ADRIANUS CARTHUSIANUS (d. 1411). De remediis utriusque fortunae . [Cologne: Ulrich Zel, ca. 1470]. Chancery 4 o in half-sheets (197 x 136 mm). Collation: [1-12 8 13 6; 14-19 8 20 1 0] (1/1r Book I, 14/1r Book II, 20/10r colophon, 20/10v blank). 160 leaves. 27 lines. Type: 1:96(108)G. Four-line initial spaces. One divided blue Lombard initial with red pen-flourishing. Rubricated with red Lombards, capital strokes and paragraph marks. (Outermost bifolium of each quire reinforced at inner margin, a few smudges.) Modern vellum, by Douglas Cockerell and Son, with their binder's ticket on back pastedown. Provenance : shelfmark "A L:4 N.7" on 1/1r -- Cologne, Gymnasial-Bibliothek: inkstamp on 1/1r, overstamped Veräusserte Dublette -- Paul Hirsh: Cockerell binding ticket for him -- Walter Hirst: bookplate -- George Abrams bookplate; sale, Sotheby's London, 16 November 1989, lot 2. FIRST EDITION of four published in the fifteenth century; the work was also printed twice in the early sixteenth century. Adrian, whose secular name was Monet, was a Carthusian at the Charterhouse of St. Gertruydenberg near 's-Hertogenbosch or Bois-le-Duc, and at Liège. This work is the only one of his writings which has survived. Borrowing its title from Petrarch, it takes the form of a dialogue between a cultor virtutis and a tyro vanitatis , who differ in their responses to good and bad fortune. Zel set the letters "c" and "t" to mark the divisions of the text, and the rubricator used them as guide-letters for supplying one-line initials. H 93*; BMC I, 188 (IA. 2869); BSB-Ink. A-27; CIBN A-27; GW 227;Voulliéme Köln 5; Pr 858; Goff A-54.
ADRIANUS CARTHUSIANUS (d. 1411). De remediis utriusque fortunae . [Cologne: Ulrich Zel, ca. 1470]. Chancery 4 o in half-sheets (197 x 136 mm). Collation: [1-12 8 13 6; 14-19 8 20 1 0] (1/1r Book I, 14/1r Book II, 20/10r colophon, 20/10v blank). 160 leaves. 27 lines. Type: 1:96(108)G. Four-line initial spaces. One divided blue Lombard initial with red pen-flourishing. Rubricated with red Lombards, capital strokes and paragraph marks. (Outermost bifolium of each quire reinforced at inner margin, a few smudges.) Modern vellum, by Douglas Cockerell and Son, with their binder's ticket on back pastedown. Provenance : shelfmark "A L:4 N.7" on 1/1r -- Cologne, Gymnasial-Bibliothek: inkstamp on 1/1r, overstamped Veräusserte Dublette -- Paul Hirsh: Cockerell binding ticket for him -- Walter Hirst: bookplate -- George Abrams bookplate; sale, Sotheby's London, 16 November 1989, lot 2. FIRST EDITION of four published in the fifteenth century; the work was also printed twice in the early sixteenth century. Adrian, whose secular name was Monet, was a Carthusian at the Charterhouse of St. Gertruydenberg near 's-Hertogenbosch or Bois-le-Duc, and at Liège. This work is the only one of his writings which has survived. Borrowing its title from Petrarch, it takes the form of a dialogue between a cultor virtutis and a tyro vanitatis , who differ in their responses to good and bad fortune. Zel set the letters "c" and "t" to mark the divisions of the text, and the rubricator used them as guide-letters for supplying one-line initials. H 93*; BMC I, 188 (IA. 2869); BSB-Ink. A-27; CIBN A-27; GW 227;Voulliéme Köln 5; Pr 858; Goff A-54.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
