Peter schoffer (13 résultats)

Paperback. Etat : Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Soft cover. Etat : Very Good. First printing of this edition, one of 1000 copies. 5 1/4" x 8 1/2" trade paperback bound in pictorial wrappers. Very Good condition. Rubs to the corners. Price sticker ghost on the rear wrapper's lower right corner. Mild tanning to the upper edges. Tanning to the page margins.…

Hardcover/Hardback. Etat : Fine. First Edition. 1531 First Edition. In Folio. Leaves [1] f.e., [1], lvi, [1] folding woodcut plate, [1] r.e. Straßburg (Strasbourg). Peter Schöffer, bei Hansen Schwyntzern. Modern olive brown morocco, richly gilt- and blind-tooled, spine with four raised bands. The upper margins are somewhat shorter than in an otherwise well-margined copy; in a couple of larger illustrations, the upper margins have been trimmed close to the upper edge, causing minor losses, due to the fact that the images were originally printed well beyond the normal text area. many other small and big woodcuts in the text. Later bookplate of Owen Gingerich on the front pastedown, with the motto "Coeli enarrant gloriam Dei" and the initial G enclosing a globe. Handwritten ownership note at the back of leaf lvi "Alessandro Volpi". A clean, fresh, and attractive copy of this rare work, with distinguished provenance. Fine. First edition of Kern's important illustrated German treatise on the practical art of gauging wine casks, a remarkable vernacular work bringing geometry directly into commerce and the wine trade. With provenance from the Library of Owen Gingerich. Completed on 1 April 1531, Kern himself announces its novelty on the title-page, claiming that it is never before printed or issued (dergleichen noch nie getruckt oder außgangen). A wine cask became a commercial object only after its capacity had been determined, and this Visierbuch (gauging book) addresses precisely the practical art by which an irregular barrel could be measured with a graduated Visierrute (gauging rod) and converted into local units of capacity. Written in Early New High German, with Latin mathematical headings, the work identifies its author in both the dedication and closing verses as Ulrich Kern von Freysing, Rechenmeyster und teutscher schreiber (Ulrich Kern of Freising, reckoning-master and German scribe). The dedication to the merchant Hans Volmar of Rottweil reveals the intended audience: merchants, coopers, and tax officials whose livelihood depended upon accurate measurement rather than abstract mathematics. Kern also acknowledges his teacher, Christoff Rudolff of Jauer, author of the first German algebra book and commonly credited with introducing the radical sign, placing the work firmly within the Rechenmeister (reckoning-master) tradition. The printer's family name will not pass unnoticed by any scholar or lover of early printing. Peter Schöffer the Younger was the son of the celebrated Mainz printer Peter Schöffer the Elder, Gutenberg's apprentice and collaborator; he was also the grandson of Johann Fust, Gutenberg's primary financier. The younger Schöffer carried this remarkable printing dynasty into the Reformation era, working successively in Mainz, Worms, Strasbourg, Basel, and Venice. This volume was printed during Schöffer's Strasbourg partnership with Johann Schwintzer, at a moment when practical mathematical knowledge previously transmitted through local teaching and workshop practice was increasingly finding durable printed form. Kern's insistence on adapting the measuring rod to the different weights and measures of individual regions makes the book particularly revealing of the problem it sought to solve: applying a common geometrical method across a commercial world still governed by highly local systems of capacity. The large woodcut printer's device on the colophon leaf is notable in its own right. Signed with the monogram "HG" and traditionally attributed to Hans Baldung Grien, it is Schöffer's elaborate 1531 device, incorporating the family arms and flanked by shepherds and a richly dressed couple. Schöffer reused the block in later publications, including the "Rerum musicorum opusculum" printed with Matthias Apiarius in 1535. Ref. VD16 K 771 (online); Graesse IV, 13; Muther 1402. For the woodcut attribution: Nagler, III 944; BM, s.v. Monogrammist HG. Monogrammist HG (illustrateur).…

