Horae BMV (Use of Rome)

Hore intemerate Virginis marie secundu[m] usum Romanum cum pluribus oratio[n]ibus tam in gallico q[uam] in latino. Paris: Thielman Kerver for Gillet Remacle, 10 January 1503

Printed on vellum, 8vo (7 1/2 x 5 in.; 190 x 126 mm). collation: A - M⁸=[96]  leaves plus two original endleaves with offset from title and last page, Kerver's large unicorn device (Renouard 499), Anatomical Man, 18 large metalcuts, some 7- and 8-line metalcut initials, metalcut borders on every page, chapter and sentence initials painted in gold on blue or muted orange grounds with gold tracery, remains of painted leafy tendrils beneath the colophon more visible in the offset; the shield in Kerver device covered with paper, perhaps to provide space for a new owner's arms, with unicorn hooves supplied in pen, first two and last leaf soiled with a few stains with paint decoration and inscription on last page washed away, a few leaves cockled. 18th-century vellum, gold roll-tooled borders with gold-stamped central medallion of a crown of thorns hanging on the Cross surmounted by the divine monogram "I N R I"; stained, spine mended, edges worn.

unidentified ownership inscription on last page dated 1700 (visible in offset) — Launay Allain de Carhaix (ms. exlibris in foremargin of leaf A2, dated 1770)

Bohatta 755; Renouard-Moreau I, 1503:59;  see Renouard, French 294 (for a similar Kerver production from 2 years later).

the shield in Kerver device covered with paper, perhaps to provide space for a new owner's arms, with unicorn hooves supplied in pen, first two and last leaf soiled with a few stains with paint decoration and inscription on last page washed away. 18th-century vellum, gold roll-tooled borders with gold-stamped central medallion of a crown of thorns hanging on the Cross surmounted by the divine monogram "I N R I"; stained, spine mended, edges worn.
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A beautifully illustrated Book of Hours showing the strong kinship with manuscript models, with an interesting Brittany provenance. The metalcut sidestrips of the title, also found elsewhere, show stag hunting scenes on a criblé ground with additional sets of grotesques and musicians around the calendar and text pages. Scenes from the life of Mary occupy other borders, and there is one large border cut representing the Creation.