Illuminated manuscript leaf on vellumBiblio.com
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ref. 1059101350. Tuscany: c. 1350. Folio 430 x 308 mm. Single leaf. With four-line staves of music on both sides with five recto and six verso lines of text beneath. With a very fine initial 'A' in Tuscan colors. The top edge has been repaired perhaps at the time with a strip of vellum for unknown reasons perhaps a mark of ownership removed. Otherwise in very good condition generally clean and fresh and with ample margins. § A fine early Tuscan leaf being the responses and versicles for the first reading at Matins. The leaf opens: "Absterget Deus omnem lacrimam ab oculis." Provenance: Bernard M. Rosenthal 1995 with his notes; private collection San Francisco. unknown
ref. 1059101350. Tuscany: c. 1350. Folio 430 x 308 mm. Single leaf. With four-line staves of music on both sides with five recto and six verso lines of text beneath. With a very fine initial 'A' in Tuscan colors. The top edge has been repaired perhaps at the time with a strip of vellum for unknown reasons perhaps a mark of ownership removed. Otherwise in very good condition generally clean and fresh and with ample margins. § A fine early Tuscan leaf being the responses and versicles for the first reading at Matins. The leaf opens: "Absterget Deus omnem lacrimam ab oculis." Provenance: Bernard M. Rosenthal 1995 with his notes; private collection San Francisco. unknown books
1952ref. 015764Paris Pierre Seghers 1952 In-4 Broché à la japonaise Signé par l'auteur
ref. ST20978Italy probably Tuscany first half of 12th century. Each half approximately 134 x 198 mm. 5 1/4 x 8 3/4". Single column 13 lines of text with neumes in a rounded proto-gothic hand. Rubrics and clef line in red two one-line initials in red A THREE-LINE ROMANESQUE WHITE-VINE INITIAL measuring 50 mm. tall in a pale yellow wash enclosing scrolling white-vines on a ground of green blue and red. Each half with a long closed tear one marginal the other touching text the part with the initial trimmed at top apparently cutting off all or part of a line lower end of initial a little faded and slightly trimmed the recto of the lower half rather faded but text discernible with close observation several small stains a small hole and other minor problems associated with being used as binding material; nevertheless in presentable condition with a once lovely and still pleasing initial. The refined Romanesque white-vine initial here opens the responsory "Hodie dilectissimi omnium" "Today the most beloved of all" for the feast of All Saints. Composed of light color washes paired with a vibrant red and featuring vines with acanthus-like curls the initial is simple but very elegant. The leaf probably comes from an antiphonary or similar manuscript containing the music to be sung for Mass with neumes organized around a single stave above each line of text. Unlike earlier notation which functioned as more of an aide-mémoire for singers who had already memorized the melody the notation here actually allows the singer to "read" the music: diastematic neumes show changes in melodic direction and the stave here labeled either "A" "C" or "F" clef for further clarity indicates the relative pitch of each note. The upper half of a leaf from the same parent manuscript was sold at Van de Wiele Auctions on 9 March 2024 lot 867 and was attributed to Tuscany based on the style its decoration which like our initial included distinctive acanthus sprays as well as muted washes of yellow green and blue. unknown
ref. ST20978Italy probably Tuscany first half of 12th century. Each half approximately 134 x 198 mm. 5 1/4 x 8 3/4". Single column 13 lines of text with neumes in a rounded proto-gothic hand. Rubrics and clef line in red two one-line initials in red A THREE-LINE ROMANESQUE WHITE-VINE INITIAL measuring 50 mm. tall in a pale yellow wash enclosing scrolling white-vines on a ground of green blue and red. Each half with a long closed tear one marginal the other touching text the part with the initial trimmed at top apparently cutting off all or part of a line lower end of initial a little faded and slightly trimmed the recto of the lower half rather faded but text discernible with close observation several small stains a small hole and other minor problems associated with being used as binding material; nevertheless in presentable condition with a once lovely and still pleasing initial. The refined Romanesque white-vine initial here opens the responsory "Hodie dilectissimi omnium" "Today the most beloved of all" for the feast of All Saints. Composed of light color washes paired with a vibrant red and featuring vines with acanthus-like curls the initial is simple but very elegant. The leaf probably comes from an antiphonary or similar manuscript containing the music to be sung for Mass with neumes organized around a single stave above each line of text. Unlike earlier notation which functioned as more of an aide-mémoire for singers who had already memorized the melody the notation here actually allows the singer to "read" the music: diastematic neumes show changes in melodic direction and the stave here labeled either "A" "C" or "F" clef for further clarity indicates the relative pitch of each note. The upper half of a leaf from the same parent manuscript was sold at Van de Wiele Auctions on 9 March 2024 lot 867 and was attributed to Tuscany based on the style its decoration which like our initial included distinctive acanthus sprays as well as muted washes of yellow green and blue. unknown books
1460ref. ST12835Paris ca. 1460. 195 x 143 mm. 7 3/4 x 5 1/2". Single column 16 lines in a gothic book hand. Minor feast days in red and blue major feasts in gold numerous gold and painted line fillers the five "A" initials and the "KL" highly decorative and painted pink and blue against a gold background gold and pink bar surrounding the text on three sides BOTH SIDES OF THE LEAF WITH EXTRAVAGANTLY DECORATIVE BOTANICAL FULL BORDERS with two small birds hidden within and INCORPORATING TWO MEDALLION MINIATURES DEPICTING THE LABOR OF THE MONTH SOWING AND THE SIGN OF THE ZODIAC SCORPIO FOR OCTOBER. ◆IN VERY FINE FRESH CONDITION with gold and paint extraordinarily bright. The extraordinarily lavish and animated full borders coupled here with extensive use of brushed and burnished gold--for major feast days for decorative border elements and even for the hundreds of seeds being sown!--suggests that this calendar folio comes from a Book of Hours that was commissioned for a person or persons of high rank since it would have been very costly. The leaf comes from a manuscript that included numerous roundels depicting the lives of St. Catherine and the more obscure St. Alexius and it is possible that the Book of Hours belonged to a husband and wife for whom these saints served as patrons. The style of the delicately painted figures especially in the roundels indicates an artist who was familiar with the early output of the Coëtivy Master who according to Avril and Renaud can be identified with Colin d'Amiens who made a great name for himself in Paris not as was previously thought with Henri de Vulcop who made a great name for himself in the Loire region. The master takes his name from the Book of Hours now in the Austrian national library that he painted for Olivier de Coëtivy and his wife Marie de Valois one of some 30 works that have been identified as his. Although there is considerable Flemish influence that can be seen in his work he has links for example with Simon Marmion Colin d'Amiens was active in Paris during the third quarter of the 15th century and with Barthélmy van Eyck and Jean Fouquet was among the three great artists of this period patronized by the French court--Avril and Renaud says flatly that our master was "the most important artist practising in Paris in the third quarter of the century from about 1450 to 1485." For more on the Coëtivy Master see Avril and Reynaud pp. 58-69. unknown
