Manuscript leaf (78 Ergebnisse)

No Binding. Zustand: Very Good. A facsimile of an illuminated leaf from a Mediaeval Manuscript. Mounted - matted - and ready to frame. Mount size approx 12 x 10 inches . Very good condition. Circa 1880. Shows - in colour - a leaf from a Mediaeval Manuscript - Portrait of Chaucer and text from Thomas Hoccleve's Poem ' De Regimine Principum@ - - rich colouring - from a MS in the British Museum.…

No Binding. Zustand: Very Good. A splendid original antique scene Mounted - matted - and ready to frame. Excellent condition . A facsimile leaf from an . illuminated manuscript leaf Shows . a page of illuminated illustration entitled .'Illuminator presenting Manuscript to Patron' the Harleian M.S.7026 British Museum.…

No Binding. Zustand: Very Good. A facsimile of an illuminated leaf from a Mediaeval Manuscript. Mounted - matted - and ready to frame. Mount size approx 12 x 10 inches . Very good condition. Circa 1880. Shows - in colour - a leaf from Aelfric - 'The Paraphrase of the Pentateuch .

No Binding. Zustand: Very Good. A facsimile of an illuminated leaf from a Mediaeval Manuscript. Mounted - matted - and ready to frame. Mount size approx 12 x 10 inches . Very good condition. Circa 1880. Shows - in colour - a leaf from a Mediaeval Manuscript - Lydgate presenting his poem to the King - rich colouring - from the Harleian MS in the British Museum.…

No Binding. Zustand: Very Good. A facsimile of an illuminated leaf from a Mediaeval Manuscript. Mounted - matted - and ready to frame. Mount size approx 12 x 10 inches . Very good condition. Circa 1880. Shows - in colour - a leaf from a Mediaeval Manuscript - text and fine illustration of Canterbury Pilgrims - - rich colouring - from a MS in the British Museum.…

No Binding. Zustand: Very Good. A facsimile of an illuminated leaf from a Mediaeval Manuscript. Mounted - matted - and ready to frame. Mount size approx 12 x 10 inches . Very good condition. Circa 1880. Shows - in colour - a leaf from Layamon's Brut. - from the Cotton Ms.

No Binding. Zustand: Very Good. A facsimile of an illuminated leaf from a Mediaeval Manuscript. Mounted - matted - and ready to frame. Mount size approx 12 x 10 inches . Very good condition. Circa 1880. Shows - in colour - a leaf from a Mediaeval Manuscript - an illustrations from Mandeville's 'Travels' - - rich colouring - from a MS in the British Museum.…

Single leaf, vellum, corner cut away, illuminated both sides in colour and gilt. 175 x 130 mm.

Leather bound. Zustand: Near fine. Daniel Boone Edition. Octavo, [four volumes], [xxvii], [1], 352pp, [map]; [vii], [3], 427pp, [2pp maps]; [ix], [3], 339pp, [map]; [xi], 363pp, [2pp ads]. Publisher's full brown levant morocco, raised bands, title stamped in gilt, "Daniel Boone Edition" in gilt on each spine. Red suede doublures, suede endpapers, top edge gilt, silk bookmark in each volume. Uncut. Solid text blocks, all appear unread. Free of restoration or archival repairs. A few blemishes along rear board of Volume I. Touch of rubbing along margins of boards. Small bookseller's label on second free endpaper of each volume, from Dennen's Bookshop of Detroit, Mi. Frontispiece portrait with tissue cover in each volume, complete, with captioned tissue guards. Includes five fold-out maps, affixed to rear endpapers of each volume, printed on Japanese vellum. (Wheelock, 13) (Cole & Vail, A11.1) (Howes R433) From a limited edition of 200 sets, this being number 74, matching limitation in each volume. Includes a manuscript leaf in Roosevelt's hand from Volume IV, page 13, regarding the Secretary of War Henry Knox's failure to understand the Indian situation in the Western United States. The original manuscript leaf about the beliefs of Secretary of War Henry Know reads as follows: [He probably represented, not unfairly, the ordinary Eastern view of the matter. He had not the slightest idea of the rate at which the settlements were increasing, though he expected that tracts of Indian] "territory would from time to time be acquired. He made no allowance for a growth so rapid that within the half-century six or eight populous States were to stand within the Indian-owned wilderness of his day. He utterly failed to grasp the central features of the situation, which were that the settlers needed the land, and were bound to have it, within a few years; and that the Indians would not give it up, under no matter what treaty, without an appeal to arms. / In the South the United States Commissioners, in endeavoring to conclude treaties with the Creeks and Cherokees, had been continually hampered by the attitude of [Georgia and the Franklin frontiersmen.] This work was issued in full levant for $100 and half levant for $60. The full levant sold quickly, and the price was raised to $200 per set. The handwritten manuscript leaves all came from Volume III and IV, with the manuscript for Volume I now held at the New York Public Library. The Daniel Boone Edition of The Winning of the West by Theodore Roosevelt, with a manuscript leaf in Roosevelt's hand. (illustrator). Signed.…

