39 - [PRINTED HOURS]. Hours for the use of Paris.
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Estimate €8,000 - €10,000

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[PRINTED HOURS]. Hours for the use of Paris. Hore dive virginis Marie secundam usum Romanum cum aliis folio sequenti notates una cum figuris biblie, apocalypsis, chorea Lethi, novisque effigiebus decorate. Paris, Thielman Kerver, 1516 (on the title the date 1516; but almanac for the years 1506-1530 and colophon 22 December 1506). In Latin and French, printed on parchment. With 21 large engravings (including the typographical mark of T. Kerver; the Anatomical Man and the final typographical mark) and 35 small engravings, ornate and historiated engraved borders. Engravings after models by the Master of the Très petites Heures d'Anne de Bretagne (Master of the Apocalypse Rose in the Sainte-Chapelle [MdA]) ["Kleinbilder MdA für Kerver, c. 1497"]; Jean Pichore for Kerver ["Pichore für Kerver, 1504-1506"] and a series of small engravings designed for Kerver ["Späte Kleinbilder für Kerver, c. 1512-1515"]. In-8°, 104 ff, complete [collation: A-N8], italic type (some leaves with Roman (Anatomical Man) or Gothic type (Almanac)), printing in red and black, figures in black, copy ruled in pale red ink, initials enhanced with liquid gold, on painted blue or red backgrounds, frames alternating woodcuts or metal engravings, reserved or screened backgrounds. Bound in brown calf, 6-ribbed spine with gilt fleurons in the entrenerfs and gilt fillets at the head and tail of the spine, double gilt fillet framing the boards, oval gilt medallion in the centre of the boards, gilt edges (leather a little cracked and worn). Some leaves trimmed a little short, some engravings a little stained but generally in good condition. Some discharges of painted initials. Size of binding: 160x105mm; size of leaves: 152x95mm. Absent from Lacombe. - Bohatta, 827. - Moreau, I, 1506, n° 93 - Claerr, T., Imprimerie et réussite sociale à Paris à la fin du Moyen Age: Thielman Kerver, imprimeur-libraire de 1497 à 1522 (Thèse ENSSIB, 2000), tome II, n° 115 (who cites the Venice copy). - Claerr, T., 2014, p. 330: "Font "Kerver" Pica Italic: this Parisian italic is well drawn, probably the best before Simon de Colines". - Tenschert and Nettekoven, Horae B. M. V.: 158 Stundenbuchdrucke der Sammlung Bibermühle, Ramsen, 2014, VI, no. 62.1: note that the authors retain the date 1516 (and not 1506) for this edition, largely based on the fact that for them the series of small engravings employed date from the years 1512-1515 and are not found in editions prior to 1512 ("Späte Kleinbilder für Kerver", ca. 1512-1515). Vervliet (2008 and 2010) gives a date of 1516 for this edition. There is another edition published by Kerver with 104 pages, dated 27 October 1506, but printed in Roman type (Moreau, I, 1506, 92; almanach 1506-1530); see Tenschert and Nettekoven, Horae B. M. V.: 158 Stundenbuchdrucke der Sammlung Bibermühle, Ramsen, 2014, VI, no. 60.4: Paris edition, T. Kerver, 4 May 1512, almanac 1506-1530. Recorded copies: Venice, Biblioteca nazionale Marciana [after Renouard/Moreau, ICP, I, 1506, 93]; Rome, Biblioteca nazionale, 69.3 A 29; Amsterdam, University Library, 974 C 22; Tenschert and Nettekoven, VI, no. 62.1. No copies in French libraries. On this italic typeface used by Kerver, see Vervliet, 2010, no. 261: "The 'Kerver' Pica Italic [It 79] or Cicero (1516)". This work seems to contain one of the first occurrences of the italic typeface in Paris [in 1512 by Le Rouge, then in 1514 by Kerver, and this one in 1516 by Kerver which would be the third occurrence]. Italics are a typographic style inspired by cursive writing, with characters typically slanted to the right. It contrasts with roman typography, where the characters are generally straight. In the present edition, none of the capitals are slanted: it was not until Claude Garamond that italic capitals were slanted like the lower-case letters that accompany them. Italic typefaces, initially known as "Venetian letters", were introduced in France in the 16th century, mainly in Lyon, under the influence of Italian printing and typographers such as Claude Garamond. Aldus Manutius in Venice was the first to use the italic typeface in his prints, which helped to make his small-format editions famous and hugely successful. As well as being highly legible, this new typeface saved space and paper. It is generally accepted that the edition of Virgil, Venice, 1501, represented the first use of italic type, created by the engraver and goldsmith France...

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39 - [PRINTED HOURS]. Hours for the use of Paris. See original version (French)

39 - [PRINTED HOURS]. Hours for the use of Paris.
See original version (French)