1465ref. ST17243bBruges ca. 1465. 193 x 145 mm. 7 5/8 x 5 3/4". Single column 21 lines in a gothic book hand. Rubrics in red one two-line initial in gold filled with blue on pink ground WITH THREE LARGE HISTORIATED INITIALS: ONE FEATURING AN OVAL-SHAPED PIECE OF FLESH WITH A GASH IN THE CENTER AND TWO WITH CHRIST'S DISEMBODIED FOOT SHOWING THE PUNCTURE WOUND FROM THE CRUCIFIXION each initial in pink or blue with white tracery filled with dark pink and thin gilt lines and dots four wavy blue rays radiating from behind each appendage all within a thin gilt frame both sides with a three-quarter border consisting of hairline vines gold bezants and a few colorful flowers. ◆Vellum a shade less than bright faint marginal rumpling trivial paint transfer on one initial BUT IN FINE CONDITION the initials richly painted and extremely well preserved. From a manuscript probably produced in Bruges for the English market this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck Passion Cycle images enjoyed a particular vogue in 15th century Dutch Flemish and English Books of Hours including those that were exported to England. In the present example the strikingly unusual imagery includes the wounds of the left and right foot as well as the spear injury to Christ's side depicted as an oval piece of flesh with a laceration across the center. A sister leaf to the present item features three additional initials showing a portrait of Christ wearing the Crown of Thorns his gaze fixed directly at the viewer and in separate initials his left and right hands appear disembodied and displaying the stigmata. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 lot 16 the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester with their names crossed out indicating that it was in England through at least the time of the Reformation and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant with miniatures possibly by his chief assistant the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library MS Widener 3 and the Huntington HM 1086--both of which were produced in Flanders or the Netherlands around the same time as the present work. The present leaf surpasses both of these examples in terms of excellence of the artistic hand and attention to detail. unknown
1460ref. ST12835Paris ca. 1460. 195 x 143 mm. 7 3/4 x 5 1/2". Single column 16 lines in a gothic book hand. Minor feast days in red and blue major feasts in gold numerous gold and painted line fillers the five "A" initials and the "KL" highly decorative and painted pink and blue against a gold background gold and pink bar surrounding the text on three sides BOTH SIDES OF THE LEAF WITH EXTRAVAGANTLY DECORATIVE BOTANICAL FULL BORDERS with two small birds hidden within and INCORPORATING TWO MEDALLION MINIATURES DEPICTING THE LABOR OF THE MONTH SOWING AND THE SIGN OF THE ZODIAC SCORPIO FOR OCTOBER. ◆IN VERY FINE FRESH CONDITION with gold and paint extraordinarily bright. The extraordinarily lavish and animated full borders coupled here with extensive use of brushed and burnished gold--for major feast days for decorative border elements and even for the hundreds of seeds being sown!--suggests that this calendar folio comes from a Book of Hours that was commissioned for a person or persons of high rank since it would have been very costly. The leaf comes from a manuscript that included numerous roundels depicting the lives of St. Catherine and the more obscure St. Alexius and it is possible that the Book of Hours belonged to a husband and wife for whom these saints served as patrons. The style of the delicately painted figures especially in the roundels indicates an artist who was familiar with the early output of the Coëtivy Master who according to Avril and Renaud can be identified with Colin d'Amiens who made a great name for himself in Paris not as was previously thought with Henri de Vulcop who made a great name for himself in the Loire region. The master takes his name from the Book of Hours now in the Austrian national library that he painted for Olivier de Coëtivy and his wife Marie de Valois one of some 30 works that have been identified as his. Although there is considerable Flemish influence that can be seen in his work he has links for example with Simon Marmion Colin d'Amiens was active in Paris during the third quarter of the 15th century and with Barthélmy van Eyck and Jean Fouquet was among the three great artists of this period patronized by the French court--Avril and Renaud says flatly that our master was "the most important artist practising in Paris in the third quarter of the century from about 1450 to 1485." For more on the Coëtivy Master see Avril and Reynaud pp. 58-69. unknown books
1465ref. ST17243bBruges ca. 1465. 193 x 145 mm. 7 5/8 x 5 3/4". Single column 21 lines in a gothic book hand. Rubrics in red one two-line initial in gold filled with blue on pink ground WITH THREE LARGE HISTORIATED INITIALS: ONE FEATURING AN OVAL-SHAPED PIECE OF FLESH WITH A GASH IN THE CENTER AND TWO WITH CHRIST'S DISEMBODIED FOOT SHOWING THE PUNCTURE WOUND FROM THE CRUCIFIXION each initial in pink or blue with white tracery filled with dark pink and thin gilt lines and dots four wavy blue rays radiating from behind each appendage all within a thin gilt frame both sides with a three-quarter border consisting of hairline vines gold bezants and a few colorful flowers. ◆Vellum a shade less than bright faint marginal rumpling trivial paint transfer on one initial BUT IN FINE CONDITION the initials richly painted and extremely well preserved. From a manuscript probably produced in Bruges for the English market this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck Passion Cycle images enjoyed a particular vogue in 15th century Dutch Flemish and English Books of Hours including those that were exported to England. In the present example the strikingly unusual imagery includes the wounds of the left and right foot as well as the spear injury to Christ's side depicted as an oval piece of flesh with a laceration across the center. A sister leaf to the present item features three additional initials showing a portrait of Christ wearing the Crown of Thorns his gaze fixed directly at the viewer and in separate initials his left and right hands appear disembodied and displaying the stigmata. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 lot 16 the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester with their names crossed out indicating that it was in England through at least the time of the Reformation and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant with miniatures possibly by his chief assistant the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library MS Widener 3 and the Huntington HM 1086--both of which were produced in Flanders or the Netherlands around the same time as the present work. The present leaf surpasses both of these examples in terms of excellence of the artistic hand and attention to detail. unknown books
