Velin, StephanieBiblio.com
de la Couleur a l'Amertume: L'Ecriture de Michele Lacrosil Bibliotheques Francophones French Edition
Best.-Nr. 50063774like new. unknown
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Best.-Nr. DADAX1604697903New unknown
2003Best.-Nr. SBBIH-3LI2JIZD3XZDDalkey Archive Pr 2003. paperback. Good. Our good condition books are generally good for reading but not for gifting or collecting. They could have imperfections such as creasing fanning inscriptions margin notes yellowing staining on edge or cover or pages bumps scuffs etc etc sometimes multiple of these. It's a wide category that encompasses anything that isn't almost-new down to anything that is slightly better than poor. We would NOT recommend gifting Good books - these should be considered reading copies. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order at least not without checking with us first although we don't always have time to check. We aim to dispatch prompty the service used will depend on order value and book size. We can ship to most countries see our shipping policies. Payment is via Abe only. Dalkey Archive Pr paperback
Best.-Nr. 50063774like new. unknown
1485Best.-Nr. 52035France c.1485-1515. Small8vo. 80 x 12 mm. 1 leaf in vellum single column with text to both verso and recte. Fine flower ornamentation in red blue and gold to outer margin both verso and recte. Horisontal catchword. Small worm-hole to upper right corner far from affecting text. hardcover
Best.-Nr. 52102Presumably late 15th century. 4to 195 x 142. 1 leaf of vellum 21 lines of text recte and 18 lines verso. hardcover
Best.-Nr. 50063774-nnew. unknown
Best.-Nr. ST20295Northern France probably Paris third quarter of 15th century. 130 x 100 mm. 5 1/8 x 3 7/8". Single column 15 lines in an elegant gothic book hand. 280 leaves. First four leaves misbound lacking at least seven leaves five of which probably contained miniatures. Contents: Devotion to the Passion f. 1r; blank f. 4; Calendar f. 5r; Gospel Lessons f. 17r; "Obsecro te" and "O intemerata" f. 23r; blank f. 23; Hours of the Virgin lacking opening leaves for Terce Nones and Vespers f. 33r; Penitential Psalms and Litany f. 100r; Hours of the Cross lacking preliminary leaf f. 120r; Hours of the Holy Spirit p. 123r; Office of the Dead lacking preliminary leaf f. 127r; "Sept Vers de Saint Bernard" and Suffrages f. 176v; series of devotional prayers in Latin and French including the Hours of the Conception an indulgence devotional poems in French prayers for specific occasions such as when facing tribulations going to confession protection against storms and for friends abroad the Stabat Mater the Seven Joys of the Virgin Gospel sequences "Le chemin de paradis" and many others f. 199r; blank f. 280. ESPECIALLY BEAUTIFUL MID-19TH CENTURY LIGHT BROWN MOROCCO LAVISHLY GILT IN THE "FANFARE" STYLE BY CAPÉ stamp-signed in gilt on front turn-in covers with large green and red morocco inlaid panels gilt strapwork scrolling and small star tools raised bands spine compartments with red or green morocco inlay surrounded by gilt scrolling embellishments gilt lettering RED MOROCCO DOUBLURES gilt in the style of Duodo with repeating pattern of flowers encircled by vines marbled endleaves modern paper and vellum flyleaves all edges gilt. Housed in a fine suede-lined pebble-grained leather pull-off case with gilt lettering on spine. Light red ruling and rubrics numerous line-fillers in blue and pink with gilt embellishments many one- and two-line initials in burnished gold on pink and blue ground three four-line initials in pink or blue filled with ivy leaves on a burnished gold ground two of these with a gilt and painted baguette along the outer edge of text and all with a three-quarter border of hairline vines flowers acanthus and gold leaves the majority of the leaves with a panel border of hairline vines and flowers on one side one historiated initial painted blue on a burnished gold ground depicting the Virgin accompanied by a gilt and painted baguette and three-quarter border FOUR SMALL MINIATURES DEPICTING THE APOSTLES each with a gilt and painted baguette and surrounded by a three-quarter border and EIGHT LARGE ARCH-TOPPED MINIATURES above a three-line initial painted blue or pink on gold ground a gilt "L" shaped bar border incorporating colorful flowers and a full border of border of hairline vines flowers acanthus and gold leaves and A HALF-PAGE RECTANGULAR MINIATURE with a border along the lower half. The subjects of