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MISSAL OF JAN DE BROEDERE (SUMMER PART); illuminated Renaissance manuscript on parchment with one full-page miniature

MISSAL OF JAN DE BROEDERE (SUMMER PART); illuminated Renaissance manuscript on parchment with one full-page miniature, four large miniatures, and four historiated initials by the Masters of Raphael de Mercatellis

Catholic Church A LUXURIOUS DISPLAY MANUSCRIPT OF THE MOST IMPORTANT OF ALL TEXTS IN CHRISTIAN LITURGY, THIS IS THE LONG-LOST MISSAL OF GERAARDSBERGEN ABBEY, NOW WITH TWO OF ITS MISSING MINIATURES FOUND AND RESTORED. Illuminated manuscript in Latin on parchment, Belgium, Geraardsbergen or Grammont, c. 1510-1520, after 1506. 335 x 230 mm. 189 folios, lacking single leaf after f. 39 and probably at end, ruled in ink, written in Gothic liturgical hand in two columns of 23 lines (justification 238 x 156 mm.), music on black 4-line stave, rubrics in red, capitals touched in red, 1-line initials in red and blue, 2- to 4-line initials in red or blue with contrasting pen decoration in violet or red, 4-line initials of both colors, FOUR ILLUMINATED INITIALS AND FOUR HISTORIATED INITIALS WITH THREE-SIDED BORDERS in the Ghent-Bruges tromp l’oeil illusionistic style, FOUR LARGE MINIATURES (half to three-quarter page) with FULL BORDERS, mostly of a similar type, but one with narrative scenes, ONE FULL-PAGE MINIATURE. BINDING: Early nineteenth-century French or Belgian green morocco, gilt frame on boards, spine with six raised bands and gilt lettering in second compartment: "Manuscrit du 15e siècle," marbled pastedowns, red speckled edges. ILLUSTRATION: When the greatest Renaissance abbot of the Geraardsbergen, or Grammont, Abbey, Jan de Broedere (abbot 1506-1526) commissioned a luxurious two-volume Missal, probably for the Lady Chapel in the Abbey’s church, he engaged local artists to decorate it. This group of Bruges illuminators is known as the Masters of Raphael de Mercatellis for their contributions to the library of renowned bibliophile Raphael de Mercatellis (1437-1508), bastard son of Duke Philip of Burgundy and abbot of Saint-Bavo in Ghent. These artists had a keen eye for details and are known for the outstanding iconographical interest of their miniatures. The five large miniatures here depict the Resurrection and a sequence of subsequent events including the Harrowing of Hell, the Noli me tangere , the supper at Emmaus, and the Ascension (f. 1), the Ascension (f. 29), the Trinity (restored between ff. 53 and 54), the Veneration of the Host (f. 56), and the Crucifixion (restored between ff. 93 and 94). TEXT: This is the summer volume of a Missal, from Easter Sunday to the weeks following Pentecost. The companion winter volume is Glasgow, University Library, MS Euing 29. PROVENANCE: Written and illuminated for Jan de Broedere (d. 1526), with his arms painted on ff. 1 and 89, this Missal was probably intended for the use of the church of the Benedictine Abbey of Geraardsbergen, or Grammont, in eastern Flanders, near Brussels. Separated from its companion volume in the first half of the nineteenth century. Belonged to Beriah Botfield (1807-1863), who purchased the book from Thomas Thorpe in 1830, at which time this volume was already missing miniatures. Botfield bequeathed his collection to the library of the Marquesses of Bath and Longleat, and it was transferred to the ownership of Lord Alexander Thynne, son of the fourth Marquess, in 1911. Passed by descent to the seventh Marquess of Bath, Longleat House; their sale, Christie’s, 13 June 2002 (lot 3). Two miniatures found and restored by Les Enluminures. CONDITION: A few tiny pigment losses in borders, but generally in excellent and fresh condition. Some scratches and tears to leather of binding (scuffed), but binding in general sound condition. Full description and photographs available.
SCHEMBART CARNIVAL BOOK; illuminated Renaissance manuscript on paper with 64 drawings in pen and ink with watercolor and 22 additional pen and ink drawings

