Vélin

Vélin — marelibri

A VELLUM MANUSCRIPT LEAF FROM A LECTIONARY IN LATINABAA

TEXT FROM THE FEAST OF MARY MAGDALENE

réf. ST20617bAustria Salzburg second half of 12th century. 298 x 232 mm. 11 3/4 x 9 1/4". Single column 26 lines in a lovely proto-gothic hand with two lines of uncials. Rubrics in red two two-line initials in red one four-line initial in red. Lower margin of recto with a 20th century note in very small letters in red ink see below. Recovered from a binding and thus with overall darkening though the recto much less affected by this four lines of contemporaneous annotations slightly trimmed though good margins all the way around vertical crease with small wormholes and tears touching text but not affecting legibility other minor defects but on the whole quite well preserved and entirely legible. Containing a large elegant initial and a beautiful proto-gothic script featuring two rows of uncials this leaf is an excellent example of early Austrian manuscript production. The text here includes the end of a homily by the Venerable Bede followed by the rubric for the Feast of the Birth of Mary Magdalene July 22 commencing with St. Gregory the Great's Homily 33 beginning "Ad Pharisei prandium dominus discumbebat" from his "Homilies on the Gospels." The homily played an important role in Christian understanding of Mary Magdalene as a penitent sinner identifying her for the first time as the unnamed "sinful woman" who comes to anoint Christ's feet at the house of a Pharisee Luke 7:36-50 and conflating her with Mary of Bethany sister to Martha and Lazarus. Although modern scholarship now differentiates these three women Gregory's interpretation of Mary Magdalene as a reformed prostitute has persisted for centuries. The present leaf almost certainly belonged to a Lectionary owned by a Romanesque church in Salzburg a manuscript that was later dismembered for use in bookbinding. The script is particularly pleasing being large and dignified with extremely regular letterforms executed by a steady hand. According to the source from which we purchased this leaf it was shown in 1893 to the Medieval historian and later the Abbot of St. Peter's Salzburg Willibald Hauthaler 1843-1922 who wrote the identification in red ink along the lower edge. It was later owned by the Salzburg-based merchant artist and collector Carl von Frey 1826-96. It appeared at Christie's in 2010 where along with five sister leaves it sold for £13970. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis3 120,00 $US≈ 2 781,99 €

A VELLUM MANUSCRIPT LEAF FROM A LECTIONARY IN LATINABAA

TEXT FROM ADVENT

réf. ST20617fAustria Salzburg second half of 12th century. Unfolded: 350 x 296 mm. 13 3/4 x 11 3/4 mm. Double column 30 extant lines in a lovely proto-gothic hand. Rubrics in red two four-line initials in red. Recovered from a binding and thus with top margin and a small part of text trimmed away verso rather darkened with soil and glue part of the text readily legible the rest recoverable with effort negligible wormholes and small cuts but still a pleasing leaf with the recto rather clean and quite easy to read. This lectionary fragment which contains extracts from patristic writings for the season of Advent demonstrates a majestic highly regular and graceful proto-gothic book hand. The oval-shaped elongation of Caroline letter forms that are characteristic of 12th century book hands along with the mixture of rustic and uncial capitals our scribe has used for section titles appear particularly pleasing in the lovely uncramped hand at work here. The majority of the text is from St. Augustine of Hippo's "Quaestiones Evangeliorum" which provides a series of questions and answers regarding the Gospels of Luke and Matthew. The section of the work here XLIV discusses Luke 17:34-35 in which Jesus tells of the coming Kingdom of God. This text is preceded by Pope Gregory the Great's homily for the second Sunday of Advent. The final column of text on the verso is unfortunately rather rubbed and therefore difficult to identify but the headline indicates that it originates from a sermon of Pope Leo the Great. The present leaf almost certainly belonged to a Lectionary owned by a Romanesque church in Salzburg a manuscript that was later dismembered for use in bookbinding. According to the source from which we purchased this leaf it was shown in 1893 to Willibald Hauthaler 1843-1922 the Medieval historian and later the Abbot of St. Peter's Salzburg who wrote the identification along the lower edge. It was later owned by the Salzburg-based merchant artist and collector Carl von Frey 1826-96. It appeared at Christie's in 2010 where along with five sister leaves it sold for £13970. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis2 600,00 $US≈ 2 318,32 €