1944ref. ST19310Sheffield England December 1944. 265 x 215 mm. 10 1/2 x 8 1/2". 6 leaves illuminated on rectos final leaf also illuminated on verso with colophon. VERY ATTRACTIVE DARK BLUE MOROCCO GILT stamped-signed "Bound by Slinn" on front pastedown upper cover with monogram of Edwin Goddard Stokes framed by gilt-ruled compartments containing gilt lettering elaborate gilt foliage and a gilt crown tool at top the panel surrounded by a double gilt rule frame and dogtooth roll border with additional foliate tools rear cover with quatrefoil design in floral tools and pointillé dogtooth roll border smooth spine with gilt-ruled compartments. In a rather worn felt-lined brown paper wallet case with handwritten titling on spine. Each recto with one or two large two- to three-line initials either painted or gilt TITLE PAGE WITH A FULL BORDER and others with a large complex border all of them elaborately painted with a variety of patterns styles motifs and with gilt embellishments one border incorporating three coats of arms AND ANOTHER PAGE WITH A QUARTER-PAGE MINIATURE OF A KNIGHT ON HORSEBACK. Trivial wear at top of front joint otherwise in pristine condition. This is a charming modern illuminated manuscript penned during WWII that contains two excerpts from Shakespeare in praise of "this other Eden demi-paradise" called England--specifically passages from John of Gaunt's dying speech in "King Richard II" and lines from "King John." As stated in the colophon the manuscript "was Designed Written out and Illuminated by John Wilfred Clarke of Ecclesall Sheffield for his great friend Edwin Goddard Stokes of Ringinglow Sheffield." Clarke d. 1954 was a municipal engineer and town planner by trade professions for which skill in the visual arts particularly draftsmanship is not only preferred but required. He was clearly a talented amateur with a flair for pattern and design. Though he incorporates elements found in Medieval manuscripts--trailing ivy leaves penwork decoration tessellation and line enders--the style is at the same time modern utilizing bold color combinations and layered shapes and patterns. Given the artist's location it is quite possible that he was involved with the Sheffield School of Art which was founded in 1843 and offered classes in fine arts and crafts. We know that the binder Walter Slinn d. 1964 was a staff member at the school as well as a prominent local bookbinder. Nationalistic sentiments are made clear in the choice of material celebrating England in Shakespeare's voice and this manuscript is all the more poignant when seen in the context of its time and place. Sheffield an industrial city was a major producer of steel and armaments during WWII --and thus a high-value target for German air raids. The so-called "Sheffield Blitz" of 1940 resulted in hundreds of deaths and nearly 80000 damaged homes. In December of 1944 when this manuscript was completed the end of the war was not yet in sight. Despite the bleak circumstances the manuscript radiates color light and hope. The recipient of Clarke's attractive manuscript was Edwin Goddard Stokes 1902 - ca. 1957 one of the sons of the prominent Sheffield businessman Robert James Stokes founder of R. J. Stokes & Co. a tile company that still flourishes in the city now. It is clear that this item was carefully looked after by this "great friend" of the artist. So far as we have been able to determine Clarke is an unrecorded artist except for the present Shakespeare work and one other similar manuscript featuring excerpts from Chaucer now in Stanford University Library. unknown
1944ref. ST19310Sheffield England December 1944. 265 x 215 mm. 10 1/2 x 8 1/2". 6 leaves illuminated on rectos final leaf also illuminated on verso with colophon. VERY ATTRACTIVE DARK BLUE MOROCCO GILT stamped-signed "Bound by Slinn" on front pastedown upper cover with monogram of Edwin Goddard Stokes framed by gilt-ruled compartments containing gilt lettering elaborate gilt foliage and a gilt crown tool at top the panel surrounded by a double gilt rule frame and dogtooth roll border with additional foliate tools rear cover with quatrefoil design in floral tools and pointillé dogtooth roll border smooth spine with gilt-ruled compartments. In a rather worn felt-lined brown paper wallet case with handwritten titling on spine. Each recto with one or two large two- to three-line initials either painted or gilt TITLE PAGE WITH A FULL BORDER and others with a large complex border all of them elaborately painted with a variety of patterns styles motifs and with gilt embellishments one border incorporating three coats of arms AND ANOTHER PAGE WITH A QUARTER-PAGE MINIATURE OF A KNIGHT ON HORSEBACK. Trivial wear at top of front joint otherwise in pristine condition. This is a charming modern illuminated manuscript penned during WWII that contains two excerpts from Shakespeare in praise of "this other Eden demi-paradise" called England--specifically passages from John of Gaunt's dying speech in "King Richard II" and lines from "King John." As stated in the colophon the manuscript "was Designed Written out and Illuminated by John Wilfred Clarke of Ecclesall Sheffield for his great friend Edwin Goddard Stokes of Ringinglow Sheffield." Clarke d. 1954 was a municipal engineer and town planner by trade professions for which skill in the visual arts particularly draftsmanship is not only preferred but required. He was clearly a talented amateur with a flair for pattern and design. Though he incorporates elements found in Medieval manuscripts--trailing ivy leaves penwork decoration tessellation and line enders--the style is at the same time modern utilizing bold color combinations and layered shapes and patterns. Given the artist's location it is quite possible that he was involved with the Sheffield School of Art which was founded in 1843 and offered classes in fine arts and crafts. We know that the binder Walter Slinn d. 1964 was a staff member at the school as well as a prominent local bookbinder. Nationalistic sentiments are made clear in the choice of material celebrating England in Shakespeare's voice and this manuscript is all the more poignant when seen in the context of its time and place. Sheffield an industrial city was a major producer of steel and armaments during WWII --and thus a high-value target for German air raids. The so-called "Sheffield Blitz" of 1940 resulted in hundreds of deaths and nearly 80000 damaged homes. In December of 1944 when this manuscript was completed the end of the war was not yet in sight. Despite the bleak circumstances the manuscript radiates color light and hope. The recipient of Clarke's attractive manuscript was Edwin Goddard Stokes 1902 - ca. 1957 one of the sons of the prominent Sheffield businessman Robert James Stokes founder of R. J. Stokes & Co. a tile company that still flourishes in the city now. It is clear that this item was carefully looked after by this "great friend" of the artist. So far as we have been able to determine Clarke is an unrecorded artist except for the present Shakespeare work and one other similar manuscript featuring excerpts from Chaucer now in Stanford University Library. unknown books
