Large n (35 Ergebnisse)

No Binding. Zustand: Very Good. ORIGINAL 1966 Article, disbound from journal; no covers; last page in Xerox; otherwise in very good condition. Journal.

No Binding. Zustand: Very Good. ORIGINAL 1996 Article, disbound from journal; no covers; in very good condition. Journal.

7pp, 1 b-w pls, Printed Card Cover, VGC.

Softcover. Zustand: Good. No Jacket. 4th Impression. The wraps are shelf rubbed with creasing along the edges. The binding is secure. Light browning along the edges of the pages, not affecting text. There are no ink inscriptions or annotations. Extra postage required unless posted within South Africa. r*22/07/2025 JHK. Our orders are shipped using tracked courier delivery services.…

Zustand: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. N/A (illustrator).

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. In English.

Zustand: New. In 1995, the National Science Foundation (NSF) created a special account to fund large research facilities. This report presents a series of recommendations on how NSF can improve its priority setting process for large research facilities.

Zustand: New. In 1995, the National Science Foundation (NSF) created a special account to fund large research facilities. This report presents a series of recommendations on how NSF can improve its priority setting process for large research facilities. Num Pages: 236 pages, illustrations. BIC Classification: PD. Category: (P) Professional & Vocational. Dimension: 229 x 152. . . 2004. Paperback. . . . . Books ship from the US and Ireland.…

Zustand: New. This is a Brand-new US Edition. This Item may be shipped from US or any other country as we have multiple locations worldwide.

Zustand: New. 1973. Hardcover. . . . . . Books ship from the US and Ireland.

Paperback. Zustand: Brand New. 394 pages. 9.00x6.00x1.00 inches. In Stock.

Zustand: New. 2020. Hardcover. . . . . . Books ship from the US and Ireland.

No Binding. Zustand: Near Fine. First Edition. Single Card, Folded To Make A Booklet 12" Tall, With Title And Author's Name On Cover, Poem On Inside Of Front Cover, And Large Color Plate Of San Francisco Bay At Twilight Tipped Onto The Recto Of The Rear Cover. Inscribed "A Cheerio To. Marjo Hollman- Addison N. Clark June 1936.". Large Color Plate (illustrator). Inscribed by Author(s). …

1st Edition. Very Good (little wear & minor staining covers; contents clean & tight with edgewear to a few pages; gilt on spine bright; maps in nice condition). "Compliments of J. Gowdy" penned in ink on front endpaper. Tall 8vo., green cloth, gilt-stamping on spine; 224 pages First Edition. This annual report deals with Reports of Forestry (107 pages with large fold-out map of Warren County Showing Forest Types); Forest Conditions of Oneida Forest (with a larger fold-out map of Oneida County Showing Forest Types); and chapters dealing with Fish and Game. Nice illustrations. Illustrated, With Two Large Fold-Out Maps. (illustrator).…

Coloured topographical map of the Australian continent inluding Papua New Guinea and New Zealand, 106 x 112cm, text in traditional Chinese characters. Legend includes desert, coral reef, seasonal rivers and lakes, continental boundaries and so on. Inset map of Australia and the Pacific Islands, also with key indicating altitude and sea depth. Folds into lightly worn original paper envelope measuring 38 x 25.5cm. Pinholes upper right and left corners, small hole at fold point, and tear in upper margin now repaired with archival washi paper, ????handwritten on reverse. Both envelope and the reverse of the map have small production labels attached. Map very bright with clear strong colours. Striking map in very good condition.…

Large colourful folding map of East Asia, measuring 79 x 109cm. Small holes at folding points and closed tears on the verso, now neatly repaired with Japanese washi. Some light general wear but overall a bright and clean copy of this interesting map. Published in late 1937, this colourful pictorial map shows the dynamic military situation in East Asia from the Japanese point of view. Showing somewhat inaccurate information with incomplete conclusions, this map provides a better understanding of why Japan made the ill-informed decision to escalate its invasion of China following the Marco Polo Bridge incident. The area covered includes Japan, Taiwan, China, and the Soviet Union, and attempts to show tensions along real and imagined zones of control. Information about Soviet and Chinese military power is also included on the map. These propaganda maps conveyed the extent of the Japanese government's ambition to the Japanese population, with the charming cartoon-style images of wildlife and other natural resources, industries and historical landmarks indicating the anticipated gains of Japanese foreign policy. Interestingly, positions of military forces, transport routes, defence structures, and radio transmission stations are also marked on the map, though many of these appear phantasmic and out of step with reality. An inset world map at lower left shows the area within a global context. Offering a glimpse into the incomplete information at the hands of the Japanese authorities, and perhaps in part understood by the mapmakers in the context of Chinese Communist and Soviet successes in Yan'an and Xinjiang, large sections of Qinghai, Gansu and Ningxia are marked as under Soviet influence. At this stage, this region was largely under the control of Kuomintang-aligned warlords, and although the region was implicitly threatened by underground Communist insurgents, so too was the rest of China. The focussed attention given to Communist influence and China's internal political divisions is indicative of the failure of Japanese planners to anticipate the cooperation of Communist and Nationalist forces in the face of Japanese aggression. The text box at right translated reads "Current State of Affairs in East Asia." In the legend, the coloured boxes indicate the following areas: reading right to left: Dark yellow: Japan Pale yellow: Manchukuo Red: Soviet Union (Russia) Pink: Sovietised area Purple: Republic of China (China) Grey: China (North China Buffer State, where a special relationship with Japan is emerging) Green: East Hebei Autonomous Government.…