AN ILLUMINATED VELLUM MANUSCRIPT LEAF FROM A LECTIONARY IN LATIN, WITH A LARGE WHITE-VINE INITIALABAA

TEXT FROM ST. JOHN CHRYSOSTOM'S HOMILY LXXI ON MATTHEW 22

réf. ST20617cAustria Salzburg second half of 12th century. 319 x 244 mm. 12 1/2 x 9 1/2". Single column 27 lines in a lovely proto-gothic hand. Rubrics in red two one-line initials and one two-line initial in red WITH A LARGE 140 mm. WHITE-VINE INITIAL INHABITED BY A BIRD outlined in red and filled in with blue and green. Lower margin of recto with a 20th century note in red ink identifying the text. Recovered from a binding and thus with overall darkening top half of verso somewhat soiled with top line obscured though with all other letters on both sides very distinct cut a little close to the thin red extension of the initial a few minor holes inlcuding one elongated one through the top part of the initial with minimal loss. Even with these defects a powerfully attractive leaf with memorable decoration and script. Containing a beautiful proto-gothic script and an exceptional Romanesque initial this leaf is a particularly desirable example of early Austrian manuscript production. The opening initial "F" is formed with foliate designs outlined in red given shape by coloring in the negative space with an intense azure blue and moss green. Adding to the initial's charm is a large bird perched on one of the curving branches turning its head to the right as if to read the text like the initial it is also outlined in red. The white-vine style seen here would later become a model for the Italian Humanist scribes and illuminators of 15th and 16th centuries who substituted glistening gold leaf for the vibrant yellow paint favored by some artists of the Romanesque period. The text here is from St. John Chrysostom's homily on St. Matthew 22:34-40 an account of the Pharisees questioning Jesus on God's law asking "which commandment in the law is the greatest" Jesus famously replies with the key tenets of the Christian faith: "You must love the Lord your God with all your heart with all your soul and with all your mind. This is the greatest and the first commandment. The second resembles it: You must love your neighbor as yourself. On these two commandments hang the whole Law and the Prophets." This text was the Gospel reading for the 19th Sunday after Pentecost preceded by the incipit "Frequenter iudei diversis interrogationibus" "The Jews repeatedly tested him with various questions". The present leaf almost certainly belonged to a Lectionary owned by a Romanesque church in Salzburg a manuscript that was later dismembered for use in bookbinding. According to the source from which we purchased this leaf it was shown in 1893 to the Medieval historian and later the Abbot of St. Peter's Salzburg Willibald Hauthaler 1843-1922 who wrote the identification in red ink along the lower edge. It was later owned by the Salzburg-based merchant artist and collector Carl von Frey 1826-96. It appeared at Christie's in 2010 where along with five sister leaves it sold for £13970. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis9 880,00 $US≈ 8 809,63 €

(VELLUM PRINTING, 16TH CENTURY). LEAF FROM A BOOK OF HOURS PRINTED ON VELLUMABAA

TEXT FROM VESPERS FROM THE OFFICE OF THE DEAD

1520réf. ST12778-0887cParis: Gilles Hardouyn ca. 1520. 177 x 110 mm. 7 x 4 1/4". Single column 33 lines in an attractive gothic type. With hand-illuminated initials and a FULL-PAGE MINIATURE DEPICTING THE RAISING OF LAZARUS ILLUMINATED IN COLORS AND GOLD BY A CONTEMPORARY HAND. See Hilary Maddocks "A Book of Hours by Anthoine Vérard" University of Melbourne Collections issue 16 2015 pp. 19-20. One quarter-inch repair to the center of the leaf which on the recto slightly affects Lazarus' neck and on the verso affects three letters which have been neatly touched up a handful of small chips to the paint the architectural border somewhat rubbed in the lower right corner mild soiling to the margins; not without flaws but a richly and carefully colored leaf that is still pleasing. Richly painted and amply highlighted with brushed gold this leaf from a printed Book of Hours includes a large miniature depicting the raising of Lazarus. Christ stands arm extended in benediction over the newly reawakened Lazarus who gazes up at him standing upright in his grave. A crowd looks on with a well-dressed man crouched in front of the grave apparently having helped Lazarus to stand. Our illuminator has enhanced the drama of the moment with the rosy cheeks of the bystanders emphasizing Lazarus' deathly pallor and with Jesus' shimmering robe distinguishing him from the crowd. The faces and folds of cloth are delicately shaded and the minutely detailed lines of gold carefully applied stylistically tying this printed leaf to the fully hand-painted Books of Hours that printed versions were slowly replacing during the early years of the 16th century. The composition seems to come from a suite of illustrations designed by illuminator Jean Pichore fl. 1490-1521 done for the printer Gilles also Gillet Hardouyn. Gilles Hardouyn (?) unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis1 144,00 $US≈ 1 020,06 €