1862ref. ST20857London: Edmund Evans for Sampson Low Son and Co 1862. ONE OF PERHAPS 10 COPIES PRINTED ON VELLUM. 260 x 195 mm. 10 1/4 x 7 3/4". vii 1 235 1 pp. Publisher's stiff vellum smooth spine with gilt lettering edges untrimmed. In a modern felt-lined blue buckram drop-back box. Decorative initials in red or blue title page and text leaves with full criblé border of vined foliation occasionally inhabited eight or 10 leaves with more extensive illustrations at head or foot all engraved by W. J. Linton after illustrations by John Franklin. Front pastedown with ex-libris of Marion Hope Rattey. A Large Paper Copy. McLean "Victorian Book Design" p. 184. Short thin cracks to head and tail of front joint spine vaguely soiled upper cover with two very small brown spots and one trivial red mark occasional mild rumpling or naturally occurring variations in the grain or thickness of the vellum as usual a couple of minor smudges but still a very agreeable copy the binding solid and without the splaying common in vellum books the interior clean fresh and bright and the margins extraordinarily wide. This is an infrequently encountered copy of a beautiful Victorian book on vellum issued by one of the era's top printers. The volume was printed by Edmund Evans 1826-1905 who is now best remembered for his illustrations and advances in color wood engravings. Relatively little is known about this book's production: Ruari McLean tells us that it was "entirely printed" by Evans but it is unknown whether he was responsible for the design as well McLean remarks that "if Evans was responsible for its design it shows his superiority in book-making". We also are unsure how many copies were printed on vellum although the general consensus is 10. Regardless as McLean tells us "it is one of the prettiest books of the 'sixties" with sharp deep impressions of the type on the rich creamy vellum jewel-like colored initials and elegant wood-engraved illustrations. These illustrations are the work of John Franklin ca.1800-68 a painter and draftsman who was highly respected in his own time. The precisely realized borders feature idealized human forms posed within a robust botanical largely acanthus context the figures posing with balletic grace their expressive faces often turned gently away from the reader. The size of the leaf here is significant: the untrimmed edges retain their tiny printing pinholes which would normally have been trimmed away with regrettable loss. And not surprisingly our vellum printing is almost never seen: we could trace just two copies at auction since 1924. Former owner Marion Hope Rattey 1922-97 was likely the daughter of bibliographer Clifford C. Rattey 1886-1970 whose impressive library featured incunabula and block prints. [Edmund Evans for] Sampson Low, Son, and Co unknown
1862ref. ST20857London: Edmund Evans for Sampson Low Son and Co 1862. ONE OF PERHAPS 10 COPIES PRINTED ON VELLUM. 260 x 195 mm. 10 1/4 x 7 3/4". vii 1 235 1 pp. Publisher's stiff vellum smooth spine with gilt lettering edges untrimmed. In a modern felt-lined blue buckram drop-back box. Decorative initials in red or blue title page and text leaves with full criblé border of vined foliation occasionally inhabited eight or 10 leaves with more extensive illustrations at head or foot all engraved by W. J. Linton after illustrations by John Franklin. Front pastedown with ex-libris of Marion Hope Rattey. A Large Paper Copy. McLean "Victorian Book Design" p. 184. Short thin cracks to head and tail of front joint spine vaguely soiled upper cover with two very small brown spots and one trivial red mark occasional mild rumpling or naturally occurring variations in the grain or thickness of the vellum as usual a couple of minor smudges but still a very agreeable copy the binding solid and without the splaying common in vellum books the interior clean fresh and bright and the margins extraordinarily wide. This is an infrequently encountered copy of a beautiful Victorian book on vellum issued by one of the era's top printers. The volume was printed by Edmund Evans 1826-1905 who is now best remembered for his illustrations and advances in color wood engravings. Relatively little is known about this book's production: Ruari McLean tells us that it was "entirely printed" by Evans but it is unknown whether he was responsible for the design as well McLean remarks that "if Evans was responsible for its design it shows his superiority in book-making". We also are unsure how many copies were printed on vellum although the general consensus is 10. Regardless as McLean tells us "it is one of the prettiest books of the 'sixties" with sharp deep impressions of the type on the rich creamy vellum jewel-like colored initials and elegant wood-engraved illustrations. These illustrations are the work of John Franklin ca.1800-68 a painter and draftsman who was highly respected in his own time. The precisely realized borders feature idealized human forms posed within a robust botanical largely acanthus context the figures posing with balletic grace their expressive faces often turned gently away from the reader. The size of the leaf here is significant: the untrimmed edges retain their tiny printing pinholes which would normally have been trimmed away with regrettable loss. And not surprisingly our vellum printing is almost never seen: we could trace just two copies at auction since 1924. Former owner Marion Hope Rattey 1922-97 was likely the daughter of bibliographer Clifford C. Rattey 1886-1970 whose impressive library featured incunabula and block prints. [Edmund Evans for] Sampson Low, Son, and Co unknown books
ref. ST17768England second half of 12th century but before 1180. 313 x 198 mm. 12 1/4 x 7 3/4. Double column 32 lines in a lovely late Caroline hand verso with some lines erased and corrected in a smaller hand. Mounted in a fine tan cloth folder between sheets of textured acid-free paper. Front pastedown with book label of the Schøyen Collection with their shelf mark MS 237 written in ink. ◆Recovered from a binding and thus with overall toning and soiling recto somewhat browned from binder's glue but almost entirely confined to three margins and the verso virtually unaffected other trivial imperfections but in surprisingly good condition given its history the very rich ink especially dark and well preserved. This is an exceptionally lovely example of an early English book hand standing at the crossroads of the Caroline and proto-gothic calligraphic traditions. According to Thompson "In the twelfth century the scribes seem to have vied with each other in producing the best types of book-writing of which they were capable with the result that remarkable precision in the formation of the letters was attained and that the century may be named as excelling all others for the beauty of its MSS." "Greek and Latin Paleography" p. 436 The present leaf certainly lives up to this description being notable for its exceptionally neat and legible script written with uncommonly pretty and regular letter forms by a practiced and confident hand. The Caroline tradition is apparent in certain tendencies such as the use of "&" for "et" and the lack of biting curves between letters while a shift toward the proto-gothic can be seen in the vertical and compressed letter forms as well as the increased use of abbreviations and ligatures. Although the present work has often been credited to Haymo of Halberstadt due to a longstanding error in attribution reaching back to the 15th century modern scholarship now recognizes Haimo of Auxerre a monk at the Abbey of Saint-Germain in Auxerre d. ca. 875 as its true author. A prominent theologist and writer during the Caroline Renaissance Haimo produced a number of influential commentaries on various books of the Bible. The provenance on this leaf can be traced back as far as the mid-19th century when it was auctioned at Sotheby's on 21 August 1858 lot 119.2 sold as part of an album containing various leaves and fragments put together by Philip Bliss 1787-1857 registrar of the University of Oxford. It then went into the celebrated collection of Sir Thomas Phillipps 1792-1872 and was eventually sold by the Robinson Brothers on 24 April 1911 lot 390.3. This leaf has previously appeared in Quartich's catalogue 1036 "Bookhands of the Middle Ages" no. 79.5 and was most recently in the collection of Martin Schøyen his MS 237.
