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Les Enluminures

Album of 93 Engravings with Scenes from the New Testament

Album of 93 Engravings with Scenes from the New Testament

Léonard Gaultier ALBUM OF ENGRAVINGS BY LÉONARD GAULTIER WITH SCENES FROM THE NEW TESTAMENT. 93 engravings, France c. 1576-1580, album c. 17th-18th century. Dimensions 113 x 160 mm., 47 folios on heavy laid paper, text written intermittently for the most part on verso sides, in cursive script on up to 32 lines, NINETY THREE ENGRAVED PRINTS by Léonard Gaultier, in black ink on ivory laid paper, pasted one-or two-per-page on recto sides. BINDING: 18th-century(?) laid blue paper over pasteboard, spine reinforced from binding of a 16th century or later illuminated manuscript. TEXT: An album with prints by the important Renaissance engraver Léonard Gaultier, annotated with captions in French. Engraved when Gaultier was between the ages of 15 and 19, these prints witness the artist's journey from apprentice to master, with the final plates advertising his privilege from the king of France in 1580. PROVENANCE: Plates engraved c. 1576-1580 by Léonard Gaultier. Gaultier is later recorded as personally owning the plates, having acquired them in 1591. In a later stage of production, c.17th-18th century, the prints were trimmed near the platemark, pasted to the recto side of paper sheets, and gathered into the present album. "Ex Libris D. de rubies" inscribed on upper pastedown in brown ink; possibly Domenico de Rossi (1647-1729), member of the de Rossi family of engravers and publishers. CONDITION: slight foxing to some album leaves, corners of binding bent and edges worn, otherwise in good condition. Full description and images available. (TM 1033)
Miscellany including Imitatio Christi

Miscellany including Imitatio Christi, book one; Visio Tnugdali; Tractatus de Purgatorio de Sancti Patricii; Historia de spiritu Guidonis; Historia Udonis Magdeburgensis episcopi; De meditatione passionis Christi; Lignum vitae; Reise ins heilige Land; Visio Philiberti; Dialogus beatae Mariae et Anselmi de passione domini (Latin and Dutch versions); and other texts; In Latin, Low German, and Dutch, decorated manuscript on paper

THOMAS A KEMPIS; MARCUS OF REGENSBURG; HENRICUS SALTERIENSIS; IOHANNES GOBI; PS-BEDE; BONAVENTURE; LUDOLF VON SUDHEIM; PS-ANSELM MISCELLANY WITH ELEVEN IMPORTANT TEXTS REFLECTING THE SPIRITUALITY OF THE MODERN DEVOTION. In Latin, Low German, and Dutch, decorated manuscript on paper, Netherlands (Southeastern?) or West Germany, c. 1460-1480. Dimensions 244 x 143, 222 folios on paper, apparently complete, written by at least four scribes in expert cursive gothic bookhands in 28-30 long lines, seven ORIGINAL TABS or place-markers made from white leather strips, blank spaces for 2-line initials, guide notes for rubricator, majuscules stroked with red, 6- to 2-line red initials. BINDING:modern half-tawed leather and exposed wood, two brass clasp-and-catch fastenings, straps missing, fastening back to front, spine with four raised bands. TEXT:A carefully thought-out miscellany that reflects the spirituality of the Modern Devotion (religious movement) and includes the Imitation of Christ , five visionary texts describing journeys to Heaven and Hell (one copied twice), and six texts on the Passion of Christ. PROVENANCE: Written in the Netherlands, probably in the Southeastern region, or in neighboring Western Germany, c. 1460-80, as indicated by the languages in the manuscript and the watermarks. Later, the manuscript belonged to Rev. A. d. Wagner (1824-1902) of Brighton, a noted collector with a library of more than 12,000 volumes (his ink stamp on f. 4). The manuscript was later owned by Rev. Cecil Deedes (1843-1921), prebendary and librarian of Chichester Cathedral (his note glued inside front cover). Later, Edward Croft-Murray (1907-80), former keeper of prints and drawings at the British Museum, owned the manuscript (ownership note below Deedes's). It was then owned by Joost R. Ritman (b. 1941), Dutch businessman and distinguished collector of art and books, who acquired it from Maggs London in 1993. CONDITION:some water damage but text remains legible, quires reinforced, f. 198 tear, occasional dirty smudges in the outer margins, some soiling and very slight wear along joints of binding, otherwise in very good condition. Full description and images available. (TM 625)
The Triumph of Applause and the Glories of Her Royal Highness Maria Anna Christina Victoria of Bavaria

The Triumph of Applause and the Glories of Her Royal Highness Maria Anna Christina Victoria of Bavaria, Dauphine of France, Illustrated with Perfect Letters, Which Contain the Following Verses to be Read in the Image with a Microscope; manuscript in Italian and micrographic drawing of the same text

