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EN
The National Library gathered nearly 2250 incunabula right up to the start of World War II. However, only four pieces have miraculously survived the turmoil of the war. The rest of the collection was burnt by the Germans after the fall of the Warsaw Uprising. Amongst many artefacts gathered by the National Library after the war were also incunabula of various origins. The article presents the history of one of them (s. Thomas de Aquino: Summa theologica. P.II,2. Venezia 1479. HC 1463), tracing back to its first owner, Girolamo Savonarola.
EN
The article presents the results of the research of the bindings of some of the incunabula preserved in one of the libraries in Warmia. The collection of the collegiate church library in Nowe Miasto was surveyed to identify books of similar structure which were in circulation at approximately the same time. The collection under survey consisted of 129 incunabula, of which 109 items bound in 92 volumes were actually analysed. The next phase of analysis concerned the collection as a whole. At this stage the bindings were examined to establish similarities between them, their functions and the binding techniques. The most common decoration techniques were blind tooling and knurling. Most of the covers had clasps; some were decorated with other furniture. Examples of monk's and catenated bindings point to the functional character of the books. The following stage of analysis was focused on the decoration; it was aimed at identifying similarities in the impressions and in the arrangement of motifs on the covers. Many covers had typical motifs impressed, including eagles, dragons and rue. Among the most interesting stamps were those showing Our Lady, symbols of the Evangelists and the star of David with an inscription inside. Some covers were found with the title of the book or the name of the author impressed; the inscriptions were divided into majuscule and minuscule ones. The final stage of the research was a close analysis of the particularly interesting covers which bore some individual traces of the book's owner. This group comprised a volume which belonged to bishop Jan Wilde, a binding with the date of its making inscribed and a cover decorated with an exquisite plaque showing the Crucifixion. The above outlined approach can serve as a model for research on historic bookbindings belonging to a closed collection and analysed as its integral parts.
EN
This article deals with the manuscripts and incunabula which come from the Minorite Monastery in Český Krumlov and are nowadays part of the collections of the Museum of Decorative Arts in Prague. It relates to 8 manuscripts, 6 incunabula and one paleotype, which were acquired by the Museum by purchase in the years 1894–1896, and 2 manuscripts acquired from an estate in 1961.
EN
Any book printed during the early period of book printing (from 450 to 1500) deserves the special interest of bibliographers. Both cultural historians and librarians cannot fail to be excited by the discovery at the end of the 20th century of an ancient book, previously unregistered the general catalogues, in the restored Aglona Basilica library. It is a well-preserved incunabulum in its original binding: Clemens V (papa 305-1314). Constitutiones. - Basel: Michael Wenssler, VI Non. Mai, [2. ai, post. 2 Mail, 1476. - 2°, [74] f. [GW 7088]. Moreover, glued to the side of the covers are metal engravings made in Germany during the 1470s. Considering there are only 261 incunabula in Latvia, the recently found example from Aglona is of exceptional significance. The newly found incunabulum had been owned by the Riga patrician Reinhold Soltrump (Reynoldus Saltrumpp), son of the Burgermeister and clergyman Johann Soltrump. Information on Soltrump's life is sparse - he describes himself as Magister ac decretorum baccalaureus, clericus Rigensis, a lawyer and Riga clergyman who studied law at the University Leipzig. It is likely that about 1477 Soltrump returned to Riga and joined the city's bibliophile circles. Soltrump used to decorate his books himself, so he was an amateur illuminator. It seems that he was most keen on decorating books with blue and red initials during his study years. Shortly after, ca. 1475-1477, Soltrump decorated many large initial letters with four-leaf ornaments, drew faces in the initials, embellished pages with large monograms instead of initials. This amusing aspect allows us to call Soltrump the master of Riga fish initials, because many of his prolonged initials turn into expressive images of fish. Soltrump was not a skilled draftsman, some initials are rather robust and even superficial; capital letters have wide, gig and heavy legs; his fish and faces are immaturely comical or grotesque. Although the drawing of initials is not accurate and the gouache paint of low quality, he is surely one of the first illuminators in Riga whose handwriting is unmistakable and many works are easily attributed.
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