SCHEMBART CARNIVAL BOOK; illuminated Renaissance manuscript on paper with 64 drawings in pen and ink with watercolor and 22 additional pen and ink drawings

SCHEMBART CARNIVAL BOOK A COMPLETE AND CUSTOMIZED RECORD OF THE FAMOUS NUREMBERG CARNIVAL PARADE, WITH MARVELOUS AND ECCENTRIC ILLUSTRATIONS. Illuminated manuscript on paper in German, Germany, likely Nuremberg, c. 1550-1600. 310 x 205 mm. 88 leaves, some watermarks in Piccard, complete, no ruling, written in various German cursive hands in one column of varying lengths, SIXTY-FOUR FULL-PAGE DRAWINGS in very fine condition, colored with washes, some details in gold and silver leaf, TWENTY-TWO SMALLER PEN DRAWINGS, probably added only slightly later. BINDING: Contemporary limp vellum with flap, loose in binding, lacking fore-edge ties, inscribed on spine, "Schempart Buech." ILLUSTRATION: A series of sixty-four stunning colored illustrations, somet with gold and silver, is at the center of this precious manuscript. As is customary in Schembart books, these illustrate a sequence of masked runners representing the Hauptmann , or captain of each year’s carnival parade, wearing a mask and a highly decorative costume and usually identified by a coat of arms. The details of these costume are consistent from one manuscript to the next, but vary considerably in how they are represented. The twenty-two additional drawings were added a bit later by a separate artist, whose work shows the influence of Albrecht Dürer. They depict the carnival floats (known as Hölle , or Hells) and were drawn at a much higher level of execution than is common in other manuscripts. TEXT: This manuscript is one of the earliest preserved chronicles of the famous Schembartlauf , a carnival parade that was held on Shrove Tuesday in the German city of Nuremberg from 1449 to 1539. Short text entries accompanying each full-page drawing relate the details of who participated in the carnival each year it took place, what they wore, and sometimes what route they took or, in the years the carnival did not take place, relating the reasons why, whether unrest or plague. The final eighteen leaves were added shortly afterwards and they offer another textual chronicle of the carnival, as well as an account of how the Schembartlauf was first instated in Nuremberg: the parade originated as a privilege granted by Holy Roman Emperor Charles IV to the butchers’ guild of Nuremberg, who had not joined the other city guilds in overthrowing the patrician town council. Members of the guild could wear masks (a rough translation of Schembart , which literally means "hiding beard"), dance, perform fencing matches, and parade, accompanied by runners who protected the dancers while wearing masks and extravagant costumes of their own and brandishing lances and boughs of leaves that concealed fireworks. The many corrections to the text here reflects early owners’ keen interest in possessing a reliable historical record of the Schembart carnival. PROVENANCE: This copy was customized for its first owners, the members of the influential patrician family of Kress von Kressenstain in Nuremberg, who featured prominently in the carnival; engraved armorial ex libris of Iohannes Guilhelmus Kress à Kressenstain dated 1619 on the first front flyleaf. Engraved armorial ex libris of the Prince Liechtenstein glued to front pastedown; purchased from that library by H. P. Kraus in 1949. Belonged to Paul and Marianne Gourary (Paul, d. 2007); their bookplate underneath the Kressenstain label. Included in Christie’s New York 6 June 2009 sale, Splendid Ceremonies: The Paul and Marianne Gourary Collection of Illustrated Fête Books (lot 309). CONDITION: Paper thin and thumbed toward margins, minor stains and spots throughout, some offsets of the washes of the drawings, very few minor tears, binding splits at head and foot of flap fold, but otherwise in very fine condition. Full description and photographs available.