Small folio (215 x 290 mm). 147 (instead of 148) unnumbered ff. (lacking the final blank, as common). Rubricated throughout and with numerous red and blue Lombardic initials. With full-page title woodcut, 8 woodcuts and 6 woodcut alphabets in the text, 2 woodcut initials (1 armorial), small woodcut printer's device, and 7 folding woodcut views (some with text or woodcut illustrations on verso), two of which are in partial facsimile. 17th century full mottled vellum with gilt-stamped spine label. All edges sprinkled. Editio princeps of the first modern account of a journey from Venice to the Holy Land: Jean-Baptiste Colbert's copy, preserved in its elegant, 17th century marbled vellum binding, and later in the library of the Earls of Macclesfield. - This is the first issue (with the misprints "matire" and "pera") of "the first illustrated book of travel ever printed [.] [T]he folding panoramic views [.] are the first authentic representations of the famous places depicted, i. e., the ports usually visited by every pilgrim of the period [. The] artist was Erhard Reuwich [., who] graphically record[ed] the impressions of the voyage" (Davies). The splendid panoramic folding views, hailed by William Morris as "the best executed illustrations in any medieval book", show Venice (more than 160 centimetres long), Porec and Corfu (both ca. 40 cm), Methoni, Crete and Rhodes (all ca. 80 cm) as well as Jerusalem (ca. 125 cm). - This work is considered the first authentic Western source for the Middle East, as the illustrations were prepared on the spot, from personal observation of the lands and people described. Breydenbach travelled to the Holy Land in 1483/84 with a large party including the artist Reuwich. Following the traditional route, they travelled from Venice to Corfu, Modon, Crete, Rhodes and Jaffa before arriving in Jerusalem, and then through the Sinai desert to Mt. Sinai, Cairo, and Alexandria on the return journey. The book quickly became extremely popular and was translated into French, Dutch and Spanish before 1500. It includes illustrations of Middle Eastern and Bedouin costume, a glossary of common Arabic words, and pictures of animals encountered on the journey (including a crocodile, a camel, and even a unicorn), as well as an Arabic alphabet - the latter of especial importance for being the first of its kind ever to see print: "The first representation of Arabic letters in a printed book was done in Germany; this was the woodcut of the Arabic alphabet in Bernhard von Breydenbach's 'Peregrinatio'" (Toomer). - The views in this copy are well preserved throughout and present as complete, although two have rather substantial facsimile portions: in the view of Venice, the left seven of altogether nine page-width panels have been supplied on old paper, while in that of Jerusalem and the Holy Land (frequently lacking altogether), the left five (of seven) panels have been supplied. The view of Rhodes has a small paper repair in the middle, with minor loss to the caption "Rodis". - The present first edition is extremely rare in the trade, usually appearing only in severely mutilated copies or even in fragments comprising no more than a few leaves; copies preserved in early bindings with fine provenance are highly sought after. Only two are listed in auction records since 1900: the Doheny copy, with two leaves supplied from another copy (Christie's NY, 22 Oct. 1987, lot 12: for $110,000, to H. P. Kraus), and the Perrins-Wardington copy (complete), sold at Sotheby's in 2005 for £265,600 (today, approximately 500,000 Euros). The Consul Smith copy sold at Christie's in 2018 lacked one quire consisting of the Jerusalem view and two woodcut scenes, as well as about half of the Venice and Rhodes views. - A prestigious copy from the library of Jean-Baptiste Colbert, the great French statesman who served as First Minister of State from 1661 until his death in 1683 under the rule of King Louis XIV. Colbert was a passionate bibliophile, who formed, with the scholar Carcavi, a collection famous throughout Europe. - A few remarginings and the occasional light stain. Trimmed a little closely during the 17th century rebinding for Colbert, the knife having barely touched a few 15th century marginalia as well as the upper edge of the woodcuts showing the Church of the Holy Sepulchre and the Abyssinians of Jerusalem. Inconspicuous facsimile repairs to the view of Venice (7 out of 9 panels) and Jerusalem (5 out of 7 panels), all printed onto old paper from a digital source and expertly segued into the original portions. Rebacked paper flaw to view of Rhodes with slight loss. - 1) Jean-Baptiste Colbert (1619-83) with the annotation "Bibliotheca Colbertina" on the first text leaf. 2) His elder son, the Marquis de Seignelay (1651-90). 3) Jacques-Nicolas Colbert (1707). 4) Charles-Eléonor Colbert, Comte de Seignelay (1747). 5) Library of the Earls of Macclesfield, Sotheby's, Part IX, 15 March 2007, lot 3104. - HC 3956. Copinger, Supplement I, p. 126. Goff B-1189. GW 5075. Proctor 156. Pellechet 2979. BMC I, 43. BSB-Ink B-909. Klebs 220.1. Schreiber 3628. Bodleian B-552. Hubay 468. Schäfer 84. Oates 52. Davies, Breydenbach, Nr. I. Fairfax Murray 92. Campbell (Maps) 65. Hillard 486. Aquilon 181. Arnoult 366. Parguez 275. Péligry 226. Torchet 228. Zehnacker 577. ISTC ib01189000. Muther, Deutsche Bücherillustration, p. 89, no. 639. E. Ross, Picturing Experience in the Early Printed Book: Breydenbach's "Peregrinatio" from Venice to Jerusalem (University Park, PA, 2014). Dibdin, Bibl. Spencer III, pp. 216-228. H. W. Davies, Bernhard von Breydenbach and his journey to the Holy Land, 1483f.…