IGNATIO FRANCESCO MULIGIN and PIERRE MIGNARD(?) RARE MICROGRAPHIC DRAWING AND ACCOMPANYING MANUSCRIPT FOR A DAUPHINE OF FRARARE MICROGRAPHIC DRAWING AND ACCOMPANYING MANUSCRIPT FOR A DAUPHINE OF FRANCE. Micrographic drawing and manuscript on paper, in Italian, France, c. 1683-84. Drawing: one large sheet, dimensions 630 x 500 mm.; Manuscript: dimensions 335 x 225 mm., 221 folios, complete, written in a cursive script entirely in the hand of the author, in one column of 18-21 lines, catchwords, signatures trimmed. BINDING: contemporary binding of red morocco with a tooled double floral frieze gilt, spine decorated and gilt between the bands, edges gilt, attributed to Bernard Bernache (Métivier, 1998), binder to the king from 1684 to 1721. TEXT: A complete book is concealed within this astonishing and very rare micrographic drawing made entirely from microscopic letters. The text when it is copied again in the accompanying manuscript is a lengthy book with 221 folios. This tour de force of calligraphy is a witness to the early impact of the microscope. Made within decades of the publication of Robert Hooke's Micrographia (1665) and the perfection of the microscope by Anton van Leeuwenhoek (1674), this is a work that illuminates the intersection of art and optics at the end of the 17th-century. PROVENANCE: Written at the court of France for Marie Anne Christine of Bavaria (1660-690), wife of Louis de France (1661-1711), who was the only son of King Louis XIV of France and Queen Maria Theresa of Spain. The manuscript was doubtless written in or near Paris in the years 1683-84, at the royal court, where its author Ignacio Muligin served the Papal Legate. CONDITION: In excellent condition, apart from one spot on f. 173. Full description and images available. (TM 16)
Sermones de sanctis et de commune sanctorum [Sermons for the Sanctorale and for the Common of Saints]; Speculum Beatae Virginis Mariae [Mirror of the Blessed Virgin Mary]; decorated medieval manuscript on parchment with an intact medieval chained binding By Conrad Holtnicker of Saxony

Sermones de sanctis et de commune sanctorum [Sermons for the Sanctorale and for the Common of Saints]; Speculum Beatae Virginis Mariae [Mirror of the Blessed Virgin Mary]; decorated medieval manuscript on parchment with an intact medieval chained binding By Conrad Holtnicker of Saxony, Aldobrandinus de Cavalcantibus, Antonius Azaro of Parma, Martinus Polonus, and other unidentified authors

Sermones de sanctis et de commune sanctorum [Sermons for the Sanctorale and for the Common of Saints] MEDIEVAL SERMON MANUSCRIPT IN A FIFTEENTH-CENTURY CHAINED BINDING, CHAIN INTACT, decorated manuscript on parchment, in Latin, Austria (Vienna?) or Southern Germany, c. 1275-1300. 182 x 127 mm. 190 folios, complete, written in a rapid Gothic hand with cursive influence in two columns of thirty-two to thirty-seven lines (justification, 141-143 x 96-100 mm.), parchment ruled in brown ink, quire signatures, guide notes for rubrication, red rubrics, capitals and names of cited authorities stroked in red, rhymed phrases underlined in red, red paraphs, two- to three-line plain red initials, two-line red initial with pen flourishing in red (f. 131v), occasional scribal corrections and marginalia. BINDING: Fifteenth-century blind-tooled and -stamped red calf with eight engraved and bossed cornerpieces, intact fore-edge clasp, and chain hasp with intact chain, with two manuscript fragments serving as front flyleaf and lower pastedown. Chained libraries were a late medieval solution to the problem of providing access to needed books in an institution, while at the same time preventing theft, and we can assume many late medieval volumes were once chained. Most, however, have been rebound, or survive without the chain and other metalwork, and intact chained bindings such as this one are uncommon. TEXT: This extensive collection includes more than one hundred sermons from the Sermones de sanctis et de communi sanctorum of the early Franciscan writer, Conrad of Saxony (d. 1279), together with his very popular text, the Speculum beatae Mariae virginis , all copied not long after their composition. This is, however, not simply a copy of Conrad's sermon cycle, since some of his sermons are omitted, and six sermons by contemporary Dominican authors (Martinus Polonus, Aldobrandinus de Calvacantibus, and Antonius Azaro de Parma), as well as eight sermons by unidentified authors were also included. It seems likely this is an example of a re-working of Conrad's texts for a Dominican audience, who would have prized it as a preaching aid and for its pronounced Marian focus. Marginal annotations attest to the early use of these sermons, most likely by preachers. PROVENANCE: Written in Southern Germany or Austria at the end of the thirteenth century, as suggested by evidence of spelling, script, and decoration. Belonged to the Dominican house attached to the Church of St. Maria Rotunda in Vienna, as indicated by two fifteenth-century inscriptions; here it was probably part of the house's chained library. Belonged to a Dominican convent at Kosi?e, in present-day Slovakia, as indicated by a sixteenth-century(?) inscription. Belonged to Maurice Burrus (1882-1959), Alsatian philatelist; his ex libris on the front pastedown. CONDITION: Slight rust stains and corrosion in the outer margins of ff. 184-188, margins trimmed away, overall in good condition. Full description and photographs available (TM 767).
BOOK OF HOURS (Use of Rouen); illuminated manuscript on parchment in Latin and French

BOOK OF HOURS (Use of Rouen); illuminated manuscript on parchment in Latin and French

