A Reader's Art 11: URBAN/URBANE

Reader's Art is a survey show of artists books with a slightly different focus
each year. Last year's iteration was the 10th Anniversary celebration and
received phenomenal press coverage and attendance for the opening reception. You
can see images most of the Reader's Art shows in the archives of Susan Hensel
Gallery at www.susanhenselgallery.com.

The theme for 2011 is URBAN/URBANE. Artists are invited to send up to 10 jpg's
of artists books that speak to urban living, whether urbane and witty or
down,dirty and gritty. As usual, the theme is a suggestion. You might think of
it as a "thinking point." Send your artist's statement, resume and up to 10
images, jpg's only, of your best work by January 15, 2011. Email application is
preferred.

The show runs the months of March and April, 2011 at
Susan Hensel Gallery
3441 Cedar Ave S.
Minneapolis, MN 55407

email: susan@...

Hi Everyone,

We start wandering homeward in March. Come join us and our Gypsy
Wagon at the John C. Campbell Folk School. Brasstown NC. We will be
teaching a class March 27-April 2, 2011 titled Small-format Artist
Books - Structure and Content. Here is the description: Learn to bind
exciting, colorful, intricate small books that will shine like "gems"
on every bookshelf. In this comprehensive (and fun!) class, make
paper, bind books, and enhance the blank books' beauty with words and
image. Start each day with a binding project from pre-cut materials,
followed by time to explore and create on your own. Depart with new
ideas and many finished books. All levels welcome.

Then how about trying something different? The next week we will be
teaching beginning Ukulele. Always wanted to play an instrument to
accompany your singing? (always wanted to  play book arts folk songs
like you see Peter perform on Youtube?) Four fingers, four
strings...the ukulele was made for you! Learn basic chords and keys,
and maybe even transposition and moveable chords. Together we will
play songs like "Little Grass Shack," "Five Foot Two," and many more.
Hapa-Haole, Tin Pan Alley, old timey, folk and rock - the uke can
handle them all! Don't want to sing? Just come and have fun strumming
along with everyone else. Level 1: Beginning (no experience required)

Peter and Donna Thomas

http://wanderingbookartists.blogspot.com/

[Non-text portions of this message have been removed]

best regards :-)
Arno



http://www.abebooks.de/servlet/BookDetailsPL?bi=1346087109&searchurl=bi%3D0%26bx\
%3Doff%26ds%3D50%26kn%3Dminiaturbuch%26recentlyadded%3Dall%26sortby%3D1%26sts%3D\
t%26x%3D61%26y%3D8

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ll%26sortby%3D1%26x%3D0%26y%3D0

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all%26sortby%3D1%26x%3D0%26y%3D0

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3D50%26bx%3Doff%26ds%3D50%26kn%3D%2522miniature%2Bbook%2522%26recentlyadded%3Dal\
l%26sortby%3D1%26x%3D0%26y%3D0

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i%3D50%26bx%3Doff%26ds%3D50%26kn%3D%2522miniature%2Bbook%2522%26recentlyadded%3D\
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Dall%26sortby%3D1%26x%3D0%26y%3D0

http://www.abebooks.de/servlet/BookDetailsPL?bi=2871486024&searchurl=bi%3D0%26bs\
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Dall%26sortby%3D1%26x%3D0%26y%3D0

i have a collection of minature books that belonged to Wright Howes - My mother
purchased them from his nephew in Augusta, Ga years ago.   Anyone out there know
anyone  that could help me get an honest appraisal - - - thanks Deb


The human spirit can endure with love, with hope.   I hope your spirit is fed
with much love, hope, peace and joy always!!




[Non-text portions of this message have been removed]

UICB to offer a Master of Fine Arts

With Board of Regents approval December 9, 2010, the UI Center for the Book is
proud to announce the offering of an MFA degree in the book arts, beginning Fall
2011. The strength of the proposal and the program is a testament to the UICB
community, the Graduate College, and the external support we received
throughout. Thanks to all involved for their hard work.

For more information please visit http://book.grad.uiowa.edu or email:
center-for-the-book@...

bibliophile greetings
:-) Arno

The Torriani Book of Hours

http://www.oretorriani.it/
http://www.oretorriani.it/en/

Bibliothèque du Château de Chantilly, Ms. 83

* Volume of 288 pages
* format 82 x 65mm

With its extraordinary binding and highly elaborate illumination work, while
very small, this precious Book of Hours must be considered an absolute
masterpiece.

The splendid binding The Torriani Book of Hours is just one of a small handful
of manuscripts of this period which still have their original bindings. It is
therefore an exceedingly rare item. The two binding covers, with their gilded
silver filigree work, are adorned with cameos representing Saint Catherine and
Saint Lucy. Inside the binding covers, we also find 14 enamel inserts
representing the Kiss of Judas, the Way to Calvary and twelve busts of saints.
The wealth, luxury and refinement of the times is clearly illustrated by the
Torriani Book of Hours, alongside other devotional works of this kind produced
by the jewellers' workshops of Milan under the House of Sforza.

The refinement of the embellishments Thirty illuminations adorn this small
devotional codex for private use. Twelve are Calendar illustrations. For the
eighteen Offices of the Virgin we find six full-page illuminations and twelve
pages with illuminated initials featuring architectural and floral motifs,
putti, birds and rabbits.

A master's workshop The illustrations for the Torriani Hours may be ascribed to
the Milanese `bottega' (workshop) of the master, Giovanni Ambrogio de Predis.
This leading workshop operated in full awareness of the latest developments in
the field of painting in Lombardy at the close of the fifteenth century, and, in
particular, of the art of Leonardo da Vinci (with whom de Predis worked in 1483,
on the Virgin of the Rocks). The embellishments of the borders, with their
markedly naturalistic representations of animals, jewels and floral sprays, are
the work of the young Matteo da Milano – one of the leading illuminators of
Milan – who received commissions from the most important Houses of Renaissance
Italy.

Patronage The codex was commissioned by the Milanese Della Torre or Torriani
house, an illustrious family of Lombardy which, for some time, ruled over Milan.
Further confirmation of the Milanese origin of the work is to be found in the
inclusion of certain features such as local saints, in the Calendar, and the
church of Santa Maria Maggiore, Milan's old cathedral, surmounted by a statue of
Saint Ambrose (the Patron Saint of Milan). However, the identity of the lady for
whom the codex was made, perhaps a lady of the court of Ludovico Sforza, is
unknown.
The Commentary

The work is accompanied by a book with commentary, edited by Pier Luigi Mulas,
with writings by Marco Collareta, Jean-Baptiste Lebigue and Monica Visioli.

http://grandiopere.fcp.it/facsimili/en/the-torriani-book-of-hours/

● Full reproduction of codex Ms. 83 of the Bibliothèque du Château de
Chantilly .

● Limited single (unrepeatable) edition of 980 numbered copies .

● Single volume; format 6.5 x 8.2 cm.

● 288 pages (I + 143 ff.) with 30 illuminations.

● Reproduction of the binding (gilded silver, ivory and enamel work).

● Publication providing comments, critical notes and analysis, edited by
Pier Luigi Mulas .

###############

THE TORRIANI BOOK OF HOURS.
Mulas, Pier Luigi
Facsimile with accompanying hardcover commentary

http://www.oakknoll.com/detail.php?d_booknr=105361

- Modena : Franco Cosimo Panini 2009
- Large Miniature
- Bound by hand (gilded silver binding covers and spine), clamshell case
- 30 pages, 333 pages
- ISBN 9788857000909 / Order Nr. 105361
- Price: $ 8,840.00


One of 980 copies. With its extraordinary binding and highly elaborate
illumination work, while very small, this precious Book of Hours must be
considered an absolute masterpiece.

The splendid binding The Torriani Book of Hours is just one of a small handful
of manuscripts of this period which still have their original bindings. It is
therefore an exceedingly rare item. The two binding covers, with their gilded
silver filigree work, are adorned with cameos representing Saint Catherine and
Saint Lucy. Inside the binding covers, we also find 14 enamel inserts
representing the Kiss of Judas, the Way to Calvary and twelve busts of saints.
The wealth, luxury and refinement of the times is clearly illustrated by the
Torriani Book of Hours, alongside other devotional works of this kind produced
by the jewellers workshops of Milan under the House of Sforza.

The refinement of the embellishments Thirty illuminations adorn this small
devotional codex for private use. Twelve are Calendar illustrations. For the
eighteen Offices of the Virgin we find six full-page illuminations and twelve
pages with illuminated initials featuring architectural and floral motifs,
putti, birds and rabbits.

A masters workshop The illustrations for the Torriani Hours may be ascribed to
the Milanese bottega (workshop) of the master, Giovanni Ambrogio de Predis. This
leading workshop operated in full awareness of the latest developments in the
field of painting in Lombardy at the close of the fifteenth century, and, in
particular, of the art of Leonardo da Vinci (with whom de Predis worked in 1483,
on the Virgin of the Rocks). The embellishments of the borders, with their
markedly naturalistic representations of animals, jewels and floral sprays, are
the work of the young Matteo da Milano one of the leading illuminators of Milan
who received commissions from the most important Houses of Renaissance Italy.

Patronage The codex was commissioned by the Milanese Della Torre or Torriani
house, an illustrious family of Lombardy which, for some time, ruled over Milan.
Further confirmation of the Milanese origin of the work is to be found in the
inclusion of certain features such as local saints, in the Calendar, and the
church of Santa Maria Maggiore, Milans old cathedral, surmounted by a statue of
Saint Ambrose (the Patron Saint of Milan). However, the identity of the lady for
whom the codex was made, perhaps a lady of the court of Ludovico Sforza, is
unknown.

The Commentary: The work is accompanied by a book with commentary, edited by
Pier Luigi Mulas, with writings by Marco Collareta, Jean-Baptiste Lebigue and
Monica Visioli.

Facsimile is present with the accompanying commentary and a clamshell case.

Thank you Arno!

That book is a real treat to behold.