ref. ST17768England second half of 12th century but before 1180. 313 x 198 mm. 12 1/4 x 7 3/4. Double column 32 lines in a lovely late Caroline hand verso with some lines erased and corrected in a smaller hand. Mounted in a fine tan cloth folder between sheets of textured acid-free paper. Front pastedown with book label of the Schøyen Collection with their shelf mark MS 237 written in ink. ◆Recovered from a binding and thus with overall toning and soiling recto somewhat browned from binder's glue but almost entirely confined to three margins and the verso virtually unaffected other trivial imperfections but in surprisingly good condition given its history the very rich ink especially dark and well preserved. This is an exceptionally lovely example of an early English book hand standing at the crossroads of the Caroline and proto-gothic calligraphic traditions. According to Thompson "In the twelfth century the scribes seem to have vied with each other in producing the best types of book-writing of which they were capable with the result that remarkable precision in the formation of the letters was attained and that the century may be named as excelling all others for the beauty of its MSS." "Greek and Latin Paleography" p. 436 The present leaf certainly lives up to this description being notable for its exceptionally neat and legible script written with uncommonly pretty and regular letter forms by a practiced and confident hand. The Caroline tradition is apparent in certain tendencies such as the use of "&" for "et" and the lack of biting curves between letters while a shift toward the proto-gothic can be seen in the vertical and compressed letter forms as well as the increased use of abbreviations and ligatures. Although the present work has often been credited to Haymo of Halberstadt due to a longstanding error in attribution reaching back to the 15th century modern scholarship now recognizes Haimo of Auxerre a monk at the Abbey of Saint-Germain in Auxerre d. ca. 875 as its true author. A prominent theologist and writer during the Caroline Renaissance Haimo produced a number of influential commentaries on various books of the Bible. The provenance on this leaf can be traced back as far as the mid-19th century when it was auctioned at Sotheby's on 21 August 1858 lot 119.2 sold as part of an album containing various leaves and fragments put together by Philip Bliss 1787-1857 registrar of the University of Oxford. It then went into the celebrated collection of Sir Thomas Phillipps 1792-1872 and was eventually sold by the Robinson Brothers on 24 April 1911 lot 390.3. This leaf has previously appeared in Quartich's catalogue 1036 "Bookhands of the Middle Ages" no. 79.5 and was most recently in the collection of Martin Schøyen his MS 237. books
1465ref. ST17243aBruges ca. 1465. 193 x 145 mm. 7 5/8 x 5 3/4". Single column 21 lines in a gothic book hand. Rubrics in red WITH THREE LARGE HISTORIATED INITIALS: ONE WITH A PORTRAIT OF CHRIST WEARING THE CROWN OF THORNS AND TWO WITH DISEMBODIED HANDS SHOWING THE STIGMATA each initial in pink or blue with white tracery filled with dark pink or blue with thin gilt lines and dots hands with wavy blue rays radiating from behind the appendage all within a thin gilt frame both sides with a three-quarter border consisting of hairline vines gold bezants and a few colorful flowers. ◆Margins with a little light soiling BUT IN FINE CONDITION THE PAINT OF THE INITIALS ESPECIALLY RICH AND WELL PRESERVED. From a manuscript probably produced in Bruges for the English market this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck Passion Cycle images enjoyed a particular vogue in 15th century Dutch Flemish and English Books of Hours including those that were exported to England. In the present example the strikingly unusual imagery includes a portrait of Christ wearing the Crown of Thorns his gaze fixed directly at the viewer and in separate initials his left and right hands appear disembodied and displaying the stigmata. A sister leaf to the present item features three additional initials showing the wounds of the left and right foot as well as the spear injury to Christ's side depicted as an oval piece of flesh with a laceration across the center. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 lot 16 the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester with their names crossed out indicating that it was in England through at least the time of the Reformation and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant with miniatures possibly by his chief assistant the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library MS Widener 3 and the Huntington HM 1086--both of which were produced in Flanders or the Netherlands around the same time as the present work--but the present leaf surpasses both of these examples in terms of excellence of the artistic hand and level of detail depicted. unknown
1460ref. ST12839Paris ca. 1460. 153 x 110 mm. 6 x 4 3/8". Single column 14 lines of text in a fine gothic book hand. One-line initial in burnished gold on a pink and blue ground with white tracery a two-line initial and a three-line initial in pink with white tracery on a ground of burnished gold the center filled with twining blue vines bearing pink and scarlet flowers verso with a rinceau panel border featuring twining hairline stems bearing burnished gold ivy leaves and fruit blue and gold acanthus leaves and flowers recto WITH AN ARCH-TOPPED MINIATURE OF THE HOLY TRINITY SURROUNDED BY THE HEAVENLY HOST this and the accompanying text enclosed by a pink blue and burnished gold bar border on one side and a brushed gold bar border with pink lotus flowers on two sides the whole surrounded by A FULL RINCEAU BORDER DENSE WITH ACANTHUS LEAVES FOLIAGE FRUIT FLOWERS AND TINY GOLD BERRIES on hairline stems. ◆A little paint flaked from the book held by the Trinity a couple of small spots in the margin otherwise in fine condition--clean and smooth with comfortable margins and bright gold. The Trinity is shown here seated on a canopied throne with God the Son his hand raised in blessing to the left of the Father. The latter in a towering crown holds a gold orb and the Father and Son together support a large book opened between them. The dove of the Holy Spirit hovers above the book radiating golden beams. The Trinity is flanked on both sides by cherubim and seraphim in rich red and soft yellow. It is the rendering of this angelic ambiance that elevates the level of aesthetic achievement here: both red and yellow celestial beings are given a ghostly appearance as if appearing out of a filmy yellow or a densely red fog. The artistic qualities as a whole suggest that this leaf comes from a manuscript commissioned by a person of significant means. unknown
1465ref. ST17243aBruges ca. 1465. 193 x 145 mm. 7 5/8 x 5 3/4". Single column 21 lines in a gothic book hand. Rubrics in red WITH THREE LARGE HISTORIATED INITIALS: ONE WITH A PORTRAIT OF CHRIST WEARING THE CROWN OF THORNS AND TWO WITH DISEMBODIED HANDS SHOWING THE STIGMATA each initial in pink or blue with white tracery filled with dark pink or blue with thin gilt lines and dots hands with wavy blue rays radiating from behind the appendage all within a thin gilt frame both sides with a three-quarter border consisting of hairline vines gold bezants and a few colorful flowers. ◆Margins with a little light soiling BUT IN FINE CONDITION THE PAINT OF THE INITIALS ESPECIALLY RICH AND WELL PRESERVED. From a manuscript probably produced in Bruges for the English market this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck Passion Cycle images enjoyed a particular vogue in 15th century Dutch Flemish and English Books of Hours including those that were exported to England. In the present example the strikingly unusual imagery includes a portrait of Christ wearing the Crown of Thorns his gaze fixed directly at the viewer and in separate initials his left and right hands appear disembodied and displaying the stigmata. A sister leaf to the present item features three additional initials showing the wounds of the left and right foot as well as the spear injury to Christ's side depicted as an oval piece of flesh with a laceration across the center. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 lot 16 the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester with their names crossed out indicating that it was in England through at least the time of the Reformation and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant with miniatures possibly by his chief assistant the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library MS Widener 3 and the Huntington HM 1086--both of which were produced in Flanders or the Netherlands around the same time as the present work--but the present leaf surpasses both of these examples in terms of excellence of the artistic hand and level of detail depicted. unknown books