BOOK DESCRIPTION: LARGE SCALE MANUSCRIPT SPARKLING WITH GOLD LEAF ASSOCIATED WITH ONE OF THE MOST SKILLFUL COLLABORATOR-FOLLOWERS OF THE BEFORD MASTER. Illuminated manuscript on parchment, in Latin and French, France, Paris (?), c. 1430-1450. Dimensions 197 x 143 mm., 152 folios, complete, written in brown ink in a gothic liturgical bookhand in 16 long lines, rubrics in red, versal initials in burnished gold leaf, 2-line initials in burnished gold, outer margins adorned with gold, 12 LARGE THREE-QUARTER PAGE MINIATURES WITH FULL BORDERS closely related to the style of the Master of the Munich Golden Legend. BINDING: bound in nineteenth-century dark green velvet, center and corners adorned with copper bosses, clasps composed of metallic buckles and fine strips of leather. ILLUSTRATION: Richly decorated Book of Hours in the style of the skillful Master(s) of the Munich Golden Legend, who collaborated with and then continued the Bedford Master's work in Paris and perhaps in Rouen, in association with other painters, notably the Parisian Dunois Master. This large-scale manuscript with rich gold leaf not only for the miniatures but also for the calendar and borders on the text pages was probably customized in Paris for a female patron living in Rouen. PROVENANCE: The book was likely made in Paris for the Rouen market or for a Norman resident in the capital. The original owner may well have been a woman since the prayers are predominantly in the feminine. The book was later in a Private North American Collection. CONDITION: In good condition. Full description and images available. (BOH 172)
Ein gute Ordnung

Ein gute Ordnung, und kurtze unterricht?; calligraphy samples copied by HANS JACOT, copperplate print and manuscript on paper

JOHANN NEUDÖRFFER and HANS JACOT A FINE COPY OF JOHANN NEUDÖRFFER'S GROUNDBREAKING WRITING MANUAL WITH MANUSCRIPT WRITING SAMPLES BY AN EARLY OWNER, Germany, Nuremberg, c. 1535-1543 and March 12, 1590. Dimensions 186 x 280 mm., imprint followed by manuscript leaves: imprint: 111 copperplate prints and counterproofs on paper, complete as intended, copperplates of varied sizes, various calligraphic scripts, decorative scrollwork; manuscript: 16 folios on paper, apparently complete (all singletons), written in various calligraphic scripts with scrollwork in dark brown ink. BINDING: Bound in late sixteenth- or early seventeenth-century paperboard in mottled brown with red spine and corners. TEXT: This book begins with an imprint of the famous writing manual by Nuremburg master scribe Johann Neudörffer (1497-1563); Neudörffer, a renowned "Schreibmeister," was the father of Fraktur script, and this writing manual is its first appearance in print. This is a hybrid book, containing both copperplate prints and counterproofs of Neudörffer's book, and handwritten calligraphy samples made by the Dutchman Hans Jacot in 1590. PROVENANCE:Johann Neudörffer's groundbreaking Ein gute Ordnung was published in Nuremberg in 1538. Most of its copperplates were first printed in 1538 with others subsequently added in Neudörffer's later years. Some plates include dates, with 1543 being the latest. The sixteen manuscript folios are signed on the final folio by Hans Jacot. Although his paper seems likely to have been made in Bavaria given its watermark, Hans Jacot was a Dutchman. This book shows no evidence of subsequent ownership. It has presumably remained in private European collections since production. CONDITION: Imprint: most pages nearly pristine, occasional minor flecking, staining, and fingerprints; manuscript: some original ink blots and bleed-through, some trimming of scrollwork but no loss of text, ink corrosion on f. 124 but no loss of text, wear to outer edge. Full description and images available. (TM 1005)
Moralia in Job [Morali di Santo Gregorio papa sopra il libro di Job]

Moralia in Job [Morali di Santo Gregorio papa sopra il libro di Job], libri I-X; illuminated manuscript on paper

By Gregory the Great, translated from the Latin into Italian by Zanobi da Strada MEDIEVAL ILLUMINATED MANUSCRIPT IN ITALIAN ON PAPER, Northeastern Italy, Veneto (Venice?), c. 1474. Dimensions 328-332 x 230 mm., 188 folios, missing at least three leaves, written in brown ink in an Italian cursiva libraria script, EIGHT ILLUMINATED INITIALS of seven lines, one-line paraphs in red or blue , simple two- to four-line in red or blue initials. BINDING: re-cased using original binding materials of brown half leather over bevelled wooden boards with three double bands, remains of four straps present. TEXT: Italian translation of Gregory the Great's Moralia in Job , one of the most important and widely copied texts of the Middle Ages. Though forty copies of this translation survive, this volume is unusual in its incorporation of Venetian dialectal forms. All other copies are in European institutions and have not been on the market for the last century. PROVENANCE: scribal colophon on f. 190v provides a date for this manuscript's completion and helps localize its production within Italy: "Scripto per mi zuane de zane zoielier condam p[er?] simon et chi li lezeranno priegi dio per lo scriptore. MCCCCLXXIIII" (Written by me, Zuane de Zane, jeweler, once for (?) Simon, and may whoever will read it pray to God for the writer. 1474). There is no Zuane de Zane on record elsewhere as a scribe; the name itself is Venetian, and evidence of the manuscript's watermark and decoration also suggest an origin in the region of Veneto and possibly Venice specifically. The manuscript was later acquired by a private European collection. CONDITION: slight tears in the lower margin of f. 25 and upper margin of ff. 37 and 160, from f. 161 to the end there is a slight loss to the upper outer corner , slight water staining visible, parchment reinforcement present, prickings visible. Full description and images available. (TM 796)
Cronica degli pontifici e degli imperatori

Cronica degli pontifici e degli imperatori, (Chronicle of the Popes and Emperors), Italian translation