Randy Asplund

RandyAsplund.com


----- Original Message -----
From: "arnobernoarno" <n9306937@...>
To: miniaturebooks@yahoogroups.com
Sent: Friday, January 28, 2011 4:55:58 PM
Subject: [miniaturebooks] MBS The Torriani Book of Hours






bibliophile greetings
:-) Arno

The Torriani Book of Hours

http://www.oretorriani.it/
http://www.oretorriani.it/en/

Bibliothèque du Château de Chantilly, Ms. 83

* Volume of 288 pages
* format 82 x 65mm

With its extraordinary binding and highly elaborate illumination work, while
very small, this precious Book of Hours must be considered an absolute
masterpiece.

The splendid binding The Torriani Book of Hours is just one of a small handful
of manuscripts of this period which still have their original bindings. It is
therefore an exceedingly rare item. The two binding covers, with their gilded
silver filigree work, are adorned with cameos representing Saint Catherine and
Saint Lucy. Inside the binding covers, we also find 14 enamel inserts
representing the Kiss of Judas, the Way to Calvary and twelve busts of saints.
The wealth, luxury and refinement of the times is clearly illustrated by the
Torriani Book of Hours, alongside other devotional works of this kind produced
by the jewellers' workshops of Milan under the House of Sforza.

The refinement of the embellishments Thirty illuminations adorn this small
devotional codex for private use. Twelve are Calendar illustrations. For the
eighteen Offices of the Virgin we find six full-page illuminations and twelve
pages with illuminated initials featuring architectural and floral motifs,
putti, birds and rabbits.

A master's workshop The illustrations for the Torriani Hours may be ascribed to
the Milanese `bottega' (workshop) of the master, Giovanni Ambrogio de Predis.
This leading workshop operated in full awareness of the latest developments in
the field of painting in Lombardy at the close of the fifteenth century, and, in
particular, of the art of Leonardo da Vinci (with whom de Predis worked in 1483,
on the Virgin of the Rocks). The embellishments of the borders, with their
markedly naturalistic representations of animals, jewels and floral sprays, are
the work of the young Matteo da Milano – one of the leading illuminators of
Milan – who received commissions from the most important Houses of Renaissance
Italy.

Patronage The codex was commissioned by the Milanese Della Torre or Torriani
house, an illustrious family of Lombardy which, for some time, ruled over Milan.
Further confirmation of the Milanese origin of the work is to be found in the
inclusion of certain features such as local saints, in the Calendar, and the
church of Santa Maria Maggiore, Milan's old cathedral, surmounted by a statue of
Saint Ambrose (the Patron Saint of Milan). However, the identity of the lady for
whom the codex was made, perhaps a lady of the court of Ludovico Sforza, is
unknown.
The Commentary

The work is accompanied by a book with commentary, edited by Pier Luigi Mulas,
with writings by Marco Collareta, Jean-Baptiste Lebigue and Monica Visioli.

http://grandiopere.fcp.it/facsimili/en/the-torriani-book-of-hours/

● Full reproduction of codex Ms. 83 of the Bibliothèque du Château de
Chantilly .

● Limited single (unrepeatable) edition of 980 numbered copies .

● Single volume; format 6.5 x 8.2 cm.

● 288 pages (I + 143 ff.) with 30 illuminations.

● Reproduction of the binding (gilded silver, ivory and enamel work).

● Publication providing comments, critical notes and analysis, edited by
Pier Luigi Mulas .

###############

THE TORRIANI BOOK OF HOURS.
Mulas, Pier Luigi
Facsimile with accompanying hardcover commentary

http://www.oakknoll.com/detail.php?d_booknr=105361

- Modena : Franco Cosimo Panini 2009
- Large Miniature
- Bound by hand (gilded silver binding covers and spine), clamshell case
- 30 pages, 333 pages
- ISBN 9788857000909 / Order Nr. 105361
- Price: $ 8,840.00

One of 980 copies. With its extraordinary binding and highly elaborate
illumination work, while very small, this precious Book of Hours must be
considered an absolute masterpiece.

The splendid binding The Torriani Book of Hours is just one of a small handful
of manuscripts of this period which still have their original bindings. It is
therefore an exceedingly rare item. The two binding covers, with their gilded
silver filigree work, are adorned with cameos representing Saint Catherine and
Saint Lucy. Inside the binding covers, we also find 14 enamel inserts
representing the Kiss of Judas, the Way to Calvary and twelve busts of saints.
The wealth, luxury and refinement of the times is clearly illustrated by the
Torriani Book of Hours, alongside other devotional works of this kind produced
by the jewellers workshops of Milan under the House of Sforza.

The refinement of the embellishments Thirty illuminations adorn this small
devotional codex for private use. Twelve are Calendar illustrations. For the
eighteen Offices of the Virgin we find six full-page illuminations and twelve
pages with illuminated initials featuring architectural and floral motifs,
putti, birds and rabbits.

A masters workshop The illustrations for the Torriani Hours may be ascribed to
the Milanese bottega (workshop) of the master, Giovanni Ambrogio de Predis. This
leading workshop operated in full awareness of the latest developments in the
field of painting in Lombardy at the close of the fifteenth century, and, in
particular, of the art of Leonardo da Vinci (with whom de Predis worked in 1483,
on the Virgin of the Rocks). The embellishments of the borders, with their
markedly naturalistic representations of animals, jewels and floral sprays, are
the work of the young Matteo da Milano one of the leading illuminators of Milan
who received commissions from the most important Houses of Renaissance Italy.

Patronage The codex was commissioned by the Milanese Della Torre or Torriani
house, an illustrious family of Lombardy which, for some time, ruled over Milan.
Further confirmation of the Milanese origin of the work is to be found in the
inclusion of certain features such as local saints, in the Calendar, and the
church of Santa Maria Maggiore, Milans old cathedral, surmounted by a statue of
Saint Ambrose (the Patron Saint of Milan). However, the identity of the lady for
whom the codex was made, perhaps a lady of the court of Ludovico Sforza, is
unknown.

The Commentary: The work is accompanied by a book with commentary, edited by
Pier Luigi Mulas, with writings by Marco Collareta, Jean-Baptiste Lebigue and
Monica Visioli.

Facsimile is present with the accompanying commentary and a clamshell case.




[Non-text portions of this message have been removed]

Attention all MBS members.

The information about the Dublin Conclave is now on our web site. Take a
look. And plan to be there. It is going to be wonderful.

Non members should consider joining. MBS is a really friendly and helpful
group of people. Our Newsletters are informative. And the Conclaves are
great fun. Dublin is a great place to meet the members and even to acquire
some treasured books at the Book Fair on Sunday.

Neale

-----------------------------
IRS Circular 230 disclosure:
To ensure compliance with requirements imposed by the IRS, we inform you
that any
U.S. federal tax advice contained in this communication (including any
attachments)
is not intended or written to be used, and cannot be used, for the purpose
of (i) avoiding
penalties under the Internal Revenue Code or (ii) promoting, marketing or
recommending
to another party any transaction or matter addressed herein.

Neale M. Albert | Of Counsel - Corporate
Paul, Weiss, Rifkind, Wharton & Garrison LLP
1285 Avenue of the Americas | New York, NY 10019-6064
(212) 373-3341 (Phone) | (212) 492-0341 (Fax)
www.paulweiss.com
This message is intended only for the use of the Addressee and may
contain information that is privileged and confidential.  If you are not the
intended recipient, you are hereby notified that any dissemination of this
communication is strictly prohibited.  If you have received this communication
in error, please erase all copies of the message and its attachments and
notify us immediately.


[Non-text portions of this message have been removed]

:-)


http://info-libraries.mit.edu/150books/1897/812/


Year 37 – 1897: Galileo a Madama Cristina di Lorena (1615) by Galileo Galilei
Posted on February 12, 2011 by Audrey Pearson

Published: Padua, 1897

Galileo's letter to his friend Cristina di Lorena, originally published in 1636,
is an appeal for the reconciliation of science and religion. This was a common
struggle for scientists in his day. Indeed, few would have understood this
struggle better than Galileo, an alleged heretic who claimed that the sun, not
the earth, was the center of the known universe. For this assertion, he remained
under house arrest by order of the Roman Inquisition from 1633 to the end of his
life.

What is most striking about this book, however, is its incredibly diminutive
size.  "For many years this tiny book which is only half the size of an ordinary
postage stamp was considered the smallest printed from movable type," Louis
Bondy wrote in his Miniature Books: Their History from the Beginnings to the
Present Day.

The Libraries hold other miniature titles – one contains four addresses by
Abraham Lincoln; the other, extracts from Calvin Coolidge's autobiography. Both
are roughly the same size as this volume, but neither was set from movable type
as tiny as that used in the Galileo work. As recently as 1961, at least one
expert speculated that Galileo a Madama Cristina di Lorena remained the smallest
ever set from movable type.

Thank you for accepting me to this group.

I am Saskia from the Netherlands and like to make miniature books for my
dolls houses. I like to impove myself. I have learned making this tiny books
by tutorials of the internet and I have a book about miniature books by
Donna and Peter Thomas. A very usefull book. I have leraned a lot .

My questions are , how to make a cover with gold on it. I tried stamping,
but it did not work for me.

I make glue bound and also sew in books. The problem with the little books
is , they would not lay totally flat, when they are on a table. To get flat
books, I have to put them into a bookcase, which I do not like.

I hope there are people here , who canhelp me with this problems.

Thank you so much, Saskia





[Non-text portions of this message have been removed]

I am searching for two miniature books published by Treherne -- Timon of
Athens and Venus and Adonis.

Does any member of the group have either of these books and would like to
sell them or trade for them ?

Neale Albert

-----------------------------
IRS Circular 230 disclosure:
To ensure compliance with requirements imposed by the IRS, we inform you
that any
U.S. federal tax advice contained in this communication (including any
attachments)
is not intended or written to be used, and cannot be used, for the purpose
of (i) avoiding
penalties under the Internal Revenue Code or (ii) promoting, marketing or
recommending
to another party any transaction or matter addressed herein.

