Dr. Jörn Günther • Antiquariat
www.guenther-rarebooks.com

CONTENTS

Illuminated manuscripts

  1. Canones conciliorum, written by an insular scribe,
    Northern Italy, c. 775
  2. Psalter, so-called Bernwardpsalter,
    Germany, Hildesheim, c. 1020
  3. Gospel Lectionary, Byzantium,
    Constantinople,c. 1100
  4. St Augustine, Enarrationes in Psalmos, Upper
    Austria, Lambach Abbey, second half 12th century
  5. Vita Christi, Life of Christ and of the Virgin,
    Northern England,York, c.1190-1200,
    and East Anglia, Norfolk, c.1480-90
  6. Antiphonary, illuminated choirbook, Italy,Venice
    (San Marco), c. 1250 (between 1238 and 1264)
  7. Psalter and biblia latina with the interpretation
    of the Hebrew names, France, Lorraine, Metz, c. 1250
  8. Psalter for the use of Brussels, Northern France,
    Paris, c. 1260
  9. Biblia latina with the interpretations of
    the Hebrew names, Southern France,Toulouse,
    last quarter of the 13th century
  10. Psalter, illuminiated for Gui de Dampierre,
    Southern Netherlands, Bruges, c. 1280
  11. Speculum humanae salvationis, illuminated
    with pen-and-ink drawings by Magister Konrad,
    Austria, before 1386
  12. Book of hours, use of Chartres, illuminated by
    the Bedford workshop, France, Paris, c. 1400-10
  13. Psalter, Spain, Barcelona, shortly after 1400
    and c. 1440-50
  14. Book of hours, use of Rome, illuminated by
    Pseudo-Jacquemart, France, Paris, c. 1410
  15. The so-called Wardington Hours, hours of
    the Passion, illuminated by the Bedford workshop,
    France, Paris, c. 1410 and 1430
  16. Wirnt von Grafenberg, Wigalois (manuscript k),
    illustrated by the circle of the Workshop of 1418
    and of Diebold Lauber,Alsace, c. 1420-30
  17. I.Thomas de Chobham, Summa de poenitentia,
    dat. 1422; II. Stephan Palecz, Utilia contra errantes;
    III. Johannes Andreae, Processus iudicalis – et al.;
    Austria, Seitenstetten, c. 1422
  18. Joachim di Fiore Vaticinia sive Prophetiae
    et Imagines Summorum Pontificum,
    illustrated by the workshop of Lorenzo
    di Pietro ‘Il Vecchietta’, Benvenuto di Giovanni,
    Italy, Siena, c. 1450 and c. 1464
  19. Bruder Philipp, Marienleben
    and other texts, Upper Rhine, c. 1450
  20. German prayerbook with metalcuts, Germany,
    Cologne and Tyrol, Diocese of Brixen,
    dated 1458
  21. Book of hours, use of Paris, illuminated by
    the Master of Jacques de Luxembourg, France,
    Paris, c. 1460-70
  22. Book of hours, use of Rome, illuminated by the
    Master of Marguerite de Liederkerke, Flanders,
    Hainault, Mons or Valenciennes, c. 1500
  23. Croy-Arenberg Book of Hours, use of Sarum,
    with miniatures by the Master of Sir George
    Talbot, the Master of the First Prayer Book of
    Maximilian and the Master of the David Scenes
    in the Grimani Breviary, Flanders, Ghent,
    1505 and c. 1510-20
  24. Berault Stuart (Bernard Stewart),
    Traité sur l’art de la guerre, Northern France, Paris,
    second quarter 16th century
  25. Battista Agnese, Portolan Atlas, Italy,Venice,
    signed and dated 5 February 1544