Martin of Troppau DECORATED MEDIEVAL MANUSCRIPT IN ITALIAN ON PAPER AND PARCHMENT. Northeastern Italy, Veneto, Vicenza, c. 1472. Dimensions 207 x 149 mm., 138 folios on parchment (f. 133) and paper, complete, written in brown ink in two humanist hands one-line red initials. BINDING: nineteenth-century reddish calf over pasteboards, binder's ticket, "BRETHERTON LIGAVIT, 1847." TEXT: An Italian translation and continuation of a very popular popular medieval Latin chronicle. The Italian Cronica here extends Martin of Troppau's chronicle by nearly two centuries and is one of only nine known manuscripts preserving Italian translations of the Chronicon. PROVENANCE: The manuscript was produced in the Veneto region per evidence of dialect, script, and watermarks. A scribal colophon corroborates the date (1472) and points to the book's probable origins in Vicenza: "Cronicha vulgar schrita per mj dom Lodouigo da cha da fan prior de San Vio de Vicentia del 1472 [vernacular chronicle written by me, Dom Lodovigo da Cha da Fan, prior of San Vito in Vicenza]" (f. 133). The manuscript later belonged to Luigi Celotti (c. 1768-1846) and was included in his sale at Sotheby's on 26 February 1821. In 1823, the manuscript was sold by the London bookseller Richard Priestly. It was later acquired by Sir Thomas Phillipps (1792-1872), and under his ownership the manuscript was placed in its present binding by George Bretherton. It was then sold in a Sotheby's sale on 6 June 1910. In 1956 [?], the manuscript was sold by H.P. Kraus.CONDITION: overall in very fine condition, some foxing of the paper, parchment reinforcement strips pasted in the inner folds of quires i-v, vii-xi. Full description and images available. (TM 117)
BOOK OF HOURS (USE OF ROME); illuminated manuscript on parchment in Latin

BOOK OF HOURS (USE OF ROME); illuminated manuscript on parchment in Latin

SUBSTANTIAL BOOK OF HOURS IN GOOD CONDITION WITH MANY LARGE AND SMALL MINIATURES. Illuminated manuscript on parchment, in Latin, Southern Netherlands, Ghent or Bruges, c. 1460-1470. Dimensions 179 x 124 mm., 118 folios, complete, written in brown ink in a textualis formata bookhand on 19 lines, one-line initials, 2- to 3- line champ initials, fourteen 6-line initials, one HISTORIATED INITIAL (5-lines), ELEVEN SMALL MINIATURES (6-lines), FOURTEEN FULL-PAGE MINIATURES, 28 FULL BORDERS. BINDING: nineteenth-century dark brown calf, gold-tooled, contains words in gilt (mostly rubbed out) MARIE (front board) and ROSARIE (back board), gauffered edges. ILLUSTRATION: Painted in the style of the Masters of the Beady Eyes, this Book of Hours is distinguished by its unusual and enigmatic details. The artist is eager to represent architectural and structural details, which sometimes lead to curious spatial arrangements and juxtapositions. PROVENANCE: The painting style situates the production of this book in Ghent or Bruges around 1460-70. Due to the inclusion of a suffrage to St. Quentin (venerated in Northern France), the manuscript was destined for use in the francophone region of the Southern Netherlands extending to the Northern France. It was probably made for an individual from Burgundy stationed in the Southern Netherlands, possibly in Bruges. Prayers in French and motets in Latin transcribed in the sixteenth century to the blank pages. François Legrand (d. 1716) of Burgundy probably owned the book in the seventeenth century, as there are transcribed prayers in French and a signature, "F. Legrand 1669"; later in a Private European Collection. CONDITION: spine is worn in corners and hinges are fragile, a few small stains, but overall in excellent condition. Full description and images available. (BOH 163)
BOOK OF HOURS (Use of Rome)

BOOK OF HOURS (Use of Rome), illuminated manuscript on parchment in Latin and French

REMARKABLE EXAMPLE OF A PERFECTLY PRESERVED PARISIAN RENAISSANCE BOOK OF HOURS WITH BINDING, CLASPS, AND PICTURES ALL INTACT. Illuminated manuscript on parchment, in Latin and French, France, Paris, c. 1500. Dimensions 220 x 130 mm., 90 folios, complete, written in a single column of 30 lines in a pleasing formal bâtarde book hand, rubrics in red, one-line initials throughout, numerous two-line initials, 14 LARGE AND 23 SMALL FINELY EXECUTED MINIATURES by the workshop of JEAN COENE IV (=MASTER OF THE PARIS ENTRIES). BINDING: Bound in ORIGINAL, unrepaired blind-stamped leather, with raised bands, two original openwork silver clasps, original catch plates and anchor plates, remnants of velvet chemise beneath, vellum pastedowns, all edges gilt. In a modern brown cloth clamshell box with leather spine label. ILLUSTRATION: This exceptional Book of Hours was clearly a premium production, almost certainly done by the master Jean Coene IV (active c. 1490-1520) himself. The harmonious composition of each scene, the use of vibrant color combinations, and the confident line strokes clearly indicate the work of a practiced hand. PROVENANCE: The manuscript's original owner was Jean Martin, an official in the French government, whose name and important genealogical dates are written in the back of this volume. Front pastedown contains an armorial bookplate of Monsieur le Marquis de Dollon (1769- 1856); later in a private collection. CONDITION: few marks and a little rubbing to the leather, small stain affecting top margin of one gathering, trivial erosion to paint, light rubbing to one or two miniatures, but all imperfections are very minor. Overall in outstanding condition. Full description and images available. (BOH 160)
BOOK OF HOURS (USE OF ROME?); illuminated manuscript on parchment in Latin