Neale M. Albert | Of Counsel - Corporate
Paul, Weiss, Rifkind, Wharton & Garrison LLP
1285 Avenue of the Americas | New York, NY 10019-6064
(212) 373-3341 (Phone) | (212) 492-0341 (Fax)
www.paulweiss.com
This message is intended only for the use of the Addressee and may
contain information that is privileged and confidential.  If you are not the
intended recipient, you are hereby notified that any dissemination of this
communication is strictly prohibited.  If you have received this communication
in error, please erase all copies of the message and its attachments and
notify us immediately.


[Non-text portions of this message have been removed]

Big or small, I only collect books or ephemera that have movable paper elements.
If you have any for sale, please let me know with a description of the movable
paper part.
Please visit my website: www.popuplady.com
Thanks,
Ellen G. K.Rubin
The Popuplady

http://en.cnci.gov.cn/HtmlFiles/News/2009-7-7/9686.html

:-)

A man surnamed Xu shows a tiny book used to cheat in exams in ancient China when
he brought it to a treasure evaluation event in Qingdao on Sunday, July 5, 2009.
The tiny, matchbox-like book is 6.5-centimeters long and 4.3-centimeters wide
and contains nearly 140 thousand words. The printing technology required to
create such a book was highly difficult. [Photo: CFP]

The smallest book in China has reportedly been found in Qingdao, a coastal city
in eastern China's Shandong Province.

The mini-book, 6.5 centimetres long and 4.3 centimetre wide belongs to a man
surnamed Xu, who brought it to a treasure evaluation event held in that city on
Sunday. The book is so tiny that it can put into a match box, according to a
report by Qingdao Morning News.

The 160-page book containing 140,000 Chinese characters is a copy of ancient
Chinese classic works, which was once used to cheat in exams during the late
Qing Dynasty （1644-1911）.

Experts say the printing technique for such a small book has long been lost to
the world.


A tiny book used to cheat in ancient Chinese exams lies alongside a common coin,
at a treasure evaluation event in Qingdao, in east China's Shandong Province, on
Sunday, July 5, 2009. The book is 6.5-centimeters long and 4.3-centimeters wide
and contains 134 thousand words. The printing technology required to create such
a book was highly difficult when it was created and has now been lost to the
world. [Photo: CFP]

Editor: Christy Zhao
Email: zhaolt@...

Miniature Book of Hours, Use of Rome, in Latin, illuminated manuscript on vellum

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Fifty Magnificent Illuminated Manuscripts
Sale: L02243  |  Location: London
Auction Dates: Session 1: Tue, 03 Dec 02 10:30 AM
LOT 23
Miniature Book of Hours, Use of Rome, in Latin, illuminated manuscript on vellum
[Lombardy (probably Milan), third quarter of the fifteenth century]

60,000—80,000 GBP

Description
187 leaves (42 blank), 57mm. by 41mm., text complete, collation: i-x8, xi2,
xii-xx8, xxi3 [of 8, iii to vi cancelled], xxii-xxiv8, xv6, horizontal
catchwords in centre of lower margins, 11 lines, written-space 31mm. by 25mm.,
written in a very small rounded Gothic textura in dark brown ink, rubrics in
red, alternating red and blue one- and two-line initials throughout, TWELVE
HISTORIATED INITIALS (4 to 5 lines high) with partial borders of penwork and
bezants, HALF-PAGE MINIATURE WITH FULL BORDER (fol.1r) of flowers, gilded
bezants and penwork, some signs of use, a prayer to Christ added at the end in a
in a very fine sloping italic hand (fol.153r), some rubbing and wear, staining
and darkening of edges and end leaves, fol.1r rather damaged and occasional
flaking of initials, generally sound with good margins, FINE RENAISSANCE
SILVER-GILT FILIGREE BINDING, probably Venetian c.1500, with very elaborate
scrollwork patterns in minute wires, dots and tiny springs arranged around
central panel of gilt tracery pierced to pink metallic ground underneath, 5
ornamental bosses on each cover with radiating sun and 'S' patterns in enamel,
spine with broad panel of floral tracery designs, clasp with pierced roundel of
the Crucifixion with the Virgin and St. John on either side, binding slightly
worn, pastedowns renewed, lower hinges repaired, later seventeenth- or
early-eighteenth century fitted box of blind-stamped brown morocco lined with
soft red leather, metal clasp and catch

Miniature Book of Hours (Use of Rome)

http://www.medievalbooksofhours.com/boh_description.php?id=29&cat=default&

In Latin, illuminated manuscript on parchment
Belgium, Bruges, c. 1480
15 large miniatures, 3 historiated initials, and 24 roundels in the Calendar by
the Workshop of the Master of the Dresden Prayerbook

203 ff., preceded by a single vellum leaf, complete (collation: i4, ii8, iii8+2,
iv8+1, v8+1, vi8, vii4, viii10+1, ix4+1, x11+2 [original quire of 12 with one
text leaf tipped in (f. 78), 2 singletons with miniatures, last folio of quire
cancelled], xi8+4 [quire of 8 with 2 text leaves and 2 singletons with
miniatures], xii12+1, xiii11+1 [of 12, with last folio of quire cancelled],
xiv6+2 [quire of 6 with one text leaf tipped in and one singleton with
miniature], xv6, xvi9 [of 10, last folio of quire cancelled], xvii8+1,
xviii-xx8, xxi5 [of 6, with first folio of quire cancelled], xxii8+1, xxiii8,
xxiv6 [of 8, last 2 folios of quire blank or cancelled and final three leaves
blank], all full-page miniatures tipped in on added singletons, numbered in
pencil in a modern hand, first and final three leaves blank), 15 long lines (16
lines for the calendar pages), ruled faintly in brown ink, justification 85 x 59
mm., written in black ink a fine rounded Gothic book hand, rubrics in red, three
historiated initials, 1- and 2-line burnished gold initials on a blue or magenta
ground with white tracery, 24 roundels in the calendar, each with signs of the
zodiac and the corresponding labors of the month, 3 historiated initials,
7-lines high in blue or magenta with white tracery on a burnished cusped gold
ground, 45 elaborately painted borders in several colors and gold, containing
acanthus leaves, flowers, and other vegetation as well as fauna, butterflies,
snails, a rabbit, several birds, including peacocks, 15 large miniatures within
arched compartments outlined in burnished gold. Bound in eighteenth-century red
morocco, ornately gilt, edges gilt, joint and spine ends a bit rubbed, rear
joint cracked, slight loss of leather at top right portion of spine, front
pastedown covered with nineteenth-century green silk (bearing the printed face
of Christ), housed in a recessed velvet compartment inside a handsome full
morocco folding box with raised bands and gilt title and decoration, some slight
rubbing, minor soiling, and other trivial defects, else in excellent condition
internally. Dimensions 90 x 63 mm.(binding); 85 x 58 mm.(leaves).

The charming miniatures in this Book of Hours were illuminated by an artist who
trained under (or was heavily influenced by) the Master of the Dresden Prayer
Book. Active from about 1460 to 1520, and working not only in Bruges, but also
at times in Valenciennes and Tournai, the Dresden Master and his shop produced
nearly fifty manuscripts and illuminated incunables. The lively and rich
narrative style, dramatic poses and gestures, and distinctive palette of the
Master of the Dresden Prayerbook are evident in our manuscript.

PROVENANCE
1. Most likely made for an owner in Bruges not only because of the Bruges
calendar, but because of the contribution of the workshop of the Master of the
Dresden Prayerbook, active there in the last quarter of the fifteenth century,
beginning c. 1470 and traced until about 1505. An original (or perhaps later)
ownership inscription was probably excised on f. 199.

2. USA, Private Collection.

TEXT
ff. 1-12v, Calendar, with entries in red and black, for Bruges, with saints
Donatian (Oct. 14), to whom the Cathedral of Bruges was dedicated, Basilius
(June 13), in red, Eligius (June 24) in red, and Egidius (Sept. 1), along with
many Franciscan saints, including Francis, Clare, Anthony of Padua, Bernardino,
and Louis of France, suggesting someone with ties to the Franciscan Order;

ff. 14-18v, Short Hours of the Cross;

ff. 20-24, Short Hours of the Holy Spirit;

ff. 26-32, Mass of the Virgin;

ff. 34-107v, Hours of the Virgin, use of Rome, with Matins (f. 34), Lauds (f.
56), Prime (f. 70), Terce (f. 76), Sext (f. 82), None (f. 87), Vespers (f. 93),
Compline (f. 102);

ff. 109-118vr, Advent Office of the Virgin;

ff. 120-141, Seven Penitential Psalms, and Litany;

ff. 143-179, Office of the Dead, use of Rome;

ff. 181-191v, Psalter of St. Jerome;

ff. 191v-193v, Verses of St. Gregory;

ff. 194-194vr, Suffrage to St. Sebastian;

ff. 195-199v, Obsecro te for masculine use.

ILLUSTRATION
Calendar: illustrated with a full cycle of labors of the month and signs of the
zodiac:
f. 1, January, Man Feasting, Aquarius pouring water;

f. 2, February, Peasant Trimming Branches, Pisces as Fish;

f. 3, March, Planting, Aries as a Ram;

f. 4, April, Hawking (?), Taurus as a Bull;

f. 5, May, Man Riding on Horseback, Gemini as Twins;

f. 6, June, Man Preparing the Soil for Planting, Cancer as Crab;

f. 7, July, Man Cutting down Wheat, Leo as the Lion;

f. 8, August, Wrapping Wheat in Sheaves, Virgo as Young Woman;

f. 9, September, Wine-making, Libra as a Balance;

f. 10, October, Planting Soil, Scorpio as Scorpion;

f. 11, November, Knocking Acorns out of Trees, Sagittarius as Archer;

f. 12, December, Killing the Pig, the Capricorn as Goat.

