‎Vellum‎

‎[TURNER (Dawson)] Compiler.‎

‎List of Norfolk Benefices; with the Names of their Respective Incumbents and Patrons, and the Dates of the several Presentations; as also with the Annual Value and Population; continued from Blomefield's History of Norfolk to the present time.‎

‎First edition, large 8vo (240 x 155 mm), vi, 85, [1]pp., 200 copies printed, this being the only copy PRINTED ON VELLUM, title printed in red and black, marbled endpapers, bound in contemporary smooth light tan calf, both boards with gilt scrolled border in gilt and blind with central crest of Dawson Turner in blind, spine lettered in gilt direct with a decorative border, spine rubbed, joints cracked, all edges gilt. A unique copy specially printed on vellum and bound for the compiler Dawson Turner (1775-1858), banker, naturalist, patron of the Arts, antiquary and collector. In all these pursuits Dawson Turner excelled, he published usually at his own expense in very small editions, and on occasions had a special copy printed on vellum for himself, as here. There is a prefatory letter to the Rev. S. C. E. Neville Rolfe and Daniel Gurney, signed Dawson Turner, Yarmouth, September 1847. In this valuable work, the parishes are arranged in Deaneries, the data set out in tabular form. There are very full indexes of parishes, incumbents and patrons. The Rev. Strickland Charles Edward Neville Rolfe (1789-1852) was vicar of Heacham, and Daniel Gurney (1791-1880) was a well-known banker and antiquary of King's Lynn. It was these two gentlemen who obtained a transcript from the Episcopal Registers which made the present publication possible. Provenance: Sold as lot 2073 by Sotheby's at the auction of Dawson Turner's library in March of 1853.‎

‎[TÖPPFER Rodolphe]:‎

‎Nouvelles et mélanges.‎

‎Genève, Ledouble & Ab. Cherbuliez, 1840. In-8 de [4]-462-[2] pages, demi-maroquin chocolat à coins, dos lisse orné de fers romantiques. Déchirure sur la page de faux-titre, sans manque, mors, coiffes et coins légèrement frottés.‎

‎Illustré par Lugardon de 3 lithographies hors-texte, tirées sur papier de Chine, montées sur vélin fort. Edition originale. !! Du 8 au 20 juin les horaires de la librairie seront les suivants: lundi au vendredi 11h –12h et 13h – 17h. Samedi: 10h –15h !!‎

Bookseller reference : 5587

‎[Vellum Printing] [Thomas Bird Mosher] Leith, W. Compton‎

‎Sirenica‎

‎Portland Maine: Thomas Bird Mosher 1915. First edition thus number 22 of 25 copies printed on Japan Vellum. 8vo 19x14cm v xvi 3 142 1pp. Two initials printed in red text printed within borders few leaves unopened. Bound in gilt stamped parchment boards and in near fine condition with bumped corners. In original plain paper jacket which shows toning and a few tears and housed in toned paper slipcase with two ownership signatures one being Primrose Rupp Hinton. <br /> <br /> Very scarce and beautiful Mosher printing on Japanese vellum.  Sirenica is a 1913 novel by Leith which explores the myth of the Siren Song and the struggle by man for the unobtainable.  <br /> <br /> <br /> This copy with an interesting ownership provenance from journalist Primrose Rupp Hinton who was longtime society editor for the Aberdeen Daily World in Aberdeen WA.  . Thomas Bird Mosher unknown‎

Bookseller reference : 8494

‎A FINELY BOUND MEDIEVAL VELLUM MANUSCRIPT BOOK OF HOURS IN LATIN AND FRENCH, WITH A TOTAL OF 13 LARGE AND SMALL MINIATURES‎

