HORAE B. M. V., use of Rome (Latin). Paris: Germain Hardouyn [c. 1528?, with almanach for 1528-1545]. 8vo, 181 x 119 mm. (7 1/8 x 4 11/16 in.), early twentieth-century black morocco, spine with five raised bands, gilt-lettered, board edges and turn-ins gilt, g.e., slight wear to corners and extremities of spine, original patches (before printing) to leaves E2, E3, G5 and I5, 1/2-inch repair to I3 catching border, a few other minor marginal repairs, occasional minor spotting or light soiling . Collation: A-M8. 96 leaves, 30 lines. Roman type. PRINTED ON VELLUM, title with Hardouyn's device, anatomical man cut on A2r surrounded by four small metalcuts of the humours, almanach for 1528-1545 on A2v, Calendar on A3r-B1r, 2 rectangular and 14 oval half-page (or slightly smaller) metalcuts, printed one to a page, the rectangular cuts printed alone, the oval cuts within cornerpiece ornaments and with short text beneath but no page-borders, 18 small medallion cuts (one rectangular) of Saints and Evangelists in the text, all full text pages printed within a variety of historiated and ornamental borders composed of multiple metalcut blocks and strips from several different series, one of the blocks with Hardouyn's large monogram. Rubricated: 4-line Maiblumen initials on parti-colored russet and blue ground, 1- and 2-line initials, paragraph marks, and line-fillers in liquid gold on a russet or blue ground. The use of relatively small oval-shaped metalcuts as large "full-page" cuts is unusual in the printed Horae tradition, as is the absence of page-borders. The oval cuts in this edition belong to two different series: in the first the cuts are set within lettered oval frames, while the second series lacks frames. The two sets are also distinguished by their styles, the first making fairly heavy use of hatching, while the second is more open and Italianate in style. One of the cuts from the second series, showing the Flight into Egypt, on E7r, is signed with the Lorraine cross. This edition is RARE. Not in Lacombe, Bohatta, Fairfax Murray French or Brunet, but closest to Lacombe 377 (= Bohatta 1131). (Another copy of this edition was sold at Christie's London on 13 December 1984, in which the large figures were painted over as full-page rectangular illuminations, apparently obscuring the original much smaller printed cuts.)
HORAE B. M. V., use of Rome (Latin). Paris: Germain Hardouyn [c. 1528?, with almanach for 1528-1545]. 8vo, 181 x 119 mm. (7 1/8 x 4 11/16 in.), early twentieth-century black morocco, spine with five raised bands, gilt-lettered, board edges and turn-ins gilt, g.e., slight wear to corners and extremities of spine, original patches (before printing) to leaves E2, E3, G5 and I5, 1/2-inch repair to I3 catching border, a few other minor marginal repairs, occasional minor spotting or light soiling . Collation: A-M8. 96 leaves, 30 lines. Roman type. PRINTED ON VELLUM, title with Hardouyn's device, anatomical man cut on A2r surrounded by four small metalcuts of the humours, almanach for 1528-1545 on A2v, Calendar on A3r-B1r, 2 rectangular and 14 oval half-page (or slightly smaller) metalcuts, printed one to a page, the rectangular cuts printed alone, the oval cuts within cornerpiece ornaments and with short text beneath but no page-borders, 18 small medallion cuts (one rectangular) of Saints and Evangelists in the text, all full text pages printed within a variety of historiated and ornamental borders composed of multiple metalcut blocks and strips from several different series, one of the blocks with Hardouyn's large monogram. Rubricated: 4-line Maiblumen initials on parti-colored russet and blue ground, 1- and 2-line initials, paragraph marks, and line-fillers in liquid gold on a russet or blue ground. The use of relatively small oval-shaped metalcuts as large "full-page" cuts is unusual in the printed Horae tradition, as is the absence of page-borders. The oval cuts in this edition belong to two different series: in the first the cuts are set within lettered oval frames, while the second series lacks frames. The two sets are also distinguished by their styles, the first making fairly heavy use of hatching, while the second is more open and Italianate in style. One of the cuts from the second series, showing the Flight into Egypt, on E7r, is signed with the Lorraine cross. This edition is RARE. Not in Lacombe, Bohatta, Fairfax Murray French or Brunet, but closest to Lacombe 377 (= Bohatta 1131). (Another copy of this edition was sold at Christie's London on 13 December 1984, in which the large figures were painted over as full-page rectangular illuminations, apparently obscuring the original much smaller printed cuts.)
.jpg "Source: Christie's")
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