1460ref. ST12839Paris ca. 1460. 153 x 110 mm. 6 x 4 3/8". Single column 14 lines of text in a fine gothic book hand. One-line initial in burnished gold on a pink and blue ground with white tracery a two-line initial and a three-line initial in pink with white tracery on a ground of burnished gold the center filled with twining blue vines bearing pink and scarlet flowers verso with a rinceau panel border featuring twining hairline stems bearing burnished gold ivy leaves and fruit blue and gold acanthus leaves and flowers recto WITH AN ARCH-TOPPED MINIATURE OF THE HOLY TRINITY SURROUNDED BY THE HEAVENLY HOST this and the accompanying text enclosed by a pink blue and burnished gold bar border on one side and a brushed gold bar border with pink lotus flowers on two sides the whole surrounded by A FULL RINCEAU BORDER DENSE WITH ACANTHUS LEAVES FOLIAGE FRUIT FLOWERS AND TINY GOLD BERRIES on hairline stems. ◆A little paint flaked from the book held by the Trinity a couple of small spots in the margin otherwise in fine condition--clean and smooth with comfortable margins and bright gold. The Trinity is shown here seated on a canopied throne with God the Son his hand raised in blessing to the left of the Father. The latter in a towering crown holds a gold orb and the Father and Son together support a large book opened between them. The dove of the Holy Spirit hovers above the book radiating golden beams. The Trinity is flanked on both sides by cherubim and seraphim in rich red and soft yellow. It is the rendering of this angelic ambiance that elevates the level of aesthetic achievement here: both red and yellow celestial beings are given a ghostly appearance as if appearing out of a filmy yellow or a densely red fog. The artistic qualities as a whole suggest that this leaf comes from a manuscript commissioned by a person of significant means. unknown books
1626ref. ST19298Antwerp: M. Snyders 1626. FIRST EDITION. 135 x 82 mm. 5 1/4 x 3 1/4". 39 of 40 leaves lacking C4. Two volumes one as issued the other a companion volume containing related plates without any title page. Very pretty late 18th or early 19th century red morocco covers bordered by delicate cresting roll with leaf cornerpieces smooth spine gilt in compartments with leafy centerpieces gilt lettering turn-in with gilt floral roll pale blue watered silk endleaves all edges gilt. Supplemental volume in late 19th century red half morocco over red paper boards similarly tooled spine. Housed together in a custom-made modern wooden box with sliding panel closure a heart mosaic in multi-colored hard-grain leather on its sides. Amoris Divini WITH engraved title page and 38 of 39; lacking plate XXXIV ENGRAVED PLATES 35 OF THEM ON VELLUM ALL DELICATELY COLORED AND HEIGHTENED IN GOLD plates 19 29 30 31 and 36 bound after text pages for plates 31 36 29 30 and 34 respectively; second volume with 45 plates on paper though without any text including many of these same emblems apparently from a later edition of this work ALL DAINTILY HIGHLIGHTED WITH GILT. Front pastedown of first volume with monogram book label in colors and gilt verso of front free endpaper with oval armorial bookplate "Ex Museo Van Der Helle" see below. De Vries "De Nederlandsche Emblemata" 121; Landwehr "Low Countries" 33; Praz p. 254; Brunet I 240 this copy; Delbergue-Cormont "Bibliothèque de M. Van der Helle" Paris 10 Février 1868 lot 69 this copy. Amoris spine very slightly dulled occasional hints of marginal thumbing but A LOVELY COPY clean and fresh internally with rich colors and glistening gold in a well-preserved binding; supplemental plates with faint marginal browning but excellent internally the engravings gently shimmering with gold and the binding with few signs of wear. The main volume here comprises a collection of emblems illustrating concepts of human and divine love; it is made all the more special by being printed on vellum beautifully hand colored and then delicately highlighted with gold. The emblems depict Divine Love as a beardless young man with nimbus who always represents love in its purest form. Human love or worldly love is variously embodied in a winged Cupid sometimes blindfolded who represents erotic love and who is accompanied by symbols of treasure or power that represent worldly desires. Landwehr Praz and De Vries make no mention of a vellum edition but Brunet describes one copy on vellum painted in colors and gold which he says sold at the Duriez auction. That book appeared as lot 3216 in "Catalogue des livres imprimés et manuscrits composant la bibliothèque de feu M. L.-M.-J. Duriez de Lille membre de la Société des Bibliophiles français" Paris J.-S. Merlin 1827 where its binding description matches our copy. Having uncovered no other hand-colored copies on vellum in auction records or in OCLC we think it quite likely that the present volume is in fact the Duriez copy. Louis Duriez 1753-1825 was a Lille lawyer of sufficient skill and cleverness to move without incident from serving as lieutenant provost for his district under King Louis XVI to becoming receiver of the district of Lille after the revolution 1791 and purchasing the estate of an aristocrat which had been seized by the state. He rose to successively more important and remunerative governmental positions and was named Knight of the Royal Order of the Legion of Honor in 1814. In 1820 he was one of the founding members of the Société des Bibliophiles français an elite group limited to 24 scholarly collectors. After his death his collection of more than 5000 carefully chosen works was dispersed at 59 auctions held between 22 January and 1 April 1828 at Maison Silvestre in Paris. A perusal of the lots on offer finds a strong emphasis on fine bindings works on vellum and illustrated books many noting hand coloring. The emblems in the second thinner book here on paper without coloring--but with gold highlighting allow the reader to experience the pleasure to be found in comparing the degrees of decoration and opulence of the two volumes. These illustrations likely come from one of the later printings of this title each of which added new emblems to the original 39 called for in Landwehr and Praz. It is not clear when or by whom this second volume was wedded to the first. After its presumed residence in the Duriez collection our copy of the 1626 edition and perhaps its sidecar volume moved to another distinguished library--that formed by the scholarly and erudite French collector M. Van Der Helle of Lille who amassed a collection particularly rich in illustrated books and works on vellum. In the catalogue for the sale of his library in 1868 Paris auction house Delbergue-Cormont described him as a bibliophile "of the school of Renouard . . . who only liked irreproachable copies." We bought this item without being warned that it is slightly defective but given its distinguished provenance and the many other features it has going for it we did not ask the seller to take it back. M. Snyders unknown
1626ref. ST19298Antwerp: M. Snyders 1626. FIRST EDITION. 135 x 82 mm. 5 1/4 x 3 1/4". 39 of 40 leaves lacking C4. Two volumes one as issued the other a companion volume containing related plates without any title page. Very pretty late 18th or early 19th century red morocco covers bordered by delicate cresting roll with leaf cornerpieces smooth spine gilt in compartments with leafy centerpieces gilt lettering turn-in with gilt floral roll pale blue watered silk endleaves all edges gilt. Supplemental volume in late 19th century red half morocco over red paper boards similarly tooled spine. Housed together in a custom-made modern wooden box with sliding panel closure a heart mosaic in multi-colored hard-grain leather on its sides. Amoris Divini WITH engraved title page and 38 of 39; lacking plate XXXIV ENGRAVED PLATES 35 OF THEM ON VELLUM ALL DELICATELY COLORED AND HEIGHTENED IN GOLD plates 19 29 30 31 and 36 bound after text pages for plates 31 36 29 30 and 34 respectively; second volume with 45 plates on paper though without any text including many of these same emblems apparently from a later edition of this work ALL DAINTILY HIGHLIGHTED WITH GILT. Front pastedown of first volume with monogram book label in colors and gilt verso of front free endpaper with oval armorial bookplate "Ex Museo Van Der Helle" see below. De Vries "De Nederlandsche Emblemata" 121; Landwehr "Low Countries" 33; Praz p. 254; Brunet I 240 this copy; Delbergue-Cormont "Bibliothèque de M. Van der Helle" Paris 10 Février 1868 lot 69 this copy. Amoris spine very slightly dulled occasional hints of marginal thumbing but A LOVELY COPY clean and fresh internally with rich colors and glistening gold in a well-preserved binding; supplemental plates with faint marginal browning but excellent internally the engravings gently shimmering with gold and the binding with few signs of wear. The main volume here comprises a collection of emblems illustrating concepts of human and divine love; it is made all the more special by being printed on vellum beautifully hand colored and then delicately highlighted with gold. The emblems depict Divine Love as a beardless young man with nimbus who always represents love in its purest form. Human love or worldly love is variously embodied in a winged Cupid sometimes blindfolded who represents erotic love and who is accompanied by symbols of treasure or power that represent worldly desires. Landwehr Praz and De Vries make no mention of a vellum edition but Brunet describes one copy on vellum painted in colors and gold which he says sold at the Duriez auction. That book appeared as lot 3216 in "Catalogue des livres imprimés et manuscrits composant la bibliothèque de feu M. L.