LATIN VULGATE] JOB with the GLOSSA ORDINARIA, decorated manuscript on parchment, in Latin

LATIN VULGATE] JOB with the GLOSSA ORDINARIA ONE OF THE EARLIEST EXAMPLES OF THE COMPLETE BOOK OF JOB WITH THE ORDINARY GLOSS FROM THE CISTERCIAN ABBEY OF CHIARAVALLE DELLA COLOMBA. Manuscript on parchment, in Latin, Northern Italy, c. 1125-40. Dimensions 260 x 150 mm. 90 folios, biblical text written in a caroline minuscule in twenty-one lines, glosses copied in smaller script on up to sixty-seven lines, one-line red initials in biblical text, rustic display capitals for incipit, explicit, and titles, LARGE DISPLAY CAPITLAS in red and place on f. 1 added in late twelfth century. BINDING: Old brown sheep over pasteboard, spine with four raised bands with labelled fitted box. TEXT: The book of Job with the Ordinary Gloss ( Glossa Ordinaria ), consisting of the biblical text, copied in a distinctive, larger script, accompanied by selected quotations from patristic and medieval commentaries, copied in a smaller script on the same page. Texts by numerous authors are reflected in the commentary, including Jerome, Augustine, Gregory the Great, Isidore, and Bede. The Ordinary Gloss on the Bible, from which the manuscript was excerpted, was one of the twelfth century’s greatest intellectual achievements, creating a text that was used as the standard school text to the end of the Middle Ages and even later. The text was not compiled or conceived of by a single author, but was the result of a long process over the course of the twelfth century that gradually grew to include the complete Bible. The textual history of the Gloss on Job seems to begin at Laon in the early twelfth century. It was one of the early books glossed and relied heavily on Gregory the Great’s Moralia on Job. This manuscript also reveals secondary sources and betrays evidence of its use. Particularly interesting are the long lines that restructure the gloss. Modern chapters were added in a later hand. There are also numerous nota marks in a neat, calligraphically pleasing form, and lines alongside glosses that probably were added for the same purpose. PROVENANCE: Based on the script, layout, and ruling, the manuscript was written in Italy in the second quarter of the twelfth century. An ownership note reveals it was at the Cistercian Abbey of Chiaravalle della Colomba (Alseno, Italy) around the period of its foundation in 1136 where it obtained signs of conscientious use in the twelfth and thirteenth centuries. The library was dispersed in 1805 during the Napoleonic era. Sold at Christie’s, June 25, 1997, lot 21. Later belonged to Rick Adams and, most recently, a private European collection. CONDITION: Staining and rodent damage to the edges of ff. 87-90, occasional spotting and cockling but generally in very good condition. Bindingrebacked with parts of the spine laid down, corners repaired. Full description and pictures available (TM 877). Book seller inventory #877.
Expositio in epistolas Pauli

Expositio in epistolas Pauli, illuminated manuscript on parchment, in Latin with frontispiece miniature possibly by a son of Jean Budé

HAIMO OF AUXERRE A BEAUTIFUL ILLUMINATED COPY OF THE COMMENTARY ON THE EPISTLES OF PAUL BY HAIMO OF AUXERRE COMMISSIONED BY Jean II Budé. Illuminated manuscript on parchment, in Latin, France, Paris, c. 1460-1480 and c. 1500. Dimensions 278 x 105 mm. 193 folios, catchwords, guide words, numerous small initial in red and blue, TEN LARGE DECORATED INITIALSin blue or red and gold accented with foliage and flowers, LARGE FRONTISPIECE MINIATURE with acanthus leaf border and bas-de-page the arms of Jean Budé. BINDING: Late eighteenth-century red morocco attributed to Bozerian, with fitted red slipcase. TEXT: This manuscript contains the commentary on the Epistles of Paul by Haimo of Auxerre apart from Romans and 1-2 Corinthians which never intended to be included. Haimo of Auxerre taught at the school of the Benedictine house of Saint-Germain at Auxerre in the ninth-century and is the author of many widely-read commentaries on the Song of Songs, Revelations, and the Minor Prophets, as well as of many sermons. He was best known for his pedagogical skills and anticipated scholasticism by three centuries. ILLUSTRATION: The manuscript opens with a two panel, three-quarter page miniature depicting Saint Paul, on the left, sending his letter via messenger to the Galatians, on the right. The frontispiece was added about 20 to 30 years after the text was completed. Stylistic analysis suggests it was painted in Troyes where it could have been completed by one of the sons of Jean Budé, who were canons at the Cathedral St.-Pierre in Troyes, perhaps at the behest of Jean Budé’s son Guillaume. The page bears comparisons with a group of manuscripts painted by an artist active in Troyes at the end of the fifteenth century and during the first quarter of the sixteenth century. The portrayal of Saint Paul as a king with a sealed document may have had personal significance for a Jean Budé and his son Guillaume who began their careers in the French Court as royal secretaries. PROVENANCE: Copied in Troyes, this manuscript belonged to Jean II Budé (1430-1502), royal courtier, bibliophile, and father to the foremost French humanist Guillaume Budé (1468-1540). It displays his owner’s inscription and date of acquisition. Then in the collections of Nicolas Thoynard of Orléans (1629-1706), Joseph Barrois (c. 1785-1855), and Bertram Ashburnham, 4th Earl of Ashburnham (1797-1878). Sold at Sotheby’s, 9 December 1909, lot 404. Later bought by William Foyle, Beeleigh Abbey (1885-1963) from Kundig, Geneva; it appeared in his sale in London, Christie’s, 11 July 2000, lot 24, sold to H.P. Kraus. Subsequently in his sale at Sotheby’s (The Inventory of H. P. Kraus), New York, 4-5 December 2003, lot 306.