the large miniatures include: the Mass of St. Gregory f. 1r; Annunciation f. 33r; Visitation f. 57r; Nativity f. 70r; Adoration of the Magi f. 80v; Crowning of the Virgin f. 94v; David in Prayer f. 100r; Pentecost f. 123r; and a rectangular miniature of the Holy Wound or perhaps the Bleeding Host of Dijon f. 241v. Isolated light rubbing and negligible chips to miniatures the dark blue paint appearing slightly worn in places as is often the case occasional faint smudges to borders and other imperfections but all of these trivial. IN THOROUGHLY FINE CONDITION INTERNALLY--the paint fresh the vellum clean and the margins quite comfortable--AND THE EXTRAORDINARILY FINE BINDING FLAWLESS. In a spectacular 19th century binding this lovely thick little Book of Hours was executed by a talented follower of Maître François and the Master of Jean Rolin and contains a large number of prayers and devotional texts many of them in French. The manuscript includes a fine array of large and small miniatures executed with a colorful palette and careful attention to detail. Particularly noteworthy is the excellent molding of faces. Each figure--no matter their station or importance to the scene--displays unique characteristics that give us a sense of their age sentiments and demeanor. This is an impressive feat given the small scale of the compositions and this individualization adds a great deal of value to the miniatures as well as the viewer's emotional experience connecting to the images. Our artist owes much to the work of the so-called Maître François and slightly before him the Master of Jean Rolin the latter an eponym attached to the illuminator of missals done for Rolin cardinal-bishop of Autun d. 1483. Perhaps of Burgundian origin the Master of Jean Rolin completed his artistic education in Paris probably in the workshop of the Bedford Master and afterward established his own atelier in Burgundy. There he played a key role in the transition from the Bedford Master's slightly more gothic style to the more thoroughly Renaissance style of Maître François who ran the most successful Parisian workshop during the years between 1460 and 1480 producing illuminated manuscripts small and large sacred and secular. Characteristic of Maître François's style are richly colored scenes interiors depicted with considerable detail women and children with pale porcelain complexions and male figures with darker weathered flesh tones--all of which can be seen in the present work. The final miniature present in this work however seems to have been executed by a different artist altogether being rather more flat in appearance and without the detailed facial molding noted earlier. About two-thirds of the manuscript follows fairly regular arrangement of texts with the exception of the Mass of St. Gregory which is misbound at the beginning of the volume. Then following the Suffrages are approximately 80 leaves of devotional texts in Latin and French including popular verses such as the "Seven Joys of the Virgin" and the "Stabat Mater" as well as more unusual texts such as the Hours of the Conception prayers for specific occasions or protections--for example against storms "Contre tempeste" and when one passes over water "Quant on passe par eaue"--indulgences and other related texts. Two of the more interesting passages are "Le chemin de paradis" a French prayer beginning "Qui en paradis veult aller" and a series of Latin poems that claim to be copied from originals found at the church of St. Paul in Rome. These copious additional prayers suggest a high degree of customization for a client who may have been particularly religious or at least very concerned with self-preservation! and they present intriguing possibilities for further study. The manuscript was rebound sometime in the middle years of the 19th century by Capé d. 1867 one of the most distinguished binders in France in his day. He was especially well known for the delicacy of his work which can be observed to great effect in the present example. He was the binder to the Empress Eugenie and Béraldi calls him "the Bozérian of the second Empire." His work has always been highly sought after and it resides in all of the great collections where bindings are considered important. This volume seems to have been sold to bookseller Francis Edwards as lot no. 95 at Sotheby's sale on 3 April 1957 and has been in private hands ever since. The manuscript is a little jewel inside and out and has obviously been a treasured vessel of prayer and art for generations of owners. unknown
