.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Horae in laudem beatissimae virginis mariae, ad usum Romanum. Paris: Simon de Colines, 1543.
Details
HORAE, use of Rome, in Latin and French
Horae in laudem beatissimae virginis mariae, ad usum Romanum. Paris: Simon de Colines, 1543.
First edition of these French Renaissance woodcut illustrations and borders, ‘a conscious attempt to preserve the manuscript tradition of Horae entirely by means of the printer’s art’ (Mortimer); from the famous liturgical library of the Dukes of Parma. The first Book of Hours published by Simon de Colines in quarto format, it was preceded by an octavo edition of the same year, with similar illustrations and borders designed for the smaller format. Simon de Colines was a pioneer of French Renaissance printing, whose earlier collaboration with the humanist engraver Geoffroy Tory produced the renowned 1525 and 1527 editions of the Horae. The Colines cuts of the present edition ‘develop logically from the Tory manner. The architectural borders are obviously derived from Tory, composed largely of his characteristic italianate motifs. The figures also show the influence of Tory’s break with the earlier styles of French illustration. In contrast with the sketched outlines of Tory’s Horae cuts, however, these blocks are fully and elaborately shaded. If […] the Tory cuts were intended to be illuminated, these Colines cuts were conceived with the opposite intention, with concentration on small details to give an effect in black and white impossible to duplicate in color’ (Mortimer). The present edition was evidently the culmination of a long-term project: certain of the illustrations and borders are dated 1536, 1537, and 1539. Seven of the blocks are signed with the Lorraine cross, indicating a connection to the Tory atelier, which remained in operation after his death in 1533. The black arabesque borders may be the earliest use of arabesque design in French printed books. Brunet 331; Mortimer, Harvard French, 306; Renouard, Colines p.379; Schreiber, Colines 206 (‘First edition of these illustrations and borders’).
Quarto (232 x 160mm). Text printed in red and black. Almanac for 1543-68. Title within four-part border, ornamental border to each page, two dated 1536 or 1539, 14 full-page woodcuts within architectural borders, seven signed with a Lorraine cross and one dated 1537, criblé initials (skilful repaired tears at i5 and y8 and further occasional minor marginal repairs, 1cm closed tear confined to bottom margin of x6). 19th-century red crushed morocco gilt, covers with gilt rule borders and fleuron cornerpieces enclosing central arabesque, spine gilt in compartments with five raised bands, gilt edges, blue crushed morocco doublures with gilt arms in centre. Olive morocco slipcase by Lortic.
Provenance: Charles II, Duke of Parma (1799-1883; bookplate on a front flyleaf, ‘Bibliothèque liturgique de S. A. R. Charles-Louis de Bourbon, comte de Villafranca’, no 193 [ink]/ 284 [pencil], along with a pencil inscription on another flyleaf indicating an acquisition at auction, 25 April 1866, no 52). The bibliophile Charles-Louis de Bourbon built a famous collection of rare liturgical manuscripts and early printed books, catalogued by Anatole Alès in 1878, which passed to his grandson – Robert I, Duke of Parma (1848-1907; his gilt arms on doublures). The collection was dispersed at auction in Paris in 1932 – ‘Livres de liturgie imprimés aux XVe et XVIe siècles faisant partie de la bibliothèque de son altesse royale le duc Robert de Parme’, Paris, 30 May 1932, lot 207 (printed catalogue description pasted to lower flyleaf). Seymour de Ricci’s preface to the sale catalogue describes almost 100 items of the 300 offered as unica, known only in the Parma collection. The remaining c.2,000 volumes from the collection were given to the Biblioteca Nazionale Braidense, Milan, in 1936; Christie's, 21 June 1989, lot 70, where purchased by the present owner.
Horae in laudem beatissimae virginis mariae, ad usum Romanum. Paris: Simon de Colines, 1543.
First edition of these French Renaissance woodcut illustrations and borders, ‘a conscious attempt to preserve the manuscript tradition of Horae entirely by means of the printer’s art’ (Mortimer); from the famous liturgical library of the Dukes of Parma. The first Book of Hours published by Simon de Colines in quarto format, it was preceded by an octavo edition of the same year, with similar illustrations and borders designed for the smaller format. Simon de Colines was a pioneer of French Renaissance printing, whose earlier collaboration with the humanist engraver Geoffroy Tory produced the renowned 1525 and 1527 editions of the Horae. The Colines cuts of the present edition ‘develop logically from the Tory manner. The architectural borders are obviously derived from Tory, composed largely of his characteristic italianate motifs. The figures also show the influence of Tory’s break with the earlier styles of French illustration. In contrast with the sketched outlines of Tory’s Horae cuts, however, these blocks are fully and elaborately shaded. If […] the Tory cuts were intended to be illuminated, these Colines cuts were conceived with the opposite intention, with concentration on small details to give an effect in black and white impossible to duplicate in color’ (Mortimer). The present edition was evidently the culmination of a long-term project: certain of the illustrations and borders are dated 1536, 1537, and 1539. Seven of the blocks are signed with the Lorraine cross, indicating a connection to the Tory atelier, which remained in operation after his death in 1533. The black arabesque borders may be the earliest use of arabesque design in French printed books. Brunet 331; Mortimer, Harvard French, 306; Renouard, Colines p.379; Schreiber, Colines 206 (‘First edition of these illustrations and borders’).
Quarto (232 x 160mm). Text printed in red and black. Almanac for 1543-68. Title within four-part border, ornamental border to each page, two dated 1536 or 1539, 14 full-page woodcuts within architectural borders, seven signed with a Lorraine cross and one dated 1537, criblé initials (skilful repaired tears at i5 and y8 and further occasional minor marginal repairs, 1cm closed tear confined to bottom margin of x6). 19th-century red crushed morocco gilt, covers with gilt rule borders and fleuron cornerpieces enclosing central arabesque, spine gilt in compartments with five raised bands, gilt edges, blue crushed morocco doublures with gilt arms in centre. Olive morocco slipcase by Lortic.
Provenance: Charles II, Duke of Parma (1799-1883; bookplate on a front flyleaf, ‘Bibliothèque liturgique de S. A. R. Charles-Louis de Bourbon, comte de Villafranca’, no 193 [ink]/ 284 [pencil], along with a pencil inscription on another flyleaf indicating an acquisition at auction, 25 April 1866, no 52). The bibliophile Charles-Louis de Bourbon built a famous collection of rare liturgical manuscripts and early printed books, catalogued by Anatole Alès in 1878, which passed to his grandson – Robert I, Duke of Parma (1848-1907; his gilt arms on doublures). The collection was dispersed at auction in Paris in 1932 – ‘Livres de liturgie imprimés aux XVe et XVIe siècles faisant partie de la bibliothèque de son altesse royale le duc Robert de Parme’, Paris, 30 May 1932, lot 207 (printed catalogue description pasted to lower flyleaf). Seymour de Ricci’s preface to the sale catalogue describes almost 100 items of the 300 offered as unica, known only in the Parma collection. The remaining c.2,000 volumes from the collection were given to the Biblioteca Nazionale Braidense, Milan, in 1936; Christie's, 21 June 1989, lot 70, where purchased by the present owner.
Brought to you by
Eugenio Donadoni
Senior Specialist, Medieval & Renaissance Manuscripts