Narrow agenda format (165 x 70 mm), printed on vellum, ff. , roman type, with 15 large and five smaller illuminated woodcuts, the large woodcuts framed in gold (as also the text below them), small capitals painted in gold on red and blue grounds; occasional minor smudging or staining, small repair in first leaf with loss of a few letters; contemporary or near-contemporary French brown morocco, covers with a border of small gilt floral tools enclosed by gilt fillets, central compartment filled with closely spaced parallel blind rules, spine blind-stamped in compartments separated by gilt fillets, three green silk ties and remains of a fourth, gilt edges; prayers in a fine contemporary chancery hand on flyleaves and front pastedown; slightly rubbed, some neat minor repairs; preserved in a cloth box; faint armorial stamp of a cardinal on recto of first leaf and on verso of first flyleaf.
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Hore intemerate virginis Dei genitricis Marie.
An apparently unrecorded issue of a rare Book of Hours in narrow ‘agenda’ format, preserved in an unusual and elegant contemporary or near-contemporary binding. Brunet and Lacombe both describe a colophon on the last page, not printed in this copy; it repeats almost verbatim the imprint at the foot of the first page in all copies recorded.
Bohatta 896; Brunet, Heures gothiques 247 (erroneously calling for 24 woodcuts); Lacombe 264, describing the Chantilly copy.
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Portrait, after Holbein the Younger, showing the scholar-printer half-length, to right, black fur-lined dress, arms folded, bare head. Late eighteenth century.
The original of this celebrated portrait is lost, and it only survives in copies. There is one at Hampton Court, for example. See the account in Oliver Miller, Tudor, Stuart and early Georgian Paintings in the Royal Collection, 1963. There are two copies in the Öffentliche Kunstsammlung at Basel (357, 1910).