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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)
Kyriale

Kyriale, illustrated manuscript on paper with music for the Mass in Latin and French

Jean-François Barthès (1790-1861), artist and possibly scribe NINETEENTH-CENTURY MANUSCRIPT WITH PLAIN CHANT FOR THE MASS AND CHARMING ILLUSTRATIONS, Southern France, c. 1843-1845. Dimensions 505 x 335 mm., 32 folios on paper, complete, text copied in a calligraphic script imitating typeface, nine staves of music and text to a page, seventeen initials on ornamented and painted grounds, FOUR ORNAMENTAL BORDERS, NINE WATERCOLOR ILLUSTRATIONS of which six are within borders imitating frames of paintings. BINDING: Bound in the nineteenth century in brown marbled papers over pasteboard. TEXT: This fascinating, multi-faceted manuscript witnesses the continuation of the tradition of handwritten liturgical music manuscripts into the nineteenth century. A large and deluxe manuscript of choral compositions made by the Jesuit Jean-François Barthès (1790-1861), it was almost certainly made for presentation to the nuns of the Congregation of the Sisters of Notre-Dame de la Compassion, which Barthès founded in Marseille in 1843. PROVENANCE: The manuscript was made in France. The IHS emblem with three nails and the infant Christ holding the Cross (f. 39), attests to its Jesuit origin. The illustration on f. 9 is signed by Jean Barthès, who can be identified with the Jesuit Jean-François Barthès (1790-1861). The style of illustration, as well as the watermark suggest a dating of the manuscript to the second quarter of the nineteenth century. CONDITION: large tear on ff. 53/54, some small stains, hinges of binding very worn, otherwise in good condition. Full description and images available. (TM 986)
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)
JEAN BODIN

JEAN BODIN, C’est la declarac[i]on des choses heritaulx (Declaration of feudal holdings, or ?aveu et dénombrements?); Manuscript on parchment, in French

JEAN BODIN, C'est la declarac[i]on des choses heritaulx (Declaration of feudal holdings, or ?aveu et dénombrements? UNPUBLISHED MANUSCRIPT PROVIDES A RARE INSIGHT INTO THE FEUDAL HOLDINGS OF THE ROYAL ABBEY OF FONTEVRAUD. Manuscript on parchment, in French, Western France (La Pignonnière, near Angers), dated March 30, 1511. Dimensions 217 x 160 mm. 50 folios, written in a cursive notarial hand, OPENING INITIAL 'C' DECORATED WITH STRAPWORK EXTENDING INTO THE MARGIN. BINDING: Bound in nineteenth-century quarter calf, worn spine with title in gilt, "ANJOU / LA / PIGNONNIÈRE / AVEU / 1511." TEXT: This document is a declaration of the fiefs held by the vassals of one of the principal dependencies of the Abbey, the fiefdom of Pignonnière, in Saint Barthélémy d'Anjou, now a suburb of Angers. A fiefdom is an estate or domain and includes all the lands allocated to individuals (vassals) in return for service or rent. The document lists the vassals of this fiefdom (there are over a hundred names) item by item, describing the parcels of land that made up each fief, and indicating the deceased vassals ("feu") and their beneficiaries. The succession is carefully detailed because a vassal often gained possession of a fief through inheritance and the feudal contract between the lord and the vassal had legal significance only during the lifetime of each. Feudal inventories from France are rarely studied, and few have been edited. This manuscript thus offers previously unknown material for exploring late medieval society in Anjou. PROVENANCE: Drafted by Jean Bodin, a jurist living in Angers. Bodin signed the document with two other notaries and gave his name, profession, and the date of completion, March 30, 1511. Another date in the document, February 21 (f. 49v), informs us that the work took the notaries at least 38 days to complete. A brown paper label is pasted on the recto of the first front flyleaf, inscribed in a nineteenth-century hand. CONDITION: Small tear in f.15, otherwise in excellent condition. Full description and pictures available. (TM 869)
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)
LATIN VULGATE BIBLE; illuminated manuscript on parchment

