VERY EARLY VELLUM MANUSCRIPT LEAVES, OFFERED INDIVIDUALLY, FROM A CAROLINGIAN HOMILIARY IN LATINBiblio.com
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réf. ST17767BEGermany second quarter of ninth century. Each leaf approximately 305 x 205 mm 12 x 8". Single column 29-30 lines in a large and extremely legible Caroline minuscule. Rubrics in red each leaf with one or more large initials in red. Text with a few contemporary corrections and erasures. Accompanied by a copy of a letter from Bernhard Bischoff dating the manuscript leaves. ◆Vellum a little toned and soiled one leaf with an old repair to the bottom third of the outer margin minor folds small stains and other trivial imperfections but IN EXTREMELY FINE CONDITION the lettering clear and legible the vellum in excellent shape and the margins surprisingly comfortable. These are nothing short of magnificent specimens and remarkable survivals with wide borders all around with entirely clear and distinct script with only minimal overall dust soiling and with strength and freshness to the vellum; the leaves present a powerful redolence of a time as far in the past as one could optimistically hope to encounter among Western manuscript artifacts in the marketplace. The script here is an outstanding example of the highly legible Caroline minuscule that dominated Europe in the ninth century characterized by clear letter forms ample spacing between letters and between lines and very few abbreviations the most common occurrence being "&" for "et" occurring anywhere in a word. The parent manuscript was almost certainly a Homiliary containing sermons by various Christian authors to be said throughout the year with the present leaves containing passages from part of Leo I Sermo XCV and parts of a tractatus on Luke by Ambrose as well as other lections readings for the Vigil of the Feast of St Peter and the Feast of the Octave of Pentecost and the opening of a sermon of Leo I for Feria IV mensis IV; four other sister leaves are known and contain additional passages from Leo I and Ambrose as well as Pope Gregory I and readings for various feast days. The presence of these texts suggest that the leaves might have come from a Homiliary originally composed by Paul the Deacon at the behest of Charlemagne a version that was widely circulated throughout the Carolingian Empire in the eighth and ninth centuries. Although the scriptorium in which these leaves were produced has yet to be determined we can say with confidence that they date to the second quarter of the ninth century due to the style of the script as stated in the accompanying letter by esteemed paleographer Bernard Bischoff. Much of their history over the last 12 centuries remains a mystery but we do know that three of the extant leaves were in the possession of dealer Bruce Ferrini by 1989 with his stock number beginning "VM" and two bear the stock numbers and price codes of Quaritch. All were acquired by Martin Schøyen and became part of the renowned Schøyen collection MS 587. Very early leaves such as these often survive only because they come from manuscripts that were dismembered with the leaves then being reused as binding scrap; when later recovered they are typically in lamentable condition. The present leaves by contrast met no such fate--they have always been intact and untouched by the binder and so show none of the staining and trimming that are almost always present with repurposed leaves from demolished manuscripts. This notably fine state of preservation is rarely seen on the market. As a consequence these specimens are not only among the earliest leaves we have ever offered for sale but also some of the most extraordinary survivals we have ever acquired. We have bought and sold only a handful of ninth century leaves in our 45 years in business; in the present case because we were extremely lucky to acquire a small collection of six leaves from a single source we are able to offer them here at an advantageous price point. unknown
1470réf. ST17764Delft ca. 1470. Leaf: 175 x 122 mm. 6 7/8 x 4 3/4"; Frame: 250 x 195 mm. 9 3/4 x 7 3/4". No text on recto or verso. In an attractive wooden frame. A FINELY PAINTED MINIATURE OF THE HARROWING OF HELL within an arch-topped compartment the mouth of hell depicted on the left with a fiery red interior and five people emerging from it the figure of Christ on the left holding a cross on a long staff and half-clothed in a pink and blue robe the background with a castle in the distance ALL OF THIS BENEATH A VERY DETAILED ARCHITECTURAL CANOPY suspended in the sky AND THE WHOLE WITHIN A FULL BORDER of acanthus leaves and other foliage and flowers in reds blues greens yellows and brushed gold along with very many small burnished gold ivy leaves and buds on hairline stems a small stork in the bottom border and a large delicately shaded angel in the left border. ◆Left margin trimmed very close to decoration just escaping loss and the other three margins ample mild darkening right at fore and tail edge but not reaching into borders otherwise IN FINE CONDITION the colors rich and true and the burnished gold still shimmering. This extraordinary miniature notable for its uncommon subject matter memorable imagery and fine workmanship was produced by a talented artist belonging to the stylistic group known as the Masters of the Delft Half-Length Figures. The subject here is infrequently depicted in Books of Hours: the Harrowing of Hell appears as a full-page miniature in only three of the 119 prayer books described by Roger Wieck in his "Time Sanctified" and three others contain a Harrowing depiction inside an initial. Christian theological tradition tells us that after his crucifixion Christ went to liberate souls from Limbo--a location inhabited by those barred from entry into Heaven because they died before the Redemption. In our scene Christ wrapped in a regal cloak and carrying a long staff his hands and feet still bleeding from the wounds he received on the Cross reaches into an absolutely wonderful Hellmouth to extricate Adam and Eve and other naked souls while the recently deceased and original saint John the Baptist still clad in an animal skin garment waits patiently for his turn to emerge. The great maw of Hell as depicted here has bulging eyes a distended snout thickly matted hair and a bad complexion; his gaping mouth punctuated by sharp gray teeth glows red hot and one can tell from the creature's expression that he is loath to comply with this rescue of souls. In addition to its compelling subject matter there is a high level of artistic achievement here including delicately molded figures impressively detailed architectural elements and a lovely color palette. The elegance and quiet sophistication observed in this miniature distinguishes the artist responsible for this work as a particularly talented member of his circle. Active from about 1450-80 the Masters of the Delft Half-Length Figures were named by James Marrow after the angels and other figures whose upper bodies are typically found emerging from a cloud within the borders. Although the present leaf uncharacteristically contains a full-length angel in the border it shares other stylistic similarities such as the elaborate architectural canopy hovering over the main composition; and it particularly resembles the work of the artist of Keble College MS 77 an illuminator described in "The Golden Age of Dutch Manuscript Illumination" as "one of the more articulate of the group" whose "figures are more fully modelled and his palette . . . deeper and brighter" than that of his contemporaries. Because the subject of the present miniature goes beyond the standard image program seen in routine productions and because of the high level of artistic accomplishment seen here this leaf was almost certainly part of an elaborate Book of Hours produced in response to an important commission. unknown