-159 Blatt-10 Seiten wissenschaftlicher Kommentar-Nach der ersten deutschen Ausgabe von 1486-Mit 8 colorierten Textbildern/Tafeln-Eine Tafel in s/w --- Bernhard von Breydenbach:Peregrinatio in terram sanctamDeutsche Ausgabe von 1486Sammleredition in Halbleder Verlagsfrischer, bibliophil ausgestatteter Faksimile-Reprint:Gedruckt auf einem schönen alterungsbeständigen und säurefreien Werkdruckpapier, das den Originaleindruck am besten wiedergibt.Gebunden in der Luxusedition in Halbleder mit Pariser Marmor und mit Rückenprägung. --- 25,7 x 17,8 cm. Reuwich, Erhard (illustrateur).…

-159 Blatt recto paginiert-Mit 8 colorierten und mehreren gefalteten Tafeln   --- Bernhard von Breydenbach:Peregrinatio in terram sanctamNach der ersten deutschen Ausgabe von 1486Gebunden in der Studienversion mit einem aufgezogenen Titelblatt im Stil der Zeit Verlagsfrischer, bibliophil ausgestatteter Faksimile-Reprint:Gedruckt auf einem schönen alterungsbeständigen und säurefreien Werkdruckpapier, das den Originaleindruck am besten wiedergibt.Gebunden als robuste Bibliotheksversion in Ganzleinen mit Rückengoldprägung.Bibliophil ausgestattet mit rundem Rücken und Lesebändchen.Ein dem Stil der Zeit entsprechender Umschlag wurde auf dem Vorderdeckel aufgezogen. --- 25,7 x 17,8 cm.…

Reprint 1966 by Verlag Konrad Kölbl, München-Allach. - Ganzseitiger Holzschnitt, 3 Seiten Titel-Text, dann viele Hundert Seiten Text mit mehreren Hundert Holzschnitten. Nicht paginiert. Ca. 27,5 cm x ca. 20 cm x ca. 6 cm, ca. 2,1 kg schwer. Leineneinband in Schlangenleder-Optik mit goldgeprägtem Rückentitel. In Deutsch. - Johann Wonnecke von Cube war Stadtarzt zu Kaub am Rhein von 1484 bis 1503. Das Original des Hortus Sanitatis (manchmal auch Ortus Sanitatis) erschien am 28. März 1485 bei Peter Schöffer in Mainz, zählt somit zu den Inkunabeln (Wiegendrucken, die kurz nach Erfindung des Buchdrucks bis zum Jahr 1500 gedruckt worden sind). Es war das erste illustrierte Kräuterbuch in deutscher Sprache. Sehr wenig berieben oder bestoßen. Keine Einträge. Papier nahezu nicht gebräunt, nicht fleckig. Bindung sehr gut und fest. Zustand gut bis sehr gut. Auf Wunsch senden wir gerne Fotos des Werkes.…

-159 Blatt-Mit 8 colorierten Textbildern und Tafeln, 1 uncolorierte Tafel-Mehrere gefaltete Panoramen --- Bernhard von Breydenbach:Peregrinatio in terram sanctamNach der ersten deutschen Ausgabe von 1486 Verlagsfrischer, bibliophil ausgestatteter Faksimile-ReprintGedruckt auf einem schönen alterungsbeständigen und säurefreien Werkdruckpapier, das den Originaleindruck am besten wiedergibt.Gebunden als Luxusedition in Leder mit einem Rückenschild.Erschienen im Verlag Fines Mundi, Saarbrücken. --- 25,7 x 17,8 cm.…

