post incunable bindings (3 risultati)

315 x 210 mm. (12 1/2 x 8 1/4"). 10 p.l., CCLXV leaves (without final blank).Edited by Ottmar Nachtigall. Contemporary German blind-stamped pigskin, covers with several blind-ruled panels, center panel on upper cover with three columns of blind-stamped knotwork (EBDB r000519), framed with a roll of repeating stags (Kyriss Hirsch-Rolle IV, EBDB r000520), head of front cover stamped with the letters "S rosela," lower cover with a central panel of four ruled X's framed by a roll of flowers with swirling vines, raised bands, head panel lettered in ink, two original brass clasps. Title page with stately wood-engraved border by Hans Baldung Grien depicting Holy Roman Emperor Maximilian I on his throne (Johnson, "German Renaissance Title-Borders," no. 3). Title printed in red and black. Title page with ink stamp of the library of Buxheim Charterhouse. Adams T-1002; VD16 B 308; USTC 694895. For the binding: Kyriss 79, plates 161, 162; EBDB r000519 and r000520, workshop w002121. âPigskin a bit soiled, with a number of marks and quite a few small, round wormholes, but the binding completely sound and in very good shape overall; first half of contents with several small wormholes (though worming in second half quite minor), other trivial imperfections, but the text clean and crisp, and the margins ample. From a renowned monastic library, this is a copy of the first accurate edition of an influential manual on canon law which comes in a binding by a long-lived Augsburg workshop. Composed in 1483 by Franciscan monk Baptista de Salis Trovamala (d. 1496) and first printed in 1484, the alphabetically arranged "Summa" was intended to be a reference guide for students of canon law and for priests hearing confessions. It covers subjects from adultery to property rights, from Abbas (abbot) to Uxor (wives), drawing primarily from the writings of Nicolaus de Ausmo. The incunabular printings of the Summas were plagued with errors, corrected here by Strassburg humanist and professor of Greek Ottmar Nachtigall, who in his introductory poem compares his efforts to the labors of Hercules. Our copy was bound in Augsburg in a workshop said by Kyriss to have flourished from 1482-1532. The binder can be identified by the stag (Kyriss' "Hirsch") roll used to frame the front cover panel. The blind-stamped bindings database of the Staatsbibliothek zu Berlin (EBDB) finds another binding featuring both the knotwork design and the stag roll on an unidentified book (Cultural Object k005529) held by Herzog August Bibliothek in Wolfenbüttel. Our volume was once in the famed library of the Buxheim Charterhouse, the largest Cistercian monastery in Germany, which had extensive manuscript and incunabular holdings, the latter numbering more than 3,000. When the monastery was secularized in 1802, its property and library became the possessions of the Count of Ostein. After his death in 1809, it was inherited by Count Friedrich Waldbott von Bassenheim, whose son's extravagant spending forced the family to sell many of their assets, including the Buxheim library, which went to auction in Munich in 1883. OCLC shows only two locations of our edition of Trovamala's "Summa" in North America, and we could trace just two copies at auction (selling for â 2,784 in 2006 and $2,829 in 2019).

242 x 168 mm. (9 1/2 x 6 1/2"). 4 p.l. C [100] leaves. HANDSOME MAROON CRUSHED MOROCCO DECORATED IN GILT AND BLIND BY SANGORSKI & SUTCLIFFE (stamp-signed on front turn-in), covers with central panel diapered in blind, the compartments with a gilt Maltese cross, this framed by gilt rules, a wide blind-tooled foliate border enclosed by gilt and blind rules, raised bands, spine compartments with gilt Maltese cross within a blind-tooled lozenge, gilt lettering, turn-ins with gilt and blind rules, all edges gilt. In matching morocco-lipped, felt-lined slipcase. Title page with full-page woodcut of the Virgin Mary being crowned Queen of Heaven, final page with Brinkmann's unusual full-page device featuring three scenes: the Virgin and Child enthroned, St. Ursula sheltering the 11,000 virgins under her cloak, and the Martyrdom of the seven Maccabee brothers and their mother (for their refusal to eat pork). Front pastedown with bookplate of the Paolino Gerli Collection at Manhattan College and with fabric library shelf label, verso of title page with library number stamped to tail margin in blue ink. USTC 144650; not in Adams or Mortimer. Text perhaps lightly washed, but still quite fresh, touch of rubbing to front joint, but A LOVELY COPY, with almost no signs of use. This is a rare edition of the French Augustinian's compilation of moral philosophy in elaborately decorated morocco by one of the great English binderies. Composed by Jacques Legrand (d. 1425) in the early 15th century, this work first appeared in print, in Strassburg, around 1468--a publication date sufficiently early to suggest the work's importance. Legrand drew on the writings of a wide variaty of ancient philosophers from Aristotle and Augustine to Avicenna and Averroes, with considerable amounts Scripture thrown in. Very popular in the 15th and 16th centuries, the work is divided into three parts--arts and sciences, vice and virtue, and good manners and personal conduct. Our edition incorporates the "rules for living" of the major theologian Jean Gerson (1363-1429), Chancellor of the University of Paris. It was printed in Paris by Wolfgang Hopyl, who operated a press there between 1489 and 1523. Hopyl was one of several Parisian printers who made books for Franz Birckmann (d. 1530; fl. 1504-30), a publisher and bookseller with offices in Cologne, Antwerp, and London, specializing in liturgical supplied to the English and Dutch. Our copy was bound in a retrospective style by one of the great English workshops to emerge from the Arts & Crafts Movement. After studying under, and then working for, Douglas Cockerell, Francis Sangorski and George Sutcliffe founded their own bindery in 1901 and continued in a successful partnership until 1912. During that year, the firm suffered three major blows: their famously splendid jewelled binding, dubbed the "Great Omar," was lost on the Titanic; a few weeks after this accident, Francis himself drowned; and Francis' brother, Alberto, who had been a central figure in producing the firm's vellum illuminated manuscripts, went over to Riviere. Despite these losses, the firm grew and prospered, employing a staff of 80 by the mid-1920s and becoming perhaps the most successful English bindery of the 20th century. Our copy was owned by American silk manufacturer Paolino Gerli (1890-1982) who donated a number of works from his library to Manhattan College, which had bestowed an honorary degree on him.