1470réf. ST17765Delft ca. 1470. Leaf: 172 x 115 mm. 6 3/4 x 4 1/2". Frame: 242 x 190 mm. 9 1/2 x 7 1/2". In an attractive wooden frame. A FINELY PAINTED MINIATURE OF THE NATIVITY within an arch-topped compartment the parents of the Christ Child kneeling before him as he lies on the ground outside the stable Joseph uncharacteristically supporting himself with a cane in his left hand and holding a long burning candle in his right two diminutive angels in attendance the head of an ass sticking out of the stable window in the background to the left AND IN THE RIGHT BACKGROUND A CHARMING DEPICTION OF THE ANNUNCIATION TO THE SHEPHERDS ALL OF THIS BENEATH A VERY DETAILED ARCHITECTURAL CANOPY suspended in the sky AND THE WHOLE WITHIN A FULL BORDER of acanthus leaves and other foliage and flowers in reds blues greens yellows and brushed gold along with very many small burnished gold ivy leaves and buds on hairline stems a small stag in the bottom border and a large delicately shaded angel who mirrors the Virgin's pose in the left border verso blank. ◆A hint of soiling to edges of vellum but IN VERY FINE CONDITION without any paint erosion with the colors rich and true and with the burnished gold still shimmering. Notable for its attractive color scheme fine craftsmanship and unusual composition this vibrant leaf was produced by a talented artist belonging to the stylistic group known as the Masters of the Delft Half-Length Figures. The lack of text and blank back of this leaf clearly suggest that it was produced as a singleton intended for insertion in a Book of Hours and its subject matter indicates that it would have faced the opening for the third hour of the day Prime. The present depiction of the Nativity is out of the ordinary in that it is combined with another scene the Annunciation to the Shepherds a subject that usually begins Terce in the Hours of the Virgin. It is a testament to the artist's ingenuity and compositional skills that he has managed to incorporate these two scenes so seamlessly; in fact rather than pulling focus from the main subject celebrating the birth of Christ this secondary scene adds additional interest to the picture and amplifies the storyline. Though the Annunciation to the Shepherds takes place at a distance from the Nativity we immediately grasp their connection and can see how arrival of humanity's savior was felt far beyond the manger. It is also interesting to note how much the artist has emphasized the figure of Joseph. Not only does he take up as much space as the Virgin but the candle and cane he holds frame the Christ child and communicate a strong suggestion of a protective parent the Virgin is doing her part by praying hard but she is more passive. In addition to its engaging subject matter there is a high level of artistic achievement here including delicately molded figures impressively detailed architectural elements and a lovely color palette. The elegant hand seen in this miniature manifests a quiet sophistication that distinguishes this artist as a particularly talented member of his circle. Active from about 1450-80 the Masters of the Delft Half-Length Figures were named by James Marrow after the angels and other figures whose upper bodies are typically found emerging from a cloud within the borders. Although the present leaf uncharacteristically contains a full-length angel in the border it shares other stylistic similarities such as the elaborate architectural canopy hovering over the main composition; and it particularly resembles the work of the artist of Keble College MS 77 an illuminator described in "The Golden Age of Dutch Manuscript Illumination" as "one of the more articulate of the group" whose "figures are more fully modelled and his palette . . . deeper and brighter" than that of his contemporaries. Because of the complexity of the subject matter and the high level of artistic accomplishment seen here this leaf was probably part of an elaborate Book of Hours produced in response to an important commission. unknown
1982réf. ST16482Bayreuth: Printed by Chr. Scheufele Offizin Stuttgart for Bear Press 1982. No. 1 OF 10 COPIES ON VELLUM plus a "special" edition of 25 copies and 185 copies on Kochi Japanese paper. 223 x 148 mm. 8 7/8 x 5 3/4". 50 pp. 2 leaves.Translated and with an afterword by Wolfram Benda. Publisher's fine burgundy morocco by Erwin Lehr upper cover with gilt rose in recessed square flat spine with gilt titling turn-ins with gilt fillet frame pale yellow silk pastedowns. In the original burgundy suede slipcase. With three large initials in burnished gold and four signed and numbered original etchings by Peter Klitsch. Printed in red and black. Signed in the colophon by the artist the binder and the publisher/translator. In mint condition. This is the splendid deluxe version of a finely crafted private press edition of Wilde's fairy tales "The Nightingale and the Rose" "The Happy Prince" and "The Selfish Giant." It is the third work issued by the Bear Press founded in 1979 by literary scholar Wolfram Benda and still in operation. According to the firm's website "at a time when the craftsmanship and ethos of the artisan in bookmaking have been damaged by ever-increasing industrialization and neglect . . . The Bear Press . . . tries to achieve the highest possible degree of technical and artistic perfection in its printed works." The font used to print the text and the artist chosen to illustrate each work are carefully selected to express "the individual author's personality and intention." Even the discriminating aesthete Wilde 1854-1900 would be pleased with the choices here especially for the luxurious vellum printing: the type is set in refined Walbaum Antiqua and shown off with special effect by the creamy leaves; the etchings by Austrian artist Peter Klitsch b. 1934 are meticulous detailed and reminiscent of the work of Wilde's friend Aubrey Beardsley; and the binding is the epitome of tasteful restraint flawlessly executed with premium materials. The three tales here first appeared in 1888 and are bittersweet in their themes of love and self-sacrifice. His stories for children were one of Wilde's early successes and DNB notes "Their permanent place in child affections refutes the vulgarism that Wilde's literary reputation arose from his legal notoriety. In all cases the fairy tales are on the child's side celebrating the courage and generosity of the poor and vulnerable while their satire mocks the kind of pomposity and hypocrisy children can recognize." We have been able to trace just two other copies of the vellum printing at auction in ABPC and RBH. [Printed by Chr. Scheufele Offizin, Stuttgart, for] Bear Press unknown
1915réf. 8494Portland 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. 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. 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
réf. 10997NP. ND. . FINE LARGE DECORATIVE VELLUM BINDING. Folio. 14.8 x 12.8 inches. A collection of 211 items of late 19th and early 20th century cards and ephemera including 26 rare 3-D movable lift-up Valentines and Christmas cards each mounted onto a white stiff card page and with multiple pieces of ephemera attached around the page. Attractive late nineteenth century binding of full white vellum. Spine with decorative gilt designs within double gilt ruled lines in compartments. Boards with triple gilt ruled borders to the very edges and elaborate dark brown morocco panels with highly decorative gilt tooling. A thin blue ink line inside and out of the brown panels. Four gilt corner pieces inside the middle panel. Red painted initials with gilt borders to the centre of the front panel. Board edges and turn-ins with decorative gilt rolls. Green and white patterned endpapers. All edges gilt. Inner hinges reinforced with buff cloth strip. A little marking and a couple of small splits to the binding but overall a fine and attractive vellum binding housing an interesting collection of rare unusual and highly decorative items. NP. ND. hardcover
réf. 3943Hardcover. Very Good. Published circa 1900 gift inscription dated 1908. 22 pp. Little book measuring apx. 5.5" x 3". Presumably very scarce. The binding is lovely: full vellum with both front and rear panels painted in colors and heightened with gold. Light wear. hardcover