LATIN VULGATE BIBLE; illuminated manuscript on parchment, in Latin

LATIN VULGATE BIBLE MADE IN MEDIEVAL ENGLAND, THIS TINY "POCKET BIBLE," CONTAINS THE COMPLETE OLD AND NEW TESTAMENTS IN A PORTABLE FORMAT. Illuminated manuscript on parchment, in Latin, England, c. 1260-1275. 579 folios, written by many scribes in very small formal gothic bookhands in two columns of 49-45 lines, TEN ILLUMINATED INITIALS, pink or mauve with white highlights, infilled with pink and blue rinceaux, some on polished gold. BINDING: Eighteenth-century red leather, elaborately gold-tooled spine lettered "Biblia/Sacra/M.S.S," speckled edges, extensively restored (hinges and possibly leather on the front and back covers), modern slipcase and fitted box. TEXT: Textual evidence links it to both the Dominicans and Franciscans. Notable here are the numerous additions that show how this was used, including the contemporary table of introits and Mass lections, and numerous marginal notes from the thirteenth to the fifteenth centuries. The original table lists the Mass readings used in the Dominican liturgy, but very soon after another hand added the readings used by the Franciscans. ILLUSTRATION: Ten biblical books begin with finely executed illuminated initials by a well-trained but provincial or idiosyncratic artist, freely interpreting more mainstream initials from commercial centers such as Oxford or Paris. Thirteenth-century Bibles not infrequently include painted or illuminated initials before only a few books, but the choice is usually Genesis, perhaps the Gospels or the Pauline Epistles. Why Daniel and nine of the twelve Minor Prophets are signaled out here is a mystery; it is certainly unusual. PROVENANCE: The evidence of the script and decorations supports an origin in the second half of the thirteenth century. This was a Bible that was used by generations of readers, many of whom left notes in the margins, or drew attention to passages of interest by drawing pointing hands (or maniculae ). Sold at auction in 2006 as part of the Cornelius J. Hauk Collection of the Cincinnati Museum Center. CONDITION: Overall very good, generous margins but slightly trimmed, ink on some pages has faded or been abraded with loss of legibility. Full description and photographs available. (TM 892)
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).
ANTONIUS VERCELLENSIS (DA VERCELLI)

ANTONIUS VERCELLENSIS (DA VERCELLI), Quadragesimale de Aeternis Fructibus Spiritus Sancti [Sermons 41 to 61] [Quadrgesimal Sermons, i.e. Sermons for Lent]; decorated manuscript on parchment and paper, in Latin with a few notes in Italian

ANTONIUS VERCELLENSIS (DA VERCELLI), Quadragesimale de Aeternis Fructibus Spiritus Sancti AMPLY ANNOTATED BY CONTEMPORARY HANDS, THESE SERMONS BY AN UNDERSTUDIED FRANCISCAN AUTHOR WILL REPAY SCHOLARLY ATTENTION. Decorated manuscript on parchment and paper, in Latin with a few notes in Italian, Northern Italy, Milan (?), c. 1460-1475. Dimensions 220 x 150 mm. 519 folios, written in a cursive book hand in two columns of forty-nine lines, two- to five-line initials in bright red, some quoted auctoritates , sources and exempla specified in red in the margin, some rubrics and beginning of a given sermon added on separate strips of paper and pasted in the margin with a system of reference to the text in two columns, many marginal annotations, digressions, additions, and corrections. BINDING: Bound in a later tan sheepskin over pasteboard, smooth spine decorated with simple double gold fillets, a small circular white paper label with "MS" at the foot of the spine, marbled endleaves and pastedowns, edges brushed in dark blue. TEXT: Amply annotated by contemporary hands and transcribed during the author's lifetime, this collection of Quadragesimal sermons (24 of the 61 known sermons) is by the understudied Italian preacher Antonius da Vercelli (d. 1483) of the Observant Franciscan movement. His sermons boast a strong didactic and catechetical character; they are enhanced by a plethora of exempla as well as plentiful quotes from scriptural, patristic, and lay authors. Known in only three manuscripts, only one of them complete, and unpublished, the collection merits a critical edition. PROVENANCE: Manuscript copied in northern Italy as per script and watermark. Manuscript deaccessioned, stamp of the Redemptorists of France: "Cong. SS. Redemptoris. Prov. Gallica. Domus studiorum." Misattributed to Cherubino da Spoleto (da Negroponte), according to an added inscription found in the upper margin of the first leaf, in good condition, with some scuffing to the covers. CONDITION: A few leaves cut short with very small lack of text in the lower margins, otherwise very good condition. Full description and images available. (TM 683)
OFFICE OF THE DEAD (USE OF ST. KUNIBERT

OFFICE OF THE DEAD (USE OF ST. KUNIBERT, COLOGNE); PRAYERS BEFORE CELEBRATING MASS; FUNERAL SERVICE; NECROLOGIUM (ADDED); decorated manuscript on parchment, in Latin.