A VELLUM MANUSCRIPT LEAF FROM A LECTIONARY IN LATIN, WITH AN HISTORIATED ROMANESQUE INITIALABAA

TEXT FOR THE THIRD SUNDAY IN LENT

réf. ST20617dAustria Salzburg second half of 12th century. 321 x 218 mm. 12 5/8 x 8 5/8". Single column 27 lines in a lovely proto-gothic hand top two lines in red or black uncials. Rubrics and numbers in red two one-line initials in red with A LARGE 115 mm. IMAGE OF JOSEPH WEARING HIS COAT OF MANY COLORS the body outlined in brown ink and the coat outlined in red. Lower margin of recto with a 20th century note in red ink see below. Recovered from a binding and thus with overall darkening on the recto and with nothing readable on the verso bottom line of text a bit damaged because of crease through it a few small holes two corners trimmed one or two letters of final line of text lost but more than half of the Joseph figure including the face still visible and the text on the recto entirely legible. Containing a beautiful proto-gothic script and a rare figurative Romanesque initial this leaf is a particularly desirable example of early Austrian manuscript production. The text here is as neatly noted in German at the tail edge of the recto Genesis 37:2-10 the beginning of the story of Joseph the 17-year-old son of Jacob here called Israel and his second wife Rachel. In the well-known biblical account Joseph is his father's favorite of 12 sons and the patriarch gives him a beautiful coat of many colors making his brothers jealous. Joseph here intensifies their dislike of him by recounting to his brothers two of his dreams in which sheaves of grain and then various celestial bodies bowed down to him. Dream or reality the images did not sit well with the brothers who sold Joseph into slavery. Although once the leaf was reused as binding material we can nevertheless make out an historiated "I" in the form of Joseph as a young man including an outline of his multi-colored coat. It is difficult to say with certainty whether the initial would originally have been washed with color or composed solely as a line drawing but whatever the case we are lucky to have so much of it intact. With his long flowing hair semi-nude body and hand placed delicately on his hip Joseph is depicted in quite a seductive manner and the simple line-drawing further emphasizes the body's curves and lithe appearance. Romanesque initials with historiation are not nearly as common as decorative ones and the present depiction is especially unusual. While illustrations of Joseph do appear in other manuscripts of this period they tend to focus on specific events from the biblical narrative--particularly those that lend themselves to the tradition of Joseph as a prefiguration of Christ such as Joseph being thrown into the pit or revealing his identity to his brothers. The present example by contrast is all about the presentation of the figure. This leaf almost certainly belonged to a Lectionary owned by a Romanesque church in Salzburg a manuscript that was later dismembered for use in bookbinding. According to the source from which we purchased this leaf it was shown in 1893 to the Medieval historian and later the Abbot of St. Peter's Salzburg Willibald Hauthaler 1843-1922 who wrote the identification in red ink along the lower edge. It was later owned by the Salzburg-based merchant artist and collector Carl von Frey 1826-96. It appeared at Christie's in 2010 where along with five sister leaves it sold for £13970. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis13 000,00 $US≈ 11 591,62 €