Full full-page miniatures, all on inserted folios, blank on the rectos:
f. 13v, Crucifixion;

f. 19v, Pentecost;

f. 25v, Virgin and Child with Music-playing Angels;

f. 33v, Annunciation;

f. 55v, Visitation;

f. 69v, Nativity;

f. 75v, Annunciation to the Shepherds;

f. 81v, Adoration of the Magi;

f. 86v, Presentation in the Temple;

f. 92v, Massacre of the Innocents;

f.101v, Flight into Egypt;

f. 108v, Coronation of the Virgin;

f. 119v, King David in Prayer;

f. 142v, Raising of Lazarus;

f. 180v, St. Jerome in the Wilderness.

Historiated initials:
f. 191v, Christ as Man of Sorrows;

f. 194, St. Sebastian;

f. 195, Pietà.

The charming miniatures in this Book of Hours were illuminated by an artist who
trained under (or was at least heavily influenced by) the Master of the Dresden
Prayer Book. This illuminator, who was also an engraver, was named after a Book
of Hours in Dresden (Sächsische Landesbibliothek, MS A.311, two of whose
detached miniatures are in the Louvre, Cabinet des dessins, inv. nos. 20694 and
20694bis). As Brinkmann observes, "The Master of the Dresden Prayerbook's
thick-set, somewhat rotund figures with clumsy hands and feet and massive heads,
are distinctive. His narrative style is lively and rich in detail. He gave his
figures dramatic postures and gestures …. His miniatures lack the refined finish
of the contemporary Ghent-Bruges school of illumination; individual brushstrokes
and stippling remain visible."

Brinkmann's stylistic analysis can be applied to the present manuscript. In the
Pentecost (f. 19v), for example, the somewhat short apostles gesture
dramatically, their movements offering a narrative gloss on their excitement.
The palette of the Virgin and Child (f. 25v)–cherry red, gold orange, royal
blue–echoes that of the Dresden Master, as does the large expanse of near black
in the background of the Nativity (f. 69v), untouched broad areas of color being
a favorite device of the Dresden Master. And certain miniatures in the present
codex, the David in Penance (f. 119v) and the St. Jerome (f. 180v), echo
elements in the eponymous manuscript itself (ff. 98v and 96v, respectively, in
the Dresden book). Active from about 1460 to 1520, and working not only in
Bruges, but also at times in Valenciennes and Tournai, the Dresden Master and
his shop produced nearly fifty manuscripts and illuminated incunables.

Although there are no indications that help identify the original owner (perhaps
someone with ties to the Franciscans? See Provenance), the tiny size of the
present manuscript and its rich cycle of illustration help us imagine today how
owners used their books. Here is a manuscript where even the smallest scenes
(the charming calendar roundels measure only 14 mm. in diameter and the height
of the miniatures only 44 mm.) are replete with narrative detail, which must
have guided viewers–often more interested in the pictures than the text–to
models of lay sanctity and affective piety.

LITERATURE
Brinkman, Bodo. Die Flämische Buchmalerei am Ende des Burgunderreichs. der
Meister der Dresdener Gebetbuchs und die Miniaturisten seiner Zeit, Turnhout,
Brepols, 1997.

Kren, Thomas and McKendrick, Scot. Illuminating the Renaissance: the Triumph of
Flemish Manuscript Painting in Europe, Los Angeles, CA, J. Paul Getty Museum,
2003, pp. 207-216.

ONLINE RESOURCES
Bodo Brinkmann, "Master of the Dresden Prayerbook," Grove Art Online
http://www.groveart.com/

Miniature Prayer Book
In Latin, illuminated manuscript on parchment
Germany, c. 1400-1450



http://www.textmanuscripts.com/manuscript_description.php?id=2866&#


i (marbled paper) + 201 + i (marbled paper), (collation, i-vi8 vii10 [-3, f. 51,
with loss of text, and -8, following f. 55, cancelled] viii8 ix10 x6 xi10 [-1,
leaf before f. 82 with loss of text, -3, leaf before f. 83 with loss of text,
-8, leaf following f. 88, cancelled] xii-xx8 xxi8 [through f. 168] xxii8
[misfoliated, beginning f. 170] xxiii-xxiv8 xxv12 [-1, before f. 194, with loss
of text, and -5, before f. 197, with loss of text]), ), modern foliation in ink,
top, outer corner, recto, 1-203, f. 51 is missing, and f. 168 is followed by f.
170, no catchwords or signatures, written in a skilled, legible hybrida script
on sixteen long lines, ruling indiscernible (justification 50 x 35 mm.), ELEVEN
HISTORIATED INITIALS, with 12- to 7-line gold initials on notched maroon
grounds, depicting saints (subjects below) drawn simply, usually dressed in
maroon and orange with no shading, and with their attributes, on blue grounds,
some with small gold dots, with bar borders, in top, bottom and outer margins,
depending on position of the initial, not connected to the initial, formed of
gold and red or blue, with large notches on one side, and with curled terminals,
some with added decorative motifs; decorated initials, 10- to 6-line gold or
blue initials, most infilled with bold floral or vegetal motifs in blue, red,
orange, and green, on notched maroon grounds, most with similar bar borders, ff.
53v, 76, 82, 83, 89, 104v,and 13, 5-line parted blue and gold initial, f. 191,
infilled and with red pen decoration with touches of green wash, and floral
decoration, bottom margin; 5- to 6-line red or blue initials, with pen
decoration in the other color including large beads; 3-line initials alternately
red and blue; one-line initials within the text, alternately red and blue, red
rubrics, majuscules within the text stroked with red.  Bound, 18th century (?),
in brown calf over pasteboard, blind-stamped with a center panel of intersecting
double fillets forming diamonds, flanked by narrow bands stamped with
intersecting lines formed from tiny round stamps and narrow panels of small
floral decorative stamps, above and below, three raised bands, blue and red head
and tail bands, edges dyed red, marbled endpapers. (In very good condition, with
some discoloring and darkened folios). Dimensions (binding) 83 x 57 mm.;
(leaves) 76 x 50 mm.

This tiny portable prayer book is an eloquent witness to late medieval
spirituality.  It includes numerous prayers promising indulgences, as well as
prayers offering protection from evils, both spiritual and temporal, and two
forms of devotion to the Rosary.  Although speaking to an unsophisticated
theology, the text and its charming illustrations are evidence of a strong
devotion and feeling for the Divine presence each hour of the day.  The presence
of a prayer before preaching suggests that the original owner was a priest.

PROVENANCE
1. The style of the script and decoration suggest the manuscript was made in
Germany in the first half of the fifteenth century, see also the prayer, f. 25v,
by Conrad, minister of Saxony; the suffrages of Saints Quirinus, Catherine and
Barbara (also included in the litany), would be likely in a book made in Germany
(although it should be noted that these saints, like all the saints highlighted
in this manuscript, were very popular throughout Europe);

2. Very faint note in lead point, bottom f. 189, possibly from an
eighteenth-century owner?

3. No information of modern provenance except price in red, front flyleaf,
verso.

TEXT
ff. 1-8, [Preparation for the Mass] Incipit preparamentum misse, Deus in
adiutorium meum intende …; Ympnus,  Veni creator spiritus mentes …; [followed by
Psalms 83, 84, 85, 115 and 129, antiphon, Kyrie, and Pater noster, concludes
with prayers:] Aures tue pietatis …  [the last prayer:] Conscientias nostras
quesumus domine …;

ff. 8-20v, [Prayers before Mass] Oratio devota ante missa, Unigenite fili dei
ihesu Christi quis digne valeat .. in fonte miseracionis numquam manare
cessabis.  Amen; Sequitur confessio ad christum ante missam dicenda.  Scio
domine quia veritas es et veritatem doces …; Ante missam oratio, Confiteor deo
omnia peccata mea quecumque feci ab infancia mea …; Oraio, Suscipe confessionem
meam unica spes …; Oratio ante missam, Conscientiam trepida domini ihesu Christi
…; Oratio ante missam, Ominipotens altissime rex et dominus …; Oratio ante
missam, O mirifice et novum conditor ….; Oratio ante missam, Veni pie domine
ihesu veni quia ….;

ff. 20v-32, [Prayers after Mass] Sequitur graciarum actio post missam, Te deum
laudamus, Te dominum confitemur, Te eternum partum omnis terra venerator, etc.;
[prayer] Deus in adiutorium meum ….; Canticle of the three children (Daniel 3);
Psalm 150 (cue only);Nunc dimittis …; Ant. Trium puerorum cantemus hympnum quam
cantabant in camino ignes …, Oratio, Deus qui tribus pueris mitigasti flammas
ignium … Similar series of prayers to be said after Mass in San Marino
California, Huntington Library, HM 1169, Book of Hours, use of Langres, France,
late fifteenth century, art. 2]; [continues with prayers, including f. 24v] Item
clemens papa concessi omnibus sacerdotibus dicentibus hanc sequentem orationem
post missam deuote … et concessit xl dierum indulgentiam, Obsecro te dulcissime
domine ihesu christi ut passio tua sit mihi uirtus quia …; [f. 25v-29] Oratio et
graciarum actio post missam fratris conradi ministri saxonie, Eya deus meus
misicordia mea … et purgandos a purgatorio liberare digneris in eternum.  Amen.;
[continues with prayers, concluding] … Explicit graciarum actio post missam;

ff. 32v-53v, [Morning Prayers and Others, many with rubrics describing the
indulgences granted for saying the prayer] Hanc sequentem orationem [lib..?]de
mane legas et dices, Deus in adiutorium meum intende; Domine ad; Pater noster
[cues only]; Mane cum surrexio intende ad me …; In manus tuas domine …;
[prayers, including:] f. 38 Sequitur oratio sancti augustini a spiritu sancto
sibi reuelata.  Quicumque eam devote legerit vel audierit aut circa se
portaverat in illa die nec peribit nec in ignes nec in aqua nec in prelio nec in
iudicio … Deus propicius esto michi peccatori et sis custos mei omnibus … [C.
Wordsworth, ed., Horae Eboracenses, Surtees Society, 132 [1920], 125]; ... f. 45
Quicunque deuote legerit sequentem orationem inspiciendo faciem Christi ille
consequitur decem milia dierum indulgentiarum … Salve sancta faies nosri …;