Leipzig, Edward Kummer, 1836. Small folio-oblong. (23x37 cm.). Contemp. modest hcloth. Boards rubbed. (4),27 pp. in double-columns with description of the plates. Before the plates an engraved titlepage with the text: "Biblia Sacra Veteris et Novi Testamenti representata Centum Imaginibus Aeri incisis in Forma dimidii Plagulae transverssae, una cum Expositione dilucidativa. Augustae Vindelicorum. Prostat apud Antonium Klauber. MDCCCXXXV". With 100 large engraved plates. (Plates sign. C.P.S.C.M. - Klauber Cath. Sc. et exc. A.V.). A bit of browning to edges of text and plates. Otherwise internally fine.…

300 x 243 mm. (11 5/8 x 9 1/2"). Single column, 27 lines, in a lovely proto-gothic hand, including lines in red and black uncials. Rubrics in red, two one-line initials in red, AN EIGHT-LINE (83 mm. tall) WHITE-VINE INITIAL outlined in red and filled in with blue and green. Lower margin of recto with a 20th century note in red ink (see below). Recovered from a binding and thus the vellum on one side noticeably darkened (with a large lighter patch where a label may have been removed), the other side faded, with half the text illegible, top edge trimmed close, vertical crease going through initial, much of the white in the capital now a light gray, other minor issues, but still an impressive leaf, the once beautiful initial largely well preserved, with its blue paint still rich. Containing an elegant proto-gothic script and a striking white-vine initial, this leaf is an excellent example of early Austrian manuscript production. The large initial "A" is formed with foliate designs outlined in red, given shape by coloring in the negative space with an intense azure blue and moss green. This style would later become a model for the Italian Humanist scribes and illuminators of 15th and 16th centuries, who substituted glistening gold leaf for the vibrant yellow paint favored by some artists of the Romanesque period. The text of this leaf mainly includes readings for the seventh Sunday after Pentecost, consisting of III Kings 2:1-17 (beginning "Adpropinquauerunt dies David"), according to the Vulgate numbering. It describes the Death of King David, who instructs his son Solomon to keep the ways of God. With large and elegant letterforms executed by a steady hand, this leaf almost certainly belonged to a Lectionary owned by a Romanesque church in Salzburg. According to the source from which we purchased this leaf, it was shown in 1893 to the Medieval historian (and later the Abbot of St. Peter's, Salzburg) Willibald Hauthaler (1843-1922), who wrote in very small letters the identification in red ink along the lower edge. It was later owned by the Salzburg-based merchant, artist, and collector Carl von Frey (1826-96). It appeared at Christie's in 2010 where (along with five sister leaves) it sold for £13,970. Despite some condition issues related to its reuse in a later binding, this leaf is still very impressive because of its beautiful calligraphy and decoration.…

319 x 244 mm. (12 1/2 x 9 1/2"). Single column, 27 lines, in a lovely proto-gothic hand. Rubrics in red, two one-line initials and one two-line initial in red, WITH A LARGE (140 mm.) WHITE-VINE INITIAL INHABITED BY A BIRD, outlined in red and filled in with blue and green. Lower margin of recto with a 20th century note in red ink identifying the text. Recovered from a binding and thus with overall darkening, top half of verso somewhat soiled, with top line obscured (though with all other letters on both sides very distinct), cut a little close to the thin red extension of the initial, a few minor holes (inlcuding one elongated one through the top part of the initial, with minimal loss). Even with these defects, a powerfully attractive leaf with memorable decoration and script. Containing a beautiful proto-gothic script and an exceptional Romanesque initial, this leaf is a particularly desirable example of early Austrian manuscript production. The opening initial "F" is formed with foliate designs outlined in red, given shape by coloring in the negative space with an intense azure blue and moss green. Adding to the initial's charm is a large bird perched on one of the curving branches, turning its head to the right as if to read the text (like the initial, it is also outlined in red). The white-vine style seen here would later become a model for the Italian Humanist scribes and illuminators of 15th and 16th centuries, who substituted glistening gold leaf for the vibrant yellow paint favored by some artists of the Romanesque period. The text here is from St. John Chrysostom's homily on St. Matthew 22:34-40, an account of the Pharisees questioning Jesus on God's law, asking "which commandment in the law is the greatest?" Jesus famously replies with the key tenets of the Christian faith: "You must love the Lord your God with all your heart, with all your soul, and with all your mind. This is the greatest and the first commandment. The second resembles it: You must love your neighbor as yourself. On these two commandments hang the whole Law, and the Prophets." This text was the Gospel reading for the 19th Sunday after Pentecost, preceded by the incipit "Frequenter iudei diversis interrogationibus" ("The Jews repeatedly tested him with various questions"). The present leaf almost certainly belonged to a Lectionary owned by a Romanesque church in Salzburg, a manuscript that was later dismembered for use in bookbinding. According to the source from which we purchased this leaf, it was shown in 1893 to the Medieval historian (and later the Abbot of St. Peter's, Salzburg) Willibald Hauthaler (1843-1922), who wrote the identification in red ink along the lower edge. It was later owned by the Salzburg-based merchant, artist, and collector Carl von Frey (1826-96). It appeared at Christie's in 2010 where (along with five sister leaves) it sold for £13,970.…