Oblong, 220 x 35 mm. 5 ff. Balinese on palm leaf. Balinese script in inscriped black ink. Illustrated with five hand-inscribed scenes. Wooden boards with delicately carved designs. Five mythological scenes hand-inscribed on the dried leaves of the lontar palm, each with a line on the reverse in Balinese script. Similar palm-leaf manuscripts from Lombok, today part of Indonesia, show scenes from Hindu or Muslim mythologies. These include the Ramayana, Adi Parva from the Mahabharata, the story of the Prophet Yusuf (Joseph), and Bharatayuddha. An illustrated copy of the latter, similar to the present manuscript, is held at the British Library (Or 13379, f. 6r). - The illustrations of this manuscript are clearly meant to be read together, similar to comic strips, with one scene following another to tell a short section of a story. To create this manuscript, a scene was first painstakingly inscribed by hand into the delicate palm leaf, and then ink was rubbed into the scored lines to finish the drawing. Unlike paper, palm leaves are ideal for hot, humid climates like that of Lombok, and have been used in Southeast Asia for thousands of years. - Faintly toned. In very good condition. - Cf. London, British Library, Or 13379, f. 6r.…

Manuscript book. Calligraphed manuscript in ink, by H. C. Kendall (signed on the verso of the first leaf). Each page written in different calligraphy style. Text in English. With a mounted portrait, transferred on porcelain, of Baron Hirsch on the second leaf. Manuscript book. In original black leather by Frank J. Barnard (signed on the recto of the last leaf), with clasp, gilt title on front panel, gilt edges, gilt turn-ins. Pastedowns and flyleaves are covered with white moiré. A memorial album commemorating the death of the greatest Jewish philanthropist of the nineteenth century, Baron Maurice de Hirsch, offered by the Jews of Boston to his widow and family. This delicate memorial album, signed by twenty-two representatives of Jewish associations of Boston, was prepared by the commission of the Boston Jews under the auspices of the American Committee (here Society) for Ameliorating the Condition of Russian Refugees, an umbrella organization of various groups concerned with the welfare of the immigrants (co-founded by the Hirsch Fund), and was offered to the widow and the family of Baron de Hirsch. The album is a piece of very fine craftsmanship, calligraphed by H. C. Kendall an "artist penman" and Principal of the Normal Writing Institute in Boston, and bound by Frank J. Barnard, the industry leader bookbinder in Massachusetts. The text consists of profound quotes about human greatness from William Dean Howells and Julia C. R. Dorr, and the eulogy delivered at Temple Ohabei Shalom. Baron Maurice de Hirsch (1831-1896) was a German Jewish financier and philanthropist, born into a wealthy landowner and banker family in Bavaria. In 1855, Hirsch married Clara Bischoffsheim, daughter of a Belgian banker, and became associated with his father-in-law's banking house. He amassed a large fortune and became one of the top five richest individuals in Europe at the time. Baron de Hirsch set up charitable foundations promoting Jewish education especially in Russia, and after an unsuccessful offer of 50,000,000 francs to the Russian government to be used for purposes of Jewish education, in 1891 he founded the Jewish Colonization Association, the greatest charitable trust in the world, to provide the funds for extensive Jewish immigration to Argentina. In the same year, he established the Hirsch Fund to help