the monogram TCC, a similar monogram with the only CC interlaced is gilt on the sides of the gilt frame, ff. [84], signature a-k8, l4, (not printed in this copy), almanac… Read More

Basel: [Sebastian Henricpetri], 1628. First edition. THE MOST EXTENSIVE EDITION OF MÜNSTER'S COSMOGRAPHY . A fine copy, untouched in a contemporary binding, of the last German edition of the Cosmography, "the first modern" work of geography (Hodgen, p. 506). This, the most extensive of all the editions of Münster's great work, contains 68 maps and plans published here for the first time. Münster was a cartographer, historian, and linguist who combined his expertise to create this tour-de-force work, which "brought all the empires of man into a single meaningful progression ... [and] this single thread of history he married to geography, so that each should mirror and illuminate the other" (McLean). "Münster's first major contribution to geography dates from 1540, the year of the publication of his Latin translation of Ptolemy's Geography, illustrated with maps of his own design. Having addressed an appeal in 1528 'to all lovers of the joyful art of geography to help him in a true and correct… Read More

Two folding engraved facsimiles (one in red & black). xxviii, 583 pp.; 2 p.l., 473 pp. Two vols. Large 8vo, cont. red straight-grained half morocco & glazed red paper boards bound in Vienna for Archduke Karl ("Carl Ludwig"), flat spines gold-tooled & lettered in compartments, the Archduke's initials "CL" in top compartment. Paris: De Bure, 1815. [bound with]:(-). Catalogue des Livres rares et précieux...provenant de la Vente de feu M. le Comte de Mac-Carthy-Reagh à vendre aux prix marqués à chaque Article. [iii]-vi, 57, [1] pp. 8vo. Paris: De Bure frères, 1817. [bound with]: (-). Liste des Prix des Livres... 1 p.l., 38 pp., one leaf of ads. 8vo. Paris: De Bure frères, 1817. A magnificent set, one of only six copies printed on "grand papier d'Annonay," in contemporary Viennese red morocco bound for Archduke Karl-Ludwig, Duke of Teschen (1771-1847), Field Marshal General and victor at the battle… Read More

Paris: Guillaume Anabat for Germain Hardouyn, 1 October 1505 (Almanac for 1505-1520). Octavo. Printed on vellum. Collation: a-n8 o4: 108 ff., unnumbered. Blackletter type. Large Hardouyn device on title-page (Renouard 434; Nettekoven p. 135, no. 223); Hardouyn's Planetary Man cut; three large cuts (St. John with the Poisoned Cup, The Betrayal of Christ, and The Holy Trinity with the Church and its four Cardinal Virtues; Zöhl p. 174); twelve mid-size cuts (The Life of Christ; Nettekoven pp. 122-123, no. 211-222); 26 smaller cuts of saints and biblical subjects; a small cut of the crucifixion on the final leaf; each page printed within an elaborate multi-block border, sometimes incorporating letterpress captions. 194 x 124 mm. Decorated throughout; the larger initials illuminated with floral decoration in gold and colors; rubricated with the small initials and line-fillers supplied in gold on red or blue grounds; the arms on Hardouyn's device painted over with an unidentified coat of arms; the borders… Read More

Brown calf binding with raised banding and gilt title on the spine. Embossed decorative border on both boards. In a newly made fitted box.
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In researching the history of 'Novum Testamentum' there are some established facts and then matters of repute - drilling down on repute I am having difficulty in converting repute to fact.
Facts

The book was printed by Charlotte Guillard who inherited France's then most prestigious Print shop. Her history and that of the print works along with their production of 'Novum Testamentum' is recorded.
The book was given by the French ambassador, Antoine, 1st comte de Noailles, to Queen Mary in July 1554 to mark her marriage to Philip.
The Novum Testamentum has handwriting within which is identified with that of Queen Mary Tudor, there are also extensive symbols which are associated with the Jesuits.
The Novum Testamentum was removed from the library of Traquair House,… Read More

[Amsterdam]: s.n., 1641. FIRST EDITION. 145 x 183 mm. (5 3/4 x 7 1/4"). [44] leaves (complete). ELEGANT 19TH CENTURY NAVY BLUE CRUSHED MOROCCO, GILT, BY DAVID (stamp-signed on front turn-in), covers with French fillet frame and floral cornerpieces, raised bands, spine compartments with floral centerpiece, paisley cornerpieces, gilt titling, gilt-rolled turn-ins, marbled endpapers and flyleaves, all edges gilt. WITH 50 OVAL PORTRAIT-STYLE ENGRAVINGS AND ONE FULL-PAGE ENGRAVING. Front free endpaper with morocco bookplates of Robert Hoe and Cortlandt Bishop and with engraved armorial bookplate of Hermann Marx; old seller's description pasted on to front marbled flyleaf. Text in French, Dutch, and German. Franken, "L'oeuvre gravé des van de Passe" 1372; Brunet I, 22 ("rares et fort recherchés"); USTC 1010417. ◆Joints and extremities with just a hint of rubbing, text lightly washed and pressed (in keeping with bibliophilic fashion at the time of binding), but AN ESPECIALLY APPEALING COPY--clean,… Read More

