1415Best.-Nr. ST17763Paris ca. 1415-20. Leaf: 160 x 110 mm. 6 1/4 x 3/8"; Frame: 232 x 185 mm. 9 1/8 x 7 1/4". Recto with three lines single column in a gothic book hand verso not inspected due to frame. Mounted in a wooden frame. Recto with a three-line initial in blue on gold ground embellished with ivy leaves A HALF-PAGE MINIATURE DEPICTING THE MASS OF ST. GREGORY the recently crucified Christ depicted emerging from a tomb supported by an angel and surrounded by the Arma Christi St. Gregory kneeling at the corner of the image the text and miniature framed by thick bar borders of pink blue and gold on three sides all SURROUNDED BY A FULL BORDER of hairline vines gilt ivy leaves and bezants and a few colorful flowers and acanthus. A little faint smudging in top and bottom borders very small scarcely noticeable area of blue background retouched not affecting the figures but A BEAUTIFUL LEAF the colors bright and the detail in the miniature very well preserved. Featuring carefully realized detail intriguing iconography and artistry that shows a very high degree of skill this is an important and early example of the work of the Master of the Harvard Hannibal. The subject of the present work is a well-known story about the sixth century Pope Gregory ca. 540-604 commonly known as St. Gregory the Great. According to legend Gregory was saying Mass when one of his deacons expressed a doubt in the doctrine of Transubstantiation whereby the communion bread actually becomes the body of Christ. Gregory prayed to God for a verifying sign whereupon Christ appeared in the guise of the Man of Sorrows clad in a loincloth and displaying the bloody wounds he incurred during the Crucifixion. Most Medieval miniatures depict Gregory kneeling before an altar as he says Mass accompanied by one or more deacons or assistants who bear witness to the miraculous event. In a notable departure from this norm the present miniature depicts the saint alone at the edge of the picture plane; in place of the chalice host and altar that would normally occupy the center of the scene is a considerable open tomb from which a larger-than-life-size Christ emerges. With blood still rushing from his wounds he places one hand on the edge of the tomb to steady himself while an angel supports him from behind. Christ's expression conveys both physical and mental pain as he struggles to support his own bodyweight; the angel who assists him spreads his wings protectively around the body of Christ while looking down at Gregory with a sorrowful expression knitted into his brow. The fine detail work seen in the figures' faces the angel's wings and the careful delineation of each slender finger is also carried over into more than a dozen objects crammed into the spaces in and around the tomb the rope is especially remarkable in the representation of its detail. Known as the "Arma Christi" or "Instruments of the Passion" these objects are meant to symbolize Christ's suffering. Seen here are: the cross nails and hammer that were used to crucify Christ the ladder used in the Deposition the disembodied hand symbolizing the one which slapped Christ's face the dice used by soldiers to see who would claim his seamless robe a lantern used by the soldiers who arrested Christ the 30 pieces of silver from Judas' betrayal a purple robe used in the mockery of Christ and other items that appear as part of the Passion narrative. It is also interesting to note that although a St. Gregory miniature usually appears at the beginning of the Hours of the Cross the Penitential Psalms or before the Seven Prayers of St. Gregory here rather unusually it opens a reading from John chapter 19 beginning "In illo tempore adprehendit Pilatus Iesum et flagellavit" describing the events of the Passion. This miniature can be attributed to an artist known as the Master of the Harvard Hannibal so-named for a splendid miniature painting of the "Coronation of Hannibal" prefacing a Livy in the Harvard College Library. Active from about 1415-30 in Paris and later possibly Rouen it is believed that our illuminator was a pupil of the Boucicaut Master with whom he is thought to have collaborated on several manuscripts both secular and religious. The present miniature would probably have been executed early in his career and while it certainly shows the influence of his teacher it also reveals certain stylistic tendencies that would become staples of the Master of the Harvard Hannibal's more mature work such as his preference for rich colors heavy molding of the faces and interest in decorative details. With its clever composition meticulous detail work and emotive figures that engage the viewer the present miniature is not only a beautiful work of art it also documents the precocious talent of an emerging master early in his professional career. unknown books