‎USE OF PARIS‎

‎Northern France probably Paris third quarter of 15th century. 130 x 100 mm. 5 1/8 x 3 7/8". Single column 15 lines in an elegant gothic book hand. 280 leaves. First four leaves misbound lacking at least seven leaves five of which probably contained miniatures. Contents: Devotion to the Passion f. 1r; blank f. 4; Calendar f. 5r; Gospel Lessons f. 17r; "Obsecro te" and "O intemerata" f. 23r; blank f. 23; Hours of the Virgin lacking opening leaves for Terce Nones and Vespers f. 33r; Penitential Psalms and Litany f. 100r; Hours of the Cross lacking preliminary leaf f. 120r; Hours of the Holy Spirit p. 123r; Office of the Dead lacking preliminary leaf f. 127r; "Sept Vers de Saint Bernard" and Suffrages f. 176v; series of devotional prayers in Latin and French including the Hours of the Conception an indulgence devotional poems in French prayers for specific occasions such as when facing tribulations going to confession protection against storms and for friends abroad the Stabat Mater the Seven Joys of the Virgin Gospel sequences "Le chemin de paradis" and many others f. 199r; blank f. 280. <br/> ESPECIALLY BEAUTIFUL MID-19TH CENTURY LIGHT BROWN MOROCCO LAVISHLY GILT IN THE "FANFARE" STYLE BY CAPÉ stamp-signed in gilt on front turn-in covers with large green and red morocco inlaid panels gilt strapwork scrolling and small star tools raised bands spine compartments with red or green morocco inlay surrounded by gilt scrolling embellishments gilt lettering RED MOROCCO DOUBLURES gilt in the style of Duodo with repeating pattern of flowers encircled by vines marbled endleaves modern paper and vellum flyleaves all edges gilt. Housed in a fine suede-lined pebble-grained leather pull-off case with gilt lettering on spine. Light red ruling and rubrics numerous line-fillers in blue and pink with gilt embellishments many one- and two-line initials in burnished gold on pink and blue ground three four-line initials in pink or blue filled with ivy leaves on a burnished gold ground two of these with a gilt and painted baguette along the outer edge of text and all with a three-quarter border of hairline vines flowers acanthus and gold leaves the majority of the leaves with a panel border of hairline vines and flowers on one side one historiated initial painted blue on a burnished gold ground depicting the Virgin accompanied by a gilt and painted baguette and three-quarter border FOUR SMALL MINIATURES DEPICTING THE APOSTLES each with a gilt and painted baguette and surrounded by a three-quarter border and EIGHT LARGE ARCH-TOPPED MINIATURES above a three-line initial painted blue or pink on gold ground a gilt "L" shaped bar border incorporating colorful flowers and a full border of border of hairline vines flowers acanthus and gold leaves and A HALF-PAGE RECTANGULAR MINIATURE with a border along the lower half. The subjects of the large miniatures include: the Mass of St. Gregory f. 1r; Annunciation f. 33r; Visitation f. 57r; Nativity f. 70r; Adoration of the Magi f. 80v; Crowning of the Virgin f. 94v; David in Prayer f. 100r; Pentecost f. 123r; and a rectangular miniature of the Holy Wound or perhaps the Bleeding Host of Dijon f. 241v. Isolated light rubbing and negligible chips to miniatures the dark blue paint appearing slightly worn in places as is often the case occasional faint smudges to borders and other imperfections but all of these trivial. IN THOROUGHLY FINE CONDITION INTERNALLY--the paint fresh the vellum clean and the margins quite comfortable--AND THE EXTRAORDINARILY FINE BINDING FLAWLESS.<br/> <br/> In a spectacular 19th century binding this lovely thick little Book of Hours was executed by a talented follower of Maître François and the Master of Jean Rolin and contains a large number of prayers and devotional texts many of them in French. The manuscript includes a fine array of large and small miniatures executed with a colorful palette and careful attention to detail. Particularly noteworthy is the excellent molding of faces. Each figure--no matter their station or importance to the scene--displays unique characteristics that give us a sense of their age sentiments and demeanor. This is an impressive feat given the small scale of the compositions and this individualization adds a great deal of value to the miniatures as well as the viewer's emotional experience connecting to the images. Our artist owes much to the work of the so-called Maître François and slightly before him the Master of Jean Rolin the latter an eponym attached to the illuminator of missals done for Rolin cardinal-bishop of Autun d. 1483. Perhaps of Burgundian origin the Master of Jean Rolin completed his artistic education in Paris probably in the workshop of the Bedford Master and afterward established his own atelier in Burgundy. There he played a key role in the transition from the Bedford Master's slightly more gothic style to the more thoroughly Renaissance style of Maître François who ran the most successful Parisian workshop during the years between 1460 and 1480 producing illuminated manuscripts small and large sacred and secular. Characteristic of Maître François's style are richly colored scenes interiors depicted with considerable detail women and children with pale porcelain complexions and male figures with darker weathered flesh tones--all of which can be seen in the present work. The final miniature present in this work however seems to have been executed by a different artist altogether being rather more flat in appearance and without the detailed facial molding noted earlier. About two-thirds of the manuscript follows fairly regular arrangement of texts with the exception of the Mass of St. Gregory which is misbound at the beginning of the volume. Then following the Suffrages are approximately 80 leaves of devotional texts in Latin and French including popular verses such as the "Seven Joys of the Virgin" and the "Stabat Mater" as well as more unusual texts such as the Hours of the Conception prayers for specific occasions or protections--for example against storms "Contre tempeste" and when one passes over water "Quant on passe par eaue"--indulgences and other related texts. Two of the more interesting passages are "Le chemin de paradis" a French prayer beginning "Qui en paradis veult aller" and a series of Latin poems that claim to be copied from originals found at the church of St. Paul in Rome. These copious additional prayers suggest a high degree of customization for a client who may have been particularly religious or at least very concerned with self-preservation! and they present intriguing possibilities for further study. The manuscript was rebound sometime in the middle years of the 19th century by Capé d. 1867 one of the most distinguished binders in France in his day. He was especially well known for the delicacy of his work which can be observed to great effect in the present example. He was the binder to the Empress Eugenie and Béraldi calls him "the Bozérian of the second Empire." His work has always been highly sought after and it resides in all of the great collections where bindings are considered important. This volume seems to have been sold to bookseller Francis Edwards as lot no. 95 at Sotheby's sale on 3 April 1957 and has been in private hands ever since. The manuscript is a little jewel inside and out and has obviously been a treasured vessel of prayer and art for generations of owners. unknown‎

Bookseller reference : ST20295

‎A LEAF FROM AN EARLY VELLUM MANUSCRIPT OF GREGORY THE GREAT IN LATIN‎

‎HOMILIAE IN EVANGELIAS PART OF HOMILY XXXI‎

‎South Germany or more probably Austria second half of the 12th century. 429 x 304 mm. 16 7/8 x 12". Double column 36 lines of text in a fine proto-gothic hand. <br/> â—†Text a bit faded on one side an upper corner slightly defective minor soiling and with the grain of the vellum apparent on verso but with the beautiful text entirely legible and the leaf as a whole quite pleasing.<br/> <br/> The hand here is memorable featuring wide upright letters that could not be more regular. Elected pope in 590 Gregory ca. 540-604 was one of the most influential pontiffs in the history of the Church. In addition to revising liturgical worship he wrote extensively on theology offering homespun wisdom rather than esoteric debates. He was declared a saint immediately upon his death. unknown‎

Bookseller reference : ST12778-0082

‎A MEDIEVAL ILLUMINATED VELLUM MANUSCRIPT BIFOLIUM FROM A BREVIARY IN LATIN‎

‎TEXT FOR FEAST DAYS INCLUDING THE VIGIL OF THE ASSUMPTION‎

‎England ca. 1450. 152 x 206 mm. 6 x 8 1/8". Double column 35 lines in a gothic hand. <br/> Rubrics in red paragraphs marks in blue three two-line initials in blue with red penwork extending along the column one two-line burnished gold initial on blue and red ground with white tracery sprays of hairline stems extending into the margin and terminating with green dots and gold ivy leaves and WITH A FIVE-LINE INITIAL in blue with white tracery on a burnished gold ground filled with colorful acanthus a gilt and blue bar decorated with more acanthus extending the length of the column expanding into the upper and lower margins with hairline vines sprouting green dots acanthus and bezants. Margins trimmed a little close slightly cutting into illumination in upper margin and very ends of penwork decoration but A FINE SPECIMEN the vellum clean and bright and the illumination brilliantly lustrous.<br/> <br/> This beautifully decorated manuscript bifolium is an excellent example of English illumination of the 15th century featuring large flamboyant designs and a colorful palette to delight the eye. The fine gradations of color on the acanthus are especially pleasing and the thickly applied gold remains shimmering. The overall effect is one of vitality and celebration as if the page were blooming before our very eyes. The text of the bifolium is continuous and includes part of the feast of St. Hippolytus and his companions August 13 the Octave of St. Lawrence the feast of St. Eusebius of Rome August 14 and the beginning of the Vigil of the Assumption of the Virgin August 14 which contains the beautiful initial "T" opening the antiphon "Tota pulchra es amica mea.". unknown‎