MEDIEVAL ILLUMINATED VELLUM MANUSCRIPT LEAVES, OFFERED INDIVIDUALLY, EACH WITH AN HISTORIATED INITIALABAA

FROM A PSALTER-HOURS IN LATIN

réf. ST20846GSouthern Netherlands ca. 1280. 110 x 83 mm. 4 3/8 x 3 1/4". Single column 19 lines in a gothic hand. Rubrics in red simple line fillers in red or blue each leaf with multiple one-line initials in red or blue one leaf also with a two-line gilt initial on blue and pink ground and with bar border extensions in gold blue and pink EACH LEAF WITH A LARGE HISTORIATED INITIAL measuring seven to nine lines long 28-34 mm. the initial in pink or blue inhabited by figures painted on a gilt ground all this on a blue or pink ground framed in gilt with spiky pink and blue marginal extensions studded with gilt bezants and painted leaves. Small corrections to text one leaf with marginal notation in a later hand; each leaf with a small stub mounted on fore edge. One leaf with marginal embellishment slightly trimmed away just a hint of use but in very fine condition with the initials beautifully preserved right down to their hair-line detail. Featuring large historiated initials with some unusual iconography these leaves come from a charming Psalter-Hours attributed to the Morgan 183 Group. Active in the late 13th and early 14th centuries and so-named for a highly decorative manuscript once owned by J. Pierpont Morgan the artists of this group are considered important purveyors of the gothic style from Paris into Liege and the Southern Netherlands. Our parent manuscript was probably executed in Brabant or Hainault based on the presence of certain saints associated with these cities that appear in the Litany for example Sts. Waldetrudis of Mons and Amalberga of Maubeuge. Clues from other extant leaves containing additions and alterations to the text suggest that it was initially made for non-monastic use but later may have been adapted for a Benedictine community. The present leaves each contain a large historiated initial to punctuate the beginning of a Psalm or major section and each provides a narrative for contemplation. The subjects include: a Crucifixion opening the Hours of the Passion with the Virgin Mary and John the Evangelist on either side of the Crucified Christ. Above them on either side of the Cross is the sun and moon--an allusion to the three hours of darkness enveloping the land during the Crucifixion. b The fool riding a goat opening Psalm 52 "Dixit insipiens". This is a particularly unusual though very apt piece of iconography for the Psalm that famously begins "The fool has said in his heart: 'There is no God.'" Pictured astride a goat the fool holds onto a horn with one hand and brandishes a club with the other as his steed charges ahead. Although historiated initials with fools can occasionally be found in Psalters and Bibles of this same period they are usually shown only with a club and often a piece of bread; the addition of the goat is quite extraordinary. c David in the water praying to God opening Psalm 68 "Salvum me fac Deus". This initial makes excellent use of the compositional space provided by the curving "S" shape placing God the father in the compartment above and King David up to his belly in flowing water in the compartment below. Both figures raise their arms upward with the Lord holding a globus cruciger and making the sign of benediction while David naked except for his crown extends his prayerful arms so wide they nearly reach from one side of the initial to the other. The latter is clearly referencing Christ's eventual sacrifice on the Cross as well as highlighting the familial connection between the two. These leaves are exceptional examples of the French high gothic style outside of Paris and offer multiple avenues for further research and comparison. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis15 600,00 $US≈ 13 909,94 €

AN ILLUMINATED VELLUM MANUSCRIPT LEAF FROM A LECTIONARY IN LATIN, WITH A LARGE WHITE-VINE INITIALABAA

TEXT FROM THE SEVENTH SUNDAY AFTER PENTECOST

réf. ST20617aAustria Salzburg second half of 12th century. 300 x 243 mm. 11 5/8 x 9 1/2". Single column 27 lines in a lovely proto-gothic hand including lines in red and black uncials. Rubrics in red two one-line initials in red AN EIGHT-LINE 83 mm. tall WHITE-VINE INITIAL outlined in red and filled in with blue and green. Lower margin of recto with a 20th century note in red ink see below. Recovered from a binding and thus the vellum on one side noticeably darkened with a large lighter patch where a label may have been removed the other side faded with half the text illegible top edge trimmed close vertical crease going through initial much of the white in the capital now a light gray other minor issues but still an impressive leaf the once beautiful initial largely well preserved with its blue paint still rich. Containing an elegant proto-gothic script and a striking white-vine initial this leaf is an excellent example of early Austrian manuscript production. The large initial "A" is formed with foliate designs outlined in red given shape by coloring in the negative space with an intense azure blue and moss green. This style would later become a model for the Italian Humanist scribes and illuminators of 15th and 16th centuries who substituted glistening gold leaf for the vibrant yellow paint favored by some artists of the Romanesque period. The text of this leaf mainly includes readings for the seventh Sunday after Pentecost consisting of III Kings 2:1-17 beginning "Adpropinquauerunt dies David" according to the Vulgate numbering. It describes the Death of King David who instructs his son Solomon to keep the ways of God. With large and elegant letterforms executed by a steady hand this leaf almost certainly belonged to a Lectionary owned by a Romanesque church in Salzburg. According to the source from which we purchased this leaf it was shown in 1893 to the Medieval historian and later the Abbot of St. Peter's Salzburg Willibald Hauthaler 1843-1922 who wrote in very small letters the identification in red ink along the lower edge. It was later owned by the Salzburg-based merchant artist and collector Carl von Frey 1826-96. It appeared at Christie's in 2010 where along with five sister leaves it sold for £13970. Despite some condition issues related to its reuse in a later binding this leaf is still very impressive because of its beautiful calligraphy and decoration. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis5 720,00 $US≈ 5 100,31 €