    26. Early Prints

  26. Nativity, Single-leaf print, Southern Germany,
    c. 1440
  27. The Good Sheperd – ihesus xpristus,
    Single-leaf print, Southern Germany,
    West-Swabian, c. 1460-70
  28. Block-book – Ars Memorandi per figuras
    Evangelistarum, first print of first edition,
    Southern Germany, Nuremberg, c. 1470
  29. Block-book – Der Antichrist und die fünfzehn Zeichen
    Germany, Nuremberg: Hans Briefmaler 1472,
    second edition, i.e. Hans Sporer, 1470
  30. Celestial vision at Constantinople. Kunt und
    wissennt sey allermeniglich das ein sölich geschicht
    unnd erschreckliches erschein gesehen ist worden hinter
    Canstantinopel ..., Single leaf print, Southern
    Germany, Nuremberg c. 1491
  31. Biblia Latina – A single leaf,Mainz: Johann
    Gutenberg and Johann Fust,‘c. 1454/55’; rather 1452-1454
  32. Psalterium Benedictum Congregationis Bursfeldensis
    – A single leaf, Mainz: Johann Fust
    and Peter Schöffer, 29 August 1459
  33. I.Thomas de Aquino. Summa de articulis fidei,
    Mainz: Printer of the Catholicon before 1460
    or Peter Schöffer c. 1469
    II. Matthaeus de Cracovia. Dialogus rationis
    et conscientiae de frequenti usu Communionis,
    Mainz: see above, c. 1469;
    III.Antoninus Florentinus. Confessionale:
    Defecerunt.With: Johannes Chrysostomus. Sermo
    de poenitentia, Cologne: Ulrich Zell, c. 1470
  34. Johannes Balbus, Catholicon, Mainz: printer of
    the Catholicon, probably Gutenberg workshop
    1460, c. 1472, or 1469
  35. Rudimentum Novitiorum, Lubeck: Lucas Brandis,
    5 August 1475
  36. Speculum humanae salvationis, German:
    ein spiegel der menschlichen behaltnisze,
    Basel: Bernhard Richel, 31 August 1476
  37. Conrad von Megenberg, Das buch der Natur,
    Augsburg: Johann Bämler, 20 August 1481
  38. Auslegung – Messe singen oder lesen wer
    das thun sol, wenn, wie oder wo, Nuremberg:
    Friedrich Creussner, not after 1482
  39. Jacobus de Theramo, Belial. Cy commence le proces
    de Belial a l’encontre de Ihesus. Lyon, Mathias Huss:
    19 May 1486
  40. Compilation of ten French
    literary incunabula, Paris, 1488-c. 95, among them Olivier
    de la Marche, Le Chevalier Délibéré. Paris: Guy Marchand
    or Antoine Caillaut for Antoine Vérard,
    8 August 1488
  41. Olivier de la Marche. Le Chevalier Délibéré,
    Gouda, printer of the Chevalier délibéré,
    Collaciebroeders, after 31 October 1489
  42. Petrus de Crescentiis, Ruralia commoda.
    In commodum ruralium cum figuris libri duodecim,
    Speyer: Peter Drach, not before 1493
  43. Alanus de Rupe, Von dem psalter unnd Rosen
    krancz unser lieben frauen.Wie man den beten sol,
    Augsburg: Anton Sorg, 1492
  44. Der Doten dantz mit figuren. Clage und
    Antwort schon von allen staten der welt,
    Mainz: Jacob Meydenbach, c. 1492
  45. Fiore di virtů. Questa sie una utilissima operetta
    acada uno fidel christiano chiamata fior de virtu,Venice:
    Matteo Capcasa di Codeca, 15 January 1493
  46. Christophorus Columbus, De insulis nuper
    in mari Indico inventis, and Carolus Verardus,
    Historia Baetica. In laudem Serenissimi
    Ferdinandi Hispaniarum regis Bethicae & regni
    Granatae obsidio, victoria & triumphus,
    Basel: Johann Bergmann von Olpe, 1494
  47. Scriptores Astronomici veteres: Julius Firmicus
    Maternus, Mathesis and other Greek and Roman
    astronomical texts,Venice:Aldus Manutius, 1499
  48. a: La dance macabre des hommes, Paris,
    widow of Jehan Treperel and Jehan Jehannot,
    c. 1512-22 234

     b: La dance macabre des femmes toutes
    hystories & augmentee de nouveau, Paris,
    Jehan Treperel (II), c. 1525-32
  49. Martin Luther, Das newe testament deutzsch,
    Wittenberg: Melchior Lotter, 1524
  50. Aurelius Theodosius Macrobius, In somnium
    Scipionis libri II. Saturnaliorum libri VII.
    Basel: Johannes Herwagen the Elder, 1535

    Key to bibliographical references

An interesting example of manuscript production in the French capital for use by a patron from Chartres

12 Book of hours, use of Chartres

Manuscript on vellum, illuminated by the Bedford workshop. France, Paris, c. 1400-10.

141 x 104 mm. 1+198 leaves, complete: I12, II4, III-XIII8, XIV2, XV-XVI8, XVII4, XVIII-XXVI8. Unfoliated. – Written space 75 x 47 mm, ruled in plummet for one column of 14 lines, for the calendar 17 lines.Textualis in black and red, one-line initials in gold on alternately mauve and blue ground with white pen-work, line-fillers of the same type, one-line ivy-leaf initials in mauve or blue on gold ground for the suffrage to St Christopher and matins of the Office of the Virgin. Two-line initials of the same type with radiating ivy-leaf decoration and coloured branches, three-line initials in the same manner for the beginnings of each hour. 13 miniatures, 11 above four, two above five lines of text. All miniatures surrounded by wide three-sided bars with ivy-leaf decoration and four-sided ivy-leaf borders. – Face of the angel in the Annunciation smudged, otherwise in good condition. – Brown calf over cardboard, spine with six raised bands, covers with double frame of blind-stamped filets, in the corners of the inner frame as well as in the centre gold-stamped flowers, binding battered.

PROVENANCE: Private collection, Europe.

