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Item Description: ED. DR JORN GUNTHER, HAMBURG, 2007. GRAND IN 4. BR [BE]. ENV 50 PP. 44 ILL EN COULEURS. [BE]. Bookseller Inventory # 240427

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Book of Hours, Use of Rome, in: Master of the

Master of the Gold Scrolls]

Used Hardcover

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From: HS Rare Books (Capital Federal, CAP, Argentina)

Seller Rating: 5-star rating

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Price: US$ 46,000.00
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Item Description: 1430. Hardcover. Book Condition: Near Fine. A charming early Book of Hours fully illuminated, and featuring 18 full-page miniatures. [c. 1430-40]. Low Countries. 273 ff. + plus two paper end leaves at front and one back; not “260 feuillets” as stated in a nineteenth-century pencil at back: that count omitting 1 leaf and the Calendar, full collation below). 97 mm x 68 mm. Eighteenth-century French red morocco, elaborately gilt-tooled with oral sprays around a central chevron and the Crucifixion on front, and Virgin and Child on back, similar gilt oral sprays in compartments of spine, some small cracks to spine edges, two working metal clasps (one detachable, but fitting in place when book is closed), gilt edge and gauffered, burgundy leather case. A few small smudges to borders, trimming to outer edges with some affect to a number of vertical edges of decorated borders, small flaws in upper outer corners of ff. 220-224 skillfully repaired on blank back with tape, but overall in excellent and clean condition. 46,000 $ A truly attractive and early Dutch Book of Hours, housed in a sympathetic lavishly gilt 18th century red morocco, and wonderfully illuminated throughout. The illumination comprises small initials in liquid gold on pink and blue grounds heightened with white pen work, each leaf with an initial with a gold and coloured text border on outer edge with accompanying panel of single- line foliage terminating in gold leaves, seed pods and coloured leaves, Calendar decorated in blue and liquid gold, EIGHTEEN FULL PAGE MINIATURES, most with tessellated grounds in gold and colours, and with full borders of rinceaux with gold leaves and seed pods, sprays of coloured acanthus leaves and bezants, enclosing numerous half-length angels, animal and bird drolleries, an orange devil and a reading monk, each miniature opposite a text leaf with a large gold initial enclosing coloured foliage and full illuminated and decorated border as before (one text leaf in this form with a gold-headed dragon and a human-headed drollery, whose head has been severed and lies bleeding in the border; this probably wanting its corresponding miniature leaf). Textually complete (probably wanting only a single leaf with a miniature), the workshop tending to add in single leaves before major text endings in order to complete texts before miniatures, collation: i12, ii10, iii8, iv10, v9 (text complete, so miniature probably on singleton), vi-vii8, viii9 (first wanting, once with a miniature), ix10, x9 (iii a singleton to complete text), xi9 (iii a singleton to complete text), xii9 (but no text missing), xiii8, xiv9 (no text missing, last a singleton to complete text), xv5 (no text missing, first a singleton to complete text), xvi-xviii8, xix6, xx3 (last a singleton, no text missing), xxi-xxv8, xxvi9 (vi a singleton added to complete text), xxvii8, xxviii9 (vii a singleton added to complete text), xxix8, xxx9 (v a singleton added to complete text), xxxi8, xxxii7 (iv a singleton added to complete text), xxxiii6, xxxiv3 (last a singleton added to complete text), single column, 14 lines in an excellent late gothic hand influenced by lettre bâtarde, rubrics in red. Provenance: 
(1) Written and illuminated in the southern Netherlands, apparently for a local patron in western France or the adjacent parts of modern Belgium: SS. Amand (d. after 676, and credited with bringing monasticism to Belgium, feast on 6 February), Albinus of Angers (d. 550, feast on 1 March), Arnold of Soissons (d. 1087, feast on 14 August) and Bertin of Saint-Omer (d. c. 709, feast on 5 September) in Calendar. She is doubtless the kneeling woman who appears gazing at the Virgin and Child adoringly on fol. 28v, and who is shown kneeling before the Holy Trinity on fol. 141v.
(2) From a private English collection and passing by descent for several generations. Text: 
The volume comprises. Full description available upon request. Bookseller Inventory # ABE-1478028886497

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BOOK OF HOURS (Use of Rome); illuminated: Catholic Church