MEDIEVAL ILLUMINATED VELLUM MANUSCRIPT LEAVES, OFFERED INDIVIDUALLY, EACH WITH AN HISTORIATED INITIALABAA

FROM A PSALTER-HOURS IN LATIN

réf. ST20846ESouthern Netherlands ca. 1280. 110 x 83 mm. 4 3/8 x 3 1/4". Single column 19 lines in a gothic hand. Rubrics in red simple line fillers in red or blue each leaf with multiple one-line initials in red or blue one leaf also with three two-line gilt initials on blue and pink ground and with bar border extensions in gold blue and pink EACH LEAF WITH A LARGE HISTORIATED INITIAL measuring seven to eight lines long 27-30 mm. the initial in pink and the figures painted on a gilt ground all this on a blue ground framed in gilt with spiky pink and blue marginal extensions studded with gilt bezants one of the leaves with a small hybrid creature with a human face incorporated into the extension. One leaf with early marginal notation; each leaf with a small leather tab marking major text on fore edge. One leaf with tip of marginal extension just grazed the other with vellum vaguely soiled and thinned in one spot resulting in tiny hole but attractive leaves in very pleasing condition overall. Featuring large historiated initials with some unusual iconography these leaves come from a charming Psalter-Hours attributed to the Morgan 183 Group. Active in the late 13th and early 14th centuries and so-named for a highly decorative manuscript once owned by J. Pierpont Morgan the artists of this group are considered important purveyors of the gothic style from Paris into Liege and the Southern Netherlands. Our parent manuscript was probably executed in Brabant or Hainault based on the presence of certain saints associated with these cities that appear in the Litany for example Sts. Waldetrudis of Mons and Amalberga of Maubeuge. Clues from other extant leaves containing additions and alterations to the text suggest that it was initially made for non-monastic use but later may have been adapted for a Benedictine community. The text of the present leaves come from the so-called "Seven Penitential Psalms" which are traditionally credited to King David and associated with his lamentations and atonement. The beginning of each Psalm is punctuated by a large historiated initial which marks the opening and provides a visual narrative to aid contemplation. The subjects include: a "Noli me tangere" for Psalm 6 "Domine ne in furore tuo arguas me". A full-length Christ in blue robes appears before a kneeling Mary Magdalene after his Resurrection. Between them is a tree with a bulbous red growth at the top acting as a symbolic divider between the earthly and spiritual realms. b David fleeing Saul for Psalm 38 "Dixi custodiam vias meas". This initial depicts David wearing a simple hat and tunic as opposed to a crown and robes as he escapes King Saul's murderous jealousy. He balances a staff holding a bundle of belongings on one shoulder see Morgan MS M.183 fol. 54v for a similar depiction as he is confronted by the disembodied head of God on the right. These leaves are excellent examples of the French high gothic style outside of Paris and offer multiple avenues for further research and comparison. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis13 000,00 $US≈ 11 591,62 €

