![[SEQUENTIAE cum commento] -- Textus sequentiarum, cum optimo commento. Delft: [Christian Snellaert or Hendrik Eckert, van Homberch, between 14 April 1495 and 1497].](https://www.christies.com/img/LotImages/2000/NYR/2000_NYR_09342_0172_000(010651).jpg?w=1)
细节
[SEQUENTIAE cum commento] -- Textus sequentiarum, cum optimo commento. Delft: [Christian Snellaert or Hendrik Eckert, van Homberch, between 14 April 1495 and 1497].
Chancery 4o (201 x 139 mm). Collation: a-o6 p4 q-x6 y4 z6 6 6 (a1r text, z6r table of contents with incipits, z6v blank, 1r additional sequences, 6r colophon, 6v blank). 142 leaves (of 146, lacking y1-4). 46 lines of commentary enclosing text, and headline. Types: 2:145G (title and headlines), 7:82G (text), 8:64G (commentary and register). Large magister cum discipulis woodcut on title, representing St. Bernard teaching six pupils. Printed paragraph marks. 5- and 2-line spaces for initials. (Lacks 4 leaves as above, small marginal repair to first leaf, small wormhole to last 3 leaves, last leaf slightly stained.) Modern brown morocco.
Only edition printed at Delft of this frequently printed collection of the liturgical chants known as sequences; this edition follows the text of the two earliest of the three Quentell editions published at Cologne in the 1490s (1492 and 1494: see lot 37). Fiftheenth-century printing at Delft was carried out at a single shop which was managed by a succession of printers (see preceding lot). This edition was the work of either Christian Snellaert, van der Meer's successor, or of Snellaert's successor Hendrik Eckert, from Homberg, who worked at Delft before moving the press to Antwerp in 1500. Although Eckert's first signed edition dates to 1498, he probably was responsible for several earlier unsigned editions that were traditionally attributed to Snellaert (cf. Hellinga, Printing Types I, pp. 102-104). The text and commentary types were obtained from Gerard Leeu at Antwerp.
The title woodcut is by the "Second Delft Cutter" (Hind II:572-3), "a very distinct mannerist" who produced blocks for van der Meer, Snellaert and Eckert, and whom Max Friedländer identified with the painter called the "Master of the Virgo inter Virgines" (Altniederländische Malerei, Berlin 1927, p. 65).
C 5377; BMC IX, 25 (IA. 47198); Campbell 1533; CIBN S-227; HPT II, 499; IDL 4101; Polain(B) 3501; Pr 8894; Goff S-460.
Chancery 4
Only edition printed at Delft of this frequently printed collection of the liturgical chants known as sequences; this edition follows the text of the two earliest of the three Quentell editions published at Cologne in the 1490s (1492 and 1494: see lot 37). Fiftheenth-century printing at Delft was carried out at a single shop which was managed by a succession of printers (see preceding lot). This edition was the work of either Christian Snellaert, van der Meer's successor, or of Snellaert's successor Hendrik Eckert, from Homberg, who worked at Delft before moving the press to Antwerp in 1500. Although Eckert's first signed edition dates to 1498, he probably was responsible for several earlier unsigned editions that were traditionally attributed to Snellaert (cf. Hellinga, Printing Types I, pp. 102-104). The text and commentary types were obtained from Gerard Leeu at Antwerp.
The title woodcut is by the "Second Delft Cutter" (Hind II:572-3), "a very distinct mannerist" who produced blocks for van der Meer, Snellaert and Eckert, and whom Max Friedländer identified with the painter called the "Master of the Virgo inter Virgines" (Altniederländische Malerei, Berlin 1927, p. 65).
C 5377; BMC IX, 25 (IA. 47198); Campbell 1533; CIBN S-227; HPT II, 499; IDL 4101; Polain(B) 3501; Pr 8894; Goff S-460.