last 24 hours
last 7 days
last 30 days
older than 30 days

Les Enluminures

Illuminated Sarum Missal; illuminated manuscript on parchment in Latin

Illuminated Sarum Missal; illuminated manuscript on parchment in Latin

MEDIEVAL ILLUMINATED MANUSCRIPT WITH SKILLFULLY EXECUTED BORDER ILLUMINATIONS AND INITIALS. In Latin, illuminated manuscript on parchment, England (London), c. 1400-1425 (before 1423?). Dimensions 215 x 150 mm, 151 folios, lacking six leaves, main text written in a gothic bookhand, horizontal catchwords, prickings remain, one-line alternating red and blue initials, two-line blue initials with red penwork, EIGHTEEN LARGE ILLUMINATED INITIALS with scrolling acanthus borders. BINDING: CONTEMPORARY BINDING(?) of wooden boards, cut flush with book block, covered in white leather, added coat of arms deeply stamped in gold. TEXT: English illuminated manuscripts and English liturgical manuscripts are both increasingly uncommon the market; this is a rare opportunity to acquire a manuscript that fits both categories. Its illuminated borders, classics of their type, are skillfully executed. PROVENANCE: Based on evidence of the text, script, and illumination, the manuscript was first copied and illuminated in England, most likely London, in the early 15th century. A contemporary inscription dated 1423 on the front fly leaf localizes it to the church of St. Mary's of Wallington, leaving no reason to doubt that this Missal was copied for use at St. Mary's before 1423. Later, the manuscript belonged to Francis Walker, per his late 16th century inscriptions. The manuscript later belonged to John Gregory Mallett O.S.B. (1604-1681), chaplain at Ralph Sheldon's seat at Weston in Warwickshire from 1653 until his death. Then, it belonged to Ralph Sheldon (1623-1684), his coat of arms on the binding. Later, the manuscript belonged to Matthew Holbeche Bloxam (1805-1888), of Rugby, England, an accomplished antiquarian and architectural historian. He then gifted the manuscript to the Rugby School Library in 1888; inscription on inside front cover, "Rugby School Library the gift of Matt. H. Bloxam, January, 1888." CONDITION: some water damage, minor soiling, initial on f. 47 excised, initials occasionally smudged, "papa"(pope) erased throughout, front flyleaves and upper and lower boards of binding detached, leather peeling from spine, rubbed and stained. Full description and images available. (TM 1016)
Psalter (Premonstratensian Use); illuminated manuscript on parchment in Latin

Psalter (Premonstratensian Use); illuminated manuscript on parchment in Latin, with (added) musical notation

CHARMING MEDIEVAL ILLUMINATED PSALTER WITH MUSICAL NOTATION. In Latin, illuminated manuscript on parchment, with (added) musical notation, Northwestern Germany, (diocese of Cologne), c. 1270-1280. Dimensions 103 x 75 mm, 170 folios, complete, written by three different scribes in a gothic bookhand, prickings visible, 2-line initials, twenty one 3- to 6 -line decorated initials, ONE ILLUMINATED INITIAL, 7-lines, opening the psalms, chants added in the margins in the 14th century with hufnagelschrift notation. BINDING: sixteenth-century calfskin over wooden boards, blind-tooled with a roll with heads in profile. TEXT: charming example of an illuminated liturgical Psalter, certainly owned by women in the 17th century, and perhaps made for Premonstratensian nuns. This small volume, still in a fine early binding, includes an initial of David playing his harp painted in an elegant style close to that of the Cologne illuminator Johannes von Valkenburg. PROVENANCE: Details of the script and penwork initials date the manuscript to around 1270-1280, and several Cologne feasts in the calendar suggest this was made for use in Cologne or for its diocese for a Premonstratensian foundation, either for a double monastery of canons and nuns, which were usually predominantly female, or for Premonstratensian nuns; Margarita Geissin (17th-century ownership inscription in a German hand); Anna Elisabet von Hahfelt (multiple 17th-century German ownership inscriptions); Leander van Ess (1772-1847), theologian, former monk of Marienmünster in Paderborn; Sir Thomas Phillipps (1792-1872), his manuscript number 494; bought at his sale, Sotheby's, May 23, 1913, lot 1019 by Sidney Young F.S.A. (1843-1914); his sale, Sotheby's, July 20, 1921, lot 929 (bought by 'Tyler'); Robert N. Green-Armytage (d. 1966; English lawyer); Sotheby's sales: July 8, 1957, lot 70, and, December 1,1998, lot 74. CONDITION: small tear in the outer margin of f. 173, occasional flaking of the pigment and gold of initials, thumbing, binding lacking clasps and catches, worn at joints, otherwise in overall excellent condition. Full description and images available. (TM 1020)
Chronique amplifiée des rois de France (Amplified Chronicle of the Kings of France); medieval manuscript on paper in French