ST. JEROME, Epistola [Letters]; illuminated manuscript on parchment, in Latin

ST. JEROME EXCELLENT EXAMPLE OF AN EARLY FLORENTINE HUMANISCTIC MANUSCRIPT ONCE IN THE LIBRARY OF BERNARDO BEMBO. Illuminated manuscript on parchment in Latin, Italy, Florence, c. 1430-40. Dimensions 353 x 255 mm. 353 folios, catchwords and traces of signatures, written in an early humanistic bookhand, 2-line introductory initials throughout in gold with white vine-stems on green, red and blue grounds, two very large vine-stem initials in gold against green, light pink and blue grounds, one partial vine-stem border with a putto holding a shield. Binding: Crimson velvet over pasteboard, the spine restored. TEXT: A selection of 149 letters and tracts attributed to St. Jerome including exegetical, hagiographical and polemical works and several letters from and to Pope Damasus. The selection is closely related to that of another fifteenth-century volume with the ex-libris of Piero di Cosimo de’ Medici as well as a tenth-to eleventh-century example in the Vatican (MS Lat. 341). Written in a Florentine Humanistic script characteristic of the early fifteenth-century. ILLUSTRATION: The decoration of this manuscript is quintessentially Florentine, in particular the white vine-stems that trail around the letters and define the partial border. The style was influenced by contemporary ideas about antiquity such as the putto, taken from Roman art, which became popular in Renaissance illumination. There is a large group of Florentine manuscripts with identical or very similar decoration which suggest the manuscript may be associated with the scriptorium of S. Maria degli Angeli in Florence. PROVENANCE: Written and decorated in Florence in the 1430s then possibly in the library of Bernardo Bembo (1433-1519), Venetian nobleman, important humanist, envoy to the court of Lorenzo de’ Medici. Later in the collections of Charles H. St. J. Hornby (1876-1946), Major J. R. Abbey (1894-1969), Peter and Irene Ludwig, The J. Paul Getty Museum, and, most recently, the James and Elizabeth Ferrell Collection. CONDITION: Slightly discolored vertical crease on f. i, otherwise in wonderfully fresh condition. Full description and photographs available.

PETRUS PICTAVIENSIS [PETER OF POITIERS], Compendium historiae in genealogia Christi (A Compendium of History in the Genealogy of Christ); in Latin, illuminated scroll on parchment