BOOK OF HOURS (USE OF ROME?); illuminated manuscript on parchment in Latin

BOOK OF HOURS OF CONSIDERABLE CHARM AND MODEST PROPORTIONS REFLECTING THE EVERYDAY PIETY PRACTICED IN A FLEMISH HOUSEHOLD. Illuminated manuscript on parchment, in Latin, Southern Netherlands, Ghent or Bruges, c. 1480. Dimensions 168 x 124 mm., 105 folios, lacking one calendar leaf, written in a gothic book hand in a single column of 18 lines, rubrics in red, many one-line initials in burnished gold or blue, a number of two-line (and a handful of four- and five-line) initials, 21 LARGE INITIALS ACCOMPANIED BY BORDERS of acanthus, fruit, and burnished gold ivy leaves, EIGHT CHARMING HISTORIATED INITIALS, and FOUR FULL-PAGE MINIATURES. BINDING: Bound in modern red velvet, signed S. Wiklander (?) on rear pastedown, in a fine red morocco folding box with gilt lettering.ILLUSTRATION:This Netherlandish Book of Hours is characterized by its charm and homespun realism. It was painted by three artists: a Dutch-influenced artist painted one miniature and a historiated initial, a Flemish artist contributed the other full-page pictures, and the animated and charming historiated initials are by a third hand. PROVENANCE: The appearance in the Calendar of saints venerated in Bruges and the style of the miniatures suggests the Southern Netherlands as the origin. The border decoration can be related to Ghent manuscripts by the Master of the Flemish Boethius. The very specific initials with foliage in liquid gold on red fields are found in the same group, but also in an Antwerp Book of Hours recently sold at Christie's (12 July 2017, lot 17). For these observations we thank Dominique van Wijnsberghe. The manuscript was later in a Private Collection. CONDITION: many leaves with faint dampstain, minor rumpling (but not affecting text or illustration), some soiling, otherwise only quite minor defects; overall a very well-preserved manuscript. Full description and images available. (BOH 159)
BOOK OF HOURS (USE OF ROME); illuminated manuscript on parchment in Latin with some French

BOOK OF HOURS (USE OF ROME); illuminated manuscript on parchment in Latin with some French

CHARMING BOOK OF HOURS WITH CLEAN MARGINS, A SOFT PALETTE, AND A LOVELY ARMORIAL BINDING. Illuminated manuscript on parchment, in Latin, calendar and some rubrics in French, France, Loire Valley or Central France (?), c. 1490-1510. Dimensions 143 x 84 mm., ii (modern paper) + 214 + ii (modern paper) folios, lacking 2 leaves, written in brown ink in a cursive bookhand, on 18 lines, ruled in red ink, thirteen 3-6-line blue initials with white highlights, FIVE SMALL MINIATURES, FIVE FULL-PAGE MINIATURES in architectural frames. BINDING: bound in eighteenth-century red morocco, spine with five raised bands gold-tooled with filets, fleurons and crowns; gold-tooled covers with double-fillets and corner fleurons stamped with the arms of Charles de Baschi, binding restored in the nineteenth or early twentieth century, with a box covered with marbled paper. ILLUMINATION: an interesting and hitherto unknown French artist who deserves attention painted this Book of Hours. His miniatures exhibit a certain freedom with traditional iconography and formal arrangements similar to that of artists in Central France and the Loire Valley. Notable are his softly painted landscape vistas, varied architectural frames, and an especially engaging use of detail in the Annunciation . PROVENANCE: It is challenging to localize the production of this French Book of Hours. Certain material aspects suggest Loire Valley or Central France (Tours, Bourges or Angers). However, since motifs and artists frequently moved between these cities, it is difficult to pinpoint where the book was made, although Bourges or Tours seems most likely. The mention of Metrannus and Amadour, however, suggest that the book was made for someone in Southern France. The manuscript was later owned by the great French bibliophile, Charles de Baschi, Marquis d'Aubaïs (Languedoc)(1686-1777), under whose care the manuscript was placed in its present 18th-century armorial binding. CONDITION: small smudges in a few margins, otherwise in excellent condition. Full description and images available. (BOH 156)
PRINTED BOOK OF HOURS (USE OF ROME); printed book on parchment in Latin and French

PRINTED BOOK OF HOURS (USE OF ROME); printed book on parchment in Latin and French

INCUNABULA PRINTED BOOK OF HOURS UNUSUAL FOR ITS EARLY MONASTIC PROVENANCE AND ITS PANELS FROM A BINDING DATED 1557. Printed book on parchment, in Latin and French, Paris, THIELMAN KERVER for Guillaume Eustace, 14 November [1497/1498], dimensions 190 x 125 mm., 96 folios, complete, printed in black in a Gothic bâtarde in a single column, 1- to 2-line capitals and line fillers in white and liquid gold on red and blue grounds, TWENTY LARGE METALCUTS, FIFTY-ONE SMALL WOOD AND METALCUTS, with many figural borders.BINDING: Bound in 19th-century brown morocco, spine with four raised bands, front and back boards with blind tooling and inset with two embossed brown leather panels from a previous binding dated 1557.ILLUSTRATION: This Book of Hours is the among the very first examples printed by Thielman Kerver for Guillaume Eustace. The book's illustrations are after designs by the Master of the Très Petites Heures of Anne of Brittany, including borders with historiated lower margins. This example is among the first to feature a metalcut with a new and iconographically unusual image of the Trinity depicting Christ with a three-fold face and an emblem. PROVENANCE: Printed in Paris on November 14 [1497/1498] by Thielman Kerver (died c. 1524/5) for Guillaume Eustace (died 1538). It then belonged to the Augustinian Abbey Library of Saint Gertrude in Leuven. Later, the book was conserved by Léon Gruel and Engelmann in Paris. It was then owned by Richard de Lomenie, Paris. By the early 20th century it was in an unidentified collection.CONDITION: a few folios cockled or stained, the Zodiac Man's genitals scratched out, first and last folios with the printer's devices, and f.2v with some abrasions, but otherwise in good condition. Full description and images available. (BOH 151)
Manuscript on Paper: Calligraphy Sample Book in German and Latin following a Writing Manual by ADOLPH ZUNNER[?] printed by JOHANN CHRISTOPH WEIGEL or CHRISTOPH WEIGEL THE ELDER