ff. 53v-73v, Suffrages of All Saints, Saint Peter, Saint Paul, Guardian Angel
(Sequitur oracio de proprio angelo, Obsecro te O angelice spiritus in cuius
custodia ego miserrime peccator traditus sum …; Versicle, Response, and Prayer,
Omnipotens sempiterne deus que sanctum angelum …), Saint Erasmus, Saint
Sebastian, Saint Roch, Saint Quirinus, Saint Katherine, Saint Barbara, and Saint
Apollonia;

ff. 73v-75v, [Prayers to be said before Preaching]  Sequitur oratio sancti
anthonii de padua ante sermonem dicenda,  Lux mundi deus immense ….; Alia oratio
ante sermonem, O fons vite verba ….;

ff. 75v-87v, [Prayers said at the Elevation of the Host, and other prayers, many
with rubrics promising indulgences] Ave verum corpus natum de maria …; Sequitur
oracio sancti augustini …  Aspice ad me infelicem pietas …; [concluding prayer:]
Mundi creator et redemptor ihesu christen qui ad passionem iturus …

ff. 87v-88v, [Prayers to say before going to bed] Dormituro dicenda est hec
sequens oratio, Ihesu dulcisime, Ihesu pater dilectissime, Tu mecum queso maneas
…; [rubric attributing prayer to St. Augustine] Erige me famulum tuum domine qui
semper erigis peccatores …;

ff. 89-99v, [Rosary; five decades, each followed by the Pater Noster]  Incipit
rosarium beate marie virginis, Quam tu virgo castissima angelo Gabriele …;

ff. 100-120v, [Prayers to the Virgin and St. Anne];

ff. 121-129, [Rhymed Rosary; five decades] Sequitur aliud rosarium beate
virginis, Ave salve gaude/ vale O Maria no[n?] vernale/ Sed his rosis tibi tale
… Ave; Ave virgo sonsa nata/ Cristi mater sublimata … Ave …;

ff. 129-138v, [Prayers];

ff. 139-157, Penitential Psalms, followed by antiphon Ne reminiscaris domine
delicte …, and the Litany, including Quirinus among the martyrs, Benedict,
Francis, Anthony, Dominic, and Bernard among the monks and hermits, and
Catherine, Barbara, Clare, Anne, Ursula and Elizabeth among the Virgins;
concludes with prayers.

ff. 157v-188v, [Prayers, some to be said at one's death] Oraico pulcherrima ac
devota…,.  O vernante christi rose, super modum speciose, O ridente margarite …

ff. 189-203v, [The Fifteen O's attributed to St. Bridget, followed by additional
prayers] Sequitur nunc quindecim orationes de passione domini revelata sancte
Brigitte regine …,  Ave dulcissime Ihesu … Oracio prima, O Ihesu Christe aeterna
dulcedo te amantium …[ff. 202v-203v, very dark and rendered illegible.]

This tiny prayer book (measuring only 3 x 2 1/8 inches), is an eloquent witness
to late medieval spirituality.  It includes numerous prayers promising
Indulgences, as well as prayers promising protection from evils, both spiritual
and temporal.  Although such beliefs may speak to an unsophisticated theology,
they are evidence of a strong devotion and feeling for the Divine presence each
hour of the day.  It includes prayers to be said before and after Mass, at the
Elevation of the Host, and before preaching, so it was most likely made for a
priest. Note the presence of suffrages of Saint Erasmus, who was a guardian
against intestinal troubles (as well as a patron for women in labor), Saint
Roch, guardian against the plague, and Saint Apollonia, guardian against
toothache.

The practice of praying the Rosary predates this manuscript, but the presence of
two written forms of the devotion is of interest.  Many of the prayers include
lengthy rubrics explaining how the prayers are to be used, their effectiveness,
and sometimes their author; although not unique, the evidence of rubrics such as
these deserve further study by historians of the late medieval church, as well
as by social historians.

ILLUSTRATION
The subjects of the eleven historiated initials are as follows:

f. 56, Saint Peter, tonsured, holding an open book and staff;

f. 57v, Saint Paul, holding book and sword;

f. 59, Angel;

f. 60v, the martyrdom of Saint Erasmus depicting his bowels being removed and
coiled by a windlass, while a king and two onlookers watch;

f. 63, Saint Sebastian holding a banner and scepter;

f. 64v, Saint Roch holding a spike, with an angel in the bottom margin with a
blank banderole;

f. 66v, Saint Quirinus holding a banner and dressed as a noble;

f. 68v, Saint Catherine holding a book and sword, with her wheel shown;

f. 70v, Saint Barbara next to her tower;

f. 72v, Saint Apollonia holding pincers;

f. 157v, Female Saint, protecting two smaller female figures.

The eleven historiated initials are simply executed; however, these images focus
our attention effectively on the saint depicted, shown dressed in orange and
dark red on dark blue grounds; the drapery and the figures are executed without
modeling, but the faces are quite delicate.  The use of illumination to enhance
devotion has a long tradition in German manuscripts; compare the earlier
fourteenth-century manuscript from Regensburg (?), Munich, SB, Clm 23232, a
small format collection of hymns, with vivid devotional images (Florentine
Mütherlich and Karl Dachs, Regensburger Buchmalerei, Munich, 1987, p. 92, no.
79).

LITERATURE
Raitt, Jill, ed. Christian Spirituality:  The High Middle Ages and the
Reformation, New York, 1987.

Wilmart, A.  Auteurs sprituels et texts dévots du moyen âge latin, Paris, 1932,
reprint 1971.

Winston-Allen, Anne. Stories of the Rose:  The Making of the Rosary in the
Middle Ages, University Park, Pennsylvania, 1997.

ONLINE RESOURCES
Indulgences
www.newadvent.org/cathen/07783a.htm

Prayer-Books
www.newadvent.org/cathen/12350a.htm

The Fifteen O's of St. Bridget:
www.preces-latinae.org/thesaurus/Filius/StBrigid.html

Does anyone know about miniature books published in england by De La Rue
(who also printed money in the North East of England and even playing
cards ) ?

Neale

-----------------------------
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to another party any transaction or matter addressed herein.

Neale M. Albert | Of Counsel - Corporate
Paul, Weiss, Rifkind, Wharton & Garrison LLP
1285 Avenue of the Americas | New York, NY 10019-6064
(212) 373-3341 (Phone) | (212) 492-0341 (Fax)
www.paulweiss.com
This message is intended only for the use of the Addressee and may
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communication is strictly prohibited.  If you have received this communication
in error, please erase all copies of the message and its attachments and
notify us immediately.


[Non-text portions of this message have been removed]

Hello to all book lovers!

Dublin, one of the 4 cities of literature in the world, has a nice
tradition which was started 6 years ago.

'Dublin: One City, One Book' encourages everyone to read the same
book during the month of April each year.
The chosen book for April 2011 is "Ghost Light" by Joseph O'Connor.

http://www.dublinonecityonebook.ie/book

So why not join the Dubliners a few months before the Conclave and
read the book!

Best wishes from Germany,
Angelika

Does anyone know whether there is a miniature version of the Dickens book
"Edwin Drood" ?





This message is intended only for the use of the Addressee and may
contain information that is privileged and confidential.  If you are not the
intended recipient, you are hereby notified that any dissemination of this
communication is strictly prohibited.  If you have received this communication
in error, please erase all copies of the message and its attachments and
notify us immediately.


[Non-text portions of this message have been removed]

I make a 1:12 scale version of Edwin Drood.  It contains only the first chapter.
It can be viewed in the Charles Dickens Chapter Book album on my picturetrail
album site.





Lee Ann Borgia
Miniature Books
www.picturetrail.com/leeann1948


[Non-text portions of this message have been removed]

Hullo everyone
I am pleased to announce the launch of my first miniature book NOT IN DOLLSHOUSE
SCALE.  This is a limited edition of 36 books each numbered, signed and dated. 
It is available in a presentation clam-shell box made with marbled papers that
match the end papers of the book.  End papers are original miniature marbled
papers from Jemma Marbling in the UK.   A small delight, fully printed with
images on each page, sewn and bound in the finest leather.

I invite you to have a look at images and read more about it here:
http://www.bbminiatures.homestead.com
Best wishes
Barbara Brear
BB Miniatures

Have fun!!!
Arno :-)

http://www.medievalbooksofhours.com/boh_description.php?id=29&cat=default&

Miniature Book of Hours (Use of Rome)

In Latin, illuminated manuscript on parchment
Belgium, Bruges, c. 1480
15 large miniatures, 3 historiated initials, and 24 roundels in the Calendar by
the Workshop of the Master of the Dresden Prayerbook

203 ff., preceded by a single vellum leaf, complete (collation: i4, ii8, iii8+2,
iv8+1, v8+1, vi8, vii4, viii10+1, ix4+1, x11+2 [original quire of 12 with one
text leaf tipped in (f. 78), 2 singletons with miniatures, last folio of quire
cancelled], xi8+4 [quire of 8 with 2 text leaves and 2 singletons with
miniatures], xii12+1, xiii11+1 [of 12, with last folio of quire cancelled],
xiv6+2 [quire of 6 with one text leaf tipped in and one singleton with
miniature], xv6, xvi9 [of 10, last folio of quire cancelled], xvii8+1,
xviii-xx8, xxi5 [of 6, with first folio of quire cancelled], xxii8+1, xxiii8,
xxiv6 [of 8, last 2 folios of quire blank or cancelled and final three leaves
blank], all full-page miniatures tipped in on added singletons, numbered in
pencil in a modern hand, first and final three leaves blank), 15 long lines (16
lines for the calendar pages), ruled faintly in brown ink, justification 85 x 59
mm., written in black ink a fine rounded Gothic book hand, rubrics in red, three
historiated initials, 1- and 2-line burnished gold initials on a blue or magenta
ground with white tracery, 24 roundels in the calendar, each with signs of the
zodiac and the corresponding labors of the month, 3 historiated initials,
7-lines high in blue or magenta with white tracery on a burnished cusped gold
ground, 45 elaborately painted borders in several colors and gold, containing
acanthus leaves, flowers, and other vegetation as well as fauna, butterflies,
snails, a rabbit, several birds, including peacocks, 15 large miniatures within
arched compartments outlined in burnished gold. Bound in eighteenth-century red
morocco, ornately gilt, edges gilt, joint and spine ends a bit rubbed, rear
joint cracked, slight loss of leather at top right portion of spine, front
pastedown covered with nineteenth-century green silk (bearing the printed face
of Christ), housed in a recessed velvet compartment inside a handsome full
morocco folding box with raised bands and gilt title and decoration, some slight
rubbing, minor soiling, and other trivial defects, else in excellent condition
internally. Dimensions 90 x 63 mm.(binding); 85 x 58 mm.(leaves).