Etat : Near Fine. 1st Edition. Jean-Baptiste Colbert's Breydenbach: the first printed travel report of the Middle East, including the first Arabic alphabet in print Breydenbach, Bernhard von. Peregrinatio in Terram Sanctam. 11. II. 1486. Mainz, Erhard Reuwich (with types of Peter Schöffer). Folio, (290 x 215 mm). 147 ff. (of 148, lacking the final blank). Rubricated throughout and with numerous red and blue Lombardic initials. With full-page title woodcut, 8 woodcuts and 6 woodcut alphabets in the text, 2 woodcut initials (1 armorial), small woodcut printer's device, and 7 folding woodcut views (some with text or woodcut illustrations on verso), two of which are in partial facsimile. 17th century full mottled vellum with gilt-stamped spine label. A few remarginings and the occasional light stain. Trimmed a little closely during the 17th century rebinding for Colbert, the knife having barely touched a few 15th century marginalia as well as the upper edge of the woodcuts showing the Church of the Holy Sepulchre and the Abyssinians of Jerusalem. Inconspicuous facsimile repairs to the view of Venice (7 out of 9 panels) and Jerusalem (5 out of 7 panels), all printed onto old paper from a digital source and expertly segued into the original portions. Rebacked paper flaw to view of Rhodes with slight loss. Editio princeps of the first modern account of a journey from Venice to the Holy Land: Jean-Baptiste Colbert's copy, preserved in its elegant, 17th century marbled vellum binding, and later in the library of the Earls of Macclesfield. This is the first issue (with the misprints "matire" and "pera") of "the first illustrated book of travel ever printed [. . .] [T]he folding panoramic views [. . .] are the first authentic representations of the famous places depicted, i. e., the ports usually visited by every pilgrim of the period [. . .The] artist was Erhard Reuwich [. . ., who] graphically record[ed] the impressions of the voyage" (Davies). The splendid panoramic folding views, hailed by William Morris as "the best executed illustrations in any medieval book", show Venice (more than 160 centimetres long), Porec and Corfu (both ca. 40 cm), Methoni, Crete and Rhodes (all ca. 80 cm) as well as Jerusalem (ca. 125 cm). The present first edition is extremely rare in the trade, usually appearing only in severely mutilated copies or even in fragments comprising no more than a few leaves; copies preserved in early bindings with fine provenance are highly sought after. Only two are listed in auction records since 1900: the Doheny copy, with two leaves supplied from another copy (Christie's NY, 22 Oct. 1987, lot 12: for $110,000, to H. P. Kraus), and the Perrins-Wardington copy (complete), sold at Sotheby's in 2005 for £265,600 (today, approximately 500,000 Euros). The Consul Smith copy sold at Christie's in 2018 lacked one quire consisting of the Jerusalem view and two woodcut scenes, as well as about half of the Venice and Rhodes views. A prestigious copy from the library of Jean-Baptiste Colbert, the great French statesman who served as First Minister of State from 1661 until his death in 1683 under the rule of King Louis XIV. Colbert was a passionate bibliophile, who formed, with the scholar Carcavi, a collection famous throughout Europe. Full description available upon request. …