1465réf. ST17243bBruges ca. 1465. 193 x 145 mm. 7 5/8 x 5 3/4". Single column 21 lines in a gothic book hand. Rubrics in red one two-line initial in gold filled with blue on pink ground WITH THREE LARGE HISTORIATED INITIALS: ONE FEATURING AN OVAL-SHAPED PIECE OF FLESH WITH A GASH IN THE CENTER AND TWO WITH CHRIST'S DISEMBODIED FOOT SHOWING THE PUNCTURE WOUND FROM THE CRUCIFIXION each initial in pink or blue with white tracery filled with dark pink and thin gilt lines and dots four wavy blue rays radiating from behind each appendage all within a thin gilt frame both sides with a three-quarter border consisting of hairline vines gold bezants and a few colorful flowers. ◆Vellum a shade less than bright faint marginal rumpling trivial paint transfer on one initial BUT IN FINE CONDITION the initials richly painted and extremely well preserved. From a manuscript probably produced in Bruges for the English market this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck Passion Cycle images enjoyed a particular vogue in 15th century Dutch Flemish and English Books of Hours including those that were exported to England. In the present example the strikingly unusual imagery includes the wounds of the left and right foot as well as the spear injury to Christ's side depicted as an oval piece of flesh with a laceration across the center. A sister leaf to the present item features three additional initials showing a portrait of Christ wearing the Crown of Thorns his gaze fixed directly at the viewer and in separate initials his left and right hands appear disembodied and displaying the stigmata. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 lot 16 the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester with their names crossed out indicating that it was in England through at least the time of the Reformation and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant with miniatures possibly by his chief assistant the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library MS Widener 3 and the Huntington HM 1086--both of which were produced in Flanders or the Netherlands around the same time as the present work. The present leaf surpasses both of these examples in terms of excellence of the artistic hand and attention to detail. unknown
réf. ABAA25-1Northern France probably Paris 1230-1250. 12mo 140 x 93 mm of 1 658 ll.: 1-1524 1620 17-2224 2310 24-2524 2617 without the bl. l. xviii 2726 2828 295 without the bl. l. vi. Thus complete. Double column of 47 lines written in brown ink in a very fine Gothic writing. Justification: 92 x 60 mm. 78 historiated initials. Quires numbered in Roman numerals at the foot of the back of the last ll. and signatures at the bottom corner of the text on each recto of the first half of a quire headings in red initials in red letters of running titles and chapters numbers alternately in red or blue initials of chapters on 2 lines alternately in red or blue with a decor of the opposite color initials of 5 to 7 lines at the beginning of the prologues of the same type but with decoration in two colors opening the prologues 78 historiated initials most decorated with foliage and dragons the extension of 29 of them forming borders decorating the margin painted in blue pink orange-red and yellow a few wormholes in the first l. a few running titles cropped last l. restored in the outer margin. Stiff vellum gilt Greek roll-stamp around the covers flat spine decorated green morocco lettering piece gilt edges from the 19th century. Superb Capetian manuscript from the School of Paris complete and of perfect freshness handwritten on vellum skin and illuminated with exquisite finesse between 1230 and 1250. Text: List of Books of the Bible: recto and verso of the first endpaper; the Vulgate with the preamble: ll. 1-599v; Interpretation of the Hebrew names: ll. 600-658. Superb example of the small vulgate bibles produced in Paris in the 13th century. It was in the 13th century in Paris that the masters of theology of the University established what was to become the standard form of the Latin Bible: the selection of the books their order and their division into chapters established by Stéphane Laugton still universally employed the insertion of the forewords of St Jerome and the interpretation of the Hebrew names. All these characteristics are present in this very elegant Bible on very thin vellum skin. Illuminations: A masterpiece from Pierre de Bar's workshop active in Paris between 1230 and 1250 distinguishes itself by the particularly colored and bright shades of its illuminations; the usual whites pinks and blues are enriched with red orange and even more surprisingly by large areas of yellow. This Bible contains 78 illuminations of great beauty and of amazing freshness. The repertoire of decorative details is peculiar compared to other French illuminations of the time and the foliage contains small clover leaves. Branner attributed the illustration of the manuscript to the Parisian workshop that illustrated the most outstanding illuminated manuscripts of the first half of the 13th century Bar's workshop with reference to Cardinal Pierre de Bar 1252 who gave to the Abbey of Clairvaux a Bible in four volumes issued from this workshop and preserved today under the reference Troyes Bibliothèque municipale ms. 106 108 110 and 111. This manuscript can be dated from 1230-1250. Remarkable for its large and well-formed heads; the bodies are robust and covered with clothes with deep and dark folds R. Branner Manuscript Painting in Paris during the Reign of Saint Louis 1977 pp. 70-71. He dates the activity of Pierre de Bar's workshop between 1230-1250 and explains its specificities by suggesting the development of its style outside Paris. The decoration of the manuscript consists of 78 historiated illuminated initials and a great number of capital letters rubricated in red or blue. This very attractive bible seems to have been made in Paris; it represents an interesting addition to the production of a workshop producing according to Branner some of the most beautiful and refined Parisian illuminations of the first half of the 13th century. We witness from the years 1220-1230 under the reign of Queen Blanche of Castile a concentration of illuminators in Paris at the expense of abbeys and provincial capitular schools. We can indeed attribute several manuscripts to Blanche of Castile who inaugurated the tradition of female patronage in the royal family. But the peak of these famous small Capetian bibles happened during the reign of Saint Louis. The subjects of the historiated initials are the following: l. l St Jerome Prologue; l. 4 The 7 days of Creation Genesis; l. 27 Moses leading his people across the Red Sea Exodus; l. 43 the Jews offering a sacrifice; l. 54 Moses preaching; l. 72 Moses receiving the Tablets of Stone; l. 89 God talking to Joshua; l. 99 Gideon holding his sword; l. 110 Elimelech and Naomi migrating to Moab Ruth; l. 112v Beheading of Eli; l. 128 Beheading of Amalekite before David; l. 141 David's servant bringing Abishag to him; l. 155v Ahaziah falling from a tower; l. 170v the Patriarchs; l. 185 Solomon enthroned; l. 202 The Construction of the Temple; l. 207 Nehemiah presenting the golden cup to Artaxerxes; l. 213v Spraying of the Temple; l. 220v Tobias; l. 225v Judith beheading Holofernes; l. 232 Ahasuerus being merciful to Esther; l. 238v Job on the manure heap; l. 251 David playing the harp; l. 256 anointing of David by Samuel; l. 258v David showing his mouth; l. 261 madman holding the stick and the bread Psalm 52; l. 264 God above David below in the water Psalm 68; l. 268 David ringing the bells Psalm 80; l. 271v Two Singers Psalm 97; l. 275 The Trinity Psalm 109; l. 283v Solomon whipping a young man; l. 294v Solomon teaching to a young man; l. 298 Madonna and Child Enthroned; l. 299v Solomon and a young man carrying a sword; l. 307v Ecclesia; l. 328 Isaiah being sawn in half; l. 353 Stoning; l. 381 Baruch writing; l. 384v Ezekiel in bed with the Tetramorph; l. 412 Daniel in the lions' den; l. 423v Hosea and Gomer; l. 427v Joel preaching to a group of Jews; l. 429v Amos offering the sheep; l. 432v God appearing to Obadiah; l. 433v Jonah in the mouth of the whale; l. 434v the teaching Prophet; l. 437 Nahum lamenting about the fall of Nineveh; l. 438v Habakkuk and the stones; l. 440 the Prophet with his scroll; l. 441v Two Prophets; l. 442v Prophet; l. 447 Two men talking; l. 449 Beheading of the idolatrous Jew; l. 466 the Messenger delivering the letter; l. 478v the