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 virtù. 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

The only known copy of a splendid incunable with a famous text

41 Olivier de la Marche, Le Chevalier Délibéré

[Gouda: printer of the Chevalier Délibéré (Collaciebroeders?), after 31 October 1489.] Second edition.

2°, 256 mm x 176 mm. 34 leaves (last leaf blank), complete: a-e6, f4; four additional flyleaves on both front and back cover.Watermarks: three different bull’s heads, two letters ‘p’, one gothic cross (WILC-Numbers:WMI 55764-55773). – Two columns of 24-32 lines, type 100G. Almost completely rubricated with the initials in red and blue. 16 full-page coloured woodcuts with headlines by Jacob Cornelisz, one printer’s mark. – In excellent condition, very few water stains, soft vellum-like paper of high quality, paper darkened only towards the inward binding. – Dark green 19th-century (between 1848 and 1877) morocco binding with blind-stamped ornamental frames, richly gilt leather paste-downs à la fanfare, signed ‘Trautz-Bauzonnet’, all edges gilt, attached red ribbon page marker.Two leather labels with coat of arms cut out from the former covers are pasted to the marbled front and back flyleaves. Marbled slipcase.

PROVENANCE: 1. A contemporary note on the last page testifies to the examination of the work by the religious censor:“ In hoc libro nihil est quod offendat… Ita est Johannes a fine plebanus beate Marie virginis oppidi Antwerpum.” 2. Charles-Jérôme Cisternay Du Fay († 1723). 3. Bibliotheca Colbertina, entry on titlepage, sold 1728. 4. Karl Heinrich, Graf von Hoym (1694-1736), sold 1738. His coat of arms on the flyleaves. 5. Charles-Alexandre, marquis de Ganay (1803-1881), acquired before 1862 (cf. Brunet 1860, III, col. 781); in 1881 sold to Léon Techener, bookseller in Paris. 6. Michel-Pierre-Antoine-Laurent Agar, comte de Mosbourg (1824-1892); sold 1893. 7. Baron Alphonse de Rothschild (1827-1905). (cf.Arnim) 8. Baron J[ames] de Rothschild (1878-1957). (cf. Tchemerzine) 9. Charles Gillet (1879-1972), Lausanne; sold to H.P. Kraus, New York. 10. Collection Otto Schäfer, Schweinfurt, OS 534, acquired 1967.

TEXT: Le Chevalier Délibéré is a long didactic poem with allegorical characters. It describes the journey of a knight (L’Acteur), who on realizing that the days of his life are numbered, sets out in search for salvation. The armour and weapons of the protagonist are also allegorical: his helmet has been made by Dame Temperance, his cuirass is called Force with its lower extensions consisting of Consummate Chastity, and so on. Three characters, Thought, Understanding and Fresh Memory, accompany him at different points on his journey, aiding him in his perilous encounters with such adversaries as Quareller, Age, Accident and Weakness. Together with Fresh Memory he also witnesses three battles, in which Philip the Good is overcome by Weakness, and Charles the Bold, as well as Mary of Burgundy, are killed by Accident. Olivier de la Marche (c. 1425-1502) entered the services of Philip the Good, Duke of Burgundy as a young boy. Throughout his lifetime he remained loyal to the Burgundian court; he fought and was taken prisoner at Nancy, the battle where Charles the Bold was killed. After the death of this last of the Valois dukes of Burgundy, he gained position in the service of Maximilian of Hapsburg, the husband of Mary of Burgundy, and later served as preceptor for Philip the Fair. His most important literary work is his Mémoires, which is one of the most valuable sources on life at the court of Burgundy during the 15th century. However, he was also famous for his poetic oeuvre, within which Le Chevalier Délibéré is the major piece. The poem was enormously successful at the end of the Middle Ages: 12 editions appeared in France between the late 15th and early 16th centuries, the first in Paris 1488 (cf. no. 40). The present second edition is the first and only printed in Gouda.

ILLUSTRATION: The series of woodcuts illustrating this text is wholly exceptional in the history of art. Schretlen attributes it to Jacob Cornelisz van Oostzanen as his first dated work. He specifies: “The excellent series of woodcuts that enriches this book (…) are among the monuments of woodcutting; they often combine highly decorative effect with minute execution. (…) We used to observe symptoms of the approaching Renaissance in the work of Gerard David, in the beginning of the 16th century, but here we find them at the close of the 15th century in the cuts of Jacob Cornelis.” Hind is equally eulogistic: “The design of the Gouda woodcuts are the work of an artist (probably a painter) of real merit. One of the most important illustrated books of the period.” One of the Chevalier-manuscripts (Paris, BN, ms. Fr. 1606) gives the author’s directions for an illustration, including both design and colour.These directions are closely followed in the book at hand, which reinforces the preciousness of this unique copy. Hind could not find any contemporary illuminated manuscripts containing designs corresponding to the woodcut series in either the Dutch or the French editions.The watercolours must have been applied by a professional painter, as he tried to add a sense of threedimensionality to the woodcuts in supplying various shades of one colour to both the scenery and the figures.

PRINTER: The printer’s mark shows a very delicate version of the Elephant and Castle motif with an imprinted emblem of the city of Gouda. This points to the Collaciebroeders, a convent in Gouda, who started a printing press in 1480. Slightly revised, this mark occurs only in one other print, i.e. the Historie van hertoghe Godevaerte van Boloen (Gouda, 1486/89).The initial letters G and D accompanying the mark cannot yet be attributed to any known person.They probably refer to a patron who commissioned the print.

RARITY: Extremely rare.The only known copy of this marvellous edition published shortly after the first (Paris 1488). The rarity of incunabula printed in Gouda is well known, so is the importance of the poem of Olivier de la Marche.

LITERATURE: Campbell 1874, no. 1083; Hain/Copinger 1895, 4950; Schretlen 1925;Tchemerzine 1927,V, 918; Hind 1935, pp. 587-590; Hellinga 1965, pp. 76-86; Kraus 1978, p. 312; Arnim 1984, no. 205;Van Thienen/Goldfinch 1999, no. 1403; 205 & figs.; exh. cat. Schweinfurt 2001, no 39; ISTC: IL 00029010;WILC.