Bookseller reference : ST19884

‎A MEDIEVAL ILLUMINATED VELLUM MANUSCRIPT LEAF FROM A BOOK OF HOURS, WITH A MINIATURE OF THE ADORATION OF THE MAGI, BY THE WORKSH‎

‎TEXT FROM SEXT‎

‎Northern France ca. 1475. 150 x 113 mm. 5 7/8 x 4 3/8". Single column verso with 16 lines in a gothic book hand. <br/> Line fillers in pink and blue with white tracery and gold bezants several one-line initials in burnished gold on blue and pink ground one two-line initial and one three-line initial in blue and filled with colorful foliage on burnished gold ground WITH A HALF-PAGE ARCH-TOPPED MINIATURE OF THE ADORATION OF THE MAGI BY MAÃŽTRE FRANÇOIS OR HIS WORKSHOP the text and miniature with bar border on three sides decorated with colorful foliage on burnished gold and surrounded by a full border of acanthus leaves dense rinceaux colorful fruit and flowers gold ivy leaves and bezants the verso with a similar panel border. Tiny chips missing from faces of the Christ Child and the kneeling magus Virgin's face slightly soiled but the colors still very fresh and the leaf on the whole quite lovely.<br/> <br/> The hour of Sext opens with a traditional depiction of the Adoration of the Magi a scene in which the three well-appointed wise men visit the newly born Christ with offerings of precious gifts. The Virgin is dressed in voluminous blue robes and cradles the child in her lap as the eldest of the Three Kings kneels before them. He has removed his hat and placed it to one side while his gift housed in a small gold box seems to have already been accepted and placed on the ground beside them. Immediately behind the kneeling king are a younger man dressed in a bright green tunic and bearing a large gold object and a shorter middle-aged figure who removes his hat as he approaches the Virgin and Child. Although the scene takes place in a stable covered with a thatched roof the bright colors and gold details make the spectacle anything but austere. The exquisite bar borders and dense rinceaux and acanthus work add a luxurious luster to the charming tableau. The level of artistry here is first rate displaying very fine molding and drapery executed with a sensitive touch. And of particular interest is the painter's use of light brown paint dabbed on the side and roof of the stable to give it an unusual weathered effect. This attractive miniature was likely executed in the workshop of the so-called Maître François who ran a highly successful Parisian atelier during the years between 1460 and 1480 producing illuminated manuscripts small and large sacred and secular. Characteristic of the Master's style are richly colored scenes interiors depicted with considerable detail women and children with pale porcelain complexions and male figures with darker weathered flesh tones. unknown‎

Bookseller reference : ST19653-191

‎A MEDIEVAL ILLUMINATED VELLUM MANUSCRIPT LEAF FROM A BOOK OF HOURS, WITH A MINIATURE OF THE VISITATION, BY THE WORKSHOP OF MAITR‎

‎TEXT FROM LAUDS‎

‎Northern France ca. 1475. 153 x 110 mm. 6 x 4 3/8". Single column verso with 16 lines in a gothic book hand. <br/> Line fillers in pink and blue with white tracery and gold bezants several one-line initials in burnished gold on blue and pink ground one two-line initial and one three-line initial in blue and filled with colorful foliage on burnished gold ground WITH A HALF-PAGE ARCH-TOPPED MINIATURE OF THE VISITATION BY MAÃŽTRE FRANÇOIS OR HIS WORKSHOP the text and miniature with bar border on three sides decorated with colorful foliage on burnished gold and surrounded by a full border of acanthus leaves dense rinceaux colorful fruit and flowers gold ivy leaves and bezants the verso with a similar panel border. â—†Paint on the angel's face partly chipped two small marks paint transfer on the Virgin's face otherwise a very well-preserved leaf with just trivial imperfections the paint and gilt especially bright and fresh.<br/> <br/> The Hour of Lauds opens here with a traditional depiction of the Visitation a tender moment in which the pregnant Virgin meets with her older cousin Elizabeth who is also with child. Elizabeth brings her palms together in prayer while the Virgin touches her own swollen belly with one hand and gestures toward Elizabeth's stomach with the other. While many Books of Hours depict the two women alone the present miniature includes the figure of a winged angel standing in attendance behind the Virgin holding what appears to be a small golden casket with a handle. The angel is probably intended to represent Gabriel who announced to both the Virgin and her cousin the births of Christ and John the Baptist respectively. This attractive miniature was likely executed in the workshop of the so-called Maître François who ran a highly successful Parisian atelier during the years between 1460 and 1480 producing illuminated manuscripts small and large sacred and secular. Characteristic of the Master's style are richly colored scenes interiors depicted with considerable detail women and children with pale porcelain complexions and male figures with darker weathered flesh tones. The level of artistry in this miniature is high displaying very fine molding and drapery executed with a sensitive touch. The Virgin's robes are particularly well done and the faces of the two women are both delicately rendered and convincingly emotive. unknown‎