Tree of Jesse; l. 494v Saint Mark with the lion; l. 505 Saint Luke with the angel; l. 521v Saint John; l. 535 Saint Paul carrying the cross; l. 541 Saint Paul carrying a sword; l. 546v Saint Paul carrying a sword and a scroll; l. 551 Saint Paul carrying a sword and a book; l. 555 Saint Paul carrying a sword; l. 556v Saint Paul carrying a sword and a book; l. 558 Saint Paul carrying a sword; l. 559 Saint Paul carrying a sword; l. 560 Saint Paul carrying a sword; l. 561v Saint Paul carrying a sword; l. 562v Saint Paul carrying a sword; l. 561v Saint Paul carrying a sword; l. 562v Saint Paul carrying a sword; l. 563v Saint Paul carrying a sword; l. 564 Two men talking; l. 568v. Ascension; l. 585 Jacob holding a book; l. 586v Saint Peter seated holding a book; l. 588 Saint Peter holding a key; l. 589 Saint John writing; l. 590v Saint John; l. 591 Saint John; f. 591 Saint Jude; l. 592 Saint John writing. This complete bible dated from 1230-1250 is a masterpiece of Capetian illumination produced under the reign of Saint Louis. Provenance: - Jean Tornone: doctor from Burgundy: inscription on the verso of the endpaper mentioning his gifting of the book to Stroyff. - Assuerus Stroyff: inscription mentioning his reception of the book by Tornone then his gift to Johan Baron de Bronckhorst. Johan Baron de Bronckhorst and Batenburg de Guelders: inscription dated from 1574 mentioning his receipt of the book. FR Nord de la France probablement Paris 1230-1250. In-12 de 1 658 ff. : 1-1524 1620 17-2224 2310 24-2524 2617 sans le f. blanc xviii 2726 2828 295 sans le f. blanc vi. Ainsi complet. Double colonne de 47 lignes écrites à l'encre brune dans une très fine écriture gothique. Justification : 92 x 60 mm. 78 initiales historiées. Cahiers numérotés en chiffres romains au pied des versos des derniers ff. et signatures au pied du coin inférieur du texte sur chaque recto de la première moitié d'un cahier rubriques en rouge initiales en rouge lettres des titres courants et numéros des chapitres alternativement en rouge ou bleu initiales des chapitres sur 2 lignes alternativement en rouge ou bleu avec un décor de la couleur opposée initiales de 5 à 7 lignes au début des prologues du même type mais avec des décors des deux couleurs ouvrant les prologues 78 initiales historiées la plupart ornées de feuillage et de dragons le prolongement de 29 d'entre elles formant des bordures décorant la marge peintes en bleu rose orange-rouge et jaune qq. trous de vers ds. le premier f. atteinte à qq. titres courants dernier f. restauré ds. la marge extérieure. Vélin rigide du XIXe siècle encadrement d'une roulette grecque dorée autour des plats dos lisse orné pièce de titre de maroquin vert tranches dorées. 140 x 93 mm. Superbe manuscrit capétien de l'école de Paris complet et de parfaite fraicheur calligraphié sur peau de vélin et enluminé avec une exquise finesse entre 1230 et 1250. Texte : Liste des Livres de la Bible : recto et verso de la première garde ; la Vulgate avec le préambule : ff. 1-599v ; Interprétation des noms hébreux : ff. 600-658. Superbe exemple des petites bibles vulgates produites à Paris au XIIIe siècle. C'est au XIIIe siècle à Paris que les maîtres de théologie de l'Université établirent ce qui devait devenir la forme standard de la Bible latine : la sélection des livres et de l'ordre de ceux-ci et leur division en chapitres établies par Stéphane Laugton et encore universellement employée l'insertion des prologues de St Jérôme et l'interprétation des noms hébreux. Toutes ces caractéristiques sont bien présentes dans cette très élégante Bible sur peau de vélin très fine. Enluminures : Chef-d'œuvre de l'atelier de Pierre de Bar actif à Paris entre 1230 et 1250 il se distingue par les teintes de ses enluminures particulièrement colorées et vives ; les habituels blancs roses et bleus sont enrichis de rouge orange et de manière plus surprenante encore par de larges zones de jaune. Cette Bible possède 78 enluminures d'une grande beauté et d'une étonnante fraicheur. Le répertoire de détails décoratifs est particulier en comparaison des autres enluminures françaises de cette époque et le feuillage comporte des petites feuilles de trèfle. Branner a attribué l'illustration du manuscrit à l'atelier parisien qui a illustré les plus remarquables manuscrits enluminés de la première moitié du XIIIe siècle l'atelier de Bar par référence au cardinal Pierre de Bar 1252 qui donna à l'abbaye de Clairvaux une Bible en quatre volumes provenant de cet atelier et conservés aujourd'hui sous les cotes Troyes Bibliothèque municipale ms. 106 108 110 et 111. On peut dater le présent manuscrit de 1230-1250. Remarquable par ses têtes larges et bien formées ; les corps sont robustes et recouverts de draperies aux plis profonds et sombres. R. Branner Manuscript Painting in Paris during the Reign of Saint Louis 1977 pp. 70-71. Il date l'activité de l'atelier de Pierre de Bar entre 1230-1250 et explique ses spécificités en suggérant la formation se son style en dehors de Paris. La décoration du manuscrit comprend 78 initiales historiées enluminées et d'innombrables capitales rubriquées en rouge ou bleu. Cette bible très séduisante semble avoir été réalisée à Paris ; elle représente un ajout intéressant à la production d'un atelier considéré par Branner comme produisant certaines des enluminures parisiennes les plus belles et les plus raffinées de la première moitié du XIIIe siècle. On assiste à partir des années 1220-1230 sous le règne de la reine Blanche de Castille à une concentration des artistes enlumineurs à Paris au détriment des abbayes et des écoles capitulaires de province. On peut en effet imputer plusieurs manuscrits à Blanche de Castille qui inaugura la tradition du mécénat féminin dans la famille royale. Mais l'apogée de ces célèbres petites bibles capétiennes se situe sous le règne de Saint Louis. Les sujets des initiales historiées sont les suivants : f. l St Jerome Prologue ; f. 4 Les 7 jours de la Création Genèse ; f. 27 Moïse conduit son peuple à travers la Mer Rouge Exode ; f. 43 les Juifs offrent un sacrifice ; f. 54 Moïse preche ; f. 72 Moise reçoit les tables de la Loi ; f. 89 Dieu s'adresse à Joshua ; f. 99 Gédéon tient son épée ; f. 110 Elimelech et Naomi migrent à Moab Ruth ; f. 112v Décapitation d'Eli ; f. 128 Décapitation d'Amalekite devant David ; f. 141 le serviteur de David lui amène Abishag ; f. 155v Ahaziah tombe d'une tour ; f. 170v Les trois juifs patriarches ; f. 185 Salomon intronisé ; f. 202 La Construction du Temple ; f. 207 Néhémie présentant la coupe d'or à Artaxerxès ; f. 213v Aspersion du Temple ; f. 220v Tobias ; f. 225v Judith décapitant Holopherne ; f. 232 Assuérus se montre clément envers Esther ; f. 238v Job sur le tas de fumier ; f. f. 251 David joue de la harpe ; f. 256 onction de David par Samuel ; f. 258v David montre sa bouche ; f. f. 261 fou tenant le bâton et le pain psaume 52 ; f. 264 Dieu au-dessus David dans l'eau dessous Psaume 68 ; f. 268 David sonnant les cloches Psaume 80 ; f. 271v Deux chanteurs Psaume 97 ; f. 275 La Trinité Psaume 109 ; f. 283v Salomon fouette un jeune ; f. 294v Salomon enseigne à un jeune ; f. 298 La Vierge et l'Enfant intronisé ; f. 299v Salomon et un jeune portant une épée ; f. 307v Ecclésia ; f. 328 Isaïe est scié en deux ; f. 353 Lapidation ; f. 381 Baruch écrivant ; f. 384v Ezéchiel au lit avec le Tétramorphe ; f. 412 Daniel dans la fosse aux lions ; f. 423v Osée et Gomer ; f. 427v Joel prechant à un groupe de juifs ; f. 429v Amos offre le mouton ; f. 432v Dieu apparait à Obadiah ; f. 433v Jonas dans la bouche de la baleine ; f. 434v le Prophète enseignant ; f. 437 Nahum se lamente sur la chute de Nineveh ; f. 438v Habakuk et les pierres ; f. 440 le Prophète avec son rouleau ; f. 441v Deux Prophètes ; f. 442v Prophète ; f. 447 Deux hommes en discussion ; f. 449 Décapitation du juif idolâtre ; f. 466 le Messager livre la lettre ; f. 478v l'Arbre de Jessé ; f. 494v Saint Marc avec le lion ; f. 505 Saint Luc avec l'ange ; f. 521v Saint Jean ; f. 535 Saint Paul portant la croix ; f. 541 Saint Paul portant une épée ; f. 546v Saint Paul portant une épée et un rouleau ; f. 551 Saint Paul portant une épée et un livre ; f. 555 Saint Paul portant une épée ; f. 556v Saint Paul portant une épée et un livre ; f. 555 Saint Paul portant une épée ; f. 556v Saint Paul portant une apée et un livre ; f. 558 Saint Paul portant une épée ; f. 559 Saint Paul portant une épée ; f. 560 Saint Paul portant une épée ; f. 561v Saint Paul portant une épée ; f. f. 562v Saint Paul portant une épée ; f. 561v Saint Paul portant une épée ; f. 562v Saint Paul portant une épée ; f. 563v Saint Paul portant une épée ; f. 564 Deux hommes en discussion ; f. 568v. Ascension ; f. 585 Jacob tenant un livre ; f. 586v Saint Pierre assis tenant un livre ; f. 588 Saint Pierre tenant une clef ; f. 589 Saint Jean écrivant ; f. 590v Saint Jean ; f. 591 Saint Jean ; f. 591 Saint Jude ; f. 592 Saint Jean écrivant. Cette bible complète datée de 1230-1250 est un chef-d'œuvre de l'enluminure capétienne réalisée sous le règne de Saint Louis. Provenance : - Jean Tornone : docteur bouguignon : inscription au verso de la garde mentionnant son présent du livre à Stroyff. - Assuerus Stroyff : inscription mentionnant sa réception du livre par Tornone puis son présent à Johan Baron de Bronckhorst. - Johan Baron de Bronckhorst et Batenburg de Guelders : inscription datée de 1574 mentionnant sa réception du livre. hardcover
