Cologne printing

HENRICUS DE HASSIA. Expositiones super Orationem Dominicam, et Ave Maria. [Cologne: Printer of Dares (Johann Solidi (Schilling)), c. 1471], 24 leaves (of 28), [a⁸ b-c⁶ d⁸], a4-8 bound at end of volume, 27 lines, lacking a1-3 and final blank, [c]1 defective [HC 8390; BMC i 212; BSB-Ink H-68; GW 12241; VK 551 & 550]
THOMAS AQUINAS. De divinis moribus. [Cologne: Printer of Dares (Johann Solidi (Schilling)), not after 1472], 15 leaves (of 16, without final blank), [a-b⁸], 27 lines [Goff T285; C 543; BMC i 213; Bod-inc T-183; VK 1171]
THOMAS AQUINAS. De beatitudine aeternitatis. [Cologne: Printer of Dares (Johann Solidi (Schilling)), not after 1 December 1472], 36 leaves, [a-c⁸ d-e⁶], 27 lines [Goff T284; HC 1363; BMC i 213; VK 1161]
GERSON, Jean. De cognitione castitatis et de pollutionibus diurnis. [Cologne: Printer of Dares (Johann Solidi (Schilling)), about 1472], 16 leaves, [a-b⁸], 26 lines [Goff G197; C 2688; Bod-inc G-097; GW 10731; VK 489]
GERSON, Jean. De simonia; De probatione spirituum; De eruditione confessorum; De remediis contra recidivum peccandi. [Cologne: Printer of Dares (Johann Solidi (Schilling)), not after 1472], 29 leaves (of 30, without final blank), [a-c⁸ d⁶], 27 lines, contemporary manuscript notes at end, [c]8 becoming detached [Goff G268; HC 7708; BMC i 212; BSB-Ink G-169; VK 498]
CICERO, Marcus Tullius. De senectute. [Cologne: Printer of Dares (Johann Solidi (Schilling)), not after 1472], 22 leaves, [a-b⁸ c⁶], 27 lines [HC 5305; Bod-inc C-334; GW 6981; VK 326]
SENECA, Lucius Annaeus. De remediis fortuitorum. [Cologne: Printer of Dares (Johann Solidi (Schilling)), about 1472], 8 leaves, [a⁸], 27 lines [Goff S427; HC 14655; BMC i 213; BSB-Ink S-253; Bod-inc S-141; VK 1070]
ALEXANDER MAGNUS. Historia Alexandri Magni (adapted by Leo Archipresbyter). [Cologne: Printer of Dictys (Arnold Ther Hoernen), about 1472], 71 leaves (of 72), [a-i⁸], 27 lines, lacking final leaf [Goff A395; HCR 778; BMC i 210; GW 873; VK 749]

8 works in one volume, 4to (171 x 125mm.), rubricated throughout, later half vellum over marbled boards, some staining throughout (particularly at end where 5 leaves are very browned)

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."

Early printing in Cologne, which was mostly anonymously produced, began with the prolific Ulrich Zel, from 1466, Arnold Ther Hoernen (now also associated with the Printer of Dictys), from 1470, and then Johann Schilling (considered by Vouillème and Corsten to be the Printer of Dares, and now connected to other anonymous presses), from perhaps 1471. Schilling studied in Basel and Erfurt before settling in Cologne in the early 1470s. He was financially supported by the merchant Johann Helman (who later went into partnership with Heinrich Quentell), though Schilling had to leave Cologne by 1475 to escape his debts, and his typeface was then used by Nicolaus Gotz. Schilling subsequently moved to Vienne and produced books there in the late 1470s.

From an English perspective, Schilling is important in his connection to William Caxton; he is known to have printed Bartholomaeus Anglicus, Walter Burley and Gesta Romanorum for William Caxton in 1472-1473 (see Paul Needham, "William Caxton and his Cologne partners", Ars impressoria, Munich, 1986, pp. 118-119, and Lotte Hellinga, William Caxton and early printing in England, London, 2010, p.32). It is quite plausible that Caxton was a business associate of his fellow merchant Helman, who also operated in the Low Countries.

As with many of Zel's early books, the majority of Schilling's books were small and short quartos of the sort of Thomist and Albertist texts in use at the University of Cologne, which was strongly anti-humanist; Thomas Aquinas, Henricus de Hassia and Jean Gerson. However, as can be seen in this volume, classical authors such as Cicero and Seneca also appeared from Schilling's workshop, along with the titles listed above produced for Caxton. The typefaces used by these anonymous Cologne printers were based on the bookhands current in Cologne at the time (as opposed to Zel's more humanistic typefaces). The Ther Hoernen imprint is the first edition of the Alexander romance, in the Latin version made in the tenth century by Leo the Archpriest of Naples.

This compilation of texts was presumably assembled at the time, despite the later binding. For a similar volume, see Davis Gift 3 (bought from Sotheby's in 1960 for £320), containing eight early Cologne imprints in a contemporary London binding, including the Historia Alexandri Magni (also incomplete), the Henricus de Hassia and one of the same Gerson tracts.