-M.-J. Duriez de Lille membre de la Société des Bibliophiles français" Paris J.-S. Merlin 1827 where its binding description matches our copy. Having uncovered no other hand-colored copies on vellum in auction records or in OCLC we think it quite likely that the present volume is in fact the Duriez copy. Louis Duriez 1753-1825 was a Lille lawyer of sufficient skill and cleverness to move without incident from serving as lieutenant provost for his district under King Louis XVI to becoming receiver of the district of Lille after the revolution 1791 and purchasing the estate of an aristocrat which had been seized by the state. He rose to successively more important and remunerative governmental positions and was named Knight of the Royal Order of the Legion of Honor in 1814. In 1820 he was one of the founding members of the Société des Bibliophiles français an elite group limited to 24 scholarly collectors. After his death his collection of more than 5000 carefully chosen works was dispersed at 59 auctions held between 22 January and 1 April 1828 at Maison Silvestre in Paris. A perusal of the lots on offer finds a strong emphasis on fine bindings works on vellum and illustrated books many noting hand coloring. The emblems in the second thinner book here on paper without coloring--but with gold highlighting allow the reader to experience the pleasure to be found in comparing the degrees of decoration and opulence of the two volumes. These illustrations likely come from one of the later printings of this title each of which added new emblems to the original 39 called for in Landwehr and Praz. It is not clear when or by whom this second volume was wedded to the first. After its presumed residence in the Duriez collection our copy of the 1626 edition and perhaps its sidecar volume moved to another distinguished library--that formed by the scholarly and erudite French collector M. Van Der Helle of Lille who amassed a collection particularly rich in illustrated books and works on vellum. In the catalogue for the sale of his library in 1868 Paris auction house Delbergue-Cormont described him as a bibliophile "of the school of Renouard . . . who only liked irreproachable copies." We bought this item without being warned that it is slightly defective but given its distinguished provenance and the many other features it has going for it we did not ask the seller to take it back. M. Snyders unknown books
ref. ST19540bSouthern Netherlands Bruges third quarter of 15th century. Matted leaf: 150 x 150 mm. 5 7/8 x 4 3/8". Frame: 307 x 258 mm. 12 x 10 1/4". Single column with four lines below the miniature and the obverse with 17 lines in a batarde hand. Attractively matted and framed the leaf slightly shifted in the mat revealing top and side edges but in no danger of damage. Rubrics in red four one-line initials and three three-line initials all but one in burnished gold on blue and red ground with white tracery the initial beneath the miniature painted pink on a burnished gold ground and filled with painted ivy vines AN ARCH-TOPPED LARGE MINIATURE DEPICTING THE ENTOMBMENT the body of Christ surrounded by seven other people depicted in an outdoor setting with the turrets of a walled city in the background the miniature in a double frame of gold and pink surrounded by A FULL BORDER composed of hairline vines acanthus colorful flowers and gilt bezants and inhabited by a small bird. Minor soiling and a faint thumb print to borders but IN VERY FINE CONDITION THE MINIATURE BEAUTIFULLY PRESERVED. This is a beautifully rendered and deeply touching scene depicting the entombment of the crucified Christ and the pathos experienced by those at his side. Holding the sheet on which the body is lowered into the sarcophagus are on the far left the richly clothed Joseph of Arimathea and on the far right Nicodemus who dons an especially lovely yellow garment with delicate embroidery. Between the two men in the foreground but behind the body are the Virgin Mary who presses the hand of her deceased son to her lips; John the Evangelist whose body is turned toward the Virgin in a gesture of support but whose gaze is focused on the Savior; and Mary Magdalene who holds a small ointment jar. Two other women with halos stand closely behind them consoling one another. The artist has done a masterful job at creating a composition that captures the emotional gravity of the scene: Christ's body gently cradled in a white sheet is on full display with blood still trickling from the wounds on his head and side. Despite there being seven people crowded around him our attention is drawn to the action between Christ and the Virgin who gently grasps his hand with motherly affection and bids him a final farewell. Flickers of different emotions appear on the faces of his followers including pity sorrow stoicism and disbelief--echoing perhaps the viewer's own range of feelings upon viewing this image. The level of detail excellence of composition care seen in the molded bodies and faces and the convincing setting suggest that the artist was quite practiced and that the original manuscript from which the leaf comes was of very high quality. unknown
ref. ST19540bSouthern Netherlands Bruges third quarter of 15th century. Matted leaf: 150 x 150 mm. 5 7/8 x 4 3/8". Frame: 307 x 258 mm. 12 x 10 1/4". Single column with four lines below the miniature and the obverse with 17 lines in a batarde hand. Attractively matted and framed the leaf slightly shifted in the mat revealing top and side edges but in no danger of damage. Rubrics in red four one-line initials and three three-line initials all but one in burnished gold on blue and red ground with white tracery the initial beneath the miniature painted pink on a burnished gold ground and filled with painted ivy vines AN ARCH-TOPPED LARGE MINIATURE DEPICTING THE ENTOMBMENT the body of Christ surrounded by seven other people depicted in an outdoor setting with the turrets of a walled city in the background the miniature in a double frame of gold and pink surrounded by A FULL BORDER composed of hairline vines acanthus colorful flowers and gilt bezants and inhabited by a small bird. Minor soiling and a faint thumb print to borders but IN VERY FINE CONDITION THE MINIATURE BEAUTIFULLY PRESERVED. This is a beautifully rendered and deeply touching scene depicting the entombment of the crucified Christ and the pathos experienced by those at his side. Holding the sheet on which the body is lowered into the sarcophagus are on the far left the richly clothed Joseph of Arimathea and on the far right Nicodemus who dons an especially lovely yellow garment with delicate embroidery. Between the two men in the foreground but behind the body are the Virgin Mary who presses the hand of her deceased son to her lips; John the Evangelist whose body is turned toward the Virgin in a gesture of support but whose gaze is focused on the Savior; and Mary Magdalene who holds a small ointment jar. Two other women with halos stand closely behind them consoling one another. The artist has done a masterful job at creating a composition that captures the emotional gravity of the scene: Christ's body gently cradled in a white sheet is on full display with blood still trickling from the wounds on his head and side. Despite there being seven people crowded around him our attention is drawn to the action between Christ and the Virgin who gently grasps his hand with motherly affection and bids him a final farewell. Flickers of different emotions appear on the faces of his followers including pity sorrow stoicism and disbelief--echoing perhaps the viewer's own range of feelings upon viewing this image. The level of detail excellence of composition care seen in the molded bodies and faces and the convincing setting suggest that the artist was quite practiced and that the original manuscript from which the leaf comes was of very high quality. unknown books