réf. ST16379-036Rome 2 December 1210. 206 x 293 mm. 8 1/8 x 11 1/2". 12 lines in a papal documentary script. Attractively framed. Lead bulla suspended on silk threads. Very light rubbing to ink in places one horizontal and three vertical creases each with a tiny hole where the folds meet lead seal showing a bit of wear around edges and to protuberances of the faces but these faults all quite minor and on the whole an excellent specimen. Beautifully preserved and with the original lead bulla still attached this document issued by one of the most powerful popes of the Middle Ages resolves a dispute between the monastery attached to the Lateran Palace and the priory of Santi Quattro Coronati Four Holy Martyrs. The two groups seem to have been in conflict over their respective parish boundaries and the inclusion or exclusion of certain churches and therefore the tithes and legal dues stemming from those churches within their particular networks of influence. According to this bull the cardinal priest of Sts. Peter and Paul was charged with hearing their petitions; based on his report Pope Innocent III decrees that the boundaries of the priory's parish will extend to the church of St. Nicholas "de formis" on one side and the arch of John the Baptist "intra formis" on the other side with "de formis" and "intra formis" possibly referring to their relative position to certain aqueducts in the city. The document also notes that it does not alter parish boundaries as formerly defined by Pope Calixtus II r. 1119-24. The present item falls into a category of papal documents known as "litterae solemnes" comprising solemn letters and simple privileges. Though somewhat shorter and less formal than the so-called "Great Bulls" which were very large and included many marks and signatures for authentication "litterae solemnes" still followed strict rules in terms of format and appearance and included a lead seal displaying the pope's name on one side and the visages of Sts. Peter and Paul on the other as here. For a full overview of papal bulls and their various formats see Clemens & Graham "Introduction to Manuscript Studies" pp. 230-36. Innocent III born Lotario dei Conti di Segni 1160 or 1161-1216 was considered the most powerful person in Europe during his reign 1198-1216 having done much to consolidate the power of the Holy See and exert influence over the affairs of nations near and far. Notably he proclaimed the supremacy of the church over secular authority launched the Fourth Crusade which ended in the sacking of Constantinople presided over the Fourth Lateran Council excommunicated King John of England and nullified the Magna Carta and vigorously suppressed heretical sects such as the Cathars. Papal bulls issued by Innocent III seem to be of the utmost rarity on the market; we could find just one other example recorded by ABPC and RBH as sold in the past 100 years going for a hammer price of €9000 $10999 in 2013. unknown
réf. ST13657aFrance second half of the 13th century. Each leaf measures 330 x 240 mm. 13 x 9 3/8". Double column 38 lines of text in a proto-gothic hand. Rubrics in red running title and numerous paragraph marks in red and blue one leaf with one two-line initial in blue with red pen flourishes. Margins with several text corrections one leaf with a catch-word. Faint soiling and a few negligible stains touching text not affecting legibility but overall FINE SPECIMENS with very few flaws. Containing part of a popular treatise on the Vices these well-preserved and attractive large format leaves come from a manuscript that may have been contemporary to the life of the author William Perault ca. 1190-1270. Although the so-called "Seven Deadly Sins" that we still recognize today remained a popular moral paradigm throughout the Middle Ages it was by no means canonical. Authors were free to borrow manipulate and elaborate on the topic at will resulting in a profusion of treatises and competing systems of morality. This work by Perault Latin: Peraldus was a particularly prominent treatise that not only survived the Middle Ages but later went into print in several editions. The "Summa of Vice" expounds upon the Seven with which most of us are familiar--Pride Envy Anger Sloth Greed Gluttony and Lust--but it also includes an eighth sin which Perault called "peccatum linguae" or "the sin of the tongue." The present leaves consider the sin of Pride Superbia the most severe and dangerous of all the vices in Medieval imagery it is often depicted as the root of all other sins with some interesting discussion of garish dress make-up hair coloring and wigs. unknown
réf. ST19540bSouthern 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. 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. 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
réf. 32636Burt Franklin New York. Reprint of the 1822 Edition 1969. 9 Vols. small 4to orig. cloth. "The first bibliography of books printed on vellum; it describes 1750 books owned by what is now the Bibliothèque Nationale Paris and 2750 works which the author traced in other public and private libraries. But it is much more than a mere bibliography of books printed on that precious material; the copious notes make it a valuable bibliography of rare books in many fields." - Breslauer & Folter Grolier Club Bibliography 123. Burt Franklin, New York. (Reprint of the 1822 Edition) 1969 hardcover
réf. ST20214Northern France perhaps Beauvais or Amiens late 13th or early 14th century. 286 x 199 mm. 11 1/4 x 7 3/4". Double column containing a mixture of staves and text approximately 21 lines in an excellent formal gothic book hand. Attractively matted. Rubrics in red chant text containing black penwork initials with red and yellow geometric elaboration BEAUTIFULLY ILLUMINATED with five two-line initials painted blue or pink with white tracery on a ground in the contrasting color two of the initials filled with grotesques and swirling vines and two with the filler design traced out but never completed each initial with blue and pink extensions terminating in orange leaves or spiky shapes; the verso featuring AN IMPRESSIVE SIX-LINE "N" 58 x 50 mm. in the same style filled with an intricate knotwork design and orange leaves with long extensions including a horizontal extension across the upper margin. Margins with light offsetting of the designs from the facing leaf; remnants of mounting tape on recto corners and bottom edge; verso apparently with a barely visible Medieval "14" in lower margin. An area measuring 5 mm. at edges just faintly yellowed from mat burn but IN FINE CONDITION the vellum otherwise quite bright the paint rich and the gold brightly glittering. This sumptuously decorated leaf--which is beautifully preserved and contains a particularly large and handsome initial--comes from the last volume of a three-volume Missal presented to Beauvais Cathedral by Canon Robert de Hangest d. 1356. The Missal remained at the cathedral at least through the 17th century when it is noted in an inventory but was removed from the church at some