PETRUS PICTAVIENSIS [PETER OF POITIERS] THIS IS AN ASTONISHINGLY BEAUTIFUL AND RARE ILLUSTRATED EARLY GOTHIC CHRONICLE SCROLL THAT PROVIDES A SUMMARY OF BIBLICAL HISTORY IN THE FORM OF A GENEALOGY FROM ADAM TO CHRIST. An illuminated scroll on parchment, in Latin, England (perhaps Oxford?), c. 1230-1250. Dimensions c. 3445 x 278-274 mm. The scroll composed of six membranes of varying dimensions, pasted together and joined end to end, with some loss of text at ends. Written in a formal gothic bookhand, layout varies, in one to three columns, designed to be read vertically from top to bottom, FIVE DIAGRAMS of differing shapes, FIVE CIRCULAR MINIATURES, and a unique LARGE RECTANGULAR MINIATURE IN TWO TIERS. The vivid colors of the genealogy contrast with the SIX DELICATE PEN-AND-INK MINIATURES colored with wash. BINDING: Mounted on two modern turned wood rollers, housed in a custom gray cloth box. TEXT: Peter of Poitiers studied at the University of Paris, where he attended the classes of Peter Lombard. served as chancellor of the University of Paris from 1193 to 1205. The Compendium historiae in genealogia Christi is his most famous work. It is a schematic depiction of biblical history in the form of a genealogy of Christ. The text was of fundamental importance for placing biblical narrative in a historical context. Although the text was almost certainly designed to be copied as a scroll, this form is far rarer than in the format of a codex. The present roll may be one of the earliest roll-format manuscript containing Peter of Poitiers’s Compendium in this version. ILLUSTRATION: The original version of the scroll includes five diagrams: two cross-section, two aerial view, and one arcade framing a list. The interpolated version of the text marks the start of the Six Ages of the World, the present manuscript has five of these (with Adam missing). The present manuscript also includes a miniature in two registers representing, respectively: three standing kings, two holding a scepter, one a sword; and two standing priests, dressed as thirteenth-century archbishops: each with mitre, pallium, gloves, and crozier. PROVENANCE: The script, minor decoration, and the style of the miniatures, executed in pen and highlighted in wash, support a date in the second quarter of the thirteenth century, probably c. 1230-1250. More recently, it was part of a private American collection. CONDITION: Professionally conserved in 2010 and in fine condition. Full description and photographs available.
Processional (Dominican Use); illuminated manuscript on parchment in Latin and French with 12 historiated initials and 2 full-page illuminated borders by an artist working in the circle of the Mast of Girard Acarie

Processional (Dominican Use); illuminated manuscript on parchment in Latin and French with 12 historiated initials and 2 full-page illuminated borders by an artist working in the circle of the Mast of Girard Acarie

PROCESSIONAL THIS LARGE, LAVISHLY ILLUMINATED MUSIC MANUSCRIPT PROCESSIONAL IS A FINE EXAMPLE OF THE SKILL OF THE ARTISTS WORKING DURING THE LAST FLOWING OF MEDIEVAL MANUSCRIPT ILLUMINATION IN NORTHERN FRANCE. Illuminated manuscript on parchment. France (Rouen), c. 1520-1530; c. 1525-1550; 1674. Dimensions 225 x 158 mm. Written in black in a gothic bookhand on nine long lines with nine lines of music with square notation on four-red line staves on most pages. TWELVE LARGE HISTORIATED INITIALS, that are elaborately shaped and colored in liquid gold, against grounds of red and blue, the biblical scenes in full color and highlighted with liquid gold, TWO FULL-PAGE ILLUMINATED BORDERS, one with Renaissance architectural forms and the other containing the standing figures of saints between flower sprays against a liquid gold ground. BINDING: Sixteenth- or seventeenth-century dark brown leather binding, blind tooled with simple panels back and front with gilt ornaments at the corners, rounded spine with five raised bands, elaborately decorated in gilt, red leather spine label, "Procession/ avec/ miniature," possibly rebacked or repaired with the spine laid down, marbled pastedowns. TEXT: Processionals include the texts and chants for liturgical processions. Each person within a religious order (friars, monks, or nuns) had his or her own Processional, usually rather small books. This Processional is somewhat larger, and is certainly more grandly illuminated than many surviving examples. Many of the surviving examples, particularly those with illumination, were made for nuns. ILLISTURATION: This illuminated Processional has twelve historiated initials that are similar in style to the works attributed to Master of Girard Acarie, who was active during the last years of the manuscript trade in Rouen. They were almost certainly by an artist working in his circle. Generally, the initials here share the Master’s palate with rose, blue, red-grey, and gold predominating. The initials in this manuscript are smaller and more modest than ones attributed to Master of Girard Acarie himself. PROVENANCE: The style of the script and illumination establishes that this processional was made in Rouen c. 1520-1530. The contents follow the Dominican liturgy, particularly that of the Dominican nuns of the royal monastery of St. Mathew of Rouen. More recently, it belonged it Sir Thomas Phillipps. CONDITION: Covers are slightly scuffed, wear along bands, but in excellent condition. Full description and photographs available.
BOOK OF HOURS (USE OF GEERT GROTE); Illuminated manuscript on parchment

