![HORAE, use of Reims, in Latin and French -- Heures a lusaige de reims tout au long sans riens requerir. Paris: Guillaume Anabat [for Guillaume Godard], [n.d., almanac for 1500-1520].](https://www.christies.com/img/LotImages/2006/CKS/2006_CKS_07275_0111_000(010412).jpg?w=1)
Details
HORAE, use of Reims, in Latin and French -- Heures a lusaige de reims tout au long sans riens requerir. Paris: Guillaume Anabat [for Guillaume Godard], [n.d., almanac for 1500-1520].
PRINTED ON VELLUM, 8° (157 x 108mm). Collation: *A-*O8 (*A1r title with Godard device and three cuts of the Dance of Death in the border, *A1v almanac for 1500-1520, *A2r-*A7v calendar with French and Latin verses, *A8r-*B6v Gospel sequence, *B7v-*F7r Hours of the Virgin [Annunciation, Visitation, Nativity, Annunciation to the Shepherds, Adoration of the Magi, Presentation in the Temple, Flight into Egypt, Coronation of the Virgin], *F7v-*G6v Hours of the Cross and the Holy Ghost [Crucifixion, Pentecost], *G7r-*J5r Seven Penitential Psalms and Litany with collects [Annointing of David], *J5v-*L6v Office of the Dead [Dives and Lazarus], *L7r-*O7v Suffrages [19 small cuts], *O8r Table, *O8v Colophon). 112 leaves. 26 lines. Types: 95G, 80B. 12 large criblé metalcuts, large Godard device, 1 small Trinity woodcut, 18 small criblé metalcuts including one repeat, multiple-piece metalcut ornamental and historiated border to each page, liquid-gold initials and line-filler painted on blue or red ground in a contemporary hand, pages occasionally ruled in red. (Title lightly rubbed, occasional staining, some blue initials washed out). 19th-century vellum (darkened, front joint cracked, 3 later spine reinforcening bands). Provenance: early devotional inscription on title-page -- Nicolas de Paris? (?17th-century inscription at end) -- William Hyam Camps (bookplate) -- William John Scripps (1905-65, Detroit publisher and radio owner; bookplate).
APPARENTLY UNIQUE COPY OF AN UNRECORDED EDITION. It is one of few printed for the use of Reims, and one of the very few books printed by Anabat for Godard. Renouard dates their partnership to c.1510 but the alamanac present here argues for an earlier date. Although unique, it is closely related to other Books of Hours. The metalcuts also appeared in editions printed by Antoine Chappiel for the Hardouyns; Godard's device and address is identical to that of Hardouyns and Eustace; and Anabat and Chappiel give identical addresses for their shops. Anabat often printed for the Hardouyns, as did Chappiel. No other Anabat edition of a use of Reims can be traced, although Godard published one slightly later but significantly different (almanac 1516-27).
DECORATED WITH METALCUTS FROM THE WORKSHOP OF THE APOCALYPSEROSE MASTER, also called the Master of the Très Petites Heures of Anne de Bretagne, deriving from compositions found in Kerver's incunable editions. The fine borders include Biblical subjects as well as burlesque figures, ornamental motifs and scenes of the country life. Not in Adams, BLSTC, Bohatta Livres d'Heures, Brunet Heures (cf. n°308 for remark on Godard's address), Davies Murray French, Lacombe (cf. n°282, Godard's use of Reims), Moreau Inv. chron., Renouard Imprimeurs parisiens (cf. n°78, use of Rome, c.1510), Tenschert-Nettekoven (cf. n°38, use of Rome, Chappiel? for Hardouyn, 1503) and Van Praet; cf. also Foyle sale in our rooms, July 11th, 2000, n°198 and 199 (use of Rome, Chappiel for Hardouyn, 1504) and Nettekoven, Der Master der Apokalypsenrose der Sainte Chapelle und die Pariser Buchkunst um 1500, pp.91-2 and ill. 199-204 and 211-223.
PRINTED ON VELLUM, 8° (157 x 108mm). Collation: *A-*O
APPARENTLY UNIQUE COPY OF AN UNRECORDED EDITION. It is one of few printed for the use of Reims, and one of the very few books printed by Anabat for Godard. Renouard dates their partnership to c.1510 but the alamanac present here argues for an earlier date. Although unique, it is closely related to other Books of Hours. The metalcuts also appeared in editions printed by Antoine Chappiel for the Hardouyns; Godard's device and address is identical to that of Hardouyns and Eustace; and Anabat and Chappiel give identical addresses for their shops. Anabat often printed for the Hardouyns, as did Chappiel. No other Anabat edition of a use of Reims can be traced, although Godard published one slightly later but significantly different (almanac 1516-27).
DECORATED WITH METALCUTS FROM THE WORKSHOP OF THE APOCALYPSEROSE MASTER, also called the Master of the Très Petites Heures of Anne de Bretagne, deriving from compositions found in Kerver's incunable editions. The fine borders include Biblical subjects as well as burlesque figures, ornamental motifs and scenes of the country life. Not in Adams, BLSTC, Bohatta Livres d'Heures, Brunet Heures (cf. n°308 for remark on Godard's address), Davies Murray French, Lacombe (cf. n°282, Godard's use of Reims), Moreau Inv. chron., Renouard Imprimeurs parisiens (cf. n°78, use of Rome, c.1510), Tenschert-Nettekoven (cf. n°38, use of Rome, Chappiel? for Hardouyn, 1503) and Van Praet; cf. also Foyle sale in our rooms, July 11
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