Bookseller reference : ST19653-188

‎A MEDIEVAL ILLUMINATED VELLUM MANUSCRIPT LEAF FROM A BOOK OF HOURS IN LATIN, WITH A MINIATURE DEPICTING PENTECOST‎

‎TEXT FROM THE OPENING OF THE HOURS OF THE HOLY SPIRIT‎

‎Northern France probably Paris or Rouen ca. 1500. 159 x 105 mm. 6 1/4 x 4 1/8". Single column verso with 18 lines of text in a fluid bâtarde hand. <br/> Five brushed gold initials on a blue or red ground line fillers in the same colors and gold recto with a very pretty three-line modelled initial enclosing a strawberry plant on a brushed gold ground and WITH A VERY COLORFUL AND ANIMATED MINIATURE OF PENTECOST the Virgin her own prayer book on her lap sitting on a high-backed chair in the center of the scene the Apostles distributed on either side the holy dove flapping above them raining down tongues of fire on the scene the action set against a detailed architectural backdrop the whole within a full brushed gold border of acanthus other vegetation and flowers. Lower right-hand corner of border a bit soiled three margins trimmed close but with no loss otherwise IN FINE BRIGHT CONDITION.<br/> <br/> In this charming depiction of Pentecost the artist uses bright colors and sturdy figures expressing strong emotions to make an impact. The Virgin is depicted in the center of the composition surrounded on either side by closely knit groups of Apostles each of whom directs his eyes toward the image of a dove above them emanating rays of gold. The Virgin by contrast casts her eyes slightly downward her hands in prayer with an open book resting on her lap seemingly lost in a moment of serenity. The artistic hand here creates a convincing space and narrative and uses the same color palette seen in the border—a choice that adds greatly to the leaf's considerable visual appeal. unknown‎

Bookseller reference : ST19726-01

‎A MEDIEVAL ILLUMINATED VELLUM CALENDAR LEAF FROM THE LLANGATTOCK BREVIARY‎

‎TEXT FROM JULY AND AUGUST‎

‎Italy Ferrara 1441-48. 205 x 200 mm. 8 x 7 7/8". 35 lines in a very fine rounded gothic hand. <br/> Text in dark brown and red capitals touched with yellow two four-line "KL" initials in blue pink and green on burnished gold ground with leafy marginal extensions the initials on the recto crowned with an exuberant spray of green blue and gold acanthus hairline tendrils pink flowers and gilt bezants and leaves the verso initials with a long bar border on outer margin painted pink on gilt ground with pink green and blue motifs at middle and top the border traced with black the top of the border accompanied by a spray of hairline tendrils colorful flowers gold bezants and leaves. â—†Lower margin of the verso trimmed away with loss of the end of bar border though not the text some of the other margins trimmed close crowding but not affecting the decoration some fading to brown ink less faded on recto legible on both sides in any case negligible dampstain in upper margin short closed tear just entering gold bar at top left of verso; not without imperfections but still an exquisite and very desirable leaf with richly colored and gilt embellishment.<br/> <br/> This item presents a very special perhaps singular opportunity to own the only known calendar leaf from the renowned Llangattock Breviary to emerge since the manuscript was taken apart in the 20th century. Executed with great skill and delicacy in sensitive Italianate colors highlighted by spring green and pink our leaf is unsurprisingly from a manuscript intended for a powerful aristocrat. It comes from the celebrated Breviary illuminated for the chapel of the Marquises of Este rulers of Ferrara and Mantua a manuscript commissioned by Leonello d'Este duke of Ferrara from 1441-50. According to the d'Este family records this manuscript seems to be the Breviary done for Leonello by Giorgio d'Alemagna Bartolomeo de Beninc Guglielmo Giraldi and Matteo de' Pasti see Toniolo "La Miniatura a Ferrara dal Tempo di Cosm Tura all'eredit di Ercole de' Roberti" 1998 pp. 19-20 and 76-77. Leaves from this manuscript show subtle variations in the style of the illuminations a result of work performed individually by a team of artists doing variations on a theme. At one time in a Spanish library the manuscript was brought to Britain during the Peninsular War and came to be owned by the Rolls family later Lords Llangattock of Monmouth in Wales from whom it takes its name. By the time the work reached Britain most of the miniatures had already been cut out. The Breviary sold at Christie's on 8 December 1958 lot #190 after which it was acquired and subsequently dismembered by Goodspeed's of Boston. The attribution of this leaf to the Llangattock Breviary is based its script ruling and style of decoration as well as physical attributes such as width of the leaf and the appearance of the vellum which all correlate to other known leaves from this manuscript. Furthermore according to the 1958 auction description of the complete manuscript the entire calendar section had its lower margins trimmed away as here. The present leaf appeared in a 1979 catalogue of bookseller Kenneth Rendell and it remains the only known calendar leaf from this manuscript that has ever been advertised. unknown‎

Bookseller reference : ST19882

‎A MEDIEVAL ILLUMINATED VELLUM MANUSCRIPT LEAF FROM A BOOK OF HOURS IN LATIN, WITH A MINIATURE OF THE ENTOMBMENT‎

‎TEXT FROM COMPLINE FROM THE HOURS OF THE PASSION‎

‎Southern Netherlands Bruges third quarter of 15th century. Matted leaf: 150 x 150 mm. 5 7/8 x 4 3/8". Frame: 307 x 258 mm. 12 x 10 1/4". Single column with four lines below the miniature and the obverse with 17 lines in a batarde hand. <br/> Attractively matted and framed the leaf slightly shifted in the mat revealing top and side edges but in no danger of damage. Rubrics in red four one-line initials and three three-line initials all but one in burnished gold on blue and red ground with white tracery the initial beneath the miniature painted pink on a burnished gold ground and filled with painted ivy vines AN ARCH-TOPPED LARGE MINIATURE DEPICTING THE ENTOMBMENT the body of Christ surrounded by seven other people depicted in an outdoor setting with the turrets of a walled city in the background the miniature in a double frame of gold and pink surrounded by A FULL BORDER composed of hairline vines acanthus colorful flowers and gilt bezants and inhabited by a small bird. Minor soiling and a faint thumb print to borders but IN VERY FINE CONDITION THE MINIATURE BEAUTIFULLY PRESERVED.<br/> <br/> This is a beautifully rendered and deeply touching scene depicting the entombment of the crucified Christ and the pathos experienced by those at his side. Holding the sheet on which the body is lowered into the sarcophagus are on the far left the richly clothed Joseph of Arimathea and on the far right Nicodemus who dons an especially lovely yellow garment with delicate embroidery. Between the two men in the foreground but behind the body are the Virgin Mary who presses the hand of her deceased son to her lips; John the Evangelist whose body is turned toward the Virgin in a gesture of support but whose gaze is focused on the Savior; and Mary Magdalene who holds a small ointment jar. Two other women with halos stand closely behind them consoling one another. The artist has done a masterful job at creating a composition that captures the emotional gravity of the scene: Christ's body gently cradled in a white sheet is on full display with blood still trickling from the wounds on his head and side. Despite there being seven people crowded around him our attention is drawn to the action between Christ and the Virgin who gently grasps his hand with motherly affection and bids him a final farewell. Flickers of different emotions appear on the faces of his followers including pity sorrow stoicism and disbelief--echoing perhaps the viewer's own range of feelings upon viewing this image. The level of detail excellence of composition care seen in the molded bodies and faces and the convincing setting suggest that the artist was quite practiced and that the original manuscript from which the leaf comes was of very high quality. unknown‎