Item Description: Book Condition: Good. WRITTEN BY A MASTER CALLIGRAPHER AND ILLUMINATED BY ONE OF THE KEY ARTISTS OF THE WORKSHOP OF WILLEM VRELANT, THIS HANDSOME BOOK OF HOURS INCLUDES MANY UNUSUAL FEATURES IN ITS CYCLE OF MINIATURES. Illuminated manuscript on parchment in Latin and Flemish, Southern Netherlands, Bruges (Ghistelles?), c. 1460s. 117 x 90 mm. 167 folios on parchment, lacking five leaves, probably with miniatures, ruled in purple ink, written in a fine formal Gothic bookhand on 14 lines (justification 70 x 50 mm.), numerous elaborate calligraphic cadels, rubrics in red, 1-line initials in gold or blue with contrasting penwork in blue or red, 2-line gold initials on grounds of pink and blue with white tracery, two 6-line foliate initials in colors on a gold ground, accompanied by full borders of semi-naturalistic acanthus and other leaves, flowers and fruit, in gold and colors, THIRTEEN LARGE MINIATURES in arch-topped compartments with full borders in the same style, each above a 3-line illuminated initial. BINDING: Late seventeenth- or early eighteenth-century French calf, sewn on four thongs, gilt paneled spine, edges of leaves flecked with red and blue. ILLUSTRATION: The decoration of this attractive Book of Hours is typical of the work connected with the workshops of Bruges in the third quarter of the fifteenth century and can be associated in particular with the prolific and extremely popular school of Willem Vrelant, one of the most successful illuminators in the Low Countries. Vrelant produced work for some very prestigious patrons, including two dukes of Burgundy. The style of our manuscript derived from contemporary panel painting and relates this manuscript to the center of Vrelant's activity. Among the striking features of our manuscript are the calligraphic flourishes that occur throughout the book, typically found in the most luxurious manuscripts produced by the workshop. The extensive cycle of miniatures points to the book having been made to order, perhaps for a soldier living near Bruges. It includes many unusual features, such as the use of subjects from the Passion to illustrate the Hours of the Virgin and the presence of soldier-saints like Adrian and George. PROVENANCE: Produced in Bruges, the main center of Flemish book production in the later fifteenth century. The inclusion of some unusual saints in the calendar suggests that this manuscript was made for an owner in nearby Ghistel, possibly a member of the aristocrat Ghistelles family. More recently, part of a private European collection. CONDITION: Occasional slight rubbing or spotting, a few minor old repairs or reinforcements, but otherwise in fine condition. Binding rubbed, spine and corners worn, but overall in sound condition. Full description and photographs available (BOH 118). Bookseller Inventory # BOH118

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Published by Bruges, Bruges (1450)