point likely in the aftermath of the French Revolution. The parent volume eventually entered the collection of Henri-Auguste Brölemann 1775-1854 of Lyon who passed it to his grand-daughter Etienne Mallet who then sold it at Sotheby's in 1926. It was then acquired for the collection of William Hearst where it remained for the next 25 years. In 1941 it was again sold at auction and subsequently dismembered. Though long thought to have been the work of famed biblioclast Otto Ege recent scholarship suggests that it was actually Phillip Duschnes who was responsible for breaking up the book keeping some leaves for himself and selling others on to his colleague Ege for inclusion in his portfolios of "Fifty Original Leaves from Medieval Manuscripts." The Beauvais Missal has been a subject of interest for many notable scholars chief among them being Christopher de Hamel--see: "Otto Ege and the Beauvais Missal" in "Gilding the Lilly: A Hundred Medieval and Illuminated Manuscripts in the Lilly Library" and it is currently the focus of a major effort to "reconstruct" the manuscript digitally--a project spearheaded by Lisa Fagin Davis. Other leaves from the parent volume are in the collections of the Morgan Library the Metropolitan Museum of Art the Cleveland Museum of Art and the Houghton Library at Harvard among many others. Although there is some dispute among art historians the illumination has been tentatively attributed to the artist of the Hours of Yolande of Soissons produced in Amiens ca. 1280 and now held by the Morgan Library MS M.729. It is worth noting that the town of Hangest home to the original owner is only 10 miles from Amiens and is a likely place of origin for the Missal. The present leaf contains a text for a major feast day and thus contains a large and extravagantly decorated initial for its opening "'Nunc scio vere." It is not too much to say that the decoration here is masterful but curiously--and of special interest to us from a modern perspective--the illuminators seem to have forgotten to put the finishing touches on the two smaller initials above which still contain sketches of the preliminary design. unknown
1920réf. ST16608London: Designed written out and illuminated by Alberto Sangorski Colophon 1920. 255 x 212 mm. 10 1/8 x 8 1/2". 25 3 pp. ELEGANT LIGHT OLIVE GREEN CRUSHED MOROCCO GILT AND INLAID by Riviere for London bookseller Charles J. Sawyer stamp-signed "Chas. J. Sawyer Ltd. London" on front turn-in upper cover with inlaid mahogany-brown morocco lyre at head "strung" with gilt fillets and surrounded by dense gilt stippling six gilt fillets emanating from the top of this ornament and curling extravagantly below it with inlaid green morocco leaves at the tips of its extensions and inlaid red dots accenting the perimeter raised bands spine compartments with gilt and inlaid leaf sprig gilt titling turn-ins framed with five gilt fillets stippled and inlaid cornerpieces ivory moiré silk doublures and endleaves. In a fine full morocco plush-lined box with raised bands and gilt titling. ILLUSTRATED THROUGHOUT WITH EIGHT LARGE MINIATURES within extraordinarily elaborate illuminated borders FIVE FINE ROUNDELS FOUR LARGE HISTORIATED INITIALS a portrait of a young woman a leaping stag a skull and a landscape with a castle tower AND 25 ILLUMINATED INITIALS all with burnished gold. New expertly matched silk guards. SIGNED by Sangorski in the colophon following the statement: "This manuscript will not be duplicated." With an early typescript list of the contents laid in at front. Ratcliffe "Alberto Sangorski" SJR 338 attributing the binding to Riviere. ◆Spine slightly sunned to olive brown just a hint of sunning to head and fore edges of boards spine with half a dozen barely perceptible tiny dark spots but A VERY FINE COPY OF AN EXTRAORDINARILY BEAUTIFUL MANUSCRIPT the binding unworn and lustrous and the interior pristine with vellum clean and bright and the paintings perfectly preserved. Written out decorated and painted by one of the most accomplished illuminators of the modern era this attractively bound work celebrates some of Shakespeare's best-known plays with sumptuous miniatures that are in a perfect state of preservation. Songs from "The Tempest" "As You Like It" "Hamlet" "A Midsummer Night's Dream" and other works provide the inspiration for the many delightful miniatures seen here which display an impressive variety of portraits outdoor views and figural scenes--everything from reclining nudes to a particularly lush scene in which a group of spirited hunters return from the woods. The illustrations are all painted with exquisite attention to detail and demonstrate the artist's innate understanding of color rendering each composition delicate yet vigorous and vibrantly hued. All Sangorski manuscripts with miniatures are painted with great skill but this one is particularly arresting. Alberto Sangorski 1862-1932 started his professional life as secretary to a goldsmith's firm became attracted to the book arts at the age of 43 and began doing illuminated manuscripts that were then bound by his brother Francis' firm Sangorski & Sutcliffe. Sometime around 1910 Alberto and Francis had a falling out and the artist went to work for Riviere the chief competitor to his brother's firm. The gracefully tooled binding here was commissioned by London bookseller Charles J. Sawyer 1876-1931 who opened his shop in 1894. According to Brown and Brett's "The London Bookshop" Sawyer provided "anything suitable for a gentleman's library" with specialties in "rare items early English literature fine bindings and sporting and colour-plate books." While the binder fulfilling the commission did not sign this work Sangorski bibliographer Stephen Ratcliffe attributes it to Riviere & Son and there are examples of Riviere bindings decorated in this Art Nouveau style. But the design here with its delicate curving lines creating uncommon shapes also resembles the work done by members of the Guild of Women Binders. Whoever the artisans involved the binding is attractively designed and executed using premium materials and it provides a pleasing cover for the glorious illuminations within. [D]esigned, written out, and illuminated by Alberto Sangorski [Colophon]
1470réf. ST19885Netherlands ca. 1470-80. 164 x 123 mm. 6 1/2 x 4 7/8". Single column 17 lines in a gothic hand. Capitals touched with red rubrics in red one-line initials in red or blue one two-line initial in blue A VERY LARGE HISTORIATED INITIAL approximately 60 mm. square DEPICTING PENTECOST the initial painted blue with white tracery on a burnished gold ground surrounded by A FULL BORDER decorated with colorful acanthus large flowers strawberries insects including a grasshopper fly moth and mosquito all on a liquid gold ground. See: Marrow et al. "The Golden Age of Dutch Manuscript Illumination" nos. 79-81. ◆Margins just faintly soiled gold very slightly rubbed but IN FINE CONDITION the initial and border beautifully preserved. This is an extraordinarily handsome leaf featuring an oversized historiated initial depicting Pentecost attributed to the circle of the Master of the London Jason. Our artist has made remarkable use of space fitting 13 clearly defined people within an initial opening measuring 45 x 32 mm. The Virgin sits enthroned directly in the center encircled by the Apostles dressed in blue violet green and orange robes. Our artist cleverly adds a notch at the top of initial--like a cupola inside a chapel--in order to fit an image of a dove inside the scene. The figures show an impressive degree of individualization and emotional response as they witness the descent of the Holy Spirit; a few gesture in surprise two lower their gaze and some look up in awe. The work is stylistically like that of the Master of the London Jason named for his work on the "Historie van Jason" manuscript now housed at the British Library. As Marrow et al. note the Master's style is characterized by "somewhat short heavy figures that are well formed and have unusual slightly broad yet expressive faces with deep sunken eyes." Our leaf's enclosing border is of very considerable interest featuring as it does naturalistic flowers strawberry plants insects and a small brightly colored bird all painted in colors that perfectly complement the main scene. A very fine production all around this distinctive energetic leaf would make a notable addition to any collection. unknown