BOOK OF HOURS (USE OF GEERT GROTE); Illuminated manuscript on parchment, in Dutch

BOOK OF HOURS (USE OF GEERT GROTE) A COLLABORATION BETWEEN THE ASSUMPTION MASTER AND THE RARE MONKEY MASTER, WITH COLORFUL, HIGHLY CONTRASTED ILLUSTRATION AND RICH MARGINAL DETAIL. Illuminated manuscript on parchment, in Dutch, The Netherlands, South Holland, c. 1480-90. Dimensions 130 x 100 mm. 327 ff., written in Dutch in a GOTHIC BOOKHAND by several scribes, 2- TO 3-LINE INITIALS in brown touched with gold, 3- TO 6-LINE INITIALS in gold set on red, 7-LINE INITIALS in gold, blue, red, orange, green, and violet paint, touched with white, FULL PAGE MINIATURES on inserted singletons with arched compartments painted in blue, red, green, purple, and orange, with burnished gold, set on PAINTED BORDERS. BINDING: Bound in a near-contemporary (16th century) blind-tooled paneled calf binding with six raised bands, both clasps and front hardware lost. ILLUSTRATION It includes seven miniatures by the Assumption Master and charming borders by an exceedingly rare artist, the so-called Monkey Master (or Master of the Anecdotal Monkeys). He takes his name from the monkeys that cavort in many of his borders. His style is further characterized by the presence of many other drolleries in his densely filled borders ? foxes and dogs with cowls, peacocks, etc. ? as well as the bulbous eggplant-like ("aubergine") forms. His richly colored palette is strong and highly contrasted, and his style of drawing is sharp and linear. This is a key work by an artist, the Monkey Master, known in a small group of manuscripts of which only two contain miniatures. The seven miniatures in the present manuscript more than double the artist’s known oeuvre. PROVENANCE: once owned by Gerard Vanius, his MS K (inscribed "No. K ex libris Gerardi Vanij" in the top right corner of f. 1r), then it was in a private collection in France, and then a private collection in the United States. CONDITION: Very lightly rubbed in small areas, in clean and fresh condition. Full description and pictures available. (BOH 141)
PRINTED BOOK OF HOURS (USE OF ROME); illuminated imprint on parchment

PRINTED BOOK OF HOURS (USE OF ROME); illuminated imprint on parchment, in Latin and French

PRINTED BOOK OF HOURS (USE OF ROME) SPLENDID EXAMPLE OF A PRINTED BOOK IMITATING A MANUSCRIPT. Illuminated imprint on parchment, in Latin and French, France, Paris, c. 1526 (almanac 1526-1514). Dimensions 118 x 128 mm. 84 ff., 1-2 LINE INITIALS, 4-5 LINE INITIALS in liquid gold, 17 LARGE METALCUTS, 10 SMALL METALCUTS,16 MEDALLIONS, after designs by JEAN PICHORE, likely hand-colored in the Parisian workshop of GERMAIN HARDOUYN. BINDING: Bound in a modern (late 19th c.) dark red pigskin binding, back sewn on 5 raised bands, gilt fleurons in compartments, gilt title and gilt name of printer and date at the foot of the spine, gilt edges, blind-stamped filets lining inner boards, marbled paper pastedowns (binding a bit rubbed, some scuffing to corners, else in good condition). ILLUSTRATION: This Book of Hours contains a large number of finely hand-painted and framed metalcuts (likely painted by a hand active within the workshop of the printer Germain Hardouyn), most of which were designed by the workshop of Jean Pichore for either Jean Barbier and Guillaume Eustace or the Hardouin brothers. Germain Hardouyn and his brother Gilles registered as "illuminators" as well as printers, which was uncommon in the book trade. As such, printed Books of Hours like this one from their shop are often exceptionally well painted, resembling illuminated manuscripts. Another illuminator-painter, Jean Pichore, thought of as the most successful illuminator and printer in Paris around 1500, designed the woodcuts for this imprint. PROVENANCE: Printed in Paris by the printer-publisher Germain Hardouyn. It was later owned by Charles Ewbank (1819-1867), and then Dupont de Saint Ouën (Alphonse Fulgence) (1820-1892). It has since been in a European continental collection. CONDITION: Overall good condition. Full description and photographs available. (BOH 60)
HOURS OF PHILIPPOTE DE NANTERRE (USE OF AMIENS); illuminated manuscript on parchment