the Russian Jewish immigrants in the States and provided the finances for agricultural colonies and trades schools in the US. Through his Galician Foundation, he realized the establishment of primary and technical schools for Jewish pupils in Galicia and the Bukowina. "It is impossible to form an accurate estimate of the amount of money Baron de Hirsch devoted to benevolent purposes. That, including the large legacy (amounting to $45,000,000) left to the Jewish Colonization Association, it exceeded $100,000,000 is an estimate justified by the amounts given by him from time to time to the foundations already referred to. There were, besides, many gifts to individuals of which there is no record." (Jewish Encyclopedia) Baron Maurice de Hirsch died suddenly, presumably of a heart attack at the age of 64, on 21 April 1896, at the country house of a friend near his own recently purchased estate of Ógyalla in Hungary (now part of Slovakia). His widow continued the Baron's charitable work. Clara died in Paris in 1899 and left the remaining family assets to her adopted son, Maurice Arnold de Forest. . Moiré detached from the flyleaves, discolored at the rear. Some of the tracing paper leaves are creased, few with closed tears. Stains to the gutter at the rear, no effect on text. Binding slightly rubbed, with three small, barely visible holes. Overall in very good condition. In original black leather by Frank J. Barnard (signed on the recto of the last leaf), with clasp, gilt title on front panel, gilt edges, gilt turn-ins. Pastedowns and flyleaves are covered with white moiré. Calligraphed manuscript in ink, by H. C. Kendall (signed on the verso of the first leaf). Each page written in different calligraphy style. Text in English. With a mounted portrait, transferred on porcelain, of Baron Hirsch on the second leaf (illustrator).…

22 x 21.75 cm. Double-columned, double-sided single signature, 32 lines. The leaf features 69 gilt initials with embellished pen-work, 2 of them larger with blue backgrounds and the rest smaller with beige or dark brown (matching text ink) backgrounds, with some additional red lettering and the heading "Psalms." 4 pp. Fine vellum; some initials faintly faded with gilt and colors otherwise bright and text clear. Fine. Although not fully translated, this signature was likely once part of a psalter. It features part of a litany from the Book of Hoursâ"Psalm 70 in its entirety, moving into a call-and-response from with red letters marking the call v. the response, beginning with "V: Salvos fac servos tuos" and cutting off at "R: aeternam dona eis. . ." Due to the structure of books, the page opposite the beginning of this litany is not the page that should numerically follow it were it still bound, and so it is broken early. The leaf also features almost all of Psalm 37," ending with "Qui retribuunt mala pro. . .".…

from a treatise on the Old Testament High Priest and Priesthood ('De Pontifice & Sacerdotibus'), here discussing the meaning of the Hebrew 'segen' which the writer takes to be a general word for 'deputy', quoting from the O.T. and from Lardner's 'Credibility of the Gospel History', Selden, Preland, and Maimonides, sides numbered 35 & 36, sections 104-112, English, no place, no date, circa. …

44 : 29 cm. One leaf with 11 lines handwritten. um 304 (?) 1 in Köln in Nordrhein-Westfalen. Altar mit vielen Reliquien in der "Goldenen Kammer" in der Ursula-Kirche in Köln. Clementine befand sich unter den Gefährtinnen der Ursula. Die Reliquien von Clementine und die von Gefährtinnen werden in Modena.…