213 x 137 mm. (8 3/8 x 5 3/8"). Single column, 25 lines, in a gothic hand. i, 123 leaves. COMPLETE. Contents: blank (f. i); Calendar (f. 1r); Gospel Lessons (f. 13r); Passion according to John (f. 17r); "Obsecro te" and "O Intemerata" (f. 23v); Hours of the Virgin (f. 28r); Hours of the Cross (f. 69r); Hours of the Holy Spirit (71v); Seven Penitential Psalms (f. 75r); Litanies (f. 82r); Office of the Dead (f. 88r); Suffrages (114r); ruled blank (f. 123). SPECTACULAR NEAR-CONTEMPORARY LYONNAISE BINDING OF POLISHED CALF, VERY DENSELY GILT, covers with a central oval filled with diamond-shaped tools, surrounded by an intricate strapwork pattern incorporating acanthus and three heads at the top and bottom (two with helmets, looking sideways, one, more prominent, staring ferociously straight on), the negative space densely azured (appearing from a distance as if entirely filled with gold), raised bands, spine compartments gilt with door-handle tools, floral motifs, and sawtooth borders, edges gauffered and gilt, later (17th century?) endpapers, lacking ties. Rubrics in deep pink, line fillers in red and blue with gilt embellishments, numerous one-line initials in gold on red or blue ground, many two-line initials in mauve or blue with white embellishment, most enclosing a flower or two, on painted gold ground, EACH PAGE WITH A FULL BORDER consisting of a plain gold bar on three sides and a painted gold panel containing colorful flowers, acanthus, and the occasional banner, WITH 21 SMALL MINIATURES (each measuring between 30-50 mm. tall), and 18 FULL-PAGE MINIATURES framed by a gilt and painted architectural border and accompanied by a three- or four-line initial with opening text on a banner, the initial painted mauve or blue with white embellishment, enclosing colorful flowers on painted gold ground, the subjects of the large miniatures being: St. John on Patmos (f. 13r); Agony in the Garden (f. 17r); The Temptation of Adam and Eve (f. 27v); Annunciation (f. 28r); Visitation (f. 34v); Nativity (41v); Annunciation to the Shepherds (f. 44v); Adoration of the Magi (f. 47v); Presentation in the Temple (f. 50r); Flight into Egypt (f. 52v); Coronation of the Virgin (f. 57r); Christ Carrying the Cross (f. 68v); Crucifixion (f. 69r); Pentecost (f. 71v); Bathsheba Bathing (f. 74v); David and Uriah (f. 75r); Job on the Dung Heap (f. 88r); Trinity (f. 114r). Front pastedown with book label of W. H. Corfield, armorial label of "H C M" (or perhaps "F C M") and a pasted-in piece of paper with early 19th century(?) notes about the manuscript written in French. Joints with a little wear and flaking, minor rubbing to edges and corners, but the binding entirely sound and in a remarkable state of preservation, glistening with gilt. A few small marginal holes where the vellum has thinned, a couple miniatures with light flaking or rubbing to the architectural border, a handful of trivial smudges to borders, but the contents in fine condition, being extraordinarily clean and fresh, and the miniatures extremely well preserved. IN EXCEPTIONALLY FINE AND PLEASING CONDITION INSIDE AND OUT. Complete, in a memorable 16th century binding, and boasting a large and particularly appealing program of miniatures, this splendid Parisian Book of Hours was produced by a highly skilled workshop for a patron of means, and comes down to us in extraordinarily fine condition. The style of the miniatures closely resembles that of Jean Coene IV (active ca. 1490-1520), an artist who hailed from a long line of manuscript illuminators originally from Bruges but active in Paris from the early 15th century. Identified by Isabelle Delaunay and Eberhard König and dubbed the "Master of the Paris Entries," Coene was a prolific artist who, according to Peter Kidd, "was perhaps particularly known to contemporary patrons for his ability to create new compositions." His versatility as an artist is demonstrated by the variety of volumes to which he contributed, including histories, voyag. …