TEXT:fol. 1-12: Calendar – fol. 13-16v: Suffrages: St Christopher (fol. 13), St Denis (fol. 14v) – fol. 17-22: Gospel lessons – fol. 22v-24: Readings for Saturday (use of Chartres); fol. 24v: blank – fol. 25: Office of the Virgin (use of Chartres): Matins (fol. 25), Lauds (fol. 52) – fol. 64v: Suffrages: St Michael (fol. 64v), St Catherine (fol. 65), All Saints (fol. 65v) – fol. 66: Office of the Virgin: Prime (fol. 66), Terce (fol. 73), Sext (fol. 78v), None (fol. 83v),Vesper (fol. 88v), Compline (fol. 96v) – fol. 102: Obsecro te – fol. 107: Penitential psalms – fol. 120: Litany – fol. 127: Hours of the Cross – fol. 133-138: Hours of the Holy Spirit - fol. 138v:blank – fol. 149: Office of the Dead – fol. 191: Latin Prayers, ending on fol. 196v - fol. 197-198: blank. Although certainly written in Paris, this book of hours is unusual with regard to its text. The calendar is immediately followed by the suffrages, as usually found only in manuscripts commissioned by English patrons. However, one of the most famous manuscripts of this period, The Boucicaut Hours (Paris, Musée Jacquemart-André, ms. 2), shows a similar textual division. Another unusual feature is the inclusion of suffrages in the Office of the Virgin, which to date has been regarded as typical of books of hours for the use of Rouen. There is no doubt that the codex was made for the use of Chartres, as can be deduced from the readings for Saturdays, which are described as ad usum carnotensem. The use of this diocese, although honoured by an important cathedral, is extremely rare within illuminated books of hours.

ILLUMINATION: fol. 13: St Christopher – fol. 25:Annunciation – fol. 46: Visitation – fol. 66: Nativity – fol. 73: Annunciation to the Shepherds – fol. 78v: Adoration of the Magi – fol. 83v: Presentation to the Temple – fol. 88v: Flight into Egypt – fol. 95v: Coronation of the Virgin – fol. 107: David penitent – fol. 127: Crucifixion – fol. 133: Pentecost – fol. 149: Funeral Mass. The volume contains various hands, as is evident, for example, from a comparison of the stout figure of David (fol. 107) with the dainty figures of the Magi (fol. 78v). The rendering of landscape does not seem to be a major concern of the artists involved, but this is hardly a fault given the agile figures with their lively gestures. The definition of the group of illuminators, named after the English regent of occupied France between 1422 and 1435, John of Lancaster, Duke of Bedford, to whom the present book of hours is attributed, is an interesting problem in the study of Parisian manuscript illumination (Bedford Hours: London, BL, Add. 18850, Breviary for the Duke of Bedford: Paris, BN, lat. 17294). Although the mature Bedford style evokes interiors of considerable sophistication, landscape is not among its strengths.The workshop did not develop a fully homgeneous style. Whereas scholars formerly differentiated between the full-fledged style of the workshop and its stylistic forerunners, labelled “Bedford trend” by Meiss, more recently there have been repeated attempts to identify the anonymous master behind this stylistic current with Haincelin de Hagenau, an artist originating from Alsace, who is known through archival documents. In the light of Villela-Petit 2003 and Avril 2006 this identification has gained new weight. The inspiration and innovation Parisian manuscript illumination owes to the Bedford Master alias Haincelin de Hagenau can hardly have its basis in a trend preceding his activity and therefore there is today a strong tendency to incorporate all manuscripts previously labelled ‘Pre-Bedford style’ into the oeuvre of the Bedford Master. A complete chronology, however, is yet to be established.The miniatures in a book of hours in Oxford dated 1408 (Bodleian Library, Douce 144) are regarded as the earliest works of the artist. According to most formal criteria the manuscript should be connected with the early oeuvre of the Bedford group. The wide borders with branches, as well as the lack of architectural elements and the use of ornamental backgrounds argue in favour of this attribution. Caution should be expressed, however, regarding the date: the artist consistently chooses a sky gradually lightening towards the horizon, and the border consisting of vases framing the Flight into Egypt betrays the artist’s playful handling of decorative forms. A much later example, the Hours of Jean de Gingins, dated 1421 (Lausanne, Arch. Cant.Vaudoises, Arch. du Chateau de la Sarraz, No. 50) shows the Bedford group still working with ornamental grounds and wide bar frames, while the conception of landscape is further developed. The unknown patron from Chartres seems to have made a deliberate choice of a traditional form of decoration as well as of interiors reduced in importance in comparison with the figures. This elegant small codex presents miniatures of a delicate splendour, in which the viewer’s eye is consistently guided towards the characters acting in each of its scenes.

LITERATURE: The manuscript is hitherto unpublished. Meiss 1972; Spencer 1977; Sterling 1987, pp. 419ff.; Backhouse 1990; Villela-Petit 2003; exh. cat. Paris 2004; Avril/ Voelkle 2006; König 2007, pp. 27-28, 31.