224 x 168 mm. (8 3/4 x 6 1/2"). Double column, 30 lines in a gothic script, text in two sizes. Rubrics in red, capitals touched in red, one-line initials in red or blue. Vellum a bit soiled, faint crease in lower margin, but a very good specimen with no major issues. This modestly decorated leaf comes from a monastic Breviary intended for practical, everyday use. The text here comes from the Feast of Epiphany and its Octave, which includes a lengthy sermon by St. Maximus of Turin, beginning "Exultandum nobis est fratres karissimi quod votis nostris vota succedunt." The script includes several interesting letterforms, including tall ascenders (including an "s" that grazes the line above it), long strokes at the tops of letters such as "l" and "h," and a relatively tall "u.".…

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.…

321 x 218 mm. (12 5/8 x 8 5/8"). Single column, 27 lines, in a lovely proto-gothic hand, top two lines in red or black uncials. Rubrics and numbers in red, two one-line initials in red, with A LARGE (115 mm.) IMAGE OF JOSEPH WEARING HIS COAT OF MANY COLORS, the body outlined in brown ink, and the coat outlined in red. Lower margin of recto with a 20th century note in red ink (see below). Recovered from a binding and thus with overall darkening on the recto and with nothing readable on the verso, bottom line of text a bit damaged because of crease through it, a few small holes, two corners trimmed (one or two letters of final line of text lost), but more than half of the Joseph figure (including the face) still visible, and the text on the recto entirely legible. Containing a beautiful proto-gothic script and a rare figurative Romanesque initial, this leaf is a particularly desirable example of early Austrian manuscript production. The text here is (as neatly noted in German at the tail edge of the recto) Genesis 37:2-10, the beginning of the story of Joseph, the 17-year-old son of Jacob (here called Israel) and his second wife, Rachel. In the well-known biblical account, Joseph is his father's favorite of 12 sons, and the patriarch gives him a beautiful coat of many colors, making his brothers jealous. Joseph here intensifies their dislike of him by recounting to his brothers two of his dreams, in which sheaves of grain and then various celestial bodies bowed down to him. Dream or reality, the images did not sit well with the brothers, who sold Joseph into slavery. Although once the leaf was reused as binding material, we can nevertheless make out an historiated "I" in the form of Joseph as a young man, including an outline of his multi-colored coat. It is difficult to say with certainty whether the initial would originally have been washed with color, or composed solely as a line drawing, but whatever the case, we are lucky to have so much of it intact. With his long, flowing hair, semi-nude body, and hand placed delicately on his hip, Joseph is depicted in quite a seductive manner, and the simple line-drawing further emphasizes the body's curves and lithe appearance. Romanesque initials with historiation are not nearly as common as decorative ones, and the present depiction is especially unusual. While illustrations of Joseph do appear in other manuscripts of this period, they tend to focus on specific events from the biblical narrative--particularly those that lend themselves to the tradition of Joseph as a prefiguration of Christ, such as Joseph being thrown into the pit, or revealing his identity to his brothers. The present example, by contrast, is all about the presentation of the figure. This 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.…

Unevenly trimmed, but approximately 362 x 234 mm. (14 1/4 x 9 1/8"). Double column, 31 extant lines, in a lovely proto-gothic hand. Rubrics in red, remains of two large multi-line initials in red. Lower margin of recto with modern note in red ink in very small letters identifying the text. Recovered from a binding and thus unevenly trimmed (top margin and a small part of text trimmed away at the top), a handful of tiny cuts and holes of no significance, vellum a little brownish, but the leaf rather smooth, and the majestic text entirely legible. This lectionary fragment, which contains two important patristic sermons for the season of Advent, demonstrates a highly regular, graceful, and majestic proto-gothic book hand. The oval-shaped elongation of Caroline letter forms characteristic of 12th century book hands and the mixture of rustic and uncial capitals our scribe has used for section titles appear particularly pleasing in the lovely, uncramped hand at work here. The text on the recto is from St. Augustine's second Advent sermon, one of a series of homilies written for the liturgical seasons. The verso contains St. Gregory's homily for the first Sunday of Advent, preceded by Luke 21:25-33, a rehearsal of the signs of the end of days. The homily draws on this gospel passage to exhort the faithful to prepare themselves for the second coming. 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 Willibald Hauthaler (1843-1922), the Medieval historian (and later the Abbot of St. Peter's, Salzburg), who wrote the identification 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. Unevenly trimmed, but approximately 362 x 234 mm. (14 1/4 x 9 1/8").…