220 x 138 mm. (8 x 5 1/2"). CXXII, [10], LXX, [1] leaves. EXCELLENT CONTEMPORARY BLIND-TOOLED CALF, covers panelled in blind, title stamped in gothic letters at head of upper cover, central panel with vertical row of three large rosettes (EBDB tool s013635), this enclosed by a frame with eight carnation stamps (EBDB tool s013643), then by a roll-tooled frame filled with circles containing flowers, fruit, and stars (EBDB tool r000675; Kyriss 84, Roll 6), lower cover similarly framed, but with central panel divided by diagonal blind rules into four compartments, each containing a large rosette, raised bands, spine panels with one or two floral medallion stamps, upper cover with original brass catches stamped "IVIII," newer clasps and leather straps, probably newer pastedowns, fore edge with the number "75" in ink (subtle repairs to head and tail of spine as well as lower corner on back cover). Title and opening page with decorative woodcut initials, main title and sectional title each with woodcut vignette and full-page woodcut on verso. VD16 T-653; VD16 H-6510; Adams L-1124, L-1123. For the binding: Kyriss 84, Tafel 171, Rolle 6; EinbandDatenbank (EBDB) tools s013635 and r000675, workshop w002075. An ink stain touching text on one leaf and slightly affecting four adjacent leaves, but the vast majority of the contents clean, fresh, and in fine condition. Quarter-inch crack at top of each joint (with leather across the spine consequently becoming a small flap), light signs of wear to leather, hinges mostly open--but the binding entirely sound, with almost no wear at all to the joints. An extremely attractive volume, THE REMARKABLY WELL-PRESERVED BINDING FEATURING FINE, DEEP IMPRESSIONS OF ITS STAMPS. This is a rare early compilation of Medieval liturgical chants in an appealing binding by an Augsburg workshop. Kyriss dubbed this bindery Hirsch-Rolle I for its distinctive deer (i.e., "hirsch") roll tool, and noted it was active 1483-1532. EBDB, the bindings database of the Berlin State Library, has identified 26 bindings in German libraries from this workshop. The wide, attractive floral roll here is most unusual among the binding's wide array of design elements, from flowers and plants to stars, all contained in tightly packed circles that bring bubbles to mind. Our two texts contain "sequences"--words sung between the Gradual and the Gospel on festival occasions--written by, among others, Gregory the Great, the fourth century bishops Hilarius of Poitiers and Ambrose of Milan, and fifth century Latin Christian poet Coelius Sedulius. They were printed by Michael Furter (d. ca. 1516-17) who operated a press in Basel from 1489 into the second decade of the 16th century. He was especially known for the decorative nature of his volumes. Haebler's "Typenrepertorium" counted 12 sets of embellished woodcut initials Furter employed; examples from two of these sets may be seen here, on the title page of the first work and at the opening of the text in both. The woodcut illustrations here are also notable. The title woodcut (Schramm XXII, 1263) on the first work is a depiction of the Magi presenting gifts to the Christ Child and his mother, done early in the career of Albrecht Dürer (1471-1528). It was one of the "Basel Prayer Book Woodcuts," 25 illustrations likely meant for a "Hortulus Animae" Johann Bergmann von Olpe intended to print in 1494 but never issued. A large, striking woodcut depicting the Christ Child at the center of a sunburst, surrounded by medallions with the devices of the four Evangelists, appears on the verso of the title in the first work and on the title page of the second. On the verso of the second title page is a woodcut of the Crucifixion from the "Postilla" by Guillelmus Parisiensis, Basel 1491 (Schramm XXII, 336). This is an especially affecting and detailed scene: Mary Magdalene clings to the foot of the cross, while Jesus looks serenely down at the Virgin Mary, who is collapsing in the arms of another woman as several soldiers jeer. On either side of Christ, the souls of the thieves crucified with him are being taken, one--who had asked to be remembered when Jesus came into his Kingdom--by angels, the other by demons. A banner marked with the SPQR of the Roman Empire flutters in the background. All in all, this is a very pleasing exemplar of post-incunabular book-making.