Or Einayim, Solomon ben Abraham Peniel, Cremona: Vicenzo Conti, 1557

32 leaves (9 1/8 x 5 7/8 in.; 232 x 150 mm). Woodcut title border; faint waterstain in lower portion throughout, some worming on title affecting border; owner's inscription on f.30v, censor's inscriptions on recto (Dominico Carretto, 1628) and verso (Domenico Irosolomitano, 1597) of final leaf. Nineteenth-century maroon flexible boards; backstrip torn, edges and corners rubbed.

Vinograd, Cremona 7; Benayahu, Cremona 7

32 leaves (9 1/8 x 5 7/8 in.; 232 x 150 mm). Printed on blue paper, collation: 1-84=32 leaves, woodcut title border; faint waterstain in lower portion throughout, some worming on title affecting border; owner's inscription on f.30v, censor's inscriptions on recto (Domenico Carretto, 1628) and verso (Domenico Irosolomitano, 1597) of final leaf. Nineteenth-century maroon flexible boards; backstrip torn, edges and corners rubbed.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

printed on blue paper

This small work is divided into three sections dealing with the creation of the world, the influence of the constellations upon mankind, and the wisdom of the Patriarchs. The title page has an ornamental frame made up of four parts, enabling the printer to use them in other arrangements, although this is the manner in which the parts are most often employed. This frame was used by Vicenzo Conti on his early imprints, appearing on about ten works. Conti's use of blue paper for special editions or presentation copies of Hebrew books is a continuation of the practice begun by Daniel Bomberg in Venice in 1519.  Nothing is known of the author, Solomon ben Abraham Peniel.