163 x 115 mm. (6 1/2 x 4 1/2"). Single column, 18 lines in a gothic book hand. Rubrics in red, line fillers in blue and pink with gold bezant, six one-line initials in burnished gold on pink and blue ground, two two-line initials in blue on gold ground with a flower in the center, one three-line initial in blue filled with ivy on gold ground, verso with panel border of colorful flowers and acanthus, recto with A LARGE ARCH-TOPPED MINIATURE OF THE CORONATION OF THE VIRGIN with an "L" shaped frame of burnished gold and painted flowers, and A FULL BORDER of acanthus, flowers, a man playing a bagpipe, and a hybrid creature wearing a hat, all on a painted gold ground. Very minor wrinkling to vellum, but the leaf IN LOVELY CONDITION, with the gold everywhere gleaming brightly. From a luxuriously appointed Book of Hours, this leaf features a handsome miniature of the Coronation of the Virgin attributed to the workshop of Jean Pichore (fl. ca. 1502-20), a major figure among illuminators of the period and one of the most sought-after artists in France at the turn of the 16th century. Executed with imagination and delicacy, the miniature features the traditional subject associated with the hour of Compline, showing the Virgin being crowned Queen of Heaven, following her Death and Assumption. The composition here is quite intimate, with the Virgin kneeling before her son as she accepts, with humility, the crown he lays upon her head. Christ is depicted barefoot and slightly bowed toward his mother in a gentle display of respect. The artist creates a wonderful backdrop for this scene, composed entirely of seraphim painted gold, blue, light pink, and green, closely packed together. Two of the seraphim hold up light pink draperies behind the central figures, as if to shield this tender moment from prying eyes. The borders here are a source of delight, featuring a figure wearing a jester-like cap and playing the bagpipe as well as a creature with the body of a bird and the face of a human, donning a rather fashionable bycocket cap. The illumination here is of high quality, features a liberal use of gold, and contains unique marginal details, suggesting that the original manuscript must have been a costly commission for a wealthy patron.…

165 x 117 mm. (6 1/2 x 4 5/8"). Single column, 18 lines in a gothic book hand. Rubrics in red, line fillers in blue and pink with gold bezant, five one-line initials in burnished gold on pink and blue ground, one two-line initial in blue on gold ground with a flower in the center, one three-line initial in blue filled with ivy on gold ground, recto with panel border of colorful flowers, vase, and acanthus, verso with A LARGE ARCH-TOPPED MINIATURE OF THE ANNUNCIATION TO THE SHEPHERDS, surrounded by A FULL BORDER of acanthus, flowers, and two birds, all on a painted gold ground. Slight soiling to vellum, but a very well-preserved leaf in fine condition. From what was surely a costly Book of Hours, this leaf features a charming and skillfully painted miniature of the Annunciation to the Shepherds, attributable to the workshop of Jean Pichore (fl. ca. 1502-20), a major figure among illuminators of the period and one of the most sought-after artists in France at the turn of the 16th century. Depicting the traditional subject associated with the hour of Terce, our miniature portrays, as usual, an angel appearing to shepherds tending their flock, bringing news of the birth of Christ. Although the biblical narrative suggests that the shepherds were startled by the angel's appearance, the three figures in this miniature appear remarkably unmoved--in fact, only one of them seems to take any notice at all. The first shepherd sits on the ground, looking straight ahead; the second holds his hands in prayer but looks little more than, well, prayerful at the angel in the sky; and a third figure maintains a slightly aloof expression, taking no particular interest in the unfolding miraculous event. What may seem to be indifference can be explained easily enough by the artist's successful portrayal of nighttime cold! All three shepherds are thickly dressed, one with his arms pressed tightly against his chest, another with a hood partly covering his face, and the sheep are tightly huddled together into one woolly white cluster. Another manifestation of the artist's success here is seen in the particularly well done molding of the faces, with subtle shading, attractively rendered features, and clear individuation. Moreover, although the shepherds seem essentially unmoved, their garments are dusted with a glistening gold radiance from above, a further subtle touch revealing a high level of achievement on the part of the painter. Finally, the borders are one last source of delight, with a small bird shown in mid-flight, and a second one investigating a single strawberry that seems to have been placed there just for him. All of these indications of sophistication suggest that the original manuscript must have been commissioned by a patron able to pay a premium for the work of a highly skilled atelier.…