Best.-Nr. 87191250. Central Italy c.1250. Matted in fine condition. § A well-painted initial of a man in flowing blue and pink robes holding a book to which he gestures probably Saint Paul. Italian miniature paintings of this period are known to be difficult to localize with any accuracy but as the face is strongly drawn with well-proportioned features it might well hail from central Italy. unknown
Best.-Nr. A9786199164006Paperback / softback. New. paperback
1480Best.-Nr. ST18547Northern France ca. 1480. 164 x 111 mm. 6 1/2 x 4 3/8". Single column 17 lines in a gothic book hand. Rubrics in blue many leaves with line fillers in pink and/or blue with gilt bezants and white tracery each leaf with at least one and often many one- or two-line initials in burnished gold on blue and pink ground with white tracery every side with a panel border consisting of colorful acanthus and different types of flowers on a ground that is either entirely painted gold or with a pattern of painted gold and bare vellum. A few leaves with light wrinkling or a hit of soiling or foxing a couple of leaves with inoffensive marginal repairs but IN VERY FINE CONDITION EXTREMELY CLEAN AND BRIGHT. Featuring both burnished and painted gold in their decoration and offering a multitude of border patterns to choose from these are extremely attractive leaves that are all the more appealing for their fine condition. unknown
1500Best.-Nr. ST20810FParis ca. 1500. 165 x 115 mm. 6 1/2 x 4 1/2". Single column 18 lines in a gothic book hand. Rubrics in red line fillers in pink and blue with gilt bezants and white embellishment most leaves with one or more one-line initials in burnished gold on pink and blue ground with white embellishments and some with one or more two-line initials in blue or pink with white embellishments enclosing leaves or flowers on burnished gold ground each side with panel border of acanthus sprays of flowers and/or fruit and gilt bezants five with a well-realized bird or insect in the borders two with with small mounds of fruit or flowers emerging from a golden vase. Some leaves with small marks smudges or other minor imperfections but generally in excellent condition being quite clean fresh and altogether attractive. Featuring high-quality illuminated initials a fine border on every page and the liberal use of painted and burnished gold these leaves clearly come from a luxurious Book of Hours produced by an accomplished workshop. Although a common element is the appearance of prominent blue acanthus every panel border shows a slightly different design including those with flowers emanating from golden chalices mounds of grape vines or charming well-realized birds or bees. These leaves are especially delightful carefully painted and very well preserved. unknown
1617Best.-Nr. 43152Venetia: Apresso Gio. Battista Ciotti 1617. Seconda impressione two parts in one folio pp. 12 609 1 8 236; a6 A-2N8 2O-2p6 †4 A-O8 P6; V4 of the first section missigned R4 with manuscript cancellation; woodcut printer's device initials and head- and tail-pieces; title page printed in red and black; text in double columns; full contemporary vellum soiling calf bands manuscript spine title and ornamentation; vertical hatch marks to upper cover edges quite rubbed and worn; endpapers supplied title page edges rather ragged minor worming to preliminaries else textblock mostly very good. Small period manuscript paper label "Ad usum A.M.L. Parm." mounted to bottom of title page. Zaunmüller p. 209. OCLC does not locate any copies in the United States. Apresso Gio. Battista Ciotti unknown
1928Best.-Nr. 120551928. Original illuminated large manuscript page on vellum comprising a central panel of calligraphic text in red and black ink with a miniature of a young herald surrounded by a decorative border of larger armorial shields set within a stylised foliate background in blue red green and gilt with a fine miniature of a knight’s tournament at the foot. 41 x 25.5cm. Mounted on card with ink title to the head: “Illuminated page on vellum. / Testimony of study for Board of Education Exam in industrial design 1928.” In very good condition.WITH: Two further pencil drawings by the same artist the first of an elderly gentleman the second of a classical sculpture measuring 57.5 x 38cm and 56 x 39cm respectively each signed “Bate” and dated 1927. The pencil drawings have a few short tears to the edges otherwise they are in very good condition. A fine example of 1920s illumination hardcover
