antiphonal (4 Ergebnisse)

Hardcover. Zustand: Very Good. Two bifolia (leaves not consecutive) written in double columns of an angular German romanesque hand, ruled lightly in plummet, adiastematic neumes, blank spaces between words filled with a single red line, marginal differentia, one three-line initial and several two-line initials in red, some with guide-letters, smaller initials in red or in black touched with red, rubrics; recovered from use in bindings and with consequent staining and wear, trimmed at fore-edges just affecting a few rubrics, initials and differentia, a few natural vellum flaws, but generally in very good condition and entirely legible; loose in mid-nineteenth-century marbled boards, large paper label on upper cover describing contents, smaller paper label with class-mark 'AR.2.7-18'. 336 x 234 mm (text area 255 x 200 mm).Two bifolia from a notably early antiphonal. Provenance: from the library of the Redemptorists of France, with their nineteenth-century stamp on recto of first leaf. The library class-mark label on the upper cover of the binding is probably also theirs. The Redemptorists, a society of missionary priests founded in 1732 by Alphonsus Liguori (d.1787, canonised 1839) at Scala in Italy, had spread to France by the middle of the nineteenth century, and there were foundations in Alsace in 1842, Saint-Nicolas-de-Port in 1845 and two in Savoy in 1847.

First Edition. Large initial (c.124 x 129mm), the initial in pale pink against a quadrangular background of deep blue and enclosing the Nativity of the Virgin Mary, Anne lying pensively on a wooden bed before an arched background and the infant Mary being bathed by two nurses in the foreground, the whole painted in shades of blue, pink, orange, brown, and white and with both burnished and shell gold, the verso with part of two lines of text and music in square and diamond-shaped notation on four-line red staves (stave height c.30mm); trimmed to the edges of the quadrangular blue background, slightly rubbed with some loss of burnished gold, but generally in very good condition.A very fine large initial painted in a style associated with the Master of the Gradual of Cortona, an artist named for a Franciscan gradual produced c.1290 for the church of San Francesco in Cortona (now Vatican City, BAV, MS Ross.612). The architectural setting is unusual, as is the frontal pose of the small naked infant being washed in a bath shaped like a baptismal font, a composition derived ultimately from Byzantine models. For a closely comparable initial, probably by the same hand and conceivably from the same parent manuscript, see Christie's sale of 13 July 2022, lot 3, a complete leaf with an historiated initial of the Annunciation (stave height also c.30mm). Visible beneath the initial in the upper left-hand corner is the name 'marie', doubtless a direction (or part thereof) to the artist. The text on the reverse comprises part of the antiphon '[Benedicta tu in mu]lieribus et be[nedictus fructus ve]ntris tui'. Provenance: Formerly in the Albright-Knox Art Gallery, Buffalo, NY, acquired with the Elisabeth H.Gates Fund, 1940. Language: Latin.

A complete folio leaf (388 x 287 mm, text area 297 x205 mm), ten lines written in red ink in a gothic liturgical script, ruled in red ink, diamond-shaped musical notation entirely in burnished gold outlined in dark brown ink on ten four-line red staves, large illuminated initial 'E' (Exultet jam angelica, 78 x 74mm) of blue leafy design set against a quadrangular panel of burnished and shell gold framed in pink and enclosing two leafy x-shaped motifs in green, border extension of green foliage enclosing burnished gold bezants, smaller initials in green ink, green ink dividers indicating the relationship of the notes to the words, extensive penwork flourishing in green ink in lower margin of recto and in both upper and lower margins of verso, penwork flourishing in brown ink along inner and outer margins of both recto and verso, rubrics; some light soiling and smudging but generally in excellent condition.An unusual and striking antiphonal leaf written entirely in red and notated entirely in burnished gold, signalling the importance of the text for Holy Saturday.The Exultet or Exsultet, also known as the praeconium paschale, is a hymn of praise sung by the deacon in celebration of the Resurrection after theLumen Christiprocession has entered the church for the solemn service of the Easter Vigil. It is sung in connection with the blessing and offering of the Paschal Candle, the light of which symbolizes the glory of the risen Christ. The burnished gold notes here may thus have served a practical as well as a symbolic and sacramental purpose, remaining visible to the deacon in the semi-darkness of the church.

Zustand: Very Good. Vertical tear, early repairs; 360x247mm ; An antiphon, in Christian music, is sung before and after a psalm verse, originally by alternating choirs (antiphonal singing).