176 x 128 mm. (7 x 5"). Single column, 23 lines in a neat batârde hand. i (blank), 101, ii (blank) leaves. Lacking one leaf after f. 87 (possibly containing a miniature), otherwise complete. Contents: Calendar (f. 1r); Gospel Lessons (f. 7r); Passion according to John (f. 10v); Hours of the Virgin (f. 15v); Penitential Psalms and Litany (f. 45r); Office of the Dead (f. 54v); Hours of the Cross (f. 68v); Hours of the Holy Spirit (f. 70v); Prayers to the Trinity, St. Veronica, "Obsecro Te," "O Intemerata," and "Stabat Mater" (f. 72v); Suffrages (f. 79r); Prayers in French to be said on various occasions (f. 86v); verse prayer in French beginning "Royne des cieulx glorieuse" (f. 90r); additional prayers in French and Latin (f. 93v). Attractive 19th century vellum with lacy gilt border, raised bands ruled in gilt, gilt lettering, tan silk endleaves, all edges gilt. Housed in a felt-lined reddish-brown pebbled morocco clamshell box with gilt lettering on spine. Rubrics in red, numerous one- and two-line initials in painted gold on burgundy or blue ground, WITH 27 SMALL MINIATURES (one miniature of Christ Carrying the Cross measuring 60 x 68 mm., the rest depicting saints and measuring between eight and nine lines), each surrounded by a full border of acanthus, flowers, and small dots on bare or painted vellum, and 14 LARGE MINIATURES, EACH OPENING WITH A FULL BORDER, either with acanthus and flowers (as before), or architectural, some borders embellished with figures, animals, or hybrids, two with a small scene in the lower margin, and about a dozen with the added coats of arms and/or mottos of Jean Boutin. The subjects of the large miniatures include the following: St. John of Patmos (f. 7r); Annunciation (f. 15v); Visitation (f. 23r); Nativity (f. 27v); Annunciation to the Shepherds (f. 29v); Adoration of the Magi (f. 31v); Presentation in the Temple (f. 33v); Flight into Egypt (f. 35v); Death of the Virgin (f. 38v); Bathsheba bathing (f. 45r); Funeral Mass (f. 54v); Crucifixion (f. 68v); Pentecost (f .70v); Trinity (f. 72v). See: Fairfax-Murray "French," p. 265-266. Vellum binding soiled but perfectly sound. Small portions of some border figures and perhaps three or four(?) miniatures touched up in the 16th(?) century (see below), occasional chipping to white paint, small hole in the border of ff. 11 & 29, light scattered spotting, fading, thumb soiling, and other minor issues, but an attractive and substantially complete manuscript, the illumination extensive and mostly well preserved. This heavily illustrated Book of Hours is a lovely example of provincial illumination; it calls attention in an interesting way to the influence of printed books on manuscript art; and it contains intriguing traces of an early prominent owner. Our manuscript contains a total of 41 large and small miniatures by a skilled artist who clearly had some training and familiarity with the prevailing styles of the time. The overall appearance of the work suggests the artist or workshop was located in Northern France, and although the figures and backgrounds are indicative of a provincial hand, the rich colors, profuse use of liquid gold, and sumptuous borders are unmistakable marks of luxury. The image of the Trinity is particularly lovely, demanding the viewer's attention with God the Father's piercing gaze, and conveying the majesty of the subject with a patterned throne set against a starry sky. Of special interest here are the compositions of the large miniatures, many of which seem to have been copied from printed Books of Hours of the period. When we talk about the transition from manuscripts to print culture in the late-15th and 16th centuries, the discussion often focuses on how the art of manuscripts influenced the appearance of printed works. There is no better example than Books of Hours, which, in printed editions, often mimic the look of their manuscript predecessors in appearance and the way many were finished by hand. However, as the presen.…

130 x 100 mm. (5 1/8 x 3 7/8"). Single column, 15 lines in an elegant gothic book hand. 280 leaves. First four leaves misbound, lacking at least seven leaves, five of which probably contained miniatures. Contents: Devotion to the Passion (f. 1r); blank (f. 4); Calendar (f. 5r); Gospel Lessons (f. 17r); "Obsecro te" and "O intemerata" (f. 23r); blank (f. 23); Hours of the Virgin (lacking opening leaves for Terce, Nones, and Vespers) (f. 33r); Penitential Psalms and Litany (f. 100r); Hours of the Cross (lacking preliminary leaf) (f. 120r); Hours of the Holy Spirit (p. 123r); Office of the Dead (lacking preliminary leaf) (f. 127r); "Sept Vers de Saint Bernard" and Suffrages (f. 176v); series of devotional prayers in Latin and French, including the Hours of the Conception, an indulgence, devotional poems in French, prayers for specific occasions (such as when facing tribulations, going to confession, protection against storms, and for friends abroad), the Stabat Mater, the Seven Joys of the Virgin, Gospel sequences, "Le chemin de paradis," and many others (f. 199r); blank (f. 280). ESPECIALLY BEAUTIFUL MID-19TH CENTURY LIGHT BROWN MOROCCO, LAVISHLY GILT IN THE "FANFARE" STYLE, BY CAP? (stamp-signed in gilt on front turn-in), covers with large green and red morocco inlaid panels, gilt strapwork, scrolling, and small star tools, raised bands, spine compartments with red or green morocco inlay surrounded by gilt scrolling embellishments, gilt lettering, RED MOROCCO DOUBLURES gilt in the style of Duodo with repeating pattern of flowers encircled by vines, marbled endleaves, modern paper and vellum flyleaves, all edges gilt. Housed in a fine suede-lined pebble-grained leather pull-off case with gilt lettering on spine. Light red ruling and rubrics, numerous line-fillers in blue and pink with gilt embellishments, many one- and two-line initials in burnished gold on pink and blue ground, three four-line initials in pink or blue, filled with ivy leaves on a burnished gold ground, two of these with a gilt and painted baguette along the outer edge of text, and all with a three-quarter border of hairline vines, flowers, acanthus, and gold leaves, the majority of the leaves with a panel border of hairline vines and flowers on one side, one historiated initial painted blue on a burnished gold ground depicting the Virgin accompanied by a gilt and painted baguette and three-quarter border, FOUR SMALL MINIATURES DEPICTING THE APOSTLES, each with a gilt and painted baguette and surrounded by a three-quarter border, and EIGHT LARGE ARCH-TOPPED MINIATURES above a three-line initial painted blue or pink on gold ground, a gilt "L" shaped bar border incorporating colorful flowers, and a full border of border of hairline vines, flowers, acanthus, and gold leaves, and A HALF-PAGE RECTANGULAR MINIATURE with a border along the lower half. The subjects of the large miniatures include: the Mass of St. Gregory (f. 1r); Annunciation (f. 33r); Visitation (f. 57r); Nativity (f. 70r); Adoration of the Magi (f. 80v); Crowning of the Virgin (f. 94v); David in Prayer (f. 100r); Pentecost (f. 123r); and a rectangular miniature of the Holy Wound (or perhaps the Bleeding Host of Dijon) (f. 241v). Isolated light rubbing and negligible chips to miniatures, the dark blue paint appearing slightly worn in places (as is often the case), occasional faint smudges to borders and other imperfections, but all of these trivial. IN THOROUGHLY FINE CONDITION INTERNALLY--the paint fresh, the vellum clean, and the margins quite comfortable--AND THE EXTRAORDINARILY FINE BINDING FLAWLESS. In a spectacular 19th century binding, this lovely, thick little Book of Hours was executed by a talented follower of Ma?tre Fran?ois and the Master of Jean Rolin, and contains a large number of prayers and devotional texts, many of them in French. The manuscript includes a fine array of large and small miniatures executed with a colorful palette and careful attention to detail. Particularly noteworthy. …