Bookseller reference : ST19540b

‎A MEDIEVAL ILLUMINATED VELLUM BOOK OF HOURS IN LATIN AND FRENCH, WITH 14 LARGE AND 27 SMALL MINIATURES‎

‎USE OF ROME‎

‎Northern France late 15th or early 16th century. 176 x 128 mm. 7 x 5". Single column 23 lines in a neat batârde hand. i blank 101 ii blank leaves. Lacking one leaf after f. 87 possibly containing a miniature otherwise complete. Contents: Calendar f. 1r; Gospel Lessons f. 7r; Passion according to John f. 10v; Hours of the Virgin f. 15v; Penitential Psalms and Litany f. 45r; Office of the Dead f. 54v; Hours of the Cross f. 68v; Hours of the Holy Spirit f. 70v; Prayers to the Trinity St. Veronica "Obsecro Te" "O Intemerata" and "Stabat Mater" f. 72v; Suffrages f. 79r; Prayers in French to be said on various occasions f. 86v; verse prayer in French beginning "Royne des cieulx glorieuse" f. 90r; additional prayers in French and Latin f. 93v. <br/> Attractive 19th century vellum with lacy gilt border raised bands ruled in gilt gilt lettering tan silk endleaves all edges gilt. Housed in a felt-lined reddish-brown pebbled morocco clamshell box with gilt lettering on spine. Rubrics in red numerous one- and two-line initials in painted gold on burgundy or blue ground WITH 27 SMALL MINIATURES one miniature of Christ Carrying the Cross measuring 60 x 68 mm. the rest depicting saints and measuring between eight and nine lines each surrounded by a full border of acanthus flowers and small dots on bare or painted vellum and 14 LARGE MINIATURES EACH OPENING WITH A FULL BORDER either with acanthus and flowers as before or architectural some borders embellished with figures animals or hybrids two with a small scene in the lower margin and about a dozen with the added coats of arms and/or mottos of Jean Boutin. The subjects of the large miniatures include the following: St. John of Patmos f. 7r; Annunciation f. 15v; Visitation f. 23r; Nativity f. 27v; Annunciation to the Shepherds f. 29v; Adoration of the Magi f. 31v; Presentation in the Temple f. 33v; Flight into Egypt f. 35v; Death of the Virgin f. 38v; Bathsheba bathing f. 45r; Funeral Mass f. 54v; Crucifixion f. 68v; Pentecost f .70v; Trinity f. 72v. See: Fairfax-Murray "French" p. 265-266. Vellum binding soiled but perfectly sound. Small portions of some border figures and perhaps three or four miniatures touched up in the 16th century see below occasional chipping to white paint small hole in the border of ff. 11 & 29 light scattered spotting fading thumb soiling and other minor issues but an attractive and substantially complete manuscript the illumination extensive and mostly well preserved.<br/> <br/> This heavily illustrated Book of Hours is a lovely example of provincial illumination; it calls attention in an interesting way to the influence of printed books on manuscript art; and it contains intriguing traces of an early prominent owner. Our manuscript contains a total of 41 large and small miniatures by a skilled artist who clearly had some training and familiarity with the prevailing styles of the time. The overall appearance of the work suggests the artist or workshop was located in Northern France and although the figures and backgrounds are indicative of a provincial hand the rich colors profuse use of liquid gold and sumptuous borders are unmistakable marks of luxury. The image of the Trinity is particularly lovely demanding the viewer's attention with God the Father's piercing gaze and conveying the majesty of the subject with a patterned throne set against a starry sky. Of special interest here are the compositions of the large miniatures many of which seem to have been copied from printed Books of Hours of the period. When we talk about the transition from manuscripts to print culture in the late-15th and 16th centuries the discussion often focuses on how the art of manuscripts influenced the appearance of printed works. There is no better example than Books of Hours which in printed editions often mimic the look of their manuscript predecessors in appearance and the way many were finished by hand. However as the present example demonstrates the opposite was also true as printed works inevitably made their way into the hands of manuscript artists. Some even worked simultaneously both as illustrators for publishers working with metal- and woodcuts and as manuscript painters. As a reflection of this point in the present work we find distinct similarities between our miniatures and a series of metalcuts used by Philippe Pigouchet for the publisher Simon Vostre beginning in 1496 Fairfax-Murray's set 2. According to Fairfax-Murray "These cuts . . . were evidently very favourably received by Pigouchet's rivals and imitators for one finds several close copies and adaptations in the various productions of other presses" including a very close imitation of woodcut images commissioned by the publisher Antoine Vérard. Evidently the popularity of these plates extended to manuscript artists and it is fascinating to see the adaptation of each composition to suit the painter's own style and the patron's needs. Most of the compositions in our manuscript are essentially simplified versions of the printed miniatures retaining the central figures their gestures garments and props but with complex backgrounds eschewed as are extra figures deemed unnecessary to fulfill the narrative. The resulting miniatures are far less busy than their printed counterparts allowing the viewer to focus on the central story. In a few instances the artist has added small scenes beneath the large miniatures. An example on f. 35 depicts the so-called "Miracle of the Wheat" featuring harvesters misleading Herod's soldiers by truthfully saying that the fleeing Holy Family passed by when their now miraculously matured crop was just being sown. This kind of inclusion may have been influenced by the copious small metalcut scenes that decorate the borders of numerous printed Books of Hours of this period. The text here follows a fairly typical structure but includes prayers in French to be said for each day of the week and on various occasions such as when one awakens or when one leaves a house. Also in French are additional verses to the Virgin--one of which is credited to the Franciscan preacher Jean Tisserand d. 1497 who founded an order for repentant women. Another accessory prayer included here f. 98 appeared in both prayer books and conjuring manuals of the period straddling the line between religion and popular magic. Based on an apocryphal encounter between Pope Leo III and Charlemagne during the Battle of Roncevaux this prayer was often used as a protective amulet against all manner of evil; here it is said to "conquer demons and one's enemies." Although we do not know for whom this manuscript was originally made the book shows a number of marginal customizations in the form of different coats of arms the motto "Soit avenu" "Let it come to pass" and the name of Jean Boutin written on ff. 23 and 35. This owner could have been Jean Boutin Sieur de la Court et de Chamballan and Mayor of Nantes from 1575-76. In addition to the marginal customizations the manuscript may possibly have some very neat replenishing of white facial paint in a handful of marginal figures and perhaps in a very small number of the miniatures. Using magnification and strong light we are unable to find convincing evidence that this retouching took place at least in the miniatures and if it was we think it was done quite early perhaps in the 16th century. Worst case it would necessarily be termed subtle and skillful enough to cause uncertainty now and whatever the verdict is in this respect the manuscript remains very fresh and attractive features attractively executed paintings is complete but for one leaf and would provide ample room for additional research. unknown‎