The charming miniatures in this Book of Hours were illuminated by an artist who
trained under (or was heavily influenced by) the Master of the Dresden Prayer
Book. Active from about 1460 to 1520, and working not only in Bruges, but also
at times in Valenciennes and Tournai, the Dresden Master and his shop produced
nearly fifty manuscripts and illuminated incunables. The lively and rich
narrative style, dramatic poses and gestures, and distinctive palette of the
Master of the Dresden Prayerbook are evident in our manuscript.

PROVENANCE
1. Most likely made for an owner in Bruges not only because of the Bruges
calendar, but because of the contribution of the workshop of the Master of the
Dresden Prayerbook, active there in the last quarter of the fifteenth century,
beginning c. 1470 and traced until about 1505. An original (or perhaps later)
ownership inscription was probably excised on f. 199.

2. USA, Private Collection.

TEXT
ff. 1-12v, Calendar, with entries in red and black, for Bruges, with saints
Donatian (Oct. 14), to whom the Cathedral of Bruges was dedicated, Basilius
(June 13), in red, Eligius (June 24) in red, and Egidius (Sept. 1), along with
many Franciscan saints, including Francis, Clare, Anthony of Padua, Bernardino,
and Louis of France, suggesting someone with ties to the Franciscan Order;

ff. 14-18v, Short Hours of the Cross;

ff. 20-24, Short Hours of the Holy Spirit;

ff. 26-32, Mass of the Virgin;

ff. 34-107v, Hours of the Virgin, use of Rome, with Matins (f. 34), Lauds (f.
56), Prime (f. 70), Terce (f. 76), Sext (f. 82), None (f. 87), Vespers (f. 93),
Compline (f. 102);

ff. 109-118vr, Advent Office of the Virgin;

ff. 120-141, Seven Penitential Psalms, and Litany;

ff. 143-179, Office of the Dead, use of Rome;

ff. 181-191v, Psalter of St. Jerome;

ff. 191v-193v, Verses of St. Gregory;

ff. 194-194vr, Suffrage to St. Sebastian;

ff. 195-199v, Obsecro te for masculine use.

ILLUSTRATION
Calendar: illustrated with a full cycle of labors of the month and signs of the
zodiac:
f. 1, January, Man Feasting, Aquarius pouring water;

f. 2, February, Peasant Trimming Branches, Pisces as Fish;

f. 3, March, Planting, Aries as a Ram;

f. 4, April, Hawking (?), Taurus as a Bull;

f. 5, May, Man Riding on Horseback, Gemini as Twins;

f. 6, June, Man Preparing the Soil for Planting, Cancer as Crab;

f. 7, July, Man Cutting down Wheat, Leo as the Lion;

f. 8, August, Wrapping Wheat in Sheaves, Virgo as Young Woman;

f. 9, September, Wine-making, Libra as a Balance;

f. 10, October, Planting Soil, Scorpio as Scorpion;

f. 11, November, Knocking Acorns out of Trees, Sagittarius as Archer;

f. 12, December, Killing the Pig, the Capricorn as Goat.

Full full-page miniatures, all on inserted folios, blank on the rectos:
f. 13v, Crucifixion;

f. 19v, Pentecost;

f. 25v, Virgin and Child with Music-playing Angels;

f. 33v, Annunciation;

f. 55v, Visitation;

f. 69v, Nativity;

f. 75v, Annunciation to the Shepherds;

f. 81v, Adoration of the Magi;

f. 86v, Presentation in the Temple;

f. 92v, Massacre of the Innocents;

f.101v, Flight into Egypt;

f. 108v, Coronation of the Virgin;

f. 119v, King David in Prayer;

f. 142v, Raising of Lazarus;

f. 180v, St. Jerome in the Wilderness.

Historiated initials:
f. 191v, Christ as Man of Sorrows;

f. 194, St. Sebastian;

f. 195, Pietà.

The charming miniatures in this Book of Hours were illuminated by an artist who
trained under (or was at least heavily influenced by) the Master of the Dresden
Prayer Book. This illuminator, who was also an engraver, was named after a Book
of Hours in Dresden (Sächsische Landesbibliothek, MS A.311, two of whose
detached miniatures are in the Louvre, Cabinet des dessins, inv. nos. 20694 and
20694bis). As Brinkmann observes, "The Master of the Dresden Prayerbook's
thick-set, somewhat rotund figures with clumsy hands and feet and massive heads,
are distinctive. His narrative style is lively and rich in detail. He gave his
figures dramatic postures and gestures …. His miniatures lack the refined finish
of the contemporary Ghent-Bruges school of illumination; individual brushstrokes
and stippling remain visible."

Brinkmann's stylistic analysis can be applied to the present manuscript. In the
Pentecost (f. 19v), for example, the somewhat short apostles gesture
dramatically, their movements offering a narrative gloss on their excitement.
The palette of the Virgin and Child (f. 25v)–cherry red, gold orange, royal
blue–echoes that of the Dresden Master, as does the large expanse of near black
in the background of the Nativity (f. 69v), untouched broad areas of color being
a favorite device of the Dresden Master. And certain miniatures in the present
codex, the David in Penance (f. 119v) and the St. Jerome (f. 180v), echo
elements in the eponymous manuscript itself (ff. 98v and 96v, respectively, in
the Dresden book). Active from about 1460 to 1520, and working not only in
Bruges, but also at times in Valenciennes and Tournai, the Dresden Master and
his shop produced nearly fifty manuscripts and illuminated incunables.

Although there are no indications that help identify the original owner (perhaps
someone with ties to the Franciscans? See Provenance), the tiny size of the
present manuscript and its rich cycle of illustration help us imagine today how
owners used their books. Here is a manuscript where even the smallest scenes
(the charming calendar roundels measure only 14 mm. in diameter and the height
of the miniatures only 44 mm.) are replete with narrative detail, which must
have guided viewers–often more interested in the pictures than the text–to
models of lay sanctity and affective piety.

LITERATURE
Brinkman, Bodo. Die Flämische Buchmalerei am Ende des Burgunderreichs. der
Meister der Dresdener Gebetbuchs und die Miniaturisten seiner Zeit, Turnhout,
Brepols, 1997.

Kren, Thomas and McKendrick, Scot. Illuminating the Renaissance: the Triumph of
Flemish Manuscript Painting in Europe, Los Angeles, CA, J. Paul Getty Museum,
2003, pp. 207-216.

ONLINE RESOURCES
Bodo Brinkmann, "Master of the Dresden Prayerbook," Grove Art Online
http://www.groveart.com/

MBS friends,

Book artist Peter Thomas will present "The Literary Book as a Work of
Art" at 4 p.m. Thursday, April 21, at Washington University, St.
Louis, Olin Library's Ginkgo Reading Room.

Here is the link for the announcement:

http://wulibraries.typepad.com/whatsnew/2011/04/libraries-to-host-
book-arts-presentation-april-21.html

Yours,



Peter Thomas




[Non-text portions of this message have been removed]

This is a show hosted by the uninversity in Ackron
Yours,
Peter






[Non-text portions of this message have been removed]

Donna and I want to let you know about an upcoming commercially
published book that will feature Artists' Books.

The publisher of our book, "More Making Books by Hand" (Rockport
Publishers/Quarry Books, an international publisher of high-quality
visual and idea books for design professionals and creative
enthusiasts. www.quarrybooks.com) is planning to publish a gallery-
style book to be titled "1000 Artists’ Books" (publication date June
2012), which will present 1000 images of artists' books.

The call for entries can be found on the following web site:
http://1000artistsbooks.com

We invite you all to look at the "Call For Entry" and to submit your
work for consideration. By the way, the book is already in the design
phase, and so the sooner you get your application in the better the
chance of being included.

Yours

Peter and Donna Thomas

[Non-text portions of this message have been removed]

Dear minibibliophiles!

