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Details
HORAE, use of Rome -- Hore virginis Marie secundum verum usum Romanum. Paris: Thielman Kerver, 27 August 1504.
8° (147 x 98mm). PRINTED ON VELLUM in red and black, roman type. Large printer's device on title, metalcut anatomical man, 18 large metalcuts from the Master of the Apocalypse Rose, and 33 small metalcuts, full multi-part historiated and ornamental border to each page, initials and line-filler in liquid gold on red or blue ground. (Shaved close at some fore-edges.) CONTEMPORARY OR NEAR-CONTEMPORARY GREEN VELVET over thin wooden boards, vellum fragments from a 14th-century Italian legal gloss manuscript as pastedowns, edges gilt and gauffered (missing 2 fore-edge clasps, knap a little worn at spine and edges, repair at head); modern half green morocco box.
The present Book of Hours contains the full complement of Kerver's set of 'small' full-page metalcuts attributed to the Master of the Apocalypse Rose, including 'Maria Immaculata', which had first appeared in December 1502. Brunet V, 1619: 175.
8° (147 x 98mm). PRINTED ON VELLUM in red and black, roman type. Large printer's device on title, metalcut anatomical man, 18 large metalcuts from the Master of the Apocalypse Rose, and 33 small metalcuts, full multi-part historiated and ornamental border to each page, initials and line-filler in liquid gold on red or blue ground. (Shaved close at some fore-edges.) CONTEMPORARY OR NEAR-CONTEMPORARY GREEN VELVET over thin wooden boards, vellum fragments from a 14th-century Italian legal gloss manuscript as pastedowns, edges gilt and gauffered (missing 2 fore-edge clasps, knap a little worn at spine and edges, repair at head); modern half green morocco box.
The present Book of Hours contains the full complement of Kerver's set of 'small' full-page metalcuts attributed to the Master of the Apocalypse Rose, including 'Maria Immaculata', which had first appeared in December 1502. Brunet V, 1619: 175.
Brought to you by
Eugenio Donadoni
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