Chronique amplifiée des rois de France (Amplified Chronicle of the Kings of France); medieval manuscript on paper in French

GUILLAUME DE NANGIS LARGE FORMAT MEDIEVAL CHRONICLE IN ITS ORIGINAL BINDING. In French, manuscript on paper, France, c. 1450-1500. Dimensions 280 x 205 mm, 403 folios, incomplete at end, vertical catchwords on all quires except xviii and xxv, leaf signatures first half of all quires, written by a single scribe in an expert Bâtarde script, red paraphs and two-line initials. BINDING: ORIGINAL BINDING of cushioned wooden boards covered with brown leather, stamped with four petal flowers and fillets. TEXT: Guillaume de Nangis, Benedictine monk and librarian at the royal Abby of St.-Denis, was the official chronicler of the kings of France responsible for the "continuations" of the Grandes Chroniques de France . Not only does this volume survive as an unrecorded witness to his translation into French of one of the most important medieval French chronicles, it is of extraordinary rarity. PROVENANCE: The manuscript was copied in the second half of the 15th century in France by an experienced and probably professional scribe as indicated by the Bâtarde script featuring documentary-style embellishments; multiple 17th-century signatures on the front pastedown and parchment flyleaf, all unidentifiable; verso of the parchment flyleaf, autograph note by Jean-François Du Guet (1660-1724) dated February 1703 describing the manuscript's contents and attributing it to his library; four French notes by three unknown 20th-century hands in ink inserted on small sheets of paper between folios throughout the manuscript. CONDITION: minor worming throughout, minor flecking and staining, limited folding and tears at folio corners and edges, final quire detached, ink bleed-through on ff. 196-245, binding in delicate condition: front board with nearly all leather covering lacking, insect damage, bottom corner heavily chipped, spine fully exposed, supports detached, back board entirely loose, leather cover intact but heavily abraded, top clasp lacking barring one small nail. Full description and images available. (TM 1014)
Super unum ex quattuor seu Concordia evangelistarum (Commentary on One from Four or the Agreement of the Evangelists)

Super unum ex quattuor seu Concordia evangelistarum (Commentary on One from Four or the Agreement of the Evangelists), Compendium historiae in genealogia christi (A Compendium of History in the Genealogy of Christ); excerpt from JOSEPHUS, Antiquitates iudaice (Jewish Antiquities); illustrated Latin manuscript on paper and parchment

ZACHARIAS CHRYSOPOLITANUS, PETER OF POITIERS FINELY ILLUSTRATED MEDIEVAL MANUSCRIPT ON PAPER AND PARCHMENT. In Latin, illustrated manuscript on paper, Southern Netherlands (Sluis, near Bruges), dated 1475. Dimensions 295 x 210 mm., 244 folios, complete, horizontal catchwords, prickings visible, written in cursive gothic bookhands by several scribes, 1- to 3-line initials, 3-line initials, a few red initials with black penwork, usually 2- to 3-line, SMALL DIAGRAM of the four seasons and four cardinal directions, three folios with FULL PAGE CANON TABLES, FIVE DRAWINGS in black ink, LARGE DIAGRAM on f. 242. BINDING: 19th-century half leather and marbled pasteboard. TEXT: The two 12th-century texts, both of fundamental importance for the history of medieval biblical exegesis, are adapted here for Franciscan use in the fifteenth century; special features include a table of Gospel lections for the Mass and the drawings illustrating the biblical genealogy. PROVENANCE: signed and dated by the scribe, brother Franciscus Guilhelmus, in 1475; it is the only known surviving volume from the library of the Observant Franciscans at Sluis (near Bruges); includes a marginal apparatus with cross references by the original scribe, with additional notes in a second hand; contemporary or slightly later note on f. 243v, ending with three words, presumably of a name, erased and made illegible, plus a pen- flourish signature also undecipherable; presumably still at Sluis in the first half of the 16th century when a visiting friar, Paulus Zelandus from Hulst, added a note in a lower margin; probably entered private hands during the dispersal of the monastery's goods in the 17th century; private European collection. CONDITION: parchment is of varying quality, some of it remarkably poor, some small smudges throughout, first leaf creased with frayed edges and holes in the outer margin, but overall in excellent condition. Full description and images available. (TM 1012)
Isagoge ad Tegni Galieni;