HOURS OF PHILIPPOTE DE NANTERRE (USE OF AMIENS); illuminated manuscript on parchment, in Latin and French

HOURS OF PHILIPPOTE DE NANTERRE MONUMENTAL WORK BY A RARE AMIENS PAINTER DIRECTLY INFLUENCED BY FLEMISH PRIMITIVES. Illuminated manuscript on parchment, in Latin and French, France, Amiens, c. 1420’s. Dimensions 181 x 135 mm. 208 ff., ILLUMINATED 3-to-7 line INITIALS, 27 FULL-PAGE ILLUMINATIONS in ARCHED COMPARTMENTS, numerous full borders of acanthus, flowers, and birds on the pages with full-page illumination, and partial borders with small leaves and flowers on the text pages. BINDING: Seventeenth-century French red morocco binding, gold filet tooling, gilt edges. ILLUSTRATION: The deluxe Hours of Philippote de Nanterre is a key work in the oeuvre of the Master of Raoul d’Ailly in Amiens. In Amiens by the beginning of the 1420s, the Master of Raoul d’Ailly cultivated the patronage of leading figures from noble families. The artist’s haunting style is his use of green paint for the modelling, massive figures, and settings of homey interiors or realistic landscapes. Traces of influence of the Bedford Master are found in the artist’s style, and S. Nash suspects the artist was locally trained in Amiens by a member of the Bedford Master’s workshop. The Philippote Hours thus emerges as one of the earliest works of the Master of Raoul d’Ailly and one of his collaborators. It confirms the presence already at this date of immigrant Parisian artists in Amiens, and it reveals the indigenous roots of the powerful style of the Master of Raoul d’Ailly. The Master of Raoul d’Ailly was to become a major force in Amiens painting of the second quarter of the fifteenth century, contributing to the creation of pioneering forms of pictorial representation. PROVENANCE: Made in Amiens in Picardy, c. 1420 for a local woman, Philippote de Nanterre, who is shown kneeling before the Virgin and Child on f. 146. It was later owned by François César Le Teller, Marquis of Courtanvaux (1712-1781). It was later sold at Sotheby’s in 1929 to Mrs. M. Bardsley-Powell, and subsequently sold in 1973 as her property. Paul-Louis Weiller, a French industrialist, philanthropist, and book collector owned the manuscript until it was sold in 1998. It was then in the Private Collection of James and Elizabeth Ferrell, USA. CONDITION: in excellent condition. Full description and photographs available. (BOH 142)
BOOK OF HOURS (USE OF CAMBRAI); illuminated manuscript on parchment

BOOK OF HOURS (USE OF CAMBRAI); illuminated manuscript on parchment, in Latin and French

BOOK OF HOURS (USE OF CAMBRAI) PAINTED IN SOFT SHADES OF SEMI-GRISAILLE FROM THE WORKSHOP OF THE "PRINCE OF ILLUMINATION". Illuminated manuscript on parchment, in Latin and French, France, Valenciennes, c. 1475-1480. Dimensions 158 x 110 mm. 84 ff., lacking an undetermined number of leaves rendering collation impossible, written in dark brown ink in B TARDE SCRIPT, ONE LARGE MINIATURE with FULL-PAGE BORDER and 14 SMALL MINIATURES by the workshop of SIMON MARMION. BINDING: Nineteenth-century French red morocco, gilt-blocked to a cathedral style, gilt spine, gilt edges, marbled endleaves, slight wear to joints and corners. ILLUSTRATION: This interesting and beautiful made-to-order Book of Hours, destined for a patron living in the western, French-speaking diocese of Cambrai, offers an excellent witness to the functioning of the atelier of the painter-illuminator Simon Marmion, both in its cycle of illustrations and in its marginal decoration. This manuscript is remarkable for its delicate painting executed in soft, pastel tones, known as "semi-grisaille," a technique Marmion perfected. The vignettes of text are framed by a gold filet and ornamented with plump, thick acanthus, whose numerous knobby stems with bare roots are of azure and bronze. PROVENANCE: The style shows that the manuscript was painted in the later 1470s in the workshop of Simon Marmion who was active in Valenciennes from 1458 until his death in 1489. It was then in a private collection in the United States. CONDITION: minor rubbing to a few miniatures and borders, around ten leaves remargined in gutter, some discreet modifications to text to conceal lacunae. Full description and photographs available. (BOH 14)