Manuscript on Paper: Calligraphy Sample Book in German and Latin following a Writing Manual by ADOLPH ZUNNER[?] printed by JOHANN CHRISTOPH WEIGEL or CHRISTOPH WEIGEL THE ELDER

Writing-master following a work by ADOLPH ZUNNER[?] CHARMING EIGHTEENTH-CENTURY MANUSCRIPT WRITING-MASTER'S BOOK OF CALLIGRAPHIC SAMPLES. In German and Latin, manuscript on paper, Germany (Nuremberg), c. 1713. Dimensions 150 x 190 mm., 20 folios on paper, complete, unidentified watermark, text written in various calligraphic scripts in black ink on recto only, sketched decorative evergreen boughs on f. 1, calligraphic scrollwork throughout. BINDING: Contemporary binding of brown brocade paper with elegant mixed floral design, traces of gold embossing, pasted spine. TEXT: This charming booklet, designed for teaching writing to the young, appears to be one of a kind. This volume in its fine contemporary binding includes texts that display a scribe's skill in writing different types of scripts. It is partially copied from writing- master Adolph Zunner's 1709 Kunstrichtige Schreib-Art printed in Nuremberg by famous publisher and engraver [Johann] Christoph Weigel. PROVENANCE: Written in Germany, in Nuremberg, in 1713 or shortly thereafter. While the name of the scribe himself is unknown, the publisher of the writing master's book from which this booklet was in part copied is identified on its title page as Johann Christoph Weigel, a Nuremberg art dealer, engraver, and publisher; described briefly as in a private collection in Hamburg in 1983. CONDITION: Minor flecking and staining, some original ink blots, some abrasion and discoloration on binding but wholly intact. Full description and images available. (TM 1007)
Psalter (use of the Celestines) illuminated manuscript on parchment in Latin

Psalter (use of the Celestines) illuminated manuscript on parchment in Latin

ILLUMINATED LATIN PSALTER FROM THE MIDDLE AGES. Dimensions 133 x 95 mm., 190 folios on parchment, lacking four leaves, catchwords, written in brown ink, calendar in cursive bookhand and the remainder of the text in a gothic textualis bookhand, 1- to 2-line initials alternating in blue and red throughout, NINETEEN ILLUMINATED INITIALS, 9- to 3-line in raspberry red, blue or liquid gold, decorated with flowers, acanthus and strawberries. BINDING: sewn on four bands, but unbound (spine bare, lacking front and back covers). TEXT: Small-format illuminated Celestine Psalter likely from the Celestine monastery of Notre-Dame in Metz. Celestine manuscripts have not survived well, and this book thus provides rare insight into Celestine manuscript production and liturgy, a study that remains to be written. The Psalms were essential to the prayer life of all Christians, lay and religious, in the Middle Ages. PROVENANCE: Written and illuminated in Northeastern France very likely at the Celestine convent of Notre-Dame in Metz c. 1490 as indicated by the liturgical contents and the style of the decoration. The calendar and the Office of the Dead indicate that the manuscript was prepared for use in the Celestine Order. The manuscript was later in a private European Collection. CONDITION: ff. 104 and 118 excised vertically in half with loss of text, first and last leaves very stained and darkened, first quire detached from the uppermost sewing, some original defects of parchment in the outer margins, some stains and thumbing, otherwise in good condition. Full description and images available. (TM 991)
Le livre de bonnes meurs [The Book of Good Manners]; manuscript on paper. By Jacques Legrand. France (Burgundy) or Switzerland (Basel?)

Le livre de bonnes meurs [The Book of Good Manners]; manuscript on paper. By Jacques Legrand. France (Burgundy) or Switzerland (Basel?), c. 1450

Le livre de bonnes meurs [The Book of Good Manners] DECORATED MEDIEVAL MANUSCRIPT IN FRENCH ON PAPER, France (Burgundy), or Switzerland (Basel?), c. 1450. Dimensions 214 x 138 mm., i + 139 + i folios, apparently complete, written in a formal cursive gothic bookhand (close to lettre bâtarde ) in twenty-three long lines, one large parted red and blue initial, alternating red and blue initials, red and blue paragraph marks. BINDING: nineteenth-century cartonnage binding with gilded spine and raised split cord, labelled on spine, "Traité des vices et des virtus." TEXT: the humanist Jacques Legrand's best seller, Le livre de bonnes meurs in an elegant calligraphic book hand. Le livre de bonnes meurs was a bestseller in its day, circulating among the ruling elite at the French and Burgundian courts. This appears to contain the first version of the text, written six years before the final edition dedicated to Duke Jean de Berry. It lacks illumination but is copied in a very elegant calligraphic book hand that echoes the script of many of the luxury copies. PROVENANCE: evidence of the script and watermark suggests that this manuscript was copied in Burgundy or Switzerland around the middle of the fifteenth century, c. 1450; the concluding rubric on f. 139 is followed by a name, "Gilibertus qu ," likely the name of the scribe. Early ex libris (sixteenth century?) on f. 139v, "Iste liber est ," unfortunately illegible. In 1850, the manuscript was acquired by a French library where it was rebound in its present cartonnage binding. The manuscript was later acquired by a private European Collection. CONDITION:damaged throughout from damp with the text space darkened although text remains legible, worming, last folio is torn, first folio damaged in the upper half. Full description and images available. (TM 722)
JAN VAN BREDERODE