1500Best.-Nr. ST20810GParis ca. 1500. 165 x 115 mm. 6 1/2 x 4 1/2". Single column 18 lines in a gothic book hand. Rubrics in red line fillers in pink and blue with gilt bezants and white embellishment each leaf with one or more one-line initials in burnished gold on pink and blue ground with white embellishments and one two-line initial in blue or pink with white embellishments enclosing leaves or flowers on burnished gold ground EACH SIDE WITH A PANEL BORDER INCORPORATING AN ANIMAL OR HYBRID CREATURE and filled with acanthus flowers and/or fruit and gilt bezants. Light soiling or thumbing to some leaves but in uniformly excellent condition almost entirely clean fresh and bright. Whether you prefer your marginalia in the form of beautiful peacocks murderous-looking bunnies or fantastic hybrids these leaves feature pleasing creatures fanciful and charming. Featuring high-quality illuminated initials a fine border on every page and the liberal use of painted and burnished gold the leaves clearly come from a luxurious Book of Hours produced by an accomplished workshop. The marginal creatures are prominent executed with considerable skill and exhibit a great deal of personality. unknown
Best.-Nr. 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
Best.-Nr. 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
Best.-Nr. 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
Best.-Nr. 1713268612.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1475Best.-Nr. ST19653LNorthern France ca. 1475. 155 x 110 mm. 6 x 4 1/4". Single column 16 lines in a gothic book hand. Rubrics in red line fillers in pink and blue with gilt bezants and white embellishment most leaves with one or more one-line initials in burnished gold on pink and blue ground with white embellishments and some with one or more two-line initials in blue or pink with white embellishments enclosing leaves or flowers on burnished gold ground each side with panel border of acanthus sprays of flowers and/or fruit and gilt bezants five with a well-realized bird or insect in the borders two with small mounds of fruit or flowers emerging from a golden vase. In fine fresh condition very clean and with wide margins. Undoubtedly the work of a top atelier these lovely manuscript leaves have been written and decorated with a high degree of skill. Each leaf features multiple glittering initials and the delicate panel borders add a bit of extra sparkle to the page. The price is meant to be as attractive as the decoration. unknown
1520Best.-Nr. 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
Best.-Nr. 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
Best.-Nr. 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
Best.-Nr. 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
Best.-Nr. ST20846BSouthern 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 and one two-line gilt initial on blue and pink ground with bar border extensions in gold blue and pink. Occasional contemporary or later marginal notations; upper corners with modern foliation in pencil. Gold occasionally just a little dulled some leaves with small smudges light soiling or other minor issues but generally in extremely pleasing condition. Featuring restrained but elegant decoration these leaves come from a charming little 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. Psalter-Hours are not nearly as common on the market as their later descendants Books of Hours; and the present leaves are quite lovely examples being neatly executed and in very nice condition. unknown
1450Best.-Nr. ST11774EParis ca. 1450. 159 x 108 mm. 6 1/4 x 4 1/4". Single column 15 lines per page in an excellent gothic book hand. Rubrics in red each leaf with line fillers and multiple one- and two-line initials in burinshed gold on red and blue ground with white tracery one or both sides with swirling panel border featuring flowers leaves strawberries and many burnished gold ivy leaves on hairline stems. Isolated trivial stains or imperfections but VERY BRIGHT CLEAN AND FRESH. In fine condition beautifully decorated and sparkling with gold these leaves are marvelous examples of a high-quality Parisian Book of Hours made for a person of means. The borders here are especially pleasing with skeins of hairline vines accented by burnished bezants and ivy bright blue and gold acanthus pale green leaves and cheerful red blossoms. For leaves at other price points please check our website. unknown