PRINT AND CHANGING TASTE ON THE THRESHOLD OF MODERN FRANCE. Printed on paper, in Latin and French, Paris, THIELMANN KERVER, 1556 (almanac for 1556-1563). Dimensions 160 x 100 mm. 179 ff., printed on paper in red and black, Roman letter type, paper ruled in light red, 18 LARGE WOODCUTS, 1 SMALL WOODCUT, BORDERS ON EACH PAGE, including title-page, of headpieces, side-strips and footpieces with birds, flowers, animals and a variety of FRENCH ROYAL INSIGNIA. BINDING: sixteenth-century binding of gold-tooled brown polished calf over pasteboard, preserving contemporary boards, smooth spine with gilt fleurons and fillets (rebacked), edges gilt, edges cracked, likely due to rebacking. ILLUSTRATION: Printed in Paris by Thielmann Kerver II (the Younger), this is a good example of how a printer’s material and woodblocks were passed on and reused throughout the sixteenth century. The material can be traced back to the famous printer and graphic artist Geoffroy Tory (c. 1480-1533), something of a "French Leonardo," who was reared in Bourges but soon settled in Paris and began printing circa 1507. The woodcuts reused here from his stock are good examples of this new Italianate aesthetic (with a clear interest in ornaments "à l’antique") that existed parallel to the traditional Gothic "French" aesthetic. PROVENANCE: Printed in Paris in 1546 by Thielmann Kerver II (died 1572/1573), active in Paris as libraire-juré from 1544 to 1566. It was then in a private European collection. CONDITION: Overall good condition, first quire loose although not detached, some foxing, a few stains. Full description and photographs available. (BOH 68).
PRINTED BOOK OF HOURS (USE OF ROME); printed book on parchment

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

PRINTED BOOK OF HOURS (USE OF ROME) CLASSIC UNCOLORED PRINTED BOOK OF HOURS BY AN IMPORTANT EARLY PRINTER. Printed book on parchment, in Latin and French, Paris, SIMON VOSTRE, c. 1515. Dimensions c. 178 x 114 mm. 140 ff., 21 FULL-PAGE METALCUTS, 29 SMALLER METALCUTS, and SEVERAL HUNDRED BORDER METALCUTS after designs by the MASTER OF THE TRÈS PETITES HEURES OF ANNE OF BRITTANY, JEAN PICHORE, and an anonymous Master working in the STYLE OF DÜRER. BINDING: Bound in mid-19th-century dark green morocco, tooled and stamped in gold with "Heures" and sunbursts on the spine and with a gilt frame on the upper and lower boards. ILLUSTRATION: The book’s illustrations combine works by two of the most prolific illuminators of late-fifteenth- and early-sixteenth-century Paris, both of whom actively supplied designs for the printing trade, but had differing artistic outlooks. The combination of new and old border cycles, and the presence of two paired opening miniatures at folios d4v-e1r and m7v-m7r, which contrast the two artists’ styles, is noteworthy. Additionally, the present book includes two full-page images by an artist closely connected to the style of Albrecht Dürer, part of a set of metalcuts that Simon Vostre inserted into his books beginning around 1512. PROVENANCE: Printed in Paris by Simon Vostre, bookseller and printer in Paris. It was then in a private European collection. CONDITION: good condition. Full description and photographs available. (BOH 75)

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.

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.

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)


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)

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)
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).
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)

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)
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)

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)

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)

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)
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)