164 x 123 mm. (6 1/2 x 4 7/8"). Single column, 17 lines, in a gothic hand. Capitals touched with red, rubrics in red, one-line initials in red or blue, one two-line initial in blue, A VERY LARGE HISTORIATED INITIAL (approximately 60 mm. square) DEPICTING PENTECOST, the initial painted blue with white tracery on a burnished gold ground, surrounded by A FULL BORDER decorated with colorful acanthus, large flowers, strawberries, insects (including a grasshopper, fly, moth, and mosquito(?)), all on a liquid gold ground. See: Marrow, et al., "The Golden Age of Dutch Manuscript Illumination," nos. 79-81. âMargins just faintly soiled, gold very slightly rubbed, but IN FINE CONDITION, the initial and border beautifully preserved. This is an extraordinarily handsome leaf, featuring an oversized historiated initial depicting Pentecost, attributed to the circle of the Master of the London Jason. Our artist has made remarkable use of space, fitting 13 clearly defined people within an initial opening measuring 45 x 32 mm. The Virgin sits enthroned directly in the center, encircled by the Apostles dressed in blue, violet, green, and orange robes. Our artist cleverly adds a notch at the top of initial--like a cupola inside a chapel--in order to fit an image of a dove inside the scene. The figures show an impressive degree of individualization and emotional response as they witness the descent of the Holy Spirit; a few gesture in surprise, two lower their gaze, and some look up in awe. The work is stylistically like that of the Master of the London Jason, named for his work on the "Historie van Jason" manuscript now housed at the British Library. As Marrow et al. note, the Master's style is characterized by "somewhat short, heavy figures [that] are well formed and have unusual, slightly broad yet expressive faces with deep sunken eyes." Our leaf's enclosing border is of very considerable interest, featuring as it does naturalistic flowers, strawberry plants, insects, and a small, brightly colored bird, all painted in colors that perfectly complement the main scene. A very fine production all around, this distinctive, energetic leaf would make a notable addition to any collection.…

240 x 310 mm. (9 1/2 x 12 1/4"). Double column, 16 intact lines in a large Romanesque script. Rubrics and two small initials in red, one three-line initial in red, and A STRIKING SIX-LINE (65 x 55 mm.) ROMANESQUE INITIAL "U" DEPICTING CHRIST WITH A BOOK AND ST. PETER WITH THE KEYS TO HEAVEN, the full-length figures and their garments drawn with simple black and red pen lines, Christ's robes and halo touched with a thin wash of green against a light blue ground, the initial drawn in red with light embellishment and washed with yellow. From the collection of Roger Martin (1939-2020). Recovered as a binding lining and thus with overall darkening, creases, small holes, and other condition issues, but the text entirely legible; a small curved tear and a little abrasion just touching the side of the initial, coloring perhaps a bit faded, but overall in excellent condition, the figures intact and representing a remarkable and impressive survival. This is a large and attractive fragment preserving much of its original appeal, with an exceptionally nice Romanesque initial featuring Christ handing the key of heaven to St. Peter. The two figures, composed of red and black penstrokes and tinged with light washes of color, are rendered with beautiful simplicity. The artist has cleverly placed St. Peter slightly outside the interior of the initial, and Christ mostly within it (with just one foot crossing over its base), as though he is welcoming the Apostle into a sacred space. The composition is uncluttered and elegant, inviting the viewer to enjoy the precision of the artist's pen. Romanesque initials with historiation are not nearly as common as purely decorative ones, and the present subject matter--Christ handing the key to St. Peter--is rare among the examples containing human figures. In institutions, we have been able to locate only two roughly contemporary examples depicting this particular scene (see BL MS Egerton 809, fol. 41, and Walters MS W.754). Although we have no additional information about the parent manuscript, it is clear that this fragment comes from a very substantial volume, and was probably made for the use of a monastery. The date and attribution are made on the basis of the fragment's script and decoration. Sotheby's has suggested parallels to three manuscripts made at Echternacht (see BnF Latin 9558, BnF Latin 8912, and BnF Latin 9740), but this fragment would benefit greatly from additional research. Even in its reused state, it stands out as an unusually fine example of Romanesque art and narrative that would make an excellent addition to any private or institutional collection.…