Isagoge ad Tegni Galieni;, De urinis, and other selected texts from the Articella (or Ars medicinae), in an anonymous Catalan translation (some texts with marginal commentary)

JOHANNITIUS (HUNAYN IBN ISHAQ), PSEUDO-GALEN (THEOPHILUS PROTOSPATHARIUS?), and Others RARE MEDIEVAL MEDICAL MANUSCRIPT IN A CATALAN TRANSLATION. In Catalan, decorated manuscript on paper, dimensions 290 x 204 mm, 24 folios, complete, unidentified watermark, horizontal catchword, written in a formal cursive gothic bookhand in two columns of thirty-two lines, openings of each section in angular capitals with some ascenders, two blue initials (7-line and 2-line), some rubrics with calligraphic penstrokes. BINDING: CONTEMPORARY LIMP PARCHMENT ENVELOPE with flap and leather ties. TEXT: the present volume contains texts from the Ars Medicinae used for the study of medicine in medieval universities in a Catalan translation, including a synthesis of essential texts by Galen. Only four copies of this translation survive, the other three in insitutions; this one is unrecorded, and there is no modern edition. PROVENANCE: written in Spain, in Catalonia, very likely Barcelona, c. 1475 based on the evidence of the language and script. Later, the manuscript was owned by Joan Gili i Serra (1907-1998), Anglo-Catalan antiquarian bookdealer of Dolphin Bookshop off the Charing Cross Road, London, and later in Oxford, as well as an important Catalan publisher and translator. CONDITION: small spots in places, otherwise in excellent condition. Full description and images available. (TM 1011)
Consolatio philosophiae (Consolation of Philosophy); Renaissance Latin manuscript on paper

Consolatio philosophiae (Consolation of Philosophy); Renaissance Latin manuscript on paper

ANICIUS MANLIUS SEVERINUS BOETHIUS RENAISSANCE COPY OF BOETHIUS'S CONSOLATION OF PHILOSOPHY IN ITS ORIGINAL BINDING. In Latin, manuscript on paper, Italy (Venice?), c. 1475-1500. Dimensions 210 x 140 mm, 70 paper folios, complete, two watermarks, vertical catchwords, ruled in lead, prose in one column, verse sometimes in two, written in an experienced Italian humanist minuscule, blank spaces and cue letters left for initials. BINDING: CONTEMPORARY ITALIAN BINDING of bare (beech?) wood boards with beveled edges, remnant of leather formerly pasted across spine and partially covering boards, original brass clasps inset on front cover. TEXT: The most widely copied work of medieval secular literature, Boethius's Consolation of Philosophy is nevertheless relatively rare on the market. This volume, lacking the gloss found in many contemporary manuscripts which marks them as schoolbooks, was perhaps copied for the humanist scribe's own use. PROVENANCE: Based on its humanist minuscule and watermarks, this manuscript was produced by a single experienced hand in Northern Italy, probably Venice, in the last quarter of the fifteenth century; large detailed manicula (pointing hand) on f. 3 added by a contemporary hand; early modern reader added a border of jagged scribbles around the textblocks of ff. 8v and 24v; inexpert hand adds "Jacopi ? che qui anno 1693 i Viterbo 1693" in runny ink on f. 29v, presumably a later unidentified owner, placing the manuscript in Viterbo; an undeciphered three-word note in nineteenth-century German kurrent script on pastedown (meaning is unclear), suggesting a period of German ownership. CONDITION: wear on opening edges, rodent damage on f. 46, minor water damage throughout but no loss or damage of text, flecking occasionally throughout, back pastedown missing, front board of binding chipped above top clasp and split at bottom below lower clasp, otherwise in good condition. Full description and images available. (TM 1004)
Choir Book with Selected Texts for the Mass and Office; in Latin with some Italian