JAN VAN BREDERODE, Des Coninx Summe, Dutch translation of LAURENT D?ORLÉANS, La Somme le Roy (The King?s Summa); Die passy vur ene[n] corte sey[?] and Die heilighe passy zeer cort en[de] goet (Two Texts on the Passion of Christ); JOHANNES BRUGMAN, XV Goede punten ende leringhe (Fifteen Good and Learned Points); Three Rhymed Exempla; Decorated manuscript on paper, in Dutch

JAN VAN BREDERODE, Des Coninx Summe, ONLY KNOWN COPY IN PRIVATE HANDS OF THE MIRROR FOR PRINCE'S TEXT, LA SOMME LE ROY, IN DUTCH TRANSLATION BY JAN VAN BREDERODE. Decorated manuscript on paper, in Dutch, Northern Netherlands (near Utrecht), dated 1487. Dimensions 207 x 145 mm. 124 folios, prickings still present in most of the leaves, written in a littera cursiva by one hand in 29-32 long lines, no rubrics, majuscules in text stroked in red, some paragraph marks in red, many three- and two-line initials in red or blue, two six-to four-line red or blue initials. BINDING: CONTEMPORARY binding of brown leather over wooden boards, two brass catches and clasps on leather thongs, parchment flyleaves and pastedowns at front and back of maculature from two Utrecht charters of c. 1425-1450 (dated 1425 and 1424?) in Latin in a littera cursiva , written on one side, folded with the text on the outside, the pastedowns have come loose from the boards, hinges weak. TEXT: This is the only known copy in private hands of the text, La somme le roy , in the Dutch translation by Jan Van Brederode. The text is a series of moral lessons in the Mirror for Princes tradition written in 1279 for King Philip III of France by his confessor, the Dominican friar Laurent d'Orléans, also known as Laurent du Bois. The text on leading a Christian life, XV Goede punten ende leringhe , is attributed to the Dutch preacher Johannes Brugman. The three short, rhymed exempla that follow, are known only in this manuscript. Written in 1487 by brother Jan Symoensz at the Carthusian monastery of Nieuwlicht in Utrecht. PROVENANCE: The manuscript was written by Jan Symoensz, a Carthusian monk in the monastery Nieuwlicht, near Utrecht. He makes himself known in two colophons in which he also mentions the year in which the manuscript was made: 1487. In the sixteenth century the manuscript belonged to a Neyn Dircx, according to an owner's inscription on p. 5: "Dit boek hoort toe Neyn Dircx." It was later in the collection of Belgian Baron Raphaël Gillès de Pélichy (1875-1967). CONDITION: First two paper leaves (pp. 5?8) a bit creased, minor traces of use, ink stain in the lower margin of p. 9. Overall good condition. Full description and pictures available. (TM 933)
ANONYMOUS]

ANONYMOUS], Les sept fruits de la tribulation; and [ANONYMOUS], Miroir d?or de l?ame pecheresse, French translation of JACOBUS DE GRUYTRODE (or JACOBUS DE JÜTERBORG), Speculum aureum animae peccatricis; Illuminated manuscript on parchment, in French

ANONYMOUS], Les sept fruits de la tribulation; ELEGANT MANUSCRIPT CONTAINING TWO WORKS OF SPIRITUAL AND MORAL EDIFICATION IN FRENCH TRANSLATION. Illuminated manuscript on parchment, in French, France, after 1482, c. 1490. Dimensions 274 x 175 mm. 70 folios, written in a Gothic bâtarde bookhand, 18 large initials parti-colored in red and/or blue, inserted leaf in first quire with FULL-PAGE HERALDIC COMPOSITION IN GOLD, SILVER, RED, BLUE AND BLACK. BINDING: Bound in modern nineteenth-century blue velvet over wooden boards, pink paper pastedowns and endleaves, edges gilt. TEXT: Manuscript contains two works that reflect the spirituality of fifteenth-century Carthusians and their quest for the contemplative life. The first text, Sept fruits de la tribulation , is known in only five extant manuscript and is still unedited. A free French version, probably dating from the fifteenth century, of either the longer Latin Tractatus de tribulacione , or an abridged adaptation of the French Livre de tribulacion . The second text , Miroir d'or de l'ame pecheresse, is a work of spiritual edification which consists of seven sections: on human misery, sin (especially lechery), penance, rejection of the world, the vanity of human wishes, death and hell and heaven. There is neither a modern critical edition of the second text, nor a complete census of the existing manuscripts; the copy here was apparently made from an incunable edition of c. 1490. This manuscript begins with a remarkable added full-page illuminated frontispiece with the coat of arms and motto of Louis de Grolée (fl. late fifteenth-early sixteenth century), the abbot of Bonnevaux and Saint-Pierre de Vienne. PROVENANCE: Copied in France (perhaps northeastern?) based on script and linguistic characteristics, as well as internal evidence. It belonged to Louis de Grolée (fl. late fifteenth-early sixteenth century). It then belonged Charles Chardin, bibliophile. It was later a part of the collection of Sir Thomas Phillipps, (1792-1872), who has been described as the greatest private manuscript collector of all time. CONDITION: Gold slightly rubbed, some off-setting from heraldic painted composition to opening text page, slight staining in upper margin and into three lines of text ff. 68-69. Overall good condition. Full description and pictures available. (TM 466)
Statutes and Register of the Confraternity of the Five Wounds of Our Lord; manuscript on parchment and paper