1415Best.-Nr. ST17763Paris ca. 1415-20. Leaf: 160 x 110 mm. 6 1/4 x 3/8"; Frame: 232 x 185 mm. 9 1/8 x 7 1/4". Recto with three lines single column in a gothic book hand verso not inspected due to frame. Mounted in a wooden frame. Recto with a three-line initial in blue on gold ground embellished with ivy leaves A HALF-PAGE MINIATURE DEPICTING THE MASS OF ST. GREGORY the recently crucified Christ depicted emerging from a tomb supported by an angel and surrounded by the Arma Christi St. Gregory kneeling at the corner of the image the text and miniature framed by thick bar borders of pink blue and gold on three sides all SURROUNDED BY A FULL BORDER of hairline vines gilt ivy leaves and bezants and a few colorful flowers and acanthus. A little faint smudging in top and bottom borders very small scarcely noticeable area of blue background retouched not affecting the figures but A BEAUTIFUL LEAF the colors bright and the detail in the miniature very well preserved. Featuring carefully realized detail intriguing iconography and artistry that shows a very high degree of skill this is an important and early example of the work of the Master of the Harvard Hannibal. The subject of the present work is a well-known story about the sixth century Pope Gregory ca. 540-604 commonly known as St. Gregory the Great. According to legend Gregory was saying Mass when one of his deacons expressed a doubt in the doctrine of Transubstantiation whereby the communion bread actually becomes the body of Christ. Gregory prayed to God for a verifying sign whereupon Christ appeared in the guise of the Man of Sorrows clad in a loincloth and displaying the bloody wounds he incurred during the Crucifixion. Most Medieval miniatures depict Gregory kneeling before an altar as he says Mass accompanied by one or more deacons or assistants who bear witness to the miraculous event. In a notable departure from this norm the present miniature depicts the saint alone at the edge of the picture plane; in place of the chalice host and altar that would normally occupy the center of the scene is a considerable open tomb from which a larger-than-life-size Christ emerges. With blood still rushing from his wounds he places one hand on the edge of the tomb to steady himself while an angel supports him from behind. Christ's expression conveys both physical and mental pain as he struggles to support his own bodyweight; the angel who assists him spreads his wings protectively around the body of Christ while looking down at Gregory with a sorrowful expression knitted into his brow. The fine detail work seen in the figures' faces the angel's wings and the careful delineation of each slender finger is also carried over into more than a dozen objects crammed into the spaces in and around the tomb the rope is especially remarkable in the representation of its detail. Known as the "Arma Christi" or "Instruments of the Passion" these objects are meant to symbolize Christ's suffering. Seen here are: the cross nails and hammer that were used to crucify Christ the ladder used in the Deposition the disembodied hand symbolizing the one which slapped Christ's face the dice used by soldiers to see who would claim his seamless robe a lantern used by the soldiers who arrested Christ the 30 pieces of silver from Judas' betrayal a purple robe used in the mockery of Christ and other items that appear as part of the Passion narrative. It is also interesting to note that although a St. Gregory miniature usually appears at the beginning of the Hours of the Cross the Penitential Psalms or before the Seven Prayers of St. Gregory here rather unusually it opens a reading from John chapter 19 beginning "In illo tempore adprehendit Pilatus Iesum et flagellavit" describing the events of the Passion. This miniature can be attributed to an artist known as the Master of the Harvard Hannibal so-named for a splendid miniature painting of the "Coronation of Hannibal" prefacing a Livy in the Harvard College Library. Active from about 1415-30 in Paris and later possibly Rouen it is believed that our illuminator was a pupil of the Boucicaut Master with whom he is thought to have collaborated on several manuscripts both secular and religious. The present miniature would probably have been executed early in his career and while it certainly shows the influence of his teacher it also reveals certain stylistic tendencies that would become staples of the Master of the Harvard Hannibal's more mature work such as his preference for rich colors heavy molding of the faces and interest in decorative details. With its clever composition meticulous detail work and emotive figures that engage the viewer the present miniature is not only a beautiful work of art it also documents the precocious talent of an emerging master early in his professional career. unknown
1500Best.-Nr. ST20810BParis 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 many leaves 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 flowers and/or fruit and gilt bezants one leaf with a small bird perched in the border sold at this price level due to an ink smear. The odd smudge of small stain but generally quite clean fresh and well preserved. 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 with varying flower combinations a fact that may make selecting a single favorite quite difficult!. unknown books
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 books