321 x 230 mm. (12 5/8 x 9"). Double column, 39 lines, in a dense gothic hand. Rubric in red. Recovered from a binding, and so the vellum a bit creased and soiled (though less soiled than is often seen), some tiny remnants of later printed text from reuse, but the text almost entirely legible, and the leaf surprisingly well preserved overall, with its very substantial margins fully intact. Once serving as a cover for a later book, this leaf seems to come from an unpublished collection of sermons incorporating biblical excerpts such as Revelation 12:1 ("A great sign appeared in heaven: A woman clothed with the sun, and the moon under her feet, and on her head a crown of twelve stars"). The lack of decoration and simple rubrication suggest that the parent manuscript was made for utilitarian purposes at a time when a need for such books increased, due in part to the rise of mendicant orders like the Franciscans and Dominicans. Members of these orders rejected traditional monastic isolation and instead settled in urban centers to preach and minister to the people. It is unusual (and very lucky) that this leaf survives completely intact, as Medieval manuscripts used in later bindings were often cut down in size to make smaller covers or used as waste paper for pastedowns or other binding elements. Considerable rewarding research remains to be done to identify the content here, along with its various religious and social contexts.…

335 x 224 mm. (13 1/4 x 8 7/8"). Double column, 29 lines, in an elegant proto-gothic book hand. Rubrics in red, 11 two- to three-line initials in red. Recovered from a binding and so the vellum creased and soiled (the verso more soiled than the recto), but everything entirely legible, and a substantial leaf from a once handsome manuscript that remains in pleasing condition. Later serving as a cover for a book, this leaf comes from a nearly contemporaneous copy of Peter Lombard's "Sentences," considered the most important theological book of the 12th century. Written between 1155 and 1158 and arranged topically, Lombard's "Sententiae" summarize past learning about Christian doctrine by quoting authorities in an attempt to resolve textual disagreement by dialectical analysis. As a source collection that continued to spark discussion, Lombard's great work enjoyed sustained success as a theological textbook until the 17th century and inspired numerous commentaries, including those of Aquinas and Luther. This leaf comes from Book IV, "On the Doctrine of Signs," which is primarily concerned with the seven sacraments: Baptism, Confirmation, the Eucharist, Penance, Extreme Unction, Holy Orders, and Matrimony. The script is an upright and very legible proto-gothic book hand with a few distinctive letter forms and abbreviations that may help determine a more definitive point of origin (these include a "g" with a downward cross on its tail, and a conjoined "qe" for "que"). It is unusual (and very lucky) that this leaf survives completely intact, as Medieval manuscripts used in later bindings were often cut down in size to make smaller covers or used as waste paper for pastedowns or other binding elements.…

270 x 461 mm. (10 5/8 x 18 1/8"). Double columns, 32 lines, in a gothic book hand. Rubrics and staves in red, three two-line initials in red or blue with contrasting penwork (now quite faded). Unevenly trimmed (missing at most a line of text at the bottom of each column, and several words or part-words at corners of outer columns), vellum with soiling, browning, small holes and paper residue consistent with having been used in a binding, but the text entirely legible on one side and legible with effort on the other (rather darkened) side. From a noted Missal with large penwork initials, this leaf was once used as the cover for a binding, yet remains substantially complete. The text here comes from the Temporale (containing the cycle of moveable feasts in the Christian year) and includes Wednesday (Feria IV) after the fourth Sunday of Lent (with a long passage from John 9). The musical notation on this leaf is highly developed, consisting of a four-line staff, clef marker, and square neumes.…