A VELLUM MANUSCRIPT LEAF FROM A LECTIONARY IN LATINABAA

TEXT FROM ADVENT

réf. ST20617eAustria Salzburg second half of 12th century. Unevenly trimmed but approximately 362 x 234 mm. 14 1/4 x 9 1/8". Double column 31 extant lines in a lovely proto-gothic hand. Rubrics in red remains of two large multi-line initials in red. Lower margin of recto with modern note in red ink in very small letters identifying the text. Recovered from a binding and thus unevenly trimmed top margin and a small part of text trimmed away at the top a handful of tiny cuts and holes of no significance vellum a little brownish but the leaf rather smooth and the majestic text entirely legible. This lectionary fragment which contains two important patristic sermons for the season of Advent demonstrates a highly regular graceful and majestic proto-gothic book hand. The oval-shaped elongation of Caroline letter forms characteristic of 12th century book hands and the mixture of rustic and uncial capitals our scribe has used for section titles appear particularly pleasing in the lovely uncramped hand at work here. The text on the recto is from St. Augustine's second Advent sermon one of a series of homilies written for the liturgical seasons. The verso contains St. Gregory's homily for the first Sunday of Advent preceded by Luke 21:25-33 a rehearsal of the signs of the end of days. The homily draws on this gospel passage to exhort the faithful to prepare themselves for the second coming. The present leaf almost certainly belonged to a Lectionary owned by a Romanesque church in Salzburg a manuscript that was later dismembered for use in bookbinding. According to the source from which we purchased this leaf it was shown in 1893 to Willibald Hauthaler 1843-1922 the Medieval historian and later the Abbot of St. Peter's Salzburg who wrote the identification along the lower edge. It was later owned by the Salzburg-based merchant artist and collector Carl von Frey 1826-96. It appeared at Christie's in 2010 where along with five sister leaves it sold for £13970. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis2 600,00 $US≈ 2 318,32 €

LEAVES FROM A MEDIEVAL VELLUM MANUSCRIPT CHOIR BOOK CONTAINING A SEQUENTIARY, OFFERED INDIVIDUALLYABAA

TEXT IN LATIN

réf. ST21065DNortheastern France or Rhineland early 14th century. 345 x 239 mm. 13 1/2 x 9 3/8". Single column nine lines of music and text in a gothic hand. Rubrics and staves in red calligraphic initials in black one-line initials in red or blue some with contrasting penwork each leaf with one or more large initials measuring a line of text plus a full stave in blue or red with blue and red penwork often extending several lines above or below. Later ink foliation in upper right corners; some leaves with marginal notations in later hand; one specimen with older manuscript fragment enforcing the gutter. See: de Hamel Christopher. "Medieval and Renaissance Manuscripts from the Library of Sir Sydney Cockerell" British Library Journal 13 1987. Trimmed a little close at the top occasionally cutting into penwork decoration moderate soiling to vellum with noticeable mostly marginal condition issues including wormholes large repairs to margins and stains. From a manuscript fragment that once passed through the hands of Sir Sydney Cockerell the leaves in this group appear to come from a rarely seen liturgical text called a Sequentiary. Consisting of sung hymns called "sequences" performed between the Alleluia and Gospel readings during Mass a Sequentiary could be either a standalone volume or part of a longer work such as a Gradual or Missal. The script here is a neat and legible gothic book hand with simple but attractive lettering in blue and red with contrasting penwork; there are also some interesting calligraphic initials in black--some with little spikes or other flourishes--that might warrant further study. These leaves were previously bound into a later perhaps 18th century limp vellum binding the pastedown of which contained a tipped-on handwritten note from Cockerell 1867-1962 who was William Morris' private secretary and the director of the Fitzwilliam Museum for nearly 30 years. Cockerell attributed this manuscript to Northern France and suggested a date of ca. 1280 we believe it dates a little later noting that it was probably made for Dominican use based on the presence of the sequences for St. Peter Martyr and St. Dominic. It is unclear whether Cockerell actually owned this manuscript at one point or served as a consultant for a dealer or a private collector as he was known to do: in the words of de Hamel Cockerell became "the arbiter of quality before whom generations of collectors and scholars brought their acquisitions and attributions for judgement. . . . Dyson Perrins Yates Thompson Chester Beatty Pierpont Morgan St John Hornby Lord Kennet Francis Wormald Eric Millar J. R. Abbey and many others never felt that a manuscript acquisition was truly made until Sydney Cockerell had seen and approved it." De Hamel also notes that Cockerell "gave away sold or exchanged manuscripts on many occasions during his life of collecting" making it difficult to know exactly how this manuscript may have crossed his path or for how long it was in his possession. His appraisal does however suggest that this manuscript was in a defective state from at least the 1920s and probably a good deal earlier than that. Most of the choir book leaves that we offer for sale come from 15th and early 16th century manuscripts typically Italian or Spanish in origin; the present leaves offer an uncommon opportunity to purchase earlier specimens of musical notation from an unusual liturgical text with distinguished if uncertain ownership history and at an attainable price. The price given here is for a single leaf; for additional leaves from this same manuscript please see our website. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis260,00 $US≈ 231,83 €