Bookseller reference : ST20620

‎A VELLUM MANUSCRIPT LEAF FROM AN EARLY GLOSSED BIBLE IN LATIN‎

‎TEXT BEGINNING WITH 2 CHRONICLES 36:14‎

‎Abbey of St. Oyan at St.-Claude du Jura France ca. 1175. 245 x 158 mm. 9 3/4 x 6 1/4". Single column of text with two columns of gloss text column with 26 lines in a fine proto-gothic book hand. <br/> Verso with scant remnants of mounting tape in a couple of places along one edge. See Gwara Handlist no. 77. â—†Upper margin of fore edge unevenly trimmed away but no text lost a dozen-and-a-half small round wormholes touching just a couple letters light soiling to edges and other minor imperfections but still IN FINE CONDITION the vellum very clean and the ink dark and legible.<br/> <br/> The most important innovation in biblical scholarship during the 12th century was the development of the "Glossa Ordinaria" to the Bible. Drawing on the whole earlier tradition of biblical exegesis but especially that of Latin patristic writers like Augustine and Jerome scholars working in the French cathedral schools of Laon and Paris systematized this material in an apparatus of marginal and interlinear glosses arranged around the relevant biblical passages. The present leaf showing a particularly beautiful and regular script is a lovely example of one such work. The biblical text appearing in the center column is differentiated by larger lettering and gloss appears interlineally and in a column on either side of the main text all in smaller lettering by the same hand. Scott Gwara notes that the parent manuscript was formerly in the Medieval library of St. Oyan at St.-Claude du Jura a Benedictine monastery founded as the Abbey of Condat around 425 and later known as St. Oyen after an obscure saint who served as Condat's fourth abbot. In the 13th century it was renamed St.-Claude. By the 20th century the manuscript was in the collection of William L. Clements d. 1934 the bulk of which was sold by his estate between 1934-37. The manuscript was then acquired and dismembered by biblioclast Otto Ege around 1939. Gwara notes that the manuscript was incomplete by the time it reached Ege containing only 80 leaves but was "otherwise in excellent condition." The present leaf certainly attests to this assertion being extremely clean bright and with comfortable margins. unknown‎

Bookseller reference : ST17586

‎A VELLUM MANUSCRIPT LEAF FROM A NOTED MISSAL IN LATIN, RECOVERED FROM A BINDING‎

‎WITH TEXT FROM THE END OF THE SANCTORAL AND BEGINNING OF THE COMMON OF SAINTS‎

‎Germany early 13th century. 273 x 193 mm. 10 3/4 x 7 1/2". Single column 31 lines text in two sizes in a gothic hand. <br/> Rubrics in red several one- and two-line initials in red and two larger initials in red. A few lines with neumes later notations in the margins now quite faded. â—†Vellum a bit soiled and creased as expected fading to four or five lines where the spine was placed several notches along one edge other imperfections due to its reuse as binding scrap but still an excellent specimen that is almost entirely legible.<br/> <br/> Written in a neat and attractive hand this sizable leaf from a Missal remains mostly quite legible with all its rubrication intact despite having been used as part of a binding. A few lines also show musical notation from the earliest generation of neumes. They are described as "in campo aperto" which means literally "in an open field" because they and they alone occupy the space or "field" above the text. They are also described as adiastematic because they appear in a straight line whereas later diastematic neumes reflect changes in pitch by being placed in a higher or lower vertical position above the text. At the time the present leaf was written out the neumes here simply served as an "aide memoire" to the singer who had already learned the melody orally. unknown‎

