Book of Hours. Use of Rome

8vo (167 x 102mm.), PRINTED ON VELLUM, 92 leaves, +⁸ a-k⁸ l⁴ (l1 and l2 incorrectly signed l2 and l3), 26 lines, lettres bâtardes, FULL-PAGE MINIATURES WITH FINE ILLUMINATED BORDERS loosely based on the metalcuts beneath, each text page with a metalcut border with captions in type, late eighteenth-century straight-grained citron morocco, spine gilt in compartments, gilt edges, with paper and vellum endleaves, pink pastedowns, morocco hinges, in green buckram folding box, first two leaves and final leaf trimmed at foot without loss of text

Henry Pomeroy, 2nd Viscount Harberton (1749-1829), armorial bookplate, sale Christie's, 24 March 1953 (described as incomplete, lacking l1 and l6)

Goff H376; R 1764; GW 13177; Bohatta 571

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

A BEAUTIFULLY ILLUMINATED BOOK OF HOURS.

Several illuminators collaborated on this printed book of hours to give it the appearance of an illuminated manuscript. Although the metalcuts determine the compositions, they disappear completely beneath the opaque layers of paints. The finest hand can be identified with the Master of Robert Gaguin who was one of the leading artists in Paris in the late fifteenth century (see F. Avril and N. Reynaud, Les Manuscrits à Peintures en France, Paris 1993, pp. 262-4). He sometimes worked for Anthoine Vérard to illuminate individual copies of printed editions which were dedicated to princes of the time. Characteristic for the Gaguin Master is not only the style of the illuminations but also the large compartmented acanthus and floral borders on coloured grounds which are freely applied to the printed designs.

ISTC lists just eight copies of this edition.