Best.-Nr. ST20972dParis: Nicolas Vivien early 16th century. 197 x 130 mm. 7 3/4 x 5 1/8". Single column 28 lines gothic typeface. Ruled in red each leaf with several one- to three-line initials painted gold on red or blue ground and A LOVELY ANIMATED FULL BORDER DONE IN MANUSCRIPT with trompe-l'oeil flowers a moth a fly and a bird on painted gold ground. Light soiling and a couple small stains to vellum one initial a bit smudged but in excellent condition overall. This beautifully embellished leaf from a printed Book of Hours demonstrates the enduring demand for manuscript illumination in the incunabular period and beyond. While the text here was completed on a printing press the initials and border were done entirely by hand adding luxury and luster to an otherwise unadorned page. Although this leaf likely belonged to a Book of Hours printed in Paris possibly an edition printed for Nicolas Vivien in or around 1503 the trompe-l'oeil style seen in the border was particularly popular among Flemish and Netherlandish illuminators of the period. The large blossoms and acanthus here seem to pop off the page because of the artist's use of subtle shading to indicate shadows and there is additional pleasure to be found in the small creatures--a bird carrying a small flower a moth and a housefly--that share the space. Nicolas Vivien(?) unknown books
Best.-Nr. ST20972b-cParis: Nicolas Vivien early 16th century. 197 x 130 mm. 7 3/4 x 5 1/8". Single column 28 lines gothic typeface. Ruled in red two one-line initials and two three-line initials painted in gold on red or blue ground and A LOVELY ANIMATED FULL PAINTED BORDER done by hand with trompe-l'oeil flowers one leaf also with a moth on painted gold ground. Top margin a little small light soiling to vellum borders with a couple superficial scratches and tiny smudges but in excellent condition overall. These beautifully embellished leaves from a printed Book of Hours demonstrate the enduring demand for manuscript illumination in the incunabular period and beyond. While the text here was completed on a printing press the initials and borders were done entirely by hand adding luxury and luster to otherwise unadorned pages. Although these leaves likely belonged to a Book of Hours printed in Paris possibly an edition printed for Nicolas Viven in or around 1503 the trompe-l'oeil style seen in the borders was particularly popular among Flemish and Netherlandish illuminators of the period. Because of the artist's use of subtle shading to indicate shadows the large blossoms here seem to pop off the page and one of the leaves contains a delicate little moth--attracted perhaps by the gleaming painted gold ground. Nicolas Vivien(?) unknown books
Best.-Nr. ST19350-058Germany 15th century. 237 x 176 9 1/4 x 6 7/8". Single column seven lines of text with four-line staves in a gothic hand. Staves and several large initials in red. Paper spine labels shelf mark in blue pencil on verso. Recovered from a binding and thus with some soiling to vellum one line partially obscured by later labels one side covered with thin paper but the lines still visible beneath it and the side that was later the outer portion of the binding completely legible and in excellent condition. This specimen presents an excellent opportunity to examine how Medieval manuscripts were used in the construction of later bindings. The two preserved spine labels tell us that after its first life in the 15th century the leaf was recycled to cover a copy of a legal work titled "De jurisdictione et poteitate judicis" dealing with the jurisdiction and power of judges. The manuscript leaf originally comes from an Antiphonary or Gradual containing the sung parts of the Divine Office or Mass. The musical notation is a typical example of German Hufnagel notes resembling the appearance of square-headed horseshoe nails from which the term derives. unknown books
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 books
1475Best.-Nr. ST19653HNorthern France ca. 1475. 155 x 110 mm. 6 x 4 1/4". Single column 16 lines in a gothic book hand. Rubrics in dark pink some leaves with line fillers in pink and blue with white embellishment and gilt bezants each leaf with at least two and some with many initials measuring one or two lines either in gilt on a pink and blue ground with white embellishment or painted blue with white embellishment filled with flowers or ivy on a gilt ground each leaf with at least one panel border of hairline vines gilt ivy and bezants and painted flowers. Occasional light soiling wrinkling and offsetting a couple leaves with smudges to initials or other very minor imperfections but in fine fresh condition overall very clean and with wide margins. Undoubtedly the work of a significant atelier these attractive manuscript leaves have been written and decorated with a high degree of skill. Many of the leaves feature numerous glittering initials and the delicate panel borders add a bit of extra sparkle to the page. unknown books
1475Best.-Nr. ST19653GNorthern France ca. 1475. 155 x 110 mm. 6 x 4 1/4". Single column 16 lines in a gothic book hand. Rubrics in dark pink some leaves with line fillers in pink and blue with white embellishment and gilt bezants each leaf with at least one and some with many one- to three-line initial either in gilt on a pink and blue ground with white embellishment or painted blue with white embellishment filled with flowers or ivy on a gilt ground most leaves with one panel border of hairline vines gilt ivy and bezants and painted flowers. Occasional light soiling wrinkling and other very minor imperfections but in fine fresh condition overall 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. Many of the leaves feature numerous glittering initials and the delicate panel borders add a bit of extra sparkle to the page. unknown books