159 x 104 mm. (6 1/4 x 4 1/8"). Double column, 25 lines, two sizes of text in a gothic book hand. Rubrics in red, several calligraphic initials touched in red, two five- to six-line "I" initials in pink with white embellishment on painted pink ground with long extenders and gilt bezants, one four-line initial in pink and blue with white embellishments enclosing a charming big-eared drollery with a dragon-like body and the head of a beast, the whole on a gilt ground, with long painted extenders. Upper corners with modern pencil pagination. A hint of rumpling, but in very fine condition, the letters especially well preserved. From a Breviary made for Cistercian use, this attractive leaf displays all the hallmarks of an expensive production, including beautifully rendered initials (including a particularly nice inhabited capital), skillful use of gold, and a lovely book hand. A substantial fragment of the original manuscript (consisting of 128 leaves) sold for £36,000 all in as lot 90 on 5 July 2005 at Sotheby's, where it was attributed to the Amiens area based on the presence of 12 lessons for the city's first bishop, St. Firminus. Sotheby's description notes that "It could be from the Cistercian nunnery of the Paraclete near Amiens, founded in 1219. It is remarkable to find polychrome illumination of such high quality in a book for use by a monastic order famous for its austerity and plainly decorated books." Individual leaves from this manuscript have appeared in other sales at Sotheby's (most recently 23 May 2017, lot 4), at Christie's (14 December 2022, lot 7), and in Maggs' Bulletin 10 (nos. 42-43) and Catalogue 1262 (no. 13).…

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.…

270 x 230 mm. (10 3/4 x 9"). Double columns, 32 lines, in a gothic book hand. Rubrics and staves in red, several initials measuring two or more lines in red or blue with contrasting penwork. Unevenly trimmed (missing at most a line of text at the bottom of each column, and several words or part-words at corners of outer columns), vellum with soiling, browning, small holes and paper residue consistent with having been used in a binding, one side quite darkened, but the text there legible with effort nevertheless, and entirely legible on the other side. From a noted Missal with numerous large penwork initials, this leaf was once used as the cover for a binding, yet remains substantially complete. The text here comes from the Temporale (containing the cycle of moveable feasts in the Christian year) and includes text for Tuesday and Wednesday (Feria III and IV) of Passion Week. The musical notation on this leaf is highly developed, consisting of a four-line staff, clef marker, and square neumes.…

497 x 294 mm. (19 5/8 x 11 5/8"). Double column, 58 lines in a late Caroline hand. Running titles in red, two two-line initials in red. Portfolio's pastedown with book label of the Schøyen Collection (their MS 588). Recovered from a binding, and thus with some general soiling and staining to vellum, a couple of small holes, verso unreadable, modern reinforcement and repairs to the gutter and margins (affecting a couple of letters at the beginning of a number of lines), but the recto quite legible in most places and easily recoverable in the few places where it's not. This impressive leaf was once part of an immense lectern Bible that would have been prominently displayed at a church or monastery ca. 1075-1100. Measuring just under 500 mm. tall, its dimensions are almost big enough to be considered an "Atlantic Bible," a distinctive (modern) designation reserved for massive Bibles produced in the 11th and 12th centuries. Despite the loss of legibility on one side due to the leaf's reuse as binding material, the other side displays a lovely rounded Caroline hand with few abbreviations. The text comes from Exodus 8:17-9:21, describing several of the Plagues of Egypt. Our leaf was most recently part of the renowned Schøyen Collection, one of the largest and most distinguished private manuscript collections in the world. Started in the 1920s by Norwegian engineer M. O. Schøyen and expanded by his son Martin, the collection is particularly strong in paleography and biblical texts. Among its many unique and important manuscript pieces are treasures such as the St. Cecilia Bible (the only Carolingian Bible in private hands), and fragments of the Dead Sea Scrolls. …

