The cover of the original, a leather binding in elegant red with rich gold embossing, is reproduced true to the original – a true bibliophile‘s masterpiece. A luxury box protects this valuable edition.

Fol. 1v: Calendar Image for January. This January miniature offers a vivid glimpse into the residence of Duke John of Berry, where courtiers gather to present New Year’s gifts. The Duke, richly dressed in blue and gold, sits by the fire as nobles, clerics, and servants bustle around him. Heraldic emblems, sumptuous tapestries, precious tableware, and the Duke’s beloved dogs underscore his wealth and status. Above, the unfinished celestial arc shows Sol guiding the sun and the zodiac, a consequence of the work ceasing in 1416.

Fol. 8v: Calendar Image for August. This August calendar miniature shows an elegant party riding out for falconry, accompanied by a falconer and hunting dogs. Finely dressed riders—some sharing a saddle—carry falcons, while Étampes Castle rises behind them above fields where peasants harvest grain. Bathers cool themselves in a shimmering river, capturing the mood of a hot August day. Above, Sol guides the sun and the zodiac signs Leo and Virgo. The idyllic scene, painted by the Limbourg Brothers, contrasts with later, more realistic additions by Barthélemy d’Eyck.

Fol. 14v: The Homo Signorum – the Zodiac Man. This Zodiac Man concludes the calendar, illustrating the medieval belief that zodiac signs affected health and guided medical practice. An androgynous figure in a mandorla is shown front and back, each body part linked to its governing sign, from Aries on the head to Pisces at the feet. Surrounding bands mark zodiac months, days and seasons, while Duke John of Berry’s emblems appear in the corners. Created by the Limbourg Brothers, this innovative image reflects late medieval astrological medicine.

Fols. 64v-65r: The open book shows the Fall of the Rebel Angels. This dramatic miniature depicts the archangel Michael leading the heavenly host against Lucifer and the rebel angels, who plunge downward as they are cast from heaven. Typical of late medieval illumination, the scene contrasts the serene celestial realm above with the chaotic descent below, emphasising divine order triumphing over rebellion.

Fols. 113v-114r: The open book shows the illustration of Purgatory. This miniature, along with the accompanying decorated initials, was painted by Jean Colombe around 1485. The scene depicts souls undergoing purification, surrounded by flames and dramatic imagery, reflecting late medieval beliefs about the afterlife and the moral order, executed with Colombe’s detailed and expressive style.

A luxurious leather case protects this valuable edition.

This set, which is the first out of four, includes Manuscript A, Manuscript suppl. A, Manuscript E, and Manuscript M out of the twelve sketchbooks treasured at the Institut de France.

Leonardo's twelve Paris sketchbooks and the two supplementary volumes are being made available as a perfect, faithful facsimile edition, limited to 990 copies.

First serie: Manuscript A, Compl. Manuscript A (Codex Ashburnham I), Manuscript E and Manuscript M

Manuscript A

Faithful reproduction of the binding.

Leonardo frequently switches spontaneously between completely different subjects. This loose combination of various notes and drawings on different topics, typical for all his notebooks, can be attributed to the way Leonardo wrote them.

Throughout his life, the great Leonardo da Vinci always carried a notebook with him to immediately capture ideas.

The first four volumes containing notes from various fields, such as drawing techniques, the properties of water, weight and gravity, as well as geometry and botany.

The 12 Notebooks of Leonardo da Vinci – A Glimpse into the Creative Mind of a Genius Ahead of His Time.

The extraordinarily rich and sophisticated execution of this splendid manuscript indicates that the book was created for the extensive collection of a cultured, high-ranking individual.

A magnificent box protects the precious facsimile volume.

The cover of the original, in classic black leather with the gilt embossed emblem of the Sloane Collection, has been exactly reproduced.

The emblem of the Sloane Collection represents with its five raised bands a genuine bibliophile masterpiece.

This compendium from the British Library includes the three most popular medical texts of the 12th century: the Herbarium of Pseudo-Apuleius, Pseudo-Dioscorides’ De herbis feminis and Sextus Placitus’ De medicina ex animalibus, along with other short medical texts.

Our manuscript offers a unique testimony of its time, not only from the point of view of medicine, pharmacology and the history of science, but also with regard to the history of mentalities and history of art.

Fol. 91v: Drug preparation and medical treatments. With our Augmented Reality App „Living Manuscripts“ you can bring this page to life. More information on our website.

Page by page, we move through a garden of health, full of wonders, discovering medieval herb lore, pharmacology and surgery in a splendidly executed manuscript.

The open volume shows folios 97v and 98r. The elegance and refinement of the decoration, dominated by delicate tendrils and enlivened by hundreds of birds, on many pages gave way in the course of the modification to the radiant beauty of luminous backgrounds strewn with flowers and tendrils.

Fol. 36v: Antonius Abbas is resting at the foot of a rock, inquisitive wild animals have gathered around him, and a pig – often depicted together with him – is looking up at him from the left foreground. The miniature above the saint’s suffragium is surrounded on all sides by a trompe-l’oeil border, which had not originally been present but was added later to accommodate changes in the sense of style. Blossoms and buds appear to be strewn on the golden backdrop, on which they also cast shadows.

Fol. 132v: Here we are witnessing a fantastic tournament: the monkey riding the unicorn with the “e” of Engelbert of Nassau on its saddlecloth is jousting with another contestant on horseback. A fox on a ram and a wild man riding a stag are blowing trumpets adorned with flags – that on the left bears the subsequently added coat of arms of Duke Philip the Handsome. Four squires – wild men and monkeys – are excitedly attending the joust on foot and have further lances at the ready in case the first two should splinter.

The edition in its box. Each of the two volumes is protected by a red leather sheath; they are both reproduced faithfully to the original, as are their covers.

The manuscript, divided here into two volumes, is bound in a magnificent leather cover with lavish gold embossing. The manuscript has been divided into two volumes since the 18th century; this is faithfully reproduced in the present edition. Bound in genuine leather with lavish gold embossing, the volumes are protected by red leather sheaths, likewise with gilt embossing, and delivered in an elegantly luxurious box.

This manuscript, comprising a total of 293 folios in the delicate format of 13.7 x 9.5cm, owes its unique charm to seven full-page and 31 half-page miniatures, but above all to its overwhelming diversity of flowers and birds.

Bound in genuine leather with lavish gold embossing.

The artistic execution of these magnificent miniatures can be attributed to Genoa's unique position as an important trading metropolis in the late Middle Ages, where a wide variety of cultures converged: French, Italian and Oriental elements are clearly evident in the images.

The Codex Cocharelli is characterised by incredibly detailed and fantastic border paintings, which open up a whole universe of plants, animals and scenic representations on practically every page.

Each page contains numerous details and uniquely colourful miniatures to discover, and the magnificent imagery of the Middle Ages is presented to us in a wonderful way and in the highest quality.

The frame text is a didactic text about vices and virtues, which aims to give the reader a deeper understanding through individual examples. The examples are mostly events from the time when the manuscript was written, making it a great source for history and politics, but also art and natural sciences.

The cover of the manuscript is made of fine green leather with blind embossing.