290 x 217 mm. (11 3/8 x 8 1/2"). Single column, 21 lines in an attractive proto-gothic book hand. Rubrics in red, several one-line initials in red, five red initials measuring two to four lines long and with penwork embellishment, A LOVELY SEVEN-LINE WHITE-VINE INITIAL outlined in red and with a pale yellow wash along the edge, the lower half of the ground filled with green wash. Lower margins with notations in later Medieval hands. âA handful of original holes in the vellum no doubt from stretching the skin during processing (with the scribe writing around the flaws where necessary), a little soiling to lower outside corner, one or two negligible spots, otherwise IN FINE CONDITION, the ink unusually rich and the paint very bright. From a Sacramentary, a service book that contained the prayers said during Mass (subsumed by the Missal in the 13th century), this early leaf was once part of an attractive manuscript of very high quality. The very large and superb "F" opens the Mass for the Feast of the Assumption, and the other readings here include Masses for Sts. Hippolytus and Cassian (celebrated on 13 August); St. Eusabius (14 August); Vigil of the Assumption of the Virgin (14 August); Assumption of the Virgin (15 August); St. Agapitus (18 August); and the beginning of the Mass for Sts. Timothy, Hippolytus, and Symphorian (22 August). Sister leaves from this same manuscript have previously appeared in Sam Fogg, Cat. 16, "Text Manuscripts and Documents 2200BC to 1600AD" (1995), nos. 30 and 31; Maggs Bros., European Bulletin 20 (1995), no. 37; Quaritch, Cat. 1270, "Bookhands of the Middle Ages VI" (2000), nos. 69 and 70; Sotheby's, 6 December 2001, lot 8; and Bloomsbury, 6 December 2017, lot 16. The Fogg description notes that similar initials can be seen in French, German, and Flemish manuscripts of the period, "but very few manuscripts have the special characteristics of this one." For example, the initials on the sister leaves described by Fogg contain (atypically) mauve and green as well as an "unusual . . . exterior contoured ground, which is not confined by any geometric form." This means there is no line or shape to box in or define the capital's form; rather, it appears as if surrounded by an aura or gentle shadow. Our initial contains a green ground only (no mauve) but the same unusual and attractive yellow aura. It is rare to find Romanesque leaves of this size and caliber in such fine condition, and the present leaf, with its beautiful, regular proto-gothic hand, exceptional white-vine initial, and several large decorative initials in red, is especially desirable.…