Bookseller reference : ST19350-013

‎A VERY EARLY VELLUM MANUSCRIPT LEAF FROM A LECTIONARY IN LATIN‎

‎WITH READINGS FROM MATTHEW 21:35-46 AND GENESIS 27:6-28‎

‎Probably Germany third quarter of ninth century. 285 x 245 mm. 11 1/4 x 9 3/4". Single column 25 lines in a Caroline minuscule book hand. <br/> Tipped into a paper folder and presented in a tan cloth binding with ink notation on spine and a small sticker on upper cover. Rubrics in red. Front pastedown of folder with the bookplate of the Schøyen collection. With several pages of typed and handwritten notes including Bernard Rosenthal's cataloguing and a copy of a letter from Bernhard Bischoff to Rosenthal concerning the dating of the leaf. â—†Recovered from a binding and thus with some expected browning staining and wrinkling a long vertical fold through the text touching a couple letters of each line recto with the first few words of each line roughened and somewhat obscured a couple of other words a bit hard to make out but the vast majority of text very legible with fore and tail margins very ample and in all quite a good specimen representing a remarkable survival.<br/> <br/> Featuring a lovely Caroline miniscule hand this very early leaf from a Lectionary may have been made for the use of a particular church or individual and comes with recent distinguished scholarship and provenance. Although the text here contains familiar passages from the Old and New Testaments their juxtaposition in this context presents a bit of a conundrum: as the enclosed cataloguing explains the story of the wicked husbandmen from Matthew followed by the story of Esau surrendering his birthright to Jacob from Genesis "is an irregular and indeed unrecorded liturgical sequence of texts and suggests that this particular collection of lections was compiled for a particular church or private chapel." It is also possible that the Lectionary was made for the use of an individual rather than an institution with certain needs or preferences—perhaps a scholar or theologian or even a Carolingian nobleman many of whom were literate and educated. The hand here is an excellent example of the legible and elegant Caroline minuscule that dominated Western Europe in this period; distinctive letter forms include clubbed ascenders such as on the letters "b" "d" and "l" a long "s" with the shaft on the line and the use of the ampersand as a general abbreviation for the letters "et" occurring anywhere in a word for example "conter&" for "conteret". Termed the "integrated ampersand" this usage is especially characteristic of Caroline minuscule manuscripts of the late eighth and ninth centuries. Our leaf comes with bookseller Bernard M. Rosenthal's catalogue description noting that it was "Purchased from Schab New York Feb. 1969." William H. Schab was a book and art dealer in the firm of Gilhofer and & Ranschburg in Vienna before fleeing Austria in 1938 and settling in New York where he founded his own business. Also included here is a copy of a handwritten note regarding the date of the present leaf from renowned paleographer Bernard Bischoff. The leaf was also featured in Quaritch's 1991 catalogue 1147 Bookhands of the Middle Ages V no. 25.5 and was until recently part of the Schøyen Collection their MS 623. Four additional pages of cataloguing are also included here. Despite having been used as binding scrap at some point in its life this leaf is very well preserved with no words lost from trimming with distinctly visible ink and in a clear and very pleasing hand. unknown‎

Bookseller reference : ST17766

‎A VERY LARGE EARLY VELLUM MANUSCRIPT LEAF FROM SAINT GREGORY THE GREAT'S "XL HOMILARIUM IN EVANGELIA" IN LATIN‎

‎TEXT FROM HOMILY XXVI FOR THE FIRST SUNDAY AFTER EASTER‎

‎Italy ca. 1150. 406 x 273 mm. 16 x 10 3/4". Double column 42 lines in a fine rounded early proto-gothic hand. <br/> Recto with a pleasing three-line red initial. â—†Formerly used in a binding and consequently a bit soiled and trimmed at the head with loss of the first line perhaps 100 or so small wormholes in the margin only a few causing trivial harm to the text a faint grayish stain affecting a couple of words in the top 20 lines of one column on each side but the entirety of the text completely clear and the stately leaf quite fresh and unusually well-preserved in general for a recovered specimen.<br/> <br/> This leaf comes from a very large copy of one of the major texts by one of the great popes of the early Middle Ages. Dealing in part with the central occurrence in the salvation of humanity the text here treats of John 20:19-31 which tells of the risen Christ's appearance to the Apostles. Doubting Thomas insists on touching the Lord's wounds before he will be convinced of the Resurrection. Gregory tells his audience that Thomas was healed of unbelief and so must they be although they cannot see Jesus in the flesh as did Thomas. Written ca. 593 Pope Gregory's 40 homilies on the Gospels enjoyed enduring popularity throughout Medieval times as they offered ordinary Christians practical guidance on applying the lessons of the Gospels to their own lives. Elected pope in 590 Gregory ca. 540-604 was one of the most influential pontiffs in the history of the Church. In addition to revising liturgical worship he wrote extensively on theology offering homespun wisdom rather than esoteric debates. He was declared a saint immediately upon his death. The script here is regular rounded and very pleasing--almost soothing--to the eye. Moreover the letters are so large and there is so little significant damage to the leaf that the text can be easily read from a considerable distance. unknown‎

Bookseller reference : ST12083e

‎Abbé F. de LAMENNAIS‎

‎Imitation de Jésus-Christ‎

‎1886 Pellion et Marchet, Editeurs, Dijon - 1886 - Un fort volume in-4, reliure plein chagrin noir, décors à froid sur le premier plat, dos à 5 nerfs avec titre en doré et fleurons à froid, toutes tranches dorées, dorures sur les coiffes et les bords des contreplats, filet doré sur les tranches, frontispice - 616 pages - Nombreuses illustrations hors-texte et ornements en N&B (bandeaux, lettrines, vignettes, culs-de-lampe)‎

‎Bon état - Infimes frottements sur les coins et les coiffes Bon‎

Bookseller reference : 124571

‎Ainsworth, William Harrison.‎

‎HISTORICAL ROMANCES. TWENTY VOLUMES.‎

‎Twenty Volumes. Illustrated with Etchings, proofs-before-letters on Japan Vellum, and impressions of the Historical Portraits on India Paper. Offsetting from tissue guards marring a few illustrations. Title pages printed in red and black. Uncut. Top edges gold. 8vo. Original full blue cloth bindings, some wear. Original spine paper labels. Spines faded. Victorian Edition. Limited Edition. Number 996 of only 1000 copies. Nice set. Impressive. SET/W49‎

‎ALBERT-BIROT Pierre‎

‎Poèmes à l'autre moi‎

‎Paris Jean Budry 1927 Broché‎

‎EDITION ORIGINALE tirée à l'imprimerie spéciale SIC. Tirage unique à 174 exemplaires numérotés. Un des 35 sur vélin blanc in-quarto coquille, réservés à l'auteur. Très bon 0‎

Bookseller reference : 009370

‎ALEXANDRE Maurice‎

‎Mythologie personnelle‎

‎Paris Éditions des Cahiers libres 1933 In-8 Broché, couverture rempliée‎

‎Édition originale. Exemplaire sur vélin du service de presse, avec quelques défauts à la couverture rouge mais avec la carte de l'auteur & le prospectus. Assez bon 0‎