Choir Book with Selected Texts for the Mass and Office; in Latin with some Italian, illuminated stenciled book on paper with musical notation

EIGHTEENTH CENTURY ILLUMINATED CHOIR BOOK MADE BY STENCILS. In Latin with some Italian, illuminated stenciled book on paper with musical notation, Italy, c. 1767. Dimensions 460 x 320 mm, 23 folios, complete, on very thick paper, prickings remain, seven lines of text and seven red four-line staves on each page, FIVE LARGE ILLUMINATED INITIALS, equivalent to one line of text and a musical stave in the medieval style. BINDING: ORIGINAL BINDING of gold-tooled leather with an ecclesiastical coat of arms, border on both covers, smooth spine, edges dyed red. TEXT: Books made by means of stencils occupy a fascinating mid-ground between manuscripts and printing with movable type. This is a particularly well-executed example, adorned with illuminated initials. It was certainly made for someone in or close to the rare Piarist Order (the "Order of the Pious Schools"), likely to celebrate the sanctification of the founder of the order, St. Joseph Calasanctius, who was canonized in 1767. Bound in a gold-tooled armorial binding, this handsome book was surely appropriate for such a special occasion. PROVENANCE: Made for someone of high rank close to, or within, the Piarist Order, perhaps an abbot, whose coat of arms, not yet identified, appear on the binding in gold. Includes the Mass and Divine Office for St. Joseph Calasanctius (1556-1648), founder of the order, who was canonized in 1767, and it seems quite possible that this stately volume was made around that time; mounted engraving, front flyleaf, of a small landscape surrounded by ornament against a striped background by Georg Leopold Hertel (printmaker) and Johann Georg Hertel I (publisher) in Augsburg, c. 1760. CONDITION: a few stains throughout, front hinge of binding broken, somewhat rubbed, but in overall excellent condition. Full description and images available [TM 994]
Rule of the Augustinian Canonesses of Santa Andrea della Porta in Genoa; In Italian (Genoese dialect)

Rule of the Augustinian Canonesses of Santa Andrea della Porta in Genoa; In Italian (Genoese dialect), illuminated manuscript on parchment

EARLY SIXTEENTH CENTURY ILLUMINATED MANUSCRIPT MADE FOR NUNS. In Italian, illuminated manuscript on parchment, Northwestern Italy, c. 1511. Dimensions 202 x 142 mm., 55 folios, lacking one leaf, vertical catchwords, written in gray and red inks in Italian textualis bookhand on 25 lines, 2-line initials throughout, two 3-line and one 4-line puzzle initial, one 4-line initial, OPENING PAGE WITH THREE MINIATURES. BINDING: bound in seventeenth-century dark brown goatskin over wooden boards, covers gold tooled, Crucifixion on the front cover, Virgin and Child on the back cover, spine with three raised bands. TEXT: Apparently unpublished and unedited, this Rule for the Augustinian canonesses of Santa Andrea della Porta in Genoa is a significant new source for the study of the religious life of women in Renaissance Italy. Written in a practiced script by the confessor of the house, who signs his name, this manuscript marks the adoption of a new way of life by the religious community, which was formerly Benedictine. An illuminated frontispiece, possibly the work of one of the nuns and portraying the sisters, suitably underlines the importance of this manuscript. PROVENANCE: The colophon on f. 54v states the manuscript was copied in 1511 at the monastery of Santa Andrea della Porta (situated near Porta S. Egidio, today Via Dante) by Father Gregorio da Piacenza. 18th- or 19th-century inscription, front pastedown: "Monache S Maria in Passione," suggests the manuscript may have subsequently belonged to Santa Maria in Passione (also a house of Augustinian nuns), founded in 1463, and secularized in 1798, although this may simply be an error on the part of a modern owner or user of the manuscript. CONDITION: first leaf moderately worn with some flaking of ink and paint, a few stains and signs of use, gentle wear to binding, one of two leather straps and metal clasps missing, but in overall very good condition. Full description and images available.
Vulgate Bible; in Latin