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Item Description: Bruges, Bruges, 1450. 110 leaves (plus a paper endleaf at front and back; main text erroneously foliated ‘109’ in nineteenth-century pencil), wanting a miniature from the opening of the Seven Penitential Psalms (before fol. 74, with vertical cut in previous leaf with later repair), else complete (stubs after fols. 8 and 9, and glued down strip in gutter after fol. 11, but with no loss to text and thus apparently just reinforcing strips of vellum, perhaps making up bifolia from two separate leaves of vellum), collation: i6, ii-iii8, iv9 (one a singleton with a miniature), v-vii8, viii9 (one a singleton with a miniature), ix9 (one a singleton with a miniature), x8 (probably; wanting a singleton added with a miniature), xi8 (probably), xii-xiii8, xiv5 (last a singleton added to complete text), single column, 20 lines in a fine and professional late gothic bookhand, capitals touched in red, rubrics in red, ornate line fillers in red and blue arranged around gold baubles, small one-line initials in blue or liquid gold with contrasting swirling penwork, 2-line initials in liquid gold on blue and pink grounds heightened with white penwork, with sprays of single line foliage with gold leaves gold and blue baubles, and trilobed flowers with blue and gold tips to their petals, three large initials in black with white penwork (fol. 11r, 13r and 74r) on coloured grounds with tessellated flower infill on gold, the accompanying text enclosed within gold and coloured bar borders and lavish borders of swirling foliage in black, grey and dull-gold tones, twenty-two small square miniatures (the Evangelists, fols. 7r-9r, the first with a blue peacock with a gold tail in the border), the Pièta (fol. 19r), the Virgin and Child (fol. 20r), God the Father holding Christ on the Cross (with a tiny additional penmark intended to obscure Christ’s genitals, fol. 22r), the saints (fols. 22v-29v), eleven full-page miniatures with limited use of colours for fleshtones, draperies and some interior features, else finely painted in grey-tones, with metallic silver for windows and gold for haloes (fol. 15r, 30v, 41v, 48v, 51v, 54v, 57v, 60v, 65v, 69v and 85v), these all facing large black initials and decorated pages as before, very slight flaking and thumbing to areas of borders, face of Child on fol. 15v damaged (probably from ritual use) and retouched, small amount of cockling to some leaves, slight trimming to edges with very small losses to edges of border decoration in Calendar, but overall in good and fine condition, last leaf with near-contemporary prayer and later pasted on coat-of-arms (perhaps seventeenth-century) on linen cutout: tour d'argent sur fond de sable écartelé de gueule au lion d'or, écu de France; 200 by 140mm.; bound in nineteenth-century faded green silk over pasteboards, some wear at spine and at edges of thongs, but solid in binding. Provenance >> >> Made in Ghent or Bruges for a wealthy and influential local patron in the mid-fifteenth century: the Litany includes both St. Bavo of Ghent (d. 659 and the patron of the town) and Amelberga (d. 772, whose relics were held in the town from the eleventh century onwards), as well as St. Winnoc (abbot of Wormhout, who came from Wales in the eighth century, also in Calendar on 6 November) and Landoaldus (one of the teachers of Lambert of Maastricht in the seventh century: feast in March). The patron clearly had access to the artistic communities there producing books in black and grey grisaille for the dukes of Burgundy, and he may have been a non-noble member of their entourage or a local political figure of some importance (see below). A near-contemporary hand, perhaps that of the original owner or his immediate successor, added other local saints to the Calendar, such as St. Hubert of Liège (early eighth century: Feast in November), as well as those with a west-central French connection, such as King Louis of France, St. Symphorian (venerated in Autun) and Mammès (venerated in diocese of Langres). The text compr. Bookseller Inventory # 000001

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From: Les Enluminures (ABAA & ILAB) (Chicago, IL, U.S.A.)

Seller Rating: 4-star rating

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Price: US$ 525,000.00
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Item Description: Book Condition: Very Good. A LITTLE JEWEL OF A MANUSCRIPT, OF ASTONISHING ORIGIANLITY AND BEAUTY, WITH MINATURES LIKE THE TINIEST OF UMBRIAN PANEL PAINTINGS REPRESENTATIVE OF ONE OF THE GREAT MOMENTS OF QUATTROCENTO ART. Illuminated manuscript on parchment, in Latin, Central Italy, Umbria, doubtless Perugia, c. 1450-75. Dimensions 109 x 86 mm. 174 ff., complete, collation: paper and vellum endleaves, ruled in purple ink, written in brown ink, TEN HISTORIATED INITALS, 5 to 7 lines high, six with elaborate full-length borders, and FOUR FULL PAGE MINIATURES. BINDING: Bound in late eighteenth-century southern European (probably Spanish) red morocco gilt, arms in gilt on covers, spine with four raised bands with flowers and vases gilt in compartments, gilt title "DEVOCION", edges gilt and gauffered, green silk marker, fitted slipcase. ILLUSTRATION: The illuminations can be attributed to a Perugian artist who has recently garnered some attention, Tommaso di Mascio Scarafone (once thought to be identical with Bartolomeo Caporali), who painted the gates of the city of Perugia in the Matricola manuscripts of the Perugian guilds. Only recently have the illuminators of Perugia received serious attention, for their work is closely related to that of painters such as Benedetto Bonfigli (c.1418-1496, active from 1445) and Gerolamo di Giovanni di Camerino (fl.1449-73). The architectural settings here are very striking, probably reflecting actual parallels in Perugia itself, for illuminators were familiar with multiple manuscripts showing the gates of the city in the Matricola manuscripts of the Perugian guilds. The remarkable background of the Annunciation here, for example, with a circular double archway closely echoes the Etruscan arch, or Porta Augusta, as seen from the Piazza Grimana in Perugia. PROVENANCE: The manuscript has been ascribed to Perugia for over a century. The its provenance in the important Dyson Perrins collection and the manuscript's inclusion in the landmark exhibition of the Burlington Fine Arts Club of 1908 are noteworthy. CONDITION: some occasional rubbing of the text, as common in Italian manuscripts, occasional marginal thumbing, generally in excellent state with wide margins. Full description and photographs available. Bookseller Inventory # BOH 135

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