Statutes and Register of the Confraternity of the Five Wounds of Our Lord; manuscript on parchment and paper, in Italian

Statutes and Register of the Confraternity of the Five Wounds of Our Lord ONLY SURVIVING MANUSCRIPT OF THE UNEDITED AND UNPRINTED STATUTES OF PARMA'S CONFRATERNITY OF THE FIVE WOUNDS OF OUR LORD. Manuscript on parchment and paper, in Italian, Italy (Parma), 1563-1735. Dimensions c. 265 x c. 190 mm. 24 (parchment) + 6 (paper) folios, WRITTEN IN 4 PARTS: (i) ff. 1-4v written in Italian Humanistic script by two hands, imprint and traces of WAX SEAL on f.3 dated 1589; (ii) ff. 5v-22 written in several Italian cursive hands, dated 1680-1733; (iii) ff. 22v-24v, in several large non-cursive hands, dated 1680-1735; (iv) ff. 24-29 written in seventeenth-century Italian cancelleresca by one hand. BINDING: Contemporary folder binding of cardboard with parchment outer covering, warping but stable condition, indecipherable writing in brown ink by several hands on front and back. TEXT: Only extant manuscript of the ten foundational statutes of Parma's Confraternity of the Five Wounds of Our Lord, with an extensive register recording its members, and the rules of a second unidentified confraternity dedicated to the Stigmata of St. Francis. These texts illustrate the social, cultural, and religious values of two lay confraternities. Confraternities were (and still are) associations of laypeople centered around carrying out pious and charitable works, which through their performance and associated indulgences prepared members for a favorable afterlife. The extensive list of named members offers new evidence relevant to the history of Parma at the height of the Farnese power. PROVENANCE: The manuscript was written gradually over centuries, dates throughout. The main part of the manuscript is affiliated with the Church of San Ambrosio in Parma (now demolished). The statutes contemporary with the Confraternity's founding were ratified by Ferdinando Farnese, cousin of the powerful Duke Alessandro Farnese. The second section is dated 1589. Following is a register with names of the men who belonged to the Confraternity recorded between 1669 and 1735. The manuscript's final text, written in the seventeenth century, was not written for the Confraternity but rather for a confraternity dedicated to the Sacred Stigmata. It is unclear whether it was written in Parma. The manuscript was later in a private European collection. CONDITION: Moderate wear, discoloration, and staining throughout parchment quires with minor rippling, chipping or chewing at edges, paper quire has some staining, flecking, folding at corners, uneven bottom edges, worming on blank last folio, no text loss. Full description and pictures available. (TM 939)
Anonymous]

Anonymous], An Actual Report of the Origin of the Disputes in Religious Matters between the Protestant Churches (in German); RATRAMNUS OF CORBIE, On the Body and Blood of the Lord (in German translation); and other texts; manuscript on parchment, in German

Anonymous], An Actual Report of the Origin of the Disputes in Religious Matters between the Protestant Churches A CALLIGRAPHIC MASTERPIECE, THIS COLLECTION OF REFORMATION TEXTS WAS COPIED BY ANDRE WECHELN, THE FIRST POSTMASTER-GENERAL OF SWEDEN. Manuscript on parchment, in German, Stockholm, Sweden, 1636-1637. Dimensions (binding) 115 x 80 mm., (book block) 108 x 70 mm. 178 leaves, written in one hand, black penwork in FOLIATE DESIGNS USED FOR FULL TITLE PAGES, a GREEK CROSS, CALENDRICAL ROUNDELS, COMPASS FOR DESCRIBING WIND DIRECTION, two-, three-, and four-line black penwork initials throughout. BINDING: Gold-tooled 17th century binding of black cordovan leather, with the remnant of a form of ribbon tie on the back cover, sewn on three cords with blue and yellow silk endbands (the Swedish colors), gilt edges, contemporary marbled paper pastedowns, gold-tooled leaf spiral and flower filigree design with central and corner panels in a double frame common on mid-17th c. Swedish bindings, possibly the work of Georg Hornbein (fl. 1624-49), a German who had emigrated to Sweden in 1617 and ran the largest bookbindery in Stockholm. TEXT: This manuscript unites four copies of printed, though rare, Protestant texts: a devotional work on the Eucharist with a Prayer Book, a historical work on the origins of the confessional conflict accompanied by Martin Luther's sermon for Good Friday 1522, a German translation of a Eucharistic treatise by the Carolingian theologian Ratramnus of Corbie, and a guide to reading the Bible during the calendar year. The scribe, Andre Wecheln, was a German in Swedish royal service during the Thirty Years War and the first Postmaster-General of Sweden. PROVENANCE: The scribe names himself on four occasions as Andre Wecheln, writing in Stockholm in 1636-37. It was later in a European Continental Collection. CONDITION: In excellent condition. Full description and pictures available. (TM 514)