Best.-Nr. ST21065CNortheastern 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. Later ink foliation in upper right corners. See: de Hamel Christopher. "Medieval and Renaissance Manuscripts from the Library of Sir Sydney Cockerell" British Library Journal 13 1987. Vellum with light soiling and a little light creasing mostly marginal a few negligible marks but very clean and in excellent condition. 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 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
Best.-Nr. 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
Best.-Nr. ST21065BNortheastern 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 at least one large initial 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; a couple leaves with remnants of older manuscript leaves 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 light to moderate soiling to vellum some leaves with light creasing small stains and/or wormholes a few leaves with more noticeable flaws but still in very good presentable condition. 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
Best.-Nr. ST21065ANortheastern 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 some leaves with one-line initials in red or blue some with contrasting penwork each leaf with two 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; one leaf with marginal notations in later hands. 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 light to moderate soiling to vellum some leaves with light creasing small stains and/or wormholes but still in very good presentable condition. 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've offered for sale over the years have 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--and they are leaves 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 at various prices please see our website. unknown books
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 books
Best.-Nr. ST19578Northern Italy last quarter of 15th century. Each leaf measuring 250 x 164 mm. 9 7/8 x 6 3/8". Single column 24 lines in a handsome humanist hand. Each leaf with three to four large initials one measuring two lines all others three lines in burnished gold in-filled with pink and green paint with white embellishment on blue ground with white embellishments. Insignificant wrinkling and a couple faint creases to vellum tiny snag along top edge of each leaf but IN VERY FINE CONDITION the vellum especially clean and bright the paint and ink fresh and the margins generous. Written in a beautiful humanistic script enclosed by wide margins and adorned with tasteful gilt initials these leaves come from what must have been a particularly fine manuscript made for a person of means. The text comes from the "Rhetorica ad Herennium" which was long attributed to Cicero but is now believed to have been written ca. 80 B.C. by an unknown scholar. This guide to rhetoric remained influential through the Renaissance in large part because of its thorough treatment of rhetorical devices. The style of the initials--elegant burnished gold on a ground of pale pink green and sapphire blue with whisps of white embellishments--suggest that the manuscript was executed in Northern Italy perhaps Milan Bologna or Florence by a craftsman of great technical skill. Fine examples of humanistic script are becoming increasingly difficult to find on the market and the present examples are among the loveliest we have ever acquired. unknown books
Best.-Nr. ST20972dParis: Nicolas Vivien early 16th century. 197 x 130 mm. 7 3/4 x 5 1/8". Single column 28 lines gothic typeface. Ruled in red each leaf with several one- to three-line initials painted gold on red or blue ground and A LOVELY ANIMATED FULL BORDER DONE IN MANUSCRIPT with trompe-l'oeil flowers a moth a fly and a bird on painted gold ground. Light soiling and a couple small stains to vellum one initial a bit smudged but in excellent condition overall. This beautifully embellished leaf from a printed Book of Hours demonstrates the enduring demand for manuscript illumination in the incunabular period and beyond. While the text here was completed on a printing press the initials and border were done entirely by hand adding luxury and luster to an otherwise unadorned page. Although this leaf likely belonged to a Book of Hours printed in Paris possibly an edition printed for Nicolas Vivien in or around 1503 the trompe-l'oeil style seen in the border was particularly popular among Flemish and Netherlandish illuminators of the period. The large blossoms and acanthus here seem to pop off the page because of the artist's use of subtle shading to indicate shadows and there is additional pleasure to be found in the small creatures--a bird carrying a small flower a moth and a housefly--that share the space. Nicolas Vivien(?) unknown