Christies is selling one of the most beautiful miniature book of hours that was
ever made... ;-)

http://www.christies.com/LotFinder/lot_details.aspx?intObjectId=5460641

best regards from Vienna
Arno G. :-)

THE IMHOF PRAYERBOOK, illuminated by SIMON BENING, in Latin and Dutch,
ILLUMINATED MANUSCRIPT ON VELLUM


Estimate (Set Currency)

     * £1,500,000 - £2,000,000 ($2,434,500 - $3,246,000)

Sale Information
Sale 7982
The Arcana Collection: Exceptional Illuminated Manuscripts, Part III
6 July 2011
London, King Street
Contact the Department


Lot Description

THE IMHOF PRAYERBOOK, illuminated by SIMON BENING, in Latin and Dutch,
ILLUMINATED MANUSCRIPT ON VELLUM

Antwerp [and Ghent] 1511
90 x 62mm. v + 329 + viii leaves, modern pencil foliation 1-342 followed here:
17 (of 8, i cancelled blank), 28, 34+8, 4-108, 1110, 12-138, 14-156, 169(i a
singleton with miniature), 17-308, 319(i a singleton with miniature), 328,
337(of 8, final blank cancelled), 34-358, 369(iii a singleton with miniature),
37-398, 406, 418, likely lacking a bifolium with text between gatherings 36 and
37; 13 lines of an elegant calligraphic lettre bâtarde with cadels and
decorative flourishes, between 14 horizontals and two verticals ruled in pink,
justification: 41 x 36mm, rubrics in red, one- and two-line initials of liquid
gold against grounds alternately red or blue, TEN MINIATURES FOUR LINES HIGH of
Instruments of the Passion, FIVE MINIATURES TWO LINES HIGH of the Wounds of
Christ, TWELVE CALENDAR PANEL BORDERS WITH ZODIAC SIGNS IN ROUNDELS with
naturalistic flowers strewn on liquid gold grounds, EIGHT SMALL MINIATURES WITH
FULL-PAGE BORDERS, some with bas-de-page scenes and others with strewn flowers,
insects or birds, one with illusionistic jewels, ELEVEN FULL-PAGE MINIATURES
WITH FACING FULL-PAGE BORDERS with bas-de-page scenes, scatter borders with
flowers, fruit and branches on gold or coloured grounds some including trompe
l'oeil insects, FIVE FURTHER FULL-PAGE BORDERS of similar types, edges gilt and
gauffered, old tasselled bookmarker (a few spots, a little marginal darkening
and occasional minimal rubbing, insects on ff.73 and 272 very slightly cropped).
CONTEMPORARY RED VELVET OVER WOODEN BOARDS with elaborate German silver clasp,
the foliate pierced mounts probably contemporary and the hinged clasp later
(edges of velvet rubbed, headbands c.1900). Red solander box.

A JEWEL OF ILLUMINATION -- THE EARLIEST DATED WORK OF SIMON BENING
PROVENANCE:

1. Hans V Imhof (1461-1522): The colophon on f.334v records the writing and
completion of the manuscript in Antwerp in 1511. It has been generally accepted
that the effaced coat of arms on f.25, discernible if viewed from the reverse
against strong light, belongs to the Imhof, one of the patrician families of
Nuremberg. The presence of the Suffrage to St Sebald, patron saint of Nuremberg
and the name saint of the church where the family had their burial chapel is
consistent with this. The importance given to John the Baptist and John the
Evangelist, both the subjects of miniatures and devotions, suggest that the
original owner was named Johannes or Hans. The Imhof family had amassed immense
wealth from the spice trade and had offices throughout Europe, including Antwerp
where the manuscript was written, and for many years until his death in 1522 the
firm was headed by the merchant and banker Hans V. The family provided important
and discriminating patrons of art in their own city and none more so than Hans
who was a friend of Albrecht Dürer, the sculptor Adam Kraft and the humanist
Willibald Pirckheimer. It is likely that the manuscript was commissioned by him.
2. Herman Hendrick Beels, van Heemstede (1827-1916) and by descent until sold
Sotheby's, 21 June 1988, lot 107.

CONTENT:

Calendar ff.6-21; Computistical tables and roundels ff.21v-23v (ff.22 and 23
bound-in upside-down); Extract from the Gospel of St John ff.25-26v; Passion
according to St John ff.28-42v; Penitential Psalms and Litany ff.45-72v; Prayers
to Christ and the Virgin opening with the indulgenced prayer on the name of
Jesus ff.73-80v; Fifteen Oes and further prayers ff.82-98v; Prayers on the
Passion and other prayers, in Dutch ff.100-120v; Prayer on the Resurrection and
other prayers ff.122-126v; Verses of St Gregory and other prayers, in Dutch
ff.128-175; Prayers opening with a prayer for Christmas ff.177-193v; Prayers to
Christ and the Virgin opening with Salve Sancta Facies and including the Sorrows
of the Virgin, prayers to be said during Mass and St Gregory's prayer on the
wounds of Christ ff.194-247v; Prayers to the Virgin opening with one to be said
before an image of the Virgin to gain 11,000 years indulgence, in Dutch
ff.249-289v; Prayers to the Virgin opening with a prayer on her Sorrows and
continuing with Stabat Mater in Dutch (the latter with rubrics in Latin, and
lacking the final 9 verses) ff.291-296v; Prayers to St John the Baptist, in
Dutch ff.298-301v; Prayers to St Francis, in Dutch ff.303-304v; Prayers to St
Michael, other saints and All Saints, in Dutch ff.305-326v; Suffrages to saints,
in Latin ff.327-334; colophon f.334v. Contact the Department for further detail.

The colophon reads 'Scriptus et finitus est liber iste in opido mercuriali
Hantwerpia Anno 1511'. The question was raised in Illuminating the Renaissance,
eds T. Kren and S. McKendrick, 2003, p.449 whether the manuscript may have been
written by Petrus Alamire, a scribe active in Antwerp in 1511 but originally
from Nuremberg and whose family name was Imhof.

ILLUMINATION:

In his lifetime Bening was described as 'the greatest master in the art of
illumination in all of Europe' and he has retained that position among modern
critics: 'the art of no other Flemish illuminator so fully epitomises the
triumph of Flemish manuscript painting ... and its enduring eminence as a court
art' (T. Kren in Illuminating the Renaissance, p.446, and for this manuscript,
cat. no 139, pp.448-449, with further bibliography). This exquisite little
volume fully justifies and explains this claim: it is painted with the greatest
delicacy and finesse.

Simon was born around 1483, probably in Ghent, the son of the illuminator
Sanders Bening and Kathelijn van der Goes, perhaps the sister or niece of the
great painter Hugo. His family was also connected to Rogier van der Weyden: he
could hardly have been born into circumstances more favourable for his artistic
development. His career was long, prosperous and prolific, working for princely
patrons in Spain, Portugal and Germany as well as in his homeland, and his
achievements were celebrated by Guicciardini and Vasari as well as by his
compatriots. Simon lived until 1561 and two self-portraits dated 1558 attest to
his enduring artistic activity and ability.

Personal prayerbooks small enough to be carried around and kept close by their
owners seem to have been a speciality of Bening and the Imhof Prayerbook is a
superlative example. Although it is his earliest dated work, he was a fully
mature and developed artist when he painted it and the features that are
characteristic of his finest miniatures for the next half-century are already
present. The carefully characterised figures, often set in extensive and
detailed landscapes or evocative night settings are portrayed with a sensitivity
to mood and atmosphere unsurpassed in his work. He makes no concession to scale:
these miniatures are a virtuoso performance; framed in simple illusionistic
mouldings, they are presented as though they are tiny panel paintings.
The text pages that face the full-page miniatures bring one back into the world
of manuscript decoration and have borders characteristic of Flemish manuscripts
from the end of the 15th century: yet these too are remarkable and of extremely
high quality, equalling the miniatures they face in refinement of execution and
echoing their palette. They seem to be the work of Bening himself (Kren, op.
cit., p.449.)

It was a consistent feature of Bening's work that he made use of workshop
patterns that had first been exploited back in the 1470s, and were often found
in manuscripts associated with the Master of the First Prayerbook of Maximilian:
this continuity is part of the argument for identifying the anonymous Master
with Simon's father Alexander, or Sanders, Bening. One striking and exact
example in the present prayerbook is the Stigmatisation of St Francis - the
figures exactly replicating those of the older artist in the Rothschild
Prayerbook, that summa of Flemish manuscript illumination (sold Christie's, 8
July 1999, lot 402 for £8,250,252) to which Simon had contributed just a few
years earlier. Whereas Simon was just one contributor to that manuscript the
present book is almost entirely by his hand. Only the miniature of the Baptism
of Christ is by another illuminator, an artist named after his work in another
great manuscript where his work is found alongside that of Bening, the Master of
the David Scenes in the Grimani Breviary.

It is no wonder that the scholar who first published the manuscript was moved to
title his article 'Work of art or jewel?' G.I. Lieftinck, 'Kunstwerk of Juweel?
Het Gebedboek van de Heer C.H. Beels te Hilversum', Nederlands Kunsthistorisch
Jaarboek, VIII, 1957, pp.1-28).

The subjects of the full-page miniatures, and their facing full-page borders are
as follows:
ff.24v-25 St John on Patmos, facing a camaïeu d'or sculptural border
ff.27v-28 Agony in the Garden, facing strewn flowers and a housefly
ff.81v-82 Betrayal and Arrest of Christ, facing strewn acanthus, flowers and
owls
ff.99v-100 Crucifixion, facing scattered roses and insects
ff.121v-122 Resurrection of Christ, facing fruit and flowers
ff.127v-128 Mass of St. Gregory, facing strewn flowers and flowers in a blue and
white pot
ff.176v-177 Nativity, with the shepherds, facing a landscape border with dancing
peasants
ff.248v-249 Assumption of the Virgin, facing scattered violets and butterflies
and a snail
ff.290v-291 Sorrows of the Virgin, facing strewn flowers and a snail
ff.297v-298 Baptism of Christ, facing a landscape border with a tree-house and
?St Antony Abbot with an angel
ff.302v-303 Stigmatisation of St Francis, facing a border with flowers and
acanthus on a banded ground

The subjects of the small miniatures with full borders are as follows: f.43
David kneeling in prayer before his palace, the border with putti, swags and a
carved gem
f.73 Christ Child holding a dove, the border with flowers, a blue and white ewer
and a fly
f.194 Christ, head and shoulders, the border showing a gothic interior with two
children whipping tops
f.327 Half-length figures of Sts Peter and Paul, the border with acanthus and
flowers and a climbing monkey
f.328 St Sebald in half-length holding a model of his church, the border with
strewn flowers
f.329 St Lawrence in half-length, the border with gothic architecture and a
woman pushing a wheelbarrow with a tree planted in a basket
f.330 St Katherine in half-length, a landscape border with a tree-house and the
spies returning from Canaan carrying a giant bunch of grapes
f.331v St Anne reading with the Virgin and Child, the border showing enameled
and gemstone jewels

The four-line miniatures of the Instruments of the Passion are between ff.100v
and 105, and the two-line miniatures of the Wounds of Christ are on f.239r and
v.