ref. ST17060ZFrance probably Besançon 3rd quarter of 15th century. 239 x 165 mm. 9 3/8 x 6 1/2". Single column 15 lines in an elegant gothic book hand. Rubrics in dark pink line-enders in dark pink and blue highlighted with a gilt bezant several one-line initials and one two-line initial in burnished gold on dark pink and blue ground with white tracery one three-line initial in pink with white tracery filled with trefoils painted red or blue all on a gold ground verso with panel border of delicate hairline vines terminating in gilt bezants and ivy and with acanthus and flowers recto with A HALF-PAGE MINIATURE OF THE CRUCIFIXION in an arch-topped gilt frame Christ in the center of the composition with the mocking inscription "I N R I" "Iesus Nazarenus Rex Iudaeorum" on a banner above him the Virgin standing on the left and St. John on the right the landscape behind them filled with hills and trees under a tessellated sky SURROUNDED BY A FULL BORDER consisting of hairline vines terminating in gold bezants and ivy colorful acanthus strawberries and flowers the text and image further framed by a "U"-shaped bar of gold pink and blue extending the full height of the miniature. ◆Virgin's robe a little mottled and chipped minor chipping elsewhere borders with slight smudging to some of the hairline vines small marginal stain but in all in excellent condition with wide margins with the colors very bright and the miniature well preserved. Opening the Hours of the Cross a shorter text that is sometimes found in addition to the Hours of the Virgin this touching miniature of the Crucifixion is richly painted and features a particularly emotional depiction of Christ his head slightly bowed with an expression of pain. Blood flows freely from his wounds partly merging with the orange in the sky and partly forming rivulets at the base of the cross. This exsanguination stands in contrast to the more typically restrained indications in other Crucifixion scenes and serves to emphasize the cruel suffering of the execution. His mother stands to the left in a blue cloak hands knitted together and with a look of weary resignation on her face; to the right stands St. John whose lips are slightly parted as he looks directly at the crucified Christ as if searching his face for signs of life. Our artist has made an unusual choice for the background with the lower two thirds devoted to a naturalistic landscape with many hills and trees and the sky entirely tessellated with squares of red blue and gold. While the Virgin and St. John are both firmly situated within the earthy realm the body of Christ occupies both spaces perhaps emphasizing his dual nature as both human and divine. Stylistically this leaf can be localized to the Franche-Comté region in eastern France and is closely related if not directly attributable to an atelier specializing in Books of Hours made for the Use of Besançon and most likely situated in that city see Avril and Reynaud p. 197. The similarities are especially apparent in the figures' faces which are slightly puffy in appearance and have distinct slit-like eyes. As noted by Avril and Reynaud the unnamed master of this atelier was deeply indebted to the Master of Morgan 293 a talented Burgundian illuminator active in the second quarter of the 15th century whose name derives from a particularly lovely Book of Hours made for the Use of Besançon. In fact there are certain consonant details between this miniature and the Crucifixion in the Morgan manuscript: Christ's position and physicality are nearly identical as is the pattern of blood as it moves down the cross and both artists create a division in the landscape with the Morgan artist using gold rather than tessellation for his sky. Whoever the artist responsible for the present miniature the work here is clearly accomplished both quietly powerful and an excellent representation of a distinct regional style. unknown
ref. ST17060VFrance probably Besançon 3rd quarter of 15th century. 239 x 165 mm. 9 3/8 x 6 1/2". Single column 15 lines in an elegant gothic book hand. Rubrics in dark pink line-enders in dark pink and blue with a gilt bezant several one-line initials in burnished gold on dark pink and blue ground with white tracery one three-line initial in blue with white tracery filled with flowers painted pink or blue all on a gold ground verso with panel border of delicate hairline vines terminating in gilt bezants and ivy and with a spray of blue flowers and a red bud recto with A FULLY-REALIZED HALF-PAGE MINIATURE OF A BURIAL in an arch-topped gilt frame with two laymen lowering a shrouded corpse into the ground a small group of hooded monks to the left and two ecclesiastical figures reading from a book to the right all in front of a gothic church painted pink with a blue roof SURROUNDED BY A FULL BORDER consisting of hairline vines terminating in gold bezants and ivy colorful acanthus strawberries and blue flowers the text below the miniature further framed with a thin "U"-shaped line extending the full height of the miniature. A very few trivial imperfections quite minor wear to paint on clothing a little insignificant smudging one small light stain in the blank margin of verso but these defects not the least distracting and overall the miniature in fine condition with rich well-preserved color. This is a splendid miniature from a particularly large Book of Hours showing a detailed rendering of a scene from contemporary Medieval life--that of a burial in a churchyard involving clergy mourners and laymen. Apart from those relatively few copies with illustrated calendars the miniatures found in Books of Hours are almost entirely devoted to retrospective Bible scenes that are obviously outside the experience of the illuminator; it is only in the present kind of scene at the beginning of the Office of the Dead that we can see a contemporaneous image that would have come directly from the Medieval experience. While our painting is fairly typical in subject matter and design it offers a number of interesting details about the Medieval rites and rituals surrounding death. The present scene represents the final stage preceded by the funeral procession Requiem Mass prayers Absolution and the procession into the graveyard in which the body is actually laid to rest in the ground. Though the corpse would have been encased in a coffin during the aforementioned rites and processions it was customary to bury the dead in only a shroud in the present example the artist has even thought to show the stitching along the length of the shroud. Three groups of people each serving a different function appear in this miniature: in the foreground are two laborers lowering the body into an earthen grave a small group of mourners in black cloaks stand off to the left and a duo of clergy members stand to the right. The latter have tonsured heads and each wears a black cope donned prior to administering Absolution to the deceased; together they hold a manuscript containing the Rites for Burial. The background is composed of a grand church or cathedral containing a number of fine architectural details including several windows including a clerestory level an arched entrance a dome and decorative touches. Stylistically this leaf can be localized to the Franche-Comté region in eastern France and is closely related if not directly attributable to an atelier specializing in Books of Hours made for the Use of Besançon and most likely situated in that city see Avril and Reynaud p. 197. The similarities are especially apparent in the figures' faces which are slightly puffy in appearance and have distinct slit-like eyes. As noted by Avril and Reynaud the unnamed master of this atelier was deeply indebted to the Master of Morgan 293 a talented Burgundian illuminator active in the second quarter of the 15th century whose name derives from a particularly lovely Book of Hours made for the Use of Besançon. Whoever the artist responsible for the present miniature this work is an excellent representation of a distinct regional style extremely attractive and replete with interesting details that connect us to the Medieval experience. unknown