Vulgate Bible; in Latin, decorated manuscript on parchment

LARGE FORMAT EARLY THIRTEENTH CENTURY ENGLISH BIBLE OF CONSIDERABLE SCHOLARLY IMPORTANCE. In Latin, decorated manuscript on parchment, England, c. 1220-1230; c. 1230-1240. Dimensions 350 x 240 mm., 304 folios, missing leaf in Genesis, a quire with the end of Job and the Psalms, two leaves from Maccabees, layout varies, hand 1: written on the top line in a gothic bookhand in two columns in 57-56 lines, chapters begin with 1-line initials, prologues begin with 3- to 2-line initials, books begin with 5- to 13-line initials, hands 2-3: written by at least two scribes on the top line in upright gothic bookhands in two columns of 63-60 lines, 2- to 3-line initials before some prologues, 7- to 27-line initials before other prologues and biblical books. BINDING: eighteenth century brown leather over pasteboard, gold tooled with a narrow border at the edges. TEXT: An unusually large format, impressive Bible, undoubtedly of English origin, exemplifying the transitional nature of Bibles from the early thirteenth century. Noteworthy textual elements include the presence of both older and modern chapters and an extensive cycle of the apocryphal Ezra books. PROVENANCE: Everything about this manuscript, copied by several scribes in two sections each with their own style of decoration, supports an English origin. Later evidence of use in the first section includes marginal indications of liturgical readings and annotations in many hands. Inside front cover, cutting from a sales catalogue in English, lot 657. Laminated note, laid in, "Biblia sacra ? Loan from Dr. Gary Gorman." CONDITION: occasional stains, front and back flyleaves detached, front and back hinges reinforced with modern tape, signs of use throughout, but in overall good condition.
Noted Breviary for select feasts; short Mass texts in German; recipes (medicinal and cosmetic); In Latin and German

Noted Breviary for select feasts; short Mass texts in German; recipes (medicinal and cosmetic); In Latin and German, illuminated manuscript on paper with musical notation

SIXTEENTH CENTURY NOTED BREVIARY WITH TEXTS FOR THE MASS AND COSMETIC RECIPES. In Latin and German, illuminated manuscript on paper, with musical notation, Southern or Central Germany, c. 1515-1525. Dimensions 200 x 140 mm., 114 folios, apparently complete, watermarks, written in black and red inks in textualis and cursive bookhands on 16 lines for text pages, for music 5 staves of four lines ruled in brown ink with hufnagelschrift notation, 2- to 5-line initials, two 3-line foliate initials, one 4-line foliate initial, one large foliate initial in pink on blue ground, in-filled in burnished gold. BINDING: CONTEMPORARY BINDING of pigskin over wooden boards, blind tooled, two brass clasps and catches. TEXT: An intriguing witness to the religious life in Germany during the early decades of the Reformation. This handsome manuscript features distinctive German musical notation known as Hufnagel ("horseshoe nail"). Alongside the Latin liturgical texts are texts for the Mass and recipes for make-up in German, opening the possibility of female ownership. PROVENANCE: The evidence of the language, script, style of the illumination, and watermark evidence support an origin in Southern or Central Germany, c. 1515-1325. Short sale catalogue entries in English and German pasted to the verso of the first front flyleaf. In 1884, the manuscript was offered to the Metropolitan Museum of Art (NY) by Joseph William Drexel (1833-1888) of Philadelphia; Drexel's donation was confirmed after his death in 1889. CONDITION: minor stains and smudging, minor wear of leather on spine of binding, otherwise in very good condition.
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)
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)