[Köln] : [Southern Germany : n.pr., about 1480-90?] or [Cologne? : n.pr., about 1483] or [Ludwig von Renchen?], 1483 Deutschla, 1480. First Edition. First edition. - First blank almost loose, with backed tear and torn of corner as well as "Rosarium sup(er) bibliam" in old handwriting, flyleaf with purchase note dated 1908, small water stain on the bottom corner in the first half of the work, slightly soiled and tanned. - Wide margined copy from the Wican Free Public Library (blind stamp and bookplate). - 19th centuy half vellum (slightly scrachted and scuffed). Rubricated and initials supplied in red and blue. ¶ This is one of the earliest printed books on the ars memorativa or mnemotechnics the rare first edition of the Roseum memoriale composed by the German Benedictine monk Petrus of Rosenhaym (Upper Bavaria), written between 1423 and 1426 for Cardinal Giulio Branda di Castiglione. Petrus of Rosenhaym composed numerous treatises, sermons, and verses: the Roseum memoriale is surely his most… Read More

Cleveland, Ohio: Otto Ege, 1930. Hardcover Box. Fine. First edition. 1+15 leaves. Folio. Leaf book in black and red portfolio with ties, white and red letters on spine and the front board. Two preliminary leaves (index) and fifteen original manuscript leaves in various sizes. Each hinged into a window-mounted folder with explanatory printed captions identifying contents. From the collection and notes prepared by Otto Ege. 14 leaves on paper and one (no. 7) on vellum. Leaf no. 10 has an illustration. Some of the leaves are heighted in gold or with other illuminations, and two including musical notations. Fine as new copy. The leaves written between 12th and 18th centuries, twelve of the Middle East, two of Russia, and one of Tibet. Texts mostly covering religious contents represented in Arabic, Syriac, Armenian, Ethiopic, Tibetian, Greek and Slavic and two pages of Persian poetry (no. 8 and 10). The leaves from Otto Ege's collection (d. 1951); he was the dean of the Cleveland Institute of Art,… Read More

New York: Pageant Books,, 1961. Faithful reproduction of the first substantial book printed from moveable type in Europe The first American facsimile of the Gutenberg Bible, in the deluxe binding of full morocco (copies were also issued in half morocco or red cloth). 1,000 copies in total were issued, this unnumbered. The Gutenberg Bible was the first complete book printed in the West using moveable type. It was first published in Mainz in 1455. This facsimile was derived from the German Insel Verlag facsimile - the only facsimile to precede this American edition - which was taken from the copies at Berlin and Fulda, widely regarded as among the most beautiful copies. The facsimile is suitably lavish, the text printed with lithography and the illuminations by sheet-fed gravure, all printed on rag paper and bound by hand. 2 volumes, large folio. Original purple morocco, spines lettered in gilt, covers stamped in blind incorporating Gutenberg's initials, turn-ins ruled in blind, marbled endpapers, gilt… Read More

15 manuscript leaves of various sizes, each hinged to uniform card window mounts (18 1/2 x 13 1/16 inches). 14 leaves on paper and 1 on vellum, some heighted in gold or with other illuminations, each with printed paper slip identifying the manuscript leaf, with printed contents leaf. Original black cloth portfolio with cloth ties. Number 7 of only 40 sets of this celebrated portfolio of "Oriental" (i.e. non-Western) manuscript leaves, of which 8 are Arabic. Contains 15 manuscript leaves from the 12th century (Cairo) to the 18th century (Russia and Tibet). Languages represented include Arabic, Persian, Syriac, Armenian, Ethiopic, Tibetan, Greek, and Slavic Otto Frederick Ege (1888-1951) was the Dean of the Cleveland Institute of Art, a lecturer on the history and the art of the book at Western Reserve University. He created a market for medieval manuscript leaves in America during the 20th century. Between 1917 and 1950, Ege acquired, deconstructed and subsequently dispersed medieval manuscripts and… Read More

Central Italy, early 19th century. . Illuminated scroll on parchment, 3 spliced sheets, 25.5 x 202.7 cm.; hand-coloured decorations (possibly later), some wear and loss of colour, small tears; repairs to the back of first sheet. Italian Esther scroll, beautifully illuminated in colour.Text divided into 11 parshiyot of 28 lines each, and a compartment dedicated to the schematic drawing of the hanging of Haman's 10 sons. The decoration is composed of colourful ornamental borders on an ochre-yellow background: upper border with intertwining green branches, lower border with a white vine-stem and crowns, large flowers and medallions depicting the zodiac signs in the columns that separate the compartments.The Book of Esther is part of the Ketuvim (The Writings), the third section of the Hebrew Bible. It tells the story of a Jewish girl named Esther who became queen of Persia and thwarted a plan by Haman to commit genocide against her people. Also called The Megillah, the book is the basis and an… Read More