OFFICE OF THE DEAD (USE OF ST. KUNIBERT, COLOGNE) CAREFULLY WRITTEN AND DECORATED LITURGICAL MANUSCRIPT FROM THE IMPORTANT CHURCH OF ST. KUNIBERT IN COLOGNE. Decorated manuscript on parchment, in Latin, Germany, Cologne, 1487 and 1727 (with later additions). Dimensions 230 x 158 mm. 64 folios, written in a gothic bookhand, music with hufnagel notation on four-line staves, three-line initials with contrasting pen decoration, four-line initials, one six-line penwork initial, black cadel initials with violet pen decoration. BINDING: Bound in early sixteenth-century blind-tooled leather over substantial wooden boards, sharply beveled, with rolled decoration forming an outer and inner border, surrounding a narrow rectangular center panel, left blank, rolls of the Virgin and Child (unidentified), and St. Paul, lettered "Apparuit Be//nignitas et". TEXT: Relatively large in format, this carefully written and decorated liturgical manuscript from the important church of St. Kunibert in Cologne was used daily by the canons for the liturgy associated with death and burial. Dated and with a known donor, it is preserved in an elaborate sixteenth-century binding. It also includes an eighteenth-century necrology with names, dates, and burial location, making this an important document both as a record of people associated with the community and for the physical organization of the Church and its altars. PROVENANCE: The colophon on f. 3 states that the manuscript was commissioned by Johannes Ehrlich of Andernach (near Koblenz), archbishop of Trier, for the church of St Kunibert, Cologne, in 1487. This manuscript was probably at St Kunibert's until its secularization in 1802. It was then in a private collection. CONDITION: Wear and significant soiling throughout, parchment repairs including lower margin f. 21, sewing, f. 23v, sewing and a parchment patch, f. 49, small hole within text [text written around it] once sewn (marks from stitches visible), ink worn in spots with minor flaking (f. 45, last six lines partially overwritten in a later hand, supplying text that had worn away), lower portion of f. 65 now missing (text on recto complete, but final lines of f. 65v missing). Spine worn, especially at top and bottom and along bands, partially split at top. Full description and pictures available. (TM 644)
PLUTARCH

PLUTARCH, Pompei viri illustris vita [Life of Pompey], Latin translation by Antonius Tudertinus Pacinus [or Jacopo Angeli da Scarperia]; decorated manuscript on paper, in Latin

PLUTARCH, Pompei viri illustris vita [Life of Pompey] HUMANIST MANUSCRIPT OF ONE OF PLUTARCH'S LIVES IN A LATIN TRANSLATION OF THE GREEK ORIGINAL. Decorated manuscript on paper, in Latin, Northern Italy, Lombardy, perhaps Ferrara or Mantua?, c. 1470-1480. Dimensions 215 x 155 mm. 71 folios, on thick paper with watermark of the type Briquet, "Basilic," no. 2671: Ferrara, 1471 or nos. 2672-2673: Mantua, 1478-1483, written in an Italian humanistic slightly sloping cursive script on up to 21 long lines, headings in margins in pale red ink, contemporary marginal annotations in brown ink. BINDING: Nineteenth-century English brown Russia binding, smooth back with blind tooling and gilt lettering: "Pompei Vita / Plutarchus / MS.", blind-stamped and gilt with monogram and motto on upper board, and arms on lower cover, brown paper endleaves, edges gilt. TEXT: This manuscript contains the life of Pompey the Great (106-48 B.C.), the distinguished military and political leader of the late Roman republic and Julius Caesar's military rival, included in Plutarch's Lives. This is one of about 50 recorded Renaissance manuscripts of the Latin translation from the Greek original by either Antonius Tudertinus Pacinus or Jacopo Angeli da Scarperia. The present manuscript provides testimony that the lives continued to circulate independently in manuscript form, even after their assembly into one common collection. PROVENANCE: Script and watermarks all point to an Italian origin for this manuscript, likely Northern Italy, Lombardy. It was later in the collection of John Broadley, F.S.A. (1774-1833). CONDITION: Upper inner hinge loose, binding a bit scuffed, occasional minor stains to paper, else in very good condition. Full description and pictures available. (TM 214)
ST. JEROME