réf. ST16985GFrance first half of 14th century. 110 x 82 mm. 4 3/8 x 3 1/4". Single column 12 lines in a gothic book hand. Rubrics in red line enders in pink and blue with gold accents each leaf with one or more one-line initials in blue with red penwork or gold with blue penwork some leaves with one two-line initial painted blue filled with either decorative shapes or INHABITED BY A HUMAN HEAD all on a gold ground one side of each leaf WITH A FULL BORDER composed of pink and blue tendrils accompanied by spikey gold decoration and gold accents often terminating in ivy leaves and incorporating EXTRAORDINARILY CHARMING EXAMPLES OF MARGINALIA INCLUDING ANIMALS HUMANS AND HYBRIDS. ◆Vellum slightly soiled and with a few minor imperfections one leaf with a little offsetting in one corner each leaf with a small area excised by a former owner affecting marginalia and a few words of text but each leaf with at least two fully intact examples of marginalia and on the whole the leaves quite clean the colors very bright and the gold sparkling. Though diminutive in size these leaves contain enormously appealing marginal decoration in the form of humans animals and hybrid creatures inventively incorporated into the lively borders in manners that range from adorable to bizarre. Especially popular in Flanders Northern France and England during the 13th and 14th centuries marginalia such as these comprise some of the most memorable and entertaining images to be found in any Medieval manuscripts. Despite being found largely in religious books such as Psalters and Books of Hours the images are often strange humorous or even outrageous and they provide us with consistent delight. Being by definition outside of the central text or miniature the margins seem to have been a place where illuminators felt more at ease to experiment resulting in highly imaginative and unique artistic expressions. The present specimens come from a fragmentary manuscript with many leaves either missing or rendered defective where portions of the vellum were cut away as here. Fortunately these leaves each retain at least two excellent examples of marginalia including a very alert hare hybrids with the heads of humans and the bodies of two-legged beasts humans emerging from the border tendrils to help hold up initials a human head with a wizened beard and a stylized hat incorporated into the border and a trumpeter blowing into a long instrument accented with gold. Though fragmentary in appearance these leaves present an excellent opportunity to acquire fine examples of marginalia at an affordable price. For additional leaves from this same manuscript at different price points please check our website. unknown
1441réf. ST19880Italy Ferrara 1441-48. Visible leaf: 245 x 187 mm. 9 5/8 x 7 3/8"; Frame: 380 x 315 mm. 15 x 12 1/4". Double column 30 lines in a very fine rounded gothic hand a few lines of text in the same hand but smaller. Mounted and in a simple but pleasing gold frame. Visible side with rubrics in red one-line initials in burnished gold or painted blue one two-line initial in burnished gold on a pale pink ground with white tracery a lovely illuminated bar between the columns with a central plant knot AND SPROUTING IN UPPER AND LOWER MARGINS CLUSTERS OF FLOWERS AND LEAVES IN VARIOUS COLORS AS WELL AS GOLD BEZANTS outer margin with swirling penwork studded with gilt bezants running the length of the column each penwork swirl enclosing a painted and gilt flower with ONE FIVE-LINE HISTORIATED INITIAL DEPICTING ST. PAUL HOLDING A SWORD AND BOOK the initial painted pink with green leaves and a blue and green acanthus extension on a gilt ground. ◆Not examined outside of frame but in very fine condition: vellum slightly wavy text in the bottom margin just a bit faded but by all appearances A VERY CLEAN BRIGHT LEAF SPARKLING WITH GILT. Executed with great skill and delicacy and in sensitive Italianate colors highlighted especially by spring green and pink the present leaf is 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. Because the d'Este family kept excellent records we have confidence that this manuscript was done for Leonello by Giorgio d'Alemagna Bartolomeo de Benincà Guglielmo Giraldi and Matteo de' Pasti see Toniolo "La Miniatura a Ferrara dal Tempo di Cosmè Tura all'eredità di Ercole de' Roberti" 1998 pp. 19-20 and 76-77. The leaves show subtle variations in the style of the illuminations a result of work done 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 to Goodspeed's of Boston who broke it up. The intact first quire of 10 leaves was purchased by Philip Hofer and given to Harvard cf. Wieck "Late Medieval and Renaissance Illuminated Manuscripts" p. 130 and fig. 74 and individual leaves appeared in 1967 in the catalogues of Folio Fine Art "the quality of the leaves is extremely high" Maggs Brothers "of a very high quality" and Alan Thomas "of exquisite quality". The present example is especially desirable for the portrait of St. Paul who is depicted holding a sword and book and whose carefully molded features reflect the growing interest in realistic portraiture in Renaissance Italy. unknown
réf. 3752897015.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1822réf. mon0003529457Chez de Bure Freres 1822. Paperback. Good. . Extremely scarce in any condition. 5 volumes in 4 physical books II and III in one. Fragile but fully intact. Some chipping at edges. Pages clean. Chez de Bure Freres paperback
réf. ST17245-02France probably Rouen second half of 15th century. 162 x 117 mm. 6 3/8 x 4 5/8". Single column 17 ruled lines text in a bâtarde hand. Text in gold blue and red "KL" in scrolling white letters on a gold ground with small blue and red blossoms both sides with panel border of acanthus flowers small ink dots and gold bezants WITH TWO SMALL MINIATURES showing the labor of the month Threshing on recto and the zodiac sign Virgo on verso. ◆Small wrinkle in lower margin just touching the lower edge of the miniatures trivial smudging but IN VERY FINE CONDITION the vellum especially clean and bright the paint quite rich and the miniatures extremely well preserved. With clean white vellum small but appealing miniatures and attractive lettering and decoration this is a desirable example of a calendar leaf from a high-quality Book of Hours likely made in Rouen. According to Roger Wieck far fewer than half the Books of Hours of the period contain illustrated calendars "even in manuscripts with otherwise lavish cycles of miniatures"; when they do appear they are invariably charming as is the case here. In the lower margin of the recto is a small miniature depicting the typical labor for August "Threshing" in which a young layman brings down his grain flail two hinged pieces of wood the longer one called a helve and the other a beater joined by a thong in an effort to separate the grain while neatly stacked unprocessed clumps of straw appear just behind it. On the verso we see a representation of Virgo as a young woman holding appropriately a long sheaf of grain in her hand. While most of the feast days that appear in the calendar are typical for the period the inclusion of St. Sauveur i.e. Transfiguratio Domini on 6 August is characteristic of a calendar for the use of Rouen suggesting that the parent manuscript may have been produced in that place or the region around it. unknown