(ILLUMINATED MANUSCRIPT ON VELLUM - MODERN). (BINDINGS - JEWELLED). SANGORSKI, ALBERTO, Designer, Illustrator, and ScribeABAA

POEMS BY JAMES I GEOFFREY CHAUCER AND SIR WALTER RALEIGH

1930réf. ST19362England ca. 1930. 268 x 190 mm. 10 1/2 x 7 1/2". 31 1 pp. 1 leaf colophon. LOVELY ROSE-BROWN CRUSHED MOROCCO GILT INLAID AND BEJEWELLED front turn-in stamped in gilt "Made in England" but almost certainly by Sangorski & Sutcliffe covers framed by multiple plain and dotted gilt rules sprays of tulips at corners central panel of upper cover with animated floral design of onlaid white morocco flowers each set with a petite rose-cut diamond and of onlaid lilac and green morocco thistles all on a stippled ground raised bands spine compartments with spray of onlaid purple morocco berries green morocco label turn-ins framed with gilt ribbon roll and other decorative rolls ivory watered silk endleaves all edges gilt. In the original black pebble-grain morocco case with cushioned velvet lining upper cover detached. WITH ILLUMINATED TITLE PAGE FEATURING A VIGNETTE of the Tower of London and a border with knights on chargers SIX ADDITIONAL VIGNETTES AND FOUR FULL-PAGE MINIATURES AS WELL AS 10 FULL BORDERS THREE THREE-QUARTER BORDERS two half borders AND 13 LARGE ILLUMINATED INITIALS all executed with great imagination and skill. Pages with miniatures separated by silk guards others separated by paper. Leather with very slight naturally occurring variations in hue otherwise the volume IN PRISTINE CONDITION. This is a beautifully bound and exceptionally attractive modern illuminated manuscript celebrating English poetry and culture executed by the 20th century's undisputed master of illumination Alberto Sangorski. The text contains three early English poems: "While a Prisoner" by James I of Scotland; "Merciless Beauty" by Geoffrey Chaucer; and "The Nymph's Reply" by Sir Walter Raleigh. Each poem is followed by a brief section of biographical information about the author. In addition to the many beautiful decorated initials and sparkling borders Sangorski has also painted a total of seven vignettes and four full-page miniatures. The latter include an image of a woman dressed in Medieval garb reading a small book in a courtyard; an intimate portrait of the "Merciless Beauty" herself caught in a state of half-dress; the meeting of three young peasant women in a lush rural setting; and the boldly painted coat of arms of Scotland. Complex knotwork designs and precise gilt tooling among the borders demonstrate Sangorski's range and abilities and the text and capitals could not be more perfectly executed. The color scheme in this manuscript is particularly attractive featuring dark greens dusky blues and rich purples that contrast beautifully with the bright gold applications and white highlights. Most important the vignettes and full-page miniatures are painted with exquisite taste and exacting skill; they reward repeated and protracted viewing. 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 lovely jewelled binding here is not described in Ratcliffe and the signature "Made in England" offers no indication of the binder's identity. The design however clearly suggests that the creator at work here must have been familiar with the work of both Sangorski and Riviere and it is possible that our binder may have been previously employed by one of these firms. The work is clearly on par with what those workshops were producing. Whatever the case may have been the binding is an appropriately fine addition to an already beautiful manuscript. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis49 920,00 $US≈ 44 511,82 €