Best.-Nr. ST20972b-cParis: Nicolas Vivien early 16th century. 197 x 130 mm. 7 3/4 x 5 1/8". Single column 28 lines gothic typeface. Ruled in red two one-line initials and two three-line initials painted in gold on red or blue ground and A LOVELY ANIMATED FULL PAINTED BORDER done by hand with trompe-l'oeil flowers one leaf also with a moth on painted gold ground. Top margin a little small light soiling to vellum borders with a couple superficial scratches and tiny smudges but in excellent condition overall. These beautifully embellished leaves from a printed Book of Hours demonstrate the enduring demand for manuscript illumination in the incunabular period and beyond. While the text here was completed on a printing press the initials and borders were done entirely by hand adding luxury and luster to otherwise unadorned pages. Although these leaves likely belonged to a Book of Hours printed in Paris possibly an edition printed for Nicolas Viven in or around 1503 the trompe-l'oeil style seen in the borders was particularly popular among Flemish and Netherlandish illuminators of the period. Because of the artist's use of subtle shading to indicate shadows the large blossoms here seem to pop off the page and one of the leaves contains a delicate little moth--attracted perhaps by the gleaming painted gold ground. Nicolas Vivien(?) unknown
Best.-Nr. ST19350-058Germany 15th century. 237 x 176 9 1/4 x 6 7/8". Single column seven lines of text with four-line staves in a gothic hand. Staves and several large initials in red. Paper spine labels shelf mark in blue pencil on verso. Recovered from a binding and thus with some soiling to vellum one line partially obscured by later labels one side covered with thin paper but the lines still visible beneath it and the side that was later the outer portion of the binding completely legible and in excellent condition. This specimen presents an excellent opportunity to examine how Medieval manuscripts were used in the construction of later bindings. The two preserved spine labels tell us that after its first life in the 15th century the leaf was recycled to cover a copy of a legal work titled "De jurisdictione et poteitate judicis" dealing with the jurisdiction and power of judges. The manuscript leaf originally comes from an Antiphonary or Gradual containing the sung parts of the Divine Office or Mass. The musical notation is a typical example of German Hufnagel notes resembling the appearance of square-headed horseshoe nails from which the term derives. unknown
Best.-Nr. ST21065ANortheastern 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 some leaves with one-line initials in red or blue some with contrasting penwork each leaf with two 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; one leaf with marginal notations in later hands. 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 light to moderate soiling to vellum some leaves with light creasing small stains and/or wormholes but still in very good presentable condition. 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've offered for sale over the years have 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--and they are leaves 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 at various prices please see our website. unknown
Best.-Nr. ST21065CNortheastern 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. Later ink foliation in upper right corners. See: de Hamel Christopher. "Medieval and Renaissance Manuscripts from the Library of Sir Sydney Cockerell" British Library Journal 13 1987. Vellum with light soiling and a little light creasing mostly marginal a few negligible marks but very clean and in excellent condition. 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 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
Best.-Nr. 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
Best.-Nr. ST21065BNortheastern 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 at least one large initial 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; a couple leaves with remnants of older manuscript leaves 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 light to moderate soiling to vellum some leaves with light creasing small stains and/or wormholes a few leaves with more noticeable flaws but still in very good presentable condition. 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
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
1475Best.-Nr. ST19653HNorthern France ca. 1475. 155 x 110 mm. 6 x 4 1/4". Single column 16 lines in a gothic book hand. Rubrics in dark pink some leaves with line fillers in pink and blue with white embellishment and gilt bezants each leaf with at least two and some with many initials measuring one or two lines either in gilt on a pink and blue ground with white embellishment or painted blue with white embellishment filled with flowers or ivy on a gilt ground each leaf with at least one panel border of hairline vines gilt ivy and bezants and painted flowers. Occasional light soiling wrinkling and offsetting a couple leaves with smudges to initials or other very minor imperfections but in fine fresh condition overall very clean and with wide margins. Undoubtedly the work of a significant atelier these attractive manuscript leaves have been written and decorated with a high degree of skill. Many of the leaves feature numerous glittering initials and the delicate panel borders add a bit of extra sparkle to the page. unknown