There are full-page borders accompanying illuminated initials on ff.154v, 168,
272, 295 and 305.

http://www.liveauctioneers.com/sothebys/item/696620

http://archive.liveauctioneers.com/archive4/sothebys/20080411/696620_1_md.jpg


A RARE MINIATURE IMPERIAL PRAJNAPARAMITA SUTRA JADE BOOK QING DYNASTY, QIANLONG
PERIOD
Sold For HK$7271500
Buyers Premium included
A RARE MINIATURE IMPERIAL PRAJNAPARAMITA SUTRA JADE BOOK
QING DYNASTY, QIANLONG PERIOD



comprising four square white jade plaques of translucent pale celadon tone, the
nanmu covers carved with scrolling lotus blooms, the front cover inscribed with
the title Banruo poluomido xinjing, the jade plaques delicately and precisely
incised and gilt with text in kaishu from the Prajnaparamita Sutra (Heart
Sutra), between the first page incised with Guanyin and the last page with a
Celestial Guardian, each folio bound opposite its derived rubbing, all carefully
mounted and framed on yellow brocade





PROVENANCE

Sotheby's Hong Kong, 14th November 1990, lot 405.
CATALOGUE NOTE



Jade books as small as this one, are extremely rare, although a slightly larger
one (8 by 6.6 cm) also inscribed with the Xinjing was recently sold in these
rooms, 9th October 2007, lot 1332. The present lot is considered to be the
smallest known jade book of this type.

Jade books containing the emperor's handwriting are naturally of the highest
quality and value and therefore ranks amongst the highest quality jade books. It
is also of extremely fine workmanship. Since each plaque is about 1-2 mm thick,
the craftsmen working with this very thin and light material had to be extremely
careful not to apply too much pressure or break the plaque.

Despite the long history of jade books throughout Chinese history, not many have
survived. There was a revival in jade book making during the Qianlong reign.
This was mainly due to Qianlong's initiative and secondly to the increase in the
supply of the raw material - jade. The majority of jade books made during
Qianlong's reign contained the emperor's poems, however there are examples of
books containing Buddhist scriptures as well. Buddhist scripture jade books
usually combine text and drawings. The present jade book, is carved with the
text from the Xinjing or 'Heart Sutra' in Qianlong's own handwriting.

The 'Banruo Poluomido Xinjing' is an abridged version of the Prajnaparamita
Sutra and is regarded as one of the shortest and most popular versions among the
Buddhist scriptures. It contains the essence of the complete six-hundred
scriptures of Mahayana Buddhism in only just over 260 characters and is a text
read by Buddhist followers in the morning and in the evenings. There are several
translations of the 'Banruo Poluomido Xinjing', with the most popular one by Jiu
Mou Lou Shi of the Qin dynasty and the other by the monk Xuan Zhang of the Tang
dynasty. Xuan Zhang's translation is especially easy to understand and was
favoured by the Qing emperors.

The Prajnaparamita Sutra was possibly one of the most copied sutras of the time.
The Kangxi emperor copied this sutra to express his blessing for his
grandmother. When he reached the age of fifty, in the 42nd year of his reign
(equivalent to 1703 A.D.), The Emperor Kanxi started copying the sutra to calm
himself from the daily anxieties of governing. For the next twenty years, he
copied a section of the sutra on regular basis, on the first and fifteenth day
of every month, and on special Buddhist festivals. According to archival
records, in the 9th year of Qianlong's reign, there were over 420 volumes of the
sutra kept in the palace written by the Emperor Kangxi.

The Qianlong Emperor, who was enthroned at the age of 25, followed his
grandfather in copying the sutra on regular basis. He also copied a section of
the sutra without fail on the first day of the New Year, on the eight day of the
fourth month and on special Buddhist festivals each year. From the 40th year of
his reign he started copying the sutra even more frequently, and the total
number of copies by him soon exceeded that of his grandfather.

With the pacification of the Hui people in Xinjiang during his reign, the jade
workshops were able to secure good quality jade from Hetian and thereby satisfy
the emperor's wish for jade artifacts. Under his rule, the number of jade books
carved with his poems and writings significantly increased. Jade books were
either made by artisans working in the Palace Workshop belonging to the Neiwufu,
in the jade workshops of Suzhou under imperial orders, or in the jade workshops
belonging to the Huai and Changlu Salt Administrations. Jade books were also
offered as tribute items to the emperor.

http://www.bbc.co.uk/news/uk-england-derbyshire-12712727


BBC 11 March 2011

A collection of 16 tiny books - some measuring just an inch wide - is to be
auctioned in Derby.

The thumbnail-sized publications, which were discovered during a house
clearance, include full reproductions of The Bible and a London Almanack from
1842.

It is thought publishers produced the miniature editions to showcase their
craftsmanship.

Bamfords Auctioneers said they expected the collection to fetch more than £1,000
at the auction which is due to be held on Thursday 16 March.



Lilliput library: The tiny books that command big prices
http://www.dailymail.co.uk/news/article-1364221/Lilliput-library-fit-matchbox-30\
0-year-old-thumbnail-books-hammer.html




http://www.bamfords-auctions.co.uk/BidCat/Catalogues.asp?category=&keywords=mini\
ature&lot=&status=A&select=FAMAR11&F1=3072&F2=4169&F4=1054&Submit+now.x=37&Submi\
t+now.y=13

http://www.bamfords-auctions.co.uk/BidCat/detail.asp?SaleRef=FAMAR11&LotRef=1119

http://www.bamfords-auctions.co.uk/BidCat/detail.asp?SaleRef=FAMAR11&LotRef=1120

http://www.bamfords-auctions.co.uk/BidCat/detail.asp?SaleRef=FAMAR11&LotRef=1121

http://www.bamfords-auctions.co.uk/BidCat/detail.asp?SaleRef=FAMAR11&LotRef=1122

http://www.bamfords-auctions.co.uk/BidCat/detail.asp?SaleRef=FAMAR11&LotRef=1123

http://www.bamfords-auctions.co.uk/BidCat/detail.asp?SaleRef=FAMAR11&LotRef=1124

http://www.bamfords-auctions.co.uk/BidCat/detail.asp?SaleRef=FAMAR11&LotRef=1125

http://www.bamfords-auctions.co.uk/BidCat/detail.asp?SaleRef=FAMAR11&LotRef=1126

http://www.bamfords-auctions.co.uk/BidCat/detail.asp?SaleRef=FAMAR11&LotRef=1127

:-)
Arno


[PRAYER BOOK - DUTCH - MINIATURE].  Gebede Boeck.
Amsterdam, 1683. 64mo (35 x 25 mm)
http://www.asherbooks.com/BCEG8UPWK2BX_v.html


Antique Miniature Book Auction - Wednesday, March 9, 2011
http://blog.treefeathers.com/2011/03/antique-miniature-book-auction.html


The first preserved writing by Charlotte Brontë: a miniature book made for and
about her sister Anne. (3 of 3)
http://fuckyeahbookarts.tumblr.com/post/5047553508/artheredshoes-the-first-prese\
rved


Handbook of Practical Cookery  - 2600 pounds
http://www.oldcooksbooks.com/master_book_by_let_search.php?passed_book_id=11044


Anne C. Bromer, Julian I. Edison:
«miniature books: 4000 Years of Tiny Treasures» ---> 7 pages!!!!
http://www.the-title.com/ausgabe-0507/literatur/buecher-ueber-buecher-teil-5/bue\
cher-ueber-buecher-teil-5-1.html



Abebooks - Small Talk about Miniature Books
http://www.abebooks.com/books/miniature-miniaturization-tiny-prayer-bindings/sma\
ll-books.shtml


Waldo Library - Eunice LeFevre Miniature Book Collection
http://www.wmich.edu/library/special/collections/mini-books.php


Souvenir Sunday: miniature books and travel-sized items
Posted on November 14th, 2010 by Harriet Baskas
http://stuckattheairport.com/2010/11/14/souvenir-sunday-miniature-books-and-trav\
el-sized-items/


The Whole Book of Psalmes. - London: Company of Stationers, 1641
http://book-aesthete.tumblr.com/post/3165658290/embroidered-binding-miniature-bo\
ok-the-whole



Monumental Ideas in Miniature Book
March 4th, 2009
http://laurabermanprojects.com/lablog/?p=279



http://books.google.at/books?id=Tmnquyqoov4C&pg=PT28&lpg=PT28&dq=%22midget+libra\
ry%22&source=bl&ots=7zX0Nc_9fb&sig=HSXuGAX9HRth4F02nESzFFwVgAc&hl=de&ei=fzT6TdVh\
yO-yBsewkdoP&sa=X&oi=book_result&ct=result&resnum=9&ved=0CFUQ6AEwCDgU#v=onepage&\
q=%22midget%20library%22&f=false



A very interesting article: --> scroll up and down:
http://books.google.at/books?id=md8DAAAAMBAJ&pg=RA1-PA79&lpg=RA1-PA79&dq=%22midg\
et+library%22&source=bl&ots=tk72FvlQx7&sig=StegwxuZFdu_H3mmB8yzmX7TLfA&hl=de&ei=\
8zL6Tf7-IZDPsgaQxcjoDw&sa=X&oi=book_result&ct=result&resnum=8&ved=0CE8Q6AEwBzgK#\
v=onepage&q=%22midget%20library%22&f=false

http://bibliophilie.blogspot.com/2010/11/un-exercice-de-style-de-latelier.html

in english:

http://translate.google.com/translate?hl=de&sl=fr&tl=en&u=http%3A%2F%2Fbibliophi\
lie.blogspot.com%2F2010%2F11%2Fun-exercice-de-style-de-latelier.html

best regards
;-)
Arno