Bookseller reference : 011848

‎ALLAIS (Alphonse)‎

‎Anthologie (Poétique).‎

‎LES QUATRE JEUDIS, 1956. In-8 broché (19 x 14,5 cm). EDITITION ORIGINALE, l'un des 34 exemplaires numérotés sur vélin pur fil du marais, à grandes marges non rognées (après 16 ex. Japon et Hollande), celui-ci le n° 47. Très bel exemplaire bien frais.‎

Bookseller reference : 33110

‎Altenberg, Peter‎

‎Wie ich es sehe.‎

‎Hans von Weber, München, S. Fischer, Berlin, 1913. Rodenberg 414. Originalpergamentband mit Deckelvignette (Doppelsignet beider Verleger) und Kopfgoldschnitt. [8[, 278, [4] Seiten. 28 : 20 cm.‎

Bookseller reference : 25630

‎Amans-Alexis Monteil (Jules Taschereau, editor)‎

‎Promenades dans la Touraine‎

‎THE UNIQUE COPY PRINTED ON REAL VELLUM ("peau de vÈlin") OF THE FIRST AND ONLY EDITION OF THIS EXTREMELY IMPORTANT AND RARE BOOK ABOUT THE TOURAINE. XVI, 208 pp. Beautifully printed on fine vellum, with huge margins, for Jules Taschereau, an important Touraine intellectual, politician, and bibliophile who was also the editor of this volume. 8vo (the remainder of the edition, 180 copies on paper for the SociÈtÈ des Bibliophiles de Touraine, was printed 12mo.) BEAUTIFULLY BOUND BY CAP… IN FULL MOROCCO, spine elegantly gilt in six compartments, triple gilt fillet on covers, turn-ins elegantly gilt. Tiny traces of wear to lower extremties of joints, else FINE AND BRIGHT, COMPLETELY UNCUT, WITH NO DEFECTS. Taschereau I, p. XIX; Taschereau auction catalogue (1875) n∫ 30. UNIQUE AND IMPORTANT.‎

‎AN EARLY VELLUM MANUSCRIPT LEAF FROM A SACRAMENTARY IN LATIN, WITH A LARGE ROMANESQUE INITIAL‎

‎WITH TEXT FROM MASSES FOR SAINTS' DAYS IN AUGUST‎

‎Germany mid- to late 12th century. 290 x 217 mm. 11 3/8 x 8 1/2". Single column 21 lines in an attractive proto-gothic book hand. <br/> Rubrics in red several one-line initials in red five red initials measuring two to four lines long and with penwork embellishment A LOVELY SEVEN-LINE WHITE-VINE INITIAL outlined in red and with a pale yellow wash along the edge the lower half of the ground filled with green wash. Lower margins with notations in later Medieval hands. â—†A handful of original holes in the vellum no doubt from stretching the skin during processing with the scribe writing around the flaws where necessary a little soiling to lower outside corner one or two negligible spots otherwise IN FINE CONDITION the ink unusually rich and the paint very bright.<br/> <br/> From a Sacramentary a service book that contained the prayers said during Mass subsumed by the Missal in the 13th century this early leaf was once part of an attractive manuscript of very high quality. The very large and superb "F" opens the Mass for the Feast of the Assumption and the other readings here include Masses for Sts. Hippolytus and Cassian celebrated on 13 August; St. Eusabius 14 August; Vigil of the Assumption of the Virgin 14 August; Assumption of the Virgin 15 August; St. Agapitus 18 August; and the beginning of the Mass for Sts. Timothy Hippolytus and Symphorian 22 August. Sister leaves from this same manuscript have previously appeared in Sam Fogg Cat. 16 "Text Manuscripts and Documents 2200BC to 1600AD" 1995 nos. 30 and 31; Maggs Bros. European Bulletin 20 1995 no. 37; Quaritch Cat. 1270 "Bookhands of the Middle Ages VI" 2000 nos. 69 and 70; Sotheby's 6 December 2001 lot 8; and Bloomsbury 6 December 2017 lot 16. The Fogg description notes that similar initials can be seen in French German and Flemish manuscripts of the period "but very few manuscripts have the special characteristics of this one." For example the initials on the sister leaves described by Fogg contain atypically mauve and green as well as an "unusual . . . exterior contoured ground which is not confined by any geometric form." This means there is no line or shape to box in or define the capital's form; rather it appears as if surrounded by an aura or gentle shadow. Our initial contains a green ground only no mauve but the same unusual and attractive yellow aura. It is rare to find Romanesque leaves of this size and caliber in such fine condition and the present leaf with its beautiful regular proto-gothic hand exceptional white-vine initial and several large decorative initials in red is especially desirable. unknown‎

Bookseller reference : ST17236

‎AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH CHARMING BORDER DECORATION‎

‎FROM A LARGE BOOK OF HOURS WITH TEXT IN LATIN‎

‎France probably Besançon 3rd quarter of 15th century. 239 x 165 mm. 9 3/8 x 6 1/2". Single column 15 lines in an elegant gothic book hand. <br/> Rubrics in dark pink line enders in pink and blue with white tracery and gold bezant several one-line initials and one two-line initial in burnished gold on dark pink and blue ground with white tracery each side with a panel border composed of hairline vines with gold ivy and bezants a few colorful flowers and EACH FEATURING THE FACE OF A MAN EMITTING ACANTHUS LEAVES FROM HIS MOUTH. â—†A few tiny marginal spots one of the faces slightly rubbed otherwise IN BEAUTIFUL CONDITION.<br/> <br/> In addition to the floral decoration and vines often found in the borders of Books of Hours this leaf features a duo of delightful inhabitants in the form of faces emitting colorful acanthus from their mouths. Each figure is individualized the face on the recto with dark hair flushed cheeks and a prominent nose; on the verso is a face with a much paler complexion a tonsured hairstyle a large but very short nose and fine gray whiskers. This kind of imaginative work together with luxurious touches such as the many gilt initials several dozen gilt bezants and ivy leaves in each panel border and the unusually wide margins point to this manuscript having been a costly production. For additional leaves from this same manuscript at different price points please check our website. unknown‎

Bookseller reference : ST17060R