4to (142 x 194 mm). (88) ff. (A-R4). With 45 large woodcuts. Modern full vellum. Extremely rare edition of this finely illustrated prognostication book by Johannes Lichtenberger (1426-1503), court astrologer to Emperor Frederick III. Lichtenberger was inspired to write prophecies after noticing astronomical curiosities, including Jupiter with Saturn in Scorpio in November of 1484, and a solar eclipse the following year. His prognostications are vague, general, and low-risk, but still caused him to run afoul of the Inquisition. His work was overwhelmingly popular from its first edition in 1488, especially as the vividness of the book's numerous illustrations "impressed also audiences not capable of reading" (cf. Muther, 105). - The title-page shows the author, both hands reaching out in an expressive gesture. Lichtenberger had modelled his work on slightly earlier treatises by Eberhard Schleusinger and Paul von Middelburg (to an extent that the latter even accused him of plagiarism). In his preface, the author styles himself an interpreter of divine providence, invoking several philosophers and saints (including Aristotle, Ptolemy, and St. Birgitta of Sweden) as seen in the second, full-page woodcut, assembled beneath the gaze of the heavenly father. The prologue ends with a "prayer of the master of this little book" and a half-page woodcut. The next illustration depicts the God-ordained order of the world: God in His heavens, the Pope and the Emperor by the sides, and two farmers tilling the soil in the foreground. - While the book's tripartite structure follows that of the estates, there is little doubt that the author's focus is squarely on the Emperor and his territories: "A distinguishing feature of Lichtenberger's prognostication is that it is evidently intended for German consumption. Its political predictions are largely for the Holy Roman Empire" (Thorndike, 477). Subjects include the geopolitical competitor France, Bohemian heretics, and the Ottoman threat, garnished with suggestions for political reform in the Empire. In the 16th century, the "minor prophet" and church reformer predicted by Lichtenberger was widely identified with Luther (cf. ibid., 476), who himself issued a German edition in 1527, adding his own foreword. Reaching ahead as far as 1567, the numerous Latin and German editions of Lichtenberger's prognostications found ever new readers. Indeed, the book contained "a little of almost everything, a fact which may account for its popularity. Lichtenberger dips into past as well as future [.]. Present political and religious opinion is also freely expressed [.] He rails against the Jews for not accepting Christianity and seems to criticize the introduction of Roman law into Germany. [.] Even alchemy is introduced into the discussion" (ibid., 479). - The woodcuts of the present edition present themselves in excellent, stark prints. Attributed to Bartholomäus Kistler, they give evidence of a comparatively unsophisticated linear style that harks back to the 15th century. This very rare edition has eluded most bibliographers. - A weak dampstain throughout along the upper edge. - From a German private collection. - VD 16, L 1600. Not in Roth. Not in Adams, BM-STC German, Brunet, Ebert, Graesse, or Zinner. For Lichtenberger cf. Thorndike IV, 473-480.…

Folio (248 x 360 mm). 1 p. 62 lines of Gothic type in one column. Rare complete example of this later production by the printing pioneer Peter Schöffer of Mainz (ca. 1425-1503), who had been in business (in partnership or on his own) since 1457 and had served an apprenticeship under Gutenberg himself, assisting in the printing of the B-42 Bible. - Schöffer uses here a set of type first recorded in his German "Hortus sanitatis" of 1485 (cf. Rosenthal). The text comprises a set of abbreviated articles in German regarding a Papal crusade bull against the Ottoman Empire and is dated 11 December 1488. Pope Innocent's call for a crusade early in his papacy came to nothing - though he would later hold Cem Sultan, brother of Ottoman Sultan Beyazed II (1447-1512), as his prisoner. By contrast, Schöffer was at the height of his craftsmanship. His own business had outlived Gutenberg's press, and he had perfected his art with some of his greatest works, including the 1457 Mainz Psalter, the 1462 Biblia pulcra, and the 1484 Herbarius latinus. He was among the first booksellers ever, a proponent of the use of multiple colours in type, and had set several industry standards still in use today, including the presence of a date and printer information on the title-page. - Even in a relatively simple broadside such as this, one can see the early days of printing experimentation as well as standardization: the use of indented paragraphs, the double-dash used to signify word division at the end of a line, and the beautiful typesetting for which Schöffer was so renowned. Uncommon on the market as well as in international collections: all eight holdings recorded in ISTC are in German institutions. - Staining (possibly due to previous use in a later binding) and some minor worming, with a few tidy repairs, but well preserved. - Copinger 708. GW 2703. ISTC ii00100300. Rosenthal cat. 92, no. 59. Martin Breslauer cat. 81, no. 17.…

