BREVIARY, use of Rome. Breviarium Romanum ex sacra potissimum scriptura, &probatis sanctoru[m] historijs nuper confectum . Edited by Cardinal Francisco de Quiñones. Lyon: Thibaud Payen, 1546. 8 o (172 x 107 mm). Printed in red and black, small woodcut roundel on title of Golgotha, ruled in red throughout. (A few printer's creases affecting head-lines in quire c, some occasional light browning.) Binding : contemporary French, possibly Lyonese, painted entrelac binding of brown calf, covers decorated with a black painted fillet interlacing and looping to form an elaborate geometrical frame, foliate ornaments outlined in gold at corners, the center with floral and star tools and curving gold lines with foliate terminals or ornaments painted green, white and black, spine in six compartments, stamped "EA," with five raised bands, gilt-lettered in two, a repeated panel in the remaining of looping black painted fillets and floral ornaments, edges gilt and tooled au pointillé (slightest wear along board edges). Provenance : Thomas Gaisford (armorial bookplate) -- Lord Aldenham (bookplate) -- Estelle Doheny (morocco bookplate; purchased from Maggs Bros., London, 19 August 1941) -- donated to SMS November 1943. A SUBERB FRENCH ENTRELAC BINDING. The binding reflects the mid-century vogue for elaborate interlacing strapwork and arabesque decor. Most painted strapwork bindings of the period were traditionally ascribed to Lyons before modern scholars established the existence of several prolific Parisian ateliers , making difficult a specific attribution. The design of the interlacing frame is the similar to one of Grolier's bindings illustrated in 176 Bookbindings in the Library of Robert Hoe . The Quiñones breviary was a radical departure from previous editions. The Biblical texts were expanded to include virtually all of the New Testament and much of the Old, and it omitted almost all of the communal elements, such as the versicles and antiphons. It was thus much better suited to private devotion than earlier breviaries. Payen also printed three other breviaries (in folio, quarto and small octavo) in the same year (Bohatta 167, 168, 169). This edition is not in Bohatta, Adams or Baudrier.
BREVIARY, use of Rome. Breviarium Romanum ex sacra potissimum scriptura, &probatis sanctoru[m] historijs nuper confectum . Edited by Cardinal Francisco de Quiñones. Lyon: Thibaud Payen, 1546. 8 o (172 x 107 mm). Printed in red and black, small woodcut roundel on title of Golgotha, ruled in red throughout. (A few printer's creases affecting head-lines in quire c, some occasional light browning.) Binding : contemporary French, possibly Lyonese, painted entrelac binding of brown calf, covers decorated with a black painted fillet interlacing and looping to form an elaborate geometrical frame, foliate ornaments outlined in gold at corners, the center with floral and star tools and curving gold lines with foliate terminals or ornaments painted green, white and black, spine in six compartments, stamped "EA," with five raised bands, gilt-lettered in two, a repeated panel in the remaining of looping black painted fillets and floral ornaments, edges gilt and tooled au pointillé (slightest wear along board edges). Provenance : Thomas Gaisford (armorial bookplate) -- Lord Aldenham (bookplate) -- Estelle Doheny (morocco bookplate; purchased from Maggs Bros., London, 19 August 1941) -- donated to SMS November 1943. A SUBERB FRENCH ENTRELAC BINDING. The binding reflects the mid-century vogue for elaborate interlacing strapwork and arabesque decor. Most painted strapwork bindings of the period were traditionally ascribed to Lyons before modern scholars established the existence of several prolific Parisian ateliers , making difficult a specific attribution. The design of the interlacing frame is the similar to one of Grolier's bindings illustrated in 176 Bookbindings in the Library of Robert Hoe . The Quiñones breviary was a radical departure from previous editions. The Biblical texts were expanded to include virtually all of the New Testament and much of the Old, and it omitted almost all of the communal elements, such as the versicles and antiphons. It was thus much better suited to private devotion than earlier breviaries. Payen also printed three other breviaries (in folio, quarto and small octavo) in the same year (Bohatta 167, 168, 169). This edition is not in Bohatta, Adams or Baudrier.
.jpg "Source: Christie's")
.jpg "Source: Christie's")
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
