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Thielman Kerver, 1511
細節
Horae, use of Rome
Thielman Kerver, 1511
HORAE, use of Rome, in Latin and French. Paris: Thielman Kerver, 24 July 1511.
A handsome Book of Hours, with illuminated initials. Kerver’s device uses larger lettering than in earlier editions, and the full-page cuts are part of his larger series. According to Davies, this new set “is distinguished by its greater freedom from convention in the treatment of designs, there being an appearance of relief or modelling in comparison with the older cuts: cross-hatching and other forms of shading are introduced.” The General Theological Seminary copy: no copies recorded at auction since its sale at Christie’s in 1980. Bohatta (1924) 924; Brunet V 1622, no. 189; Moreau Inv. II: 85, 121; not in Lacombe. See Davies, Murray French, 267.
Octavo (177 x 110mm). Printed on vellum in red and black. Text primarily Roman letter, Bâtarde for French text, 18 large cuts, plus printer’s device and anatomical man, of which five are reused from previous gothic editions, and 13 redrawn to Renaissance taste; 34 small cuts of Evangelists, saints, and scenes of the Passion, pages within multi-piece historiated and ornamental border, initials and space fillers painted in gold on blue and red grounds, text ruled in red (some light soiling). 19th-century blindstamped brown morocco by Bedford, edges gilt (spine rubbed); modern quarter morocco over cloth clam-shell box. Provenance: old library stamp erased on leaf a1r, and small ink accession number stamp on verso – General Theological Seminary, New York, N.Y. (bookplate; their sale, Christie’s New York, 1 October 1980, lot 42) – acquired there.
Thielman Kerver, 1511
HORAE, use of Rome, in Latin and French. Paris: Thielman Kerver, 24 July 1511.
A handsome Book of Hours, with illuminated initials. Kerver’s device uses larger lettering than in earlier editions, and the full-page cuts are part of his larger series. According to Davies, this new set “is distinguished by its greater freedom from convention in the treatment of designs, there being an appearance of relief or modelling in comparison with the older cuts: cross-hatching and other forms of shading are introduced.” The General Theological Seminary copy: no copies recorded at auction since its sale at Christie’s in 1980. Bohatta (1924) 924; Brunet V 1622, no. 189; Moreau Inv. II: 85, 121; not in Lacombe. See Davies, Murray French, 267.
Octavo (177 x 110mm). Printed on vellum in red and black. Text primarily Roman letter, Bâtarde for French text, 18 large cuts, plus printer’s device and anatomical man, of which five are reused from previous gothic editions, and 13 redrawn to Renaissance taste; 34 small cuts of Evangelists, saints, and scenes of the Passion, pages within multi-piece historiated and ornamental border, initials and space fillers painted in gold on blue and red grounds, text ruled in red (some light soiling). 19th-century blindstamped brown morocco by Bedford, edges gilt (spine rubbed); modern quarter morocco over cloth clam-shell box. Provenance: old library stamp erased on leaf a1r, and small ink accession number stamp on verso – General Theological Seminary, New York, N.Y. (bookplate; their sale, Christie’s New York, 1 October 1980, lot 42) – acquired there.
榮譽呈獻
Eugenio Donadoni
Senior Specialist, Medieval & Renaissance Manuscripts