[PRINTED HOURS]. Hours for use in Paris. The Hours of the Blessed Virgin Mary, following the Roman rite, with other texts, printed in folio format, accompanied by illustrations from the Bible, the Apocalypse, the Dance of Lethe, and new images. Paris, Thielman Kerver, 1516 (the title page bears the date 1516; however, the almanac covers the years 1506–1530 and the colophon is dated December 22, 1506). In Latin and French, printed on parchment. With 21 large engravings (including T. Kerver’s printer’s mark; the Anatomical Man and the final printer’s mark) and 35 small engravings, ornate and historiated engraved borders. Engravings based on models by the Master of the Très petites Heures d’Anne de Bretagne (Master of the Rose of the Apocalypse of the Sainte-Chapelle [MdA]) [“Kleinbilder MdA für Kerver, c. 1497”]; Jean Pichore for Kerver [“Pichore für Kerver, 1504–1506”] and a series of small engravings designed for Kerver [“Späte Kleinbilder für Kerver, c. 1512–1515”]. In-8°, 104 ff., complete [collation: A-N8], italic type (some leaves with roman type [Anatomical Man] or gothic type [Almanac]), printed in red and black, figures in black, copy ruled in pale red ink, initials highlighted with liquid gold on blue or red painted backgrounds, borders alternating between woodcut and metal engraving, with reserved or dotted backgrounds. Brown calfskin binding, spine with 6 raised bands featuring gilt fleurons between the bands and gilt fillets at the top and bottom of the spine, double gilt fillet framing the covers, oval gilt medallion in the center of the covers, gilt edges (leather slightly cracked and worn). A few leaves trimmed slightly short, a few engravings slightly stained but generally in good condition. A few painted initials. Dimensions of the binding: 160x105mm; dimensions of the leaves: 152x95mm Not listed in Lacombe. – Bohatta, 827. – Moreau, I, 1506, no. 93 – Claerr, T., Printing and Social Success in Paris at the End of the Middle Ages: Thielman Kerver, Printer-Bookseller from 1497 to 1522 (ENSSIB Thesis, 2000), vol. II, no. 115 (which cites the Venice copy). – Claerr, T., 2014, p. 330: “Kerver” Pica Italic typeface: this Parisian italic is well-designed, undoubtedly the best before Simon de Colines.” – Tenschert and Nettekoven, Horae B. M. V.: 158 Stundenbuchdrucke der Sammlung Bibermühle, Ramsen, 2014, VI, no. 62.1: note that the authors date this edition to 1516 (and not 1506) for this edition, largely based on the fact that, in their view, the series of small engravings used dates from the years 1512–1515 and does not appear in editions prior to 1512 (“Späte Kleinbilder für Kerver,” ca. 1512–1515). Vervliet (2008 and 2010) dates this edition to 1516. Note another edition published by Kerver with 104 ff., dated October 27, 1506, but printed in Roman type (Moreau, I, 1506, 92; Almanac 1506–1530); see Tenschert and Nettekoven, Horae B. M. V.: 158 Book of Hours Prints from the Bibermühle Collection, Ramsen, 2014, VI, no. 60.4: edition Paris, T. Kerver, May 4, 1512, almanac 1506–1530. Known copies: Venice, Biblioteca nazionale Marciana [according to Renouard/Moreau, ICP, I, 1506, 93]; Rome, Biblioteca Nazionale, 69.3 A 29; Amsterdam, University Library, 974 C 22; Tenschert and Nettekoven, VI, no. 62.1. No copies recorded in libraries in France. Regarding this italic typeface used by Kerver, see Vervliet, 2010, no. 261: “The ‘Kerver’ Pica Italic [It 79] or Cicero (1516).” This work appears to contain one of the earliest instances of the italic typeface in Paris [in 1512 by Le Rouge, then in 1514 by Kerver, and this one in 1516 by Kerver, which would be the third instance]. SEE THE COMPLETE ENTRY IN THE PDF CATALOG (downloadable)