Holzschnitt aus der Sachsen-Chronik Conrad Botes mit einer Stadtansicht Magedeburgs sowie Textpassage. Blattgröße 28,5 x 20 cm (Höhe x Breite) unter Glas gerahmt (Rahmenmaß: 38 x 29,5 cm - ungeöffnet ). Das Blatt mit zahlreichen handschriftlichen Anmerkungen von alter Hand, auch auf der Darstellung * Magdeburg soll ein Bischofssitz sein, darunter ganz Wendland zerstöret, Saxo lib.3, Cap. 24-25*.Die Textpassage beginnend: " Keyser Otto de hadde gerne eynen Bischopsdom gemaket to Meydeborch unde des wolde ome de Bischopp Bernd nicht staden.". Das Blatt etwas fleckig, am oberen Rand mit 2 Montagespuren sowie (wie erwähnt) mit zahlreichen handschriftlichen Anmerkungen von alter Hand in Tinte. - sehr selten - ( Gewicht 800 Gramm ) ( Weitere Bilder auf Anfrage erhältlich ) ( Lagerort Klassiker-Regal unten Fach 5 ) Artikel 7602 /// Woodcut from the Sachsen-Chronik Conrad Bote with a city view of Magedeburg and text passage. Sheet size 28.5 x 20 cm (height x width) framed under glass (frame size: 38 x 29.5 cm - unopened). The sheet with numerous handwritten annotations in an old hand, also on the depiction * Magdeburg is said to be a bishop's see, including the whole of Wendland destroyed, Saxo lib.3, Cap. 24-25*.The text passage begins: " Keyser Otto de hadde gern eynen Bischopsdom gemaket to Meydeborch unde des wolde ome de Bischopp Bernd nicht staden.". The sheet somewhat stained, with 2 traces of mounting in the upper margin and (as mentioned) with numerous handwritten annotations in ink by an old hand. - very rare - ( weight 800 grams ) ( further images available on request ) ( storage location classics shelf below compartment 5 ) item 7602.…

Hardcover. Etat : Very Good. Octavo [6.50'' tall x 4.50'' wide x 2.50'' thick]. Collates 531, [1]; 503, [1] p. A-Ii8 Kk10 a-hh8, ii4. First edition of the Italian abbot's revision of the Latin Vulgate New Testament. His complete Bible followed the next year. Chiari introduced more than 8,000 corrections to the traditional Vulgate text, and included some paratextual matter that sympathized a little too much with Luther. So while Chiari had the privilege of serving on the Council of Trent, his Bible did find itself on the Pauline Index of 1559, the earliest official index of prohibited books (after a quickly suppressed 1557 precursor). This edition comes from the short-lived Venetian press of Peter Schöffer the Younger, third son of Peter Schöffer the Elder, the Paris scribe who came to Mainz to help Gutenberg print his 42-Line Bible. Johann Fust, Gutenberg's business partner, kept Peter on after the dissolution of his partnership with Gutenberg, and so the pair found themselves running the press that Gutenberg established. Johann Schöffer, second son of Peter the Elder, inherited the press in 1503 after his father's passing and ran it until 1531. Peter the Younger, by all accounts a talented typecutter, struck out on his own in itinerant fashion, operating presses in Mainz, Worms, Venice, and Strasbourg. "Venice specifically, and Italy generally, form a notable thread through the life of Peter Schöffer the Younger. His admiration of Italian printers was evident from the very start of his career" (Trocmé-Latter). But he worked in Venice only briefly, 1541-1542. He and his wife then returned to Basel, perhaps a more welcoming environment for the Protestant couple. We've traced just seven imprints from Schöffer's Italian office, one of them done for the Giunti. "The productions of his presses recommend themselves to the attention of bibliophiles, as much for their beautiful execution, by which he showed himself worthy of such an able father, as for their rarity, which is perhaps the reason most of them are little or not at all known" (Helbig). PROVENANCE: With ownership signature on title of Sebastiano Donati, likely the 18th-century history professor of the same name. A single early marginalium on p. 417 (first sequence), pulling a quote from one of Chiari's notes ("not what they themselves want, but what he himself judges useful to them"). Collation note on rear paste-down dated 15 October 1973, Fredericksburg, VA. A very good copy of this very early Italian New Testament. Title mounted on early (but later) laid paper, and re-margined at the inner margin; some half dozen leaves with discreet marginal repairs, not affecting text; mild damp-staining, mostly marginal, seldom touching the text; dark stains in lower margin of Dd4-5; title soiled, and some scattered light soiling throughout. REFERENCES: USTC 802963; EDIT16 CNCE 5973; H. Helbig, "Notice sur Pierre Schoeffer le fils," Messsager des sciences historiques et archives des arts de Belgique (1848), p. 161, #1 (suggesting this may have been his first book issued in Venice). Darlow and Moule, Historical Catalogue.of Holy Scripture (1911), v. 2, pt. 2, p. 932, #6121 (the 1542 Bible, but mentioning this 1541 New Testament in the note) Bound in mid-later 20th.C. full grained calf leather binding. Spine with raised bands, blind lines and lettered in gilt. With the printer's details and the date in gilt at the foot of the spine. A fine and attractive period-style leather binding.…