AN ENGLISH VELLUM MANUSCRIPT LEAF, IN LATIN, FROM PETRUS RIGA'S "AURORAABAA

TEXT FROM COMMENTARY ON I KINGS LINES 185-248

réf. ST18542England ca. 1375. 287 x 198 mm. 11 1/4 x 7 3/4. Single column 32 lines in a small rounded English gothic hand with rubrics in the margins. Rubrics in red running title in red paragraph marks in red or blue two initials measuring two lines in height and colored blue with red penwork. See: P. E. Beichner "Aurora Petri Rigae Biblia Versificata A Verse Commentary on the Bible." ◆Remnants of mounting tape in top margin of recto but a really excellent specimen the hand very clear the ink especially rich and the vellum extremely clean and quite bright. Written in a gothic hand heavily influenced by the English secretarial style this leaf comes from a copy of the "Aurora" a commentary on the Bible in verse form written in the late 12th century by French poet Petrus Riga 1140-1209 a canon of Rheims cathedral. Although little is known about the author's life Riga's text became immensely popular throughout Europe and was routinely studied in Medieval universities. According to Beichner "for those who could read Latin it supplied Scriptural lore in a popular form and it also served as a book of popular theology devotional reading moral instruction and entertainment. Its influence was propagated by teachers preachers and lexicographers by poets and other writers. It was studied imitated translated and quoted. Not only was it widely read in monasteries and convents but it was also recommended reading for the sons of nobles." It is interesting to note that although Riga's work was copied numerous times in the 13th century copies from the later Medieval period such as the present work are uncommonly rare. The parent manuscript containing our leaf was previously in the possession of the Dukes of Westminster and was sold at Sotheby's on 11 July 1966 lot 229 when it was advertised as having 267 leaves missing the first gathering plus 13 other leaves. Bookseller Francis Edwards acquired the manuscript at that sale removed three damaged leaves and sold the remainder. It was thereafter broken up and dispersed. Several sister leaves are now in the collections of Marquette University Lawrence University and the University of South Carolina. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis3 900,00 $US≈ 3 477,49 €

A COMPLETE MEDIEVAL VELLUM MANUSCRIPT CALENDAR FROM A BOOK OF HOURS IN LATIN AND FRENCH, WITH A TOTAL OF 24 SMALL MINIATURESABAA

TEXT FROM JANUARY THROUGH DECEMBER

1500réf. ST20810SParis ca. 1500. 163 x 115 mm. 6 1/2 x 4 1/2". 12 leaves. Single column 18 lines in a gothic book hand. Feast days in alternating blue and burnished gold script two-line "KL" initials painted blue with white tracery and embellished with orange and blue ivy on a burnished gold ground each with a spray of gilt leaves and painted flowers one-line "A" initials in burnished gold over a pink and blue ground each page with a panel border of colorful flowers berries and acanthus over a painted gold ground with 24 SMALL MINIATURES depicting the labor of the month on rectos and zodiacal signs on versos. Some moderate smudging and soiling in bottom and fore margins January and February with tiny wormhole in head margin the miniature for January conceivably improved by a later hand but all in all a very lovely Calendar the high-quality paintings very well preserved and the whole with vibrant colors and brightly gleaming gold. Vibrantly illustrated and shimmering with gold this is an excellent example of a complete Calendar that would have appeared at the beginning of a luxuriously appointed Book of Hours. Each month is illustrated with the labor or occupation appropriate for the moment. These are in turn: warming by the fire feasting pruning picking flowers courting threshing hay harvesting wheat baking bread treading grapes sowing feeding hogs and slaughtering a hog. Our artist chose to compose these scenes more as portraits than depictions of actual tasks framing the image around each figure's face and sometimes only including small details that might indicate their occupation. In the month of June for example which depicts threshing hay we see only a sliver of the farmer's sickle and nothing at all of the hay. Instead the farmer himself is the primary focus here: and he is particularly well-executed with gentle shading on his downcast features careful brushstrokes highlighting the gleam of his hair and brushed gold suggesting the sun beating down on a bright June day. In addition to the labor or occupation of the month on the recto the 12 signs of the zodiac are depicted on the verso of each leaf these executed with equal charm and care. In cheerful bright colors our artist has depicted Leo's preening pose and glimmering mane the drama of Sagittarius' drawn bow and the cherubic plumpness of Aquarius molded in bluish shadows. In addition to the aesthetic achievements of its various parts the whole is desirable as a so-called composite Calendar with the name of a saint or special celebration occupying every day of the year. The origin of the composite Calendar is uncertain but the general opinion is that it was formalized in the early 14th century. The Parisian Hours of Jeanne d'Evreaux copied in ca. 1330 has been put forth as an early example. In any case the Calendar was subject to numerous changes in the course of time as various saints were canonized and supplanted those who while still recognized as saintly were deemed to be less favored residents for a particular calendar date. The saints' days on this Calendar are fairly typical for the Use of Paris and given the high-quality illumination liberal use of gold and robust borders it is likely that the parent manuscript was produced by an accomplished atelier in that city. Although single Calendar leaves regularly come on the market complete Calendars--particularly ones with extensive visual programs as here--are much more difficult to acquire. unknown books

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis15 600,00 $US≈ 13 909,94 €