ST. JEROME, Letter LIV To Furia [To Furia, On the Duty of Remaining a Widow], in the translation by CHARLES BONIN; illuminated manuscript in French with a full-page miniature by the Master of Spencer 6 (active c. 1490 to 1510)

ST. JEROME, Letter LIV To Furia A UNIQUE DELUXE TRANSLATION OF ST. JEROME'S LETTER TO THE WIDOW FURIA WITH FRONTISPIECE BY THE MASTER OF THE SPENCER 6 FROM THE LIBRARY OF ANNE DE POLIGNAC. Illuminated manuscript on parchment in French, France, likely Bourges, c. 1500-1510. Dimensions 210 x 135 mm. 63 folios, written in a lettre bâtarde on up to 17 lines, one three-line DECORATED INITIAL with gold floral decoration (f. 6v), ONE full-page miniature in a gold architectural frame (f. 5). BINDING: Contemporary purple velvet binding over wooden boards, gilt edges, fitted book box, in good condition for a velvet binding of this date. TEXT: This manuscript contains the only known copy of the French translation by Charles Bonin of Jerome's Letter LIV to Furia . Originally written by St. Jerome around 364/395 A.D., this epistolary work in twelve chapters presents a letter of guidance to a widow named Furia on the best means of preserving her widowhood. ILLUSTRATION: Illustrated by an elegant frontispiece miniature divided by columns into two scenes depicting St. Jerome giving his epistle to a messenger on the right and the messenger handing it to the recipient, Furia, on the left. It is attributable to the Master of Spencer 6, who takes his name from a manuscript in the New York Public Library. PROVENANCE: Manuscript copied in Bourges or the Berry region based on the prologue by the translator, Charles Bonin, and the miniatures attributed to the Master of the Spencer 6, an artist active in Bourges. Belonged to Anne de Polignac (1495-1554), a twice-widowed aristocratic woman, then by descent to Louis-François Auguste, Cardinal de Rohan-Chabot who sold it at auction in 1879. Later in the part of Eugène Paillet's library that was sold in 1887 to the Librairie Damascène Morgand. CONDITION: very good condition with fresh colors and wide margins.
JEAN DE BAUDREUIL

JEAN DE BAUDREUIL, Sommaire abrégé des ducs de Orléans-Longueville ; illuminated manuscript on parchment in French with frontispiece miniature by the Master of the Paris Entries (active c. 1490-1520s) and 32 painted heraldic shields

JEAN DE BAUDREUIL, Sommaire abrégé des ducs de Orléans-Longueville NEWLY-DISCOVERED illuminated dedication copy made for Louis II, the 5th Duke of Orléans- Longueville, confirmING his rights to the duchy and other lands. Illuminated manuscript on parchment, in French, France, likely Paris, c. 1525 (likely after 1524). Dimensions 255 x 180 mm. 32 folios, written in a French lettre bâtarde on up to 21 lines, large opening initial in blue on a red ground highlighted in liquid gold, 32 painted heraldic shields, one large full-page miniature set in a liquid gold architectural frame. BINDING: Old red velvet over boards. TEXT: The manuscript is an abridged summary of the rights and claims over the lands and titles of the House of Orléans-Longueville, with historical justifications, as well as the identification of the customs that apply to the various lands and fiefdoms under their rule. Very little is known about the author. ILLUSTRATION: Among the four other identified copies of this work, the present manuscript is the only one to contain a full-page frontispiece miniature indicating that this was most likely the dedication copy made for Louis II d'Orléans-Longueville. The full-page miniature symbolically depicts the moment when the fiefdom of Châtelaillon is granted to the Counts of Dunois by Charles VII as two knights meeting on horseback. It was painted by the Master of the Paris Entries and his workshop in their characteristic graphic style. PROVENANCE: Manuscript copied and painted in France, likely in Paris, given the frontispiece miniature painted in a Parisian workshop. A shelfmark was added in the sixteenth-century. CONDITION: Traces of use, frontispiece slightly rubbed, overall good condition. Full description and photographs available.