239 x 165 mm. (9 3/8 x 6 1/2"). Single column, 15 lines in an elegant gothic book hand. Rubrics in dark pink, line-enders in dark pink and blue highlighted with a gilt bezant, several one-line initials and one two-line initial in burnished gold on dark pink and blue ground with white tracery, one three-line initial in pink with white tracery, filled with trefoils painted red or blue, all on a gold ground, verso with panel border of delicate hairline vines terminating in gilt bezants and ivy and with acanthus and flowers, recto with A HALF-PAGE MINIATURE OF THE CRUCIFIXION in an arch-topped gilt frame, Christ in the center of the composition with the mocking inscription "I N R I" ("Iesus Nazarenus Rex Iudaeorum") on a banner above him, the Virgin standing on the left and St. John on the right, the landscape behind them filled with hills and trees under a tessellated sky, SURROUNDED BY A FULL BORDER consisting of hairline vines terminating in gold bezants and ivy, colorful acanthus, strawberries, and flowers, the text and image further framed by a "U"-shaped bar of gold, pink, and blue extending the full height of the miniature. âVirgin's robe a little mottled and chipped, minor chipping elsewhere, borders with slight smudging to some of the hairline vines, small marginal stain, but, in all, in excellent condition, with wide margins, with the colors very bright, and the miniature well preserved. Opening the Hours of the Cross (a shorter text that is sometimes found in addition to the Hours of the Virgin), this touching miniature of the Crucifixion is richly painted and features a particularly emotional depiction of Christ, his head slightly bowed with an expression of pain. Blood flows freely from his wounds, partly merging with the orange in the sky and partly forming rivulets at the base of the cross. This exsanguination stands in contrast to the more typically restrained indications in other Crucifixion scenes and serves to emphasize the cruel suffering of the execution. His mother stands to the left in a blue cloak, hands knitted together and with a look of weary resignation on her face; to the right stands St. John, whose lips are slightly parted as he looks directly at the crucified Christ as if searching his face for signs of life. Our artist has made an unusual choice for the background, with the lower two thirds devoted to a naturalistic landscape with many hills and trees, and the sky entirely tessellated with squares of red, blue and gold. While the Virgin and St. John are both firmly situated within the earthy realm, the body of Christ occupies both spaces, perhaps emphasizing his dual nature as both human and divine. Stylistically, this leaf can be localized to the Franche-Comté region in eastern France, and is closely related (if not directly attributable) to an atelier specializing in Books of Hours made for the Use of Besançon and most likely situated in that city (see Avril and Reynaud, p. 197). The similarities are especially apparent in the figures' faces, which are slightly puffy in appearance and have distinct, slit-like eyes. As noted by Avril and Reynaud, the unnamed master of this atelier was deeply indebted to the Master of Morgan 293, a talented Burgundian illuminator active in the second quarter of the 15th century, whose name derives from a particularly lovely Book of Hours made for the Use of Besançon. In fact, there are certain consonant details between this miniature and the Crucifixion in the Morgan manuscript: Christ's position and physicality are nearly identical, as is the pattern of blood as it moves down the cross, and both artists create a division in the landscape, with the Morgan artist using gold rather than tessellation for his sky. Whoever the artist responsible for the present miniature, the work here is clearly accomplished, both quietly powerful and an excellent representation of a distinct regional style.…

239 x 165 mm. (9 3/8 x 6 1/2"). Single column, 15 lines in an elegant gothic book hand. Rubrics in dark pink, line-enders in dark pink and blue with a gilt bezant, several one-line initials in burnished gold on dark pink and blue ground with white tracery, one three-line initial in blue with white tracery, filled with flowers painted pink or blue, all on a gold ground, verso with panel border of delicate hairline vines terminating in gilt bezants and ivy, and with a spray of blue flowers and a red bud, recto with A FULLY-REALIZED HALF-PAGE MINIATURE OF A BURIAL in an arch-topped gilt frame, with two laymen lowering a shrouded corpse into the ground, a small group of hooded monks to the left and two ecclesiastical figures reading from a book to the right, all in front of a gothic church painted pink with a blue roof, SURROUNDED BY A FULL BORDER consisting of hairline vines terminating in gold bezants and ivy, colorful acanthus, strawberries, and blue flowers, the text below the miniature further framed with a thin "U"-shaped line extending the full height of the miniature. A very few trivial imperfections (quite minor wear to paint on clothing, a little insignificant smudging, one small, light stain in the blank margin of verso), but these defects not the least distracting, and overall the miniature in fine condition, with rich, well-preserved color. This is a splendid miniature from a particularly large Book of Hours, showing a detailed rendering of a scene from contemporary Medieval life--that of a burial in a churchyard involving clergy, mourners, and laymen. Apart from those relatively few copies with illustrated calendars, the miniatures found in Books of Hours are almost entirely devoted to retrospective Bible scenes that are obviously outside the experience of the illuminator; it is only in the present kind of scene at the beginning of the Office of the Dead that we can see a contemporaneous image that would have come directly from the Medieval experience. While our painting is fairly typical in subject matter and design, it offers a number of interesting details about the Medieval rites and rituals surrounding death. The present scene represents the final stage (preceded by the funeral procession, Requiem Mass, prayers, Absolution, and the procession into the graveyard) in which the body is actually laid to rest in the ground. Though the corpse would have been encased in a coffin during the aforementioned rites and processions, it was customary to bury the dead in only a shroud (in the present example, the artist has even thought to show the stitching along the length of the shroud). Three groups of people, each serving a different function, appear in this miniature: in the foreground are two laborers lowering the body into an earthen grave, a small group of mourners in black cloaks stand off to the left, and a duo of clergy members stand to the right. The latter have tonsured heads, and each wears a black cope (donned prior to administering Absolution to the deceased); together, they hold a manuscript containing the Rites for Burial. The background is composed of a grand church or cathedral containing a number of fine architectural details, including several windows (including a clerestory level), an arched entrance, a dome, and decorative touches. Stylistically, this leaf can be localized to the Franche-Comté region in eastern France, and is closely related (if not directly attributable) to an atelier specializing in Books of Hours made for the Use of Besançon and most likely situated in that city (see Avril and Reynaud, p. 197). The similarities are especially apparent in the figures' faces, which are slightly puffy in appearance and have distinct, slit-like eyes. As noted by Avril and Reynaud, the unnamed master of this atelier was deeply indebted to the Master of Morgan 293, a talented Burgundian illuminator active in the second quarter of the 15th century, whose name derives from a particularly lovely Book of Hour.…