The text appears here in sepia ink in a large Renaissance rotunda hand, set forth to the point of our bracket above, illuminated and featuringa large miniature of King David filling the center of a large initial B. Along the bottom margin in three medallions are Saints Mark, Benedict (center bottom), and Laurence; the right margin has two additional medallion portraits of unidentified female figures. The margins are garnished with gilt and bright-colored flowers, among which hidesthe small image of a deer “As a deer pants for flowing streams, so pants my soul for you, O God”?
Matted and under glass in an elegant 20th-century gilt frame, ready for hanging. We have not opened this to discover whether Psalm 1 continues (or Job concludes) on the other side of the leaf, but the suspicion must be, given the beauty and quality of the side showing, that this is a leaf that would benefit from double-glazing showcasing both sides. (33296)
For this miniature book she provides an essay about the Newbery printing firm, the origin and development of miniature Bibles, and the printing of Newbery's 1780 printing of The Bible in miniature, or a concise history of the Old & New Testaments. Tipped in on p. 3 is a leaf from that famous Thumb Bible, the leaf here being pp. 87–88.
The edition of this mini was limited to 125 (unnumbered) copies.
Disbound and Dispersed 168.5 (giving incorrect measurements and pagination). Publisher's brown half-morocco with marbled paper sides. Fine copy. (34814)
In March of 1286 Balbus, a Dominican friar, completed this study of five aspects of the Latin language: orthography, prosody, grammar, etymology, and rhetoric. Four-fifths of the work is devoted to etymology, making it more a dictionary than any other type of reference book, but it did provide a one-volume reference work for the study of Latin. It was most definitelythe dictionary most used by Boccaccio, Petrarch, and other writers of the early Renaissance.
The present leaf is unwatermarked, so we do not know to which issue it belongs. It is printed in double-column format, using a small font used here for the first time and cast in imitation of a fine semicursive Gothic hand, with 66 lines per column. It is nicely rubricated with numerous small initials and pilcrows.
Goff B20; HC 2254*; Stillwell, Gutenberg and the Catholicon of 1460; IGI 1154; BMC, I, 39; GKW 3182. Removed and with irregular margins. Very good. (38154)
The text is printed in double-column format in an interesting gothic (i.e., “black letter”) type with many sidenotes and two five-line woodcut initials. An early reader has added two dainty manicules in a faded ink pointing to where God tells Moses he will fight for the children of Israel.
Provenance: From the leaf collection of printing specimens of the Grabhorn press.
STC (rev. ed.) 2077; ESTC S106943; Herbert 74; Rumball-Petre 84; Copinger, Bible and its Transmission, p. 304; Luborsky & Ingram, English Illustrated Books, 1536–1603, 2077. Housed under a black mat in a blue and white paper folder; mat with one crease, folders showing adhesive residue, leaf attached at bottom margin with a small piece of tape. Light age-toning, some staining at edges, readership markings as above. Early printing of an important passage and a handsome Biblical artifact. (38313)
Provenance: From the leaf collection of printing specimens of the Grabhorn press.
STC (rev. ed.) 2216; Darlow & Moule 309. Disbound. Light age-toning, a few very short tears along edges and creases at corners, with one chipped edge and evidence of three small wormholes. (38319)
This leaf was once part of a Book of Hours: a prayer book with eight sections corresponding to different times of day, always containing the Hours of the Virgin, as well as a calendar and selection of psalms, but more or less personalized depending on each owner's taste and social class. Illuminated Books of Hours like this signaled the owner's status and “values” at the same time — the more sophisticated the decoration, the more money spent — therefore, the more devout the scribe's patron!
Soft, white vellum, red edges, lightly soiled; tiny nicks (as usual) on one edge of the leaf where it was sometime detached from previous sewing, preserving margin except for one lower corner where a bit of vellum was cut away or naturally lacking. Very charming. (30810)
The recto has text and chant of prayers for celebration of the Feast of [Saint] Mary Magdalene (22 July): The rubric reading “Sancte marie ma-/-gdalene ad primas vesperas super psalmos diei. antyphon,” lines 1–2) and the text beginning “Maria pio coniuncta ihesu osculando pedes . . .” (line 3). The verso contains a list of prayers (mainly collects?) for celebrating the feasts of a number of saints and occasions, including the feasts of Saints Peter and Paul (“In Octaua Apostolorum Petri et Pauli,” lines 3–8); “Sanctorum Septem Fratrum” (“[De] Septem fratrem martirum”, lines 16–19); the translation of Saint Benedict (“[In] translacio sancti benedicti abbatis et confessoris,” lines 20–21); Saint Thuriam (“[De] Sancti thuriam episcopi et confessoris,” lines 29–30); Saint Arnulf (“[De] Sancti arnulphi episcopi et martiris,” lines 30–31); Saint Arsenius (May 8) (“[De] Sancti arsenij abbatis et confessoris,” lines 31–32); and Saint Margaret (“[De] Sancte margarete virgine et martiris” lines 32–33).
The text is written in a Gothic textura book hand of good quality in two grades of formality: the text on the recto and that of larger size on the verso is written in textualis quadrata (minims have consistently applied feet), while the text of smaller size on the verso is written in the slightly less formal textualis semi-quadrata (although some minims have feet, others are simply rounded off). As should be expected there is frequent use of abbreviations including both contractions and suspensions (“-us,” “-rum” and “-bus” abbreviations), although with a general preference for “et” in full. The music for the chant (on the recto) is written inneumes.
The recto has a single large initial “M” in red (the height of one stave plus one line), marking the opening of the chant for “Maria pio communita oscilando. . . . “ and on the verso are six large 2–line initials in alternating red and blue (D[eus], S[anctoru(m)], P[resta], D[eus], C[onserua], and D[eus]), marking the beginning of liturgical sections; the outside portion of each initial was lost to cropping when the leaf was recycled as binding material. The rubrics and liturgical signposts (e.g., “oratio”) are in red, including antiphons on recto and Orations, Chapters, Collects, Hymns, Antiphons, Responds and Versicles on verso, with other liturgical signposts underlined in red.
This leaf was used as binding waste in making up a volume half its size, to which end it was heavily cut down to a size just smaller than the text block and rotated horizontally. A crease running horizontally across the middle of the leaf shows the mark (location) of the spine of that volume. Instructive, and visually striking. (37285)
Disbound and Dispersed 229. Publisher's blue paper–covered boards with black cloth shelfback, front cover with gilt-stamped printer's vignette and spine with gilt-stamped title. A fresh, clean copy of this elegantly produced homage. (36841)
German printer Vindelinus de Spira (a.k.a. Wendelin de Speier or Speyer) was, alongside his brother John, in 1468 one of the first to bring printing to Venice from Germany, where their use of roman type was considered innovative. Trevitt & Steinberg note in Five Hundred Years of Printing that the brothers' publications “were well produced and show discrimination in their choice of authors” (p. 31).
Provenance: From the incunabula leaf collection of the Grabhorn press.
Goff L238; IGI 5771; BMC, V, 154; ISTC il00238000; GKW M18494. Leaf disbound and mounted along the top edge to a dark gray pasteboard. Very light dust-soiling overall, with none on the side facing the mounting; age-toning along edges with a few small spots; text block gently skewed. Faint bibliographical information pencilled in bottom margin. An attractive early leaf from an early press. (38326)