réf. ST16985NFrance first half of 14th century. 110 x 82 mm. 4 3/8 x 3 1/4". Single column 12 lines in a gothic book hand. Line enders in pink and blue with gold accents each leaf with one or more one-line initials in blue with red penwork or gold with blue penwork each leaf with one two line initial painted pink or blue filled with painted floral motifs and TWO INHABITED BY HUMAN FACES and on a gold ground one side of each leaf with A FULL BORDER composed of pink and blue tendrils accompanied by spikey gold decoration and gold accents often terminating in ivy leaves and incorporating EXTRAORDINARILY CHARMING EXAMPLES OF MARGINALIA INCLUDING ANIMALS HUMAN HEADS AND HUMAN-BEAST HYBRIDS. ◆Vellum a little soiled and with a few small stains one leaf with more obvious soiling varying degrees of smudging two leaves with more noticeable smudging affecting some of the text and decoration another leaf with two of the human heads slightly rubbed but all other examples of marginalia very well preserved and paint quite fresh and the gold sparkling. Though diminutive in size these leaves contain enormously appealing marginal decoration in the form of humans animals and hybrid creatures inventively incorporated into the lively borders in manners that range from adorable to bizarre. Especially popular in Flanders Northern France and England during the 13th and 14th centuries marginalia such as these comprise some of the most memorable and entertaining images to be found in any Medieval manuscripts. Despite being found largely in religious books such as Psalters and Books of Hours the images are often strange humorous or even outrageous and they provide us with consistent delight. Being by definition outside of the central text or miniature the margins seem to have been a place where illuminators felt more at ease to experiment resulting in highly imaginative and unique artistic expressions. The present specimens come from a fragmentary manuscript with many leaves either missing or rendered defective where portions of the vellum were cut away. Fortunately this group of leaves is intact and retains much marvelous imagery including several animals a dog a bird a squirrel and a large hare human and bestial heads capping the ends of border tendrils many with a memorable detail such as a bushy beard a massive gold horn or wearing a tall pointy hat including the torso of a person holding a long antler-like club and colorful human-beast hybrids. A couple of these leaves also have initials inhabited by charming little human faces. For additional leaves from this same manuscript at different price points please check our website. unknown
réf. ST17060ZFrance 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. Rubrics in dark pink line-enders in dark pink and blue highlighted with a gilt bezant several one-line initials and one two-line initial in burnished gold on dark pink and blue ground with white tracery one three-line initial in pink with white tracery filled with trefoils painted red or blue all on a gold ground verso with panel border of delicate hairline vines terminating in gilt bezants and ivy and with acanthus and flowers recto with A HALF-PAGE MINIATURE OF THE CRUCIFIXION in an arch-topped gilt frame Christ in the center of the composition with the mocking inscription "I N R I" "Iesus Nazarenus Rex Iudaeorum" on a banner above him the Virgin standing on the left and St. John on the right the landscape behind them filled with hills and trees under a tessellated sky SURROUNDED BY A FULL BORDER consisting of hairline vines terminating in gold bezants and ivy colorful acanthus strawberries and flowers the text and image further framed by a "U"-shaped bar of gold pink and blue extending the full height of the miniature. ◆Virgin's robe a little mottled and chipped minor chipping elsewhere borders with slight smudging to some of the hairline vines small marginal stain but in all in excellent condition with wide margins with the colors very bright and the miniature well preserved. Opening the Hours of the Cross a shorter text that is sometimes found in addition to the Hours of the Virgin this touching miniature of the Crucifixion is richly painted and features a particularly emotional depiction of Christ his head slightly bowed with an expression of pain. Blood flows freely from his wounds partly merging with the orange in the sky and partly forming rivulets at the base of the cross. This exsanguination stands in contrast to the more typically restrained indications in other Crucifixion scenes and serves to emphasize the cruel suffering of the execution. His mother stands to the left in a blue cloak hands knitted together and with a look of weary resignation on her face; to the right stands St. John whose lips are slightly parted as he looks directly at the crucified Christ as if searching his face for signs of life. Our artist has made an unusual choice for the background with the lower two thirds devoted to a naturalistic landscape with many hills and trees and the sky entirely tessellated with squares of red blue and gold. While the Virgin and St. John are both firmly situated within the earthy realm the body of Christ occupies both spaces perhaps emphasizing his dual nature as both human and divine. Stylistically this leaf can be localized to the Franche-Comté region in eastern France and is closely related if not directly attributable to an atelier specializing in Books of Hours made for the Use of Besançon and most likely situated in that city see Avril and Reynaud p. 197. The similarities are especially apparent in the figures' faces which are slightly puffy in appearance and have distinct slit-like eyes. As noted by Avril and Reynaud the unnamed master of this atelier was deeply indebted to the Master of Morgan 293 a talented Burgundian illuminator active in the second quarter of the 15th century whose name derives from a particularly lovely Book of Hours made for the Use of Besançon. In fact there are certain consonant details between this miniature and the Crucifixion in the Morgan manuscript: Christ's position and physicality are nearly identical as is the pattern of blood as it moves down the cross and both artists create a division in the landscape with the Morgan artist using gold rather than tessellation for his sky. Whoever the artist responsible for the present miniature the work here is clearly accomplished both quietly powerful and an excellent representation of a distinct regional style. unknown
réf. ST17060NFrance 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. Rubrics in dark pink line enders in pink and blue with white tracery and gold bezant one- and two-line initials painted gold on pink and blue ground with white tracery each side with a panel border decorated with hairline vines gold bezants and ivy and colorful flowers and acanthus RECTO BORDER INHABITED BY A CHARMING DOG-LIKE CREATURE. ◆A small light stain in border decoration largely masked by dense hairline vines but IN FINE CONDITION--bright clean and well preserved. From a large Book of Hours probably produced in Besançon this leaf features very pretty panel borders including one with a particularly charming inhabitant in the form of a dog-like creature with no front legs wearing an orange collar and emitting an acanthus leaf from its mouth. Imaginative touches like this and luxurious elements such as the several dozen gilt bezants and ivy leaves in each border and the unusually wide margins point to this manuscript having been quite a costly production. For additional leaves from this same manuscript at different price points please check our website. unknown
1429réf. ST12778-0360Italy 1429. 323 x 173 mm. 12 3/4 x 6 3/4". Single column 60 lines in a neat cursive script. Notarial signature at lower left; verso with a date and notations in contemporary hands. ◆Vellum trimmed a little close four horizontal and three vertical fold creases slight darkening to verso five very small holes no text obscured and one larger naturally-occurring hole in the text otherwise in excellent condition with a very clear hand. This is a notarized document recording an agreement made between the chapel and convent i.e. the whole community of the house of St. John a group of female religious located in the parish of St. Peter and the brothers of Bonsignioribus another religious house in the parish of St. Laurence Major. The women of St. John agree to pay to the brothers of Bonsignioribus a sum of 11 libras 8 soldas and 9 denarios. The reason for this payment is unclear pending further investigation into some of the more abbreviated portions of the text. The document is of additional interest for the fact that several female members of the house of St. John are mentioned by name. Based on these names and that of the notary Ambrosius Spanzota . . . Parmensis it would appear that the document was written in Italy possibly in Parma and that the two houses were also located there. unknown