191 x 140 mm. (7 1/2 x 5 1/2"). Single column, 16 lines, in an elegant gothic book hand. Rubrics in gold, line-fillers with color foliate and geometric designs on burnished gold ground, three two-line initials in blue or pink enclosing colored vines with foliage on gold ground, BOTH SIDES WITH A DENSE RINCEAUX BORDER consisting of colorful acanthus, flowers, and many hairline vines terminating in gold leaves, ivy and seed pods, and with numerous gilt bezants. IN BRILLIANT CONDITION. This is an extraordinarily fine and opulently decorated leaf from a Book of Hours, with glittering rinceaux borders, delicate initials, and luxurious gold rubrics. These sumptuous details and the high quality of the work indicate that this leaf was part of a costly manuscript commissioned by a wealthy patron. Other leaves from the same parent manuscript were sold at Bloomsbury on 6 December 2017, lots 63 and 64. One of those leaves showed St. Genèvieve leading the female saints in the Litany, pointing to Paris as the place of origin.…

Each half approximately 134 x 198 mm. (5 1/4 x 8 3/4"). Single column, 13 lines of text with neumes, in a rounded proto-gothic hand. Rubrics and clef line in red, two one-line initials in red, A THREE-LINE ROMANESQUE WHITE-VINE INITIAL (measuring 50 mm. tall) in a pale yellow wash, enclosing scrolling white-vines on a ground of green, blue, and red. Each half with a long closed tear (one marginal, the other touching text), the part with the initial trimmed at top (apparently cutting off all or part of a line), lower end of initial a little faded and slightly trimmed, the recto of the lower half rather faded (but text discernible with close observation), several small stains, a small hole, and other minor problems associated with being used as binding material; nevertheless, in presentable condition, with a once lovely and still pleasing initial. The refined Romanesque white-vine initial here opens the responsory "Hodie dilectissimi omnium" ("Today, the most beloved of all") for the feast of All Saints. Composed of light color washes paired with a vibrant red, and featuring vines with acanthus-like curls, the initial is simple but very elegant. The leaf probably comes from an antiphonary or similar manuscript containing the music to be sung for Mass, with neumes organized around a single stave above each line of text. Unlike earlier notation, which functioned as more of an aide-mémoire for singers who had already memorized the melody, the notation here actually allows the singer to "read" the music: diastematic neumes show changes in melodic direction, and the stave (here labeled either "A," "C," or "F" clef for further clarity) indicates the relative pitch of each note. The upper half of a leaf from the same parent manuscript was sold at Van de Wiele Auctions on 9 March 2024 (lot 867), and was attributed to Tuscany based on the style its decoration, which, like our initial, included distinctive acanthus sprays, as well as muted washes of yellow, green, and blue. Each half approximately 134 x 198 mm. (5 1/4 x 8 3/4").…

191 x 140 mm. (7 1/2 x 5 1/2"). Single column, 16 lines, in an elegant gothic book hand. Rubrics in gold, line-fillers with color foliate and geometric designs on burnished gold ground, two one-line initials and three two-line initials in blue or pink enclosing colored vines with foliage on gold ground, one four-line initial in blue with white decoration, enclosing a lattice pattern, each compartment with an orange or blue leaf on gold ground, BOTH SIDES WITH A DENSE RINCEAUX BORDER consisting of colorful acanthus, flowers, and many hairline vines terminating in gold leaves, ivy and seed pods, and with numerous gilt bezants. With just a couple tiny scuffs to paint and with slight rubbing to some of the small gold details, but in lovely condition. This is an opulently decorated leaf from a Book of Hours, offered in fine condition with glittering rinceaux borders, delicate initials, and luxurious gold rubrics. These sumptuous details and the high quality of the work indicate that this leaf was part of a costly manuscript commissioned by a wealthy patron. Other leaves from the same parent manuscript were sold at Bloomsbury on 6 December 2017, lots 63 and 64. One of these leaves showed St. Genèvieve leading the female saints in the Litany, pointing to Paris as the place of origin.…

485 x 124 mm. (19 1/8 x 12 3/4"). Measured at widest part. Double column, 53 lines, in a rounded proto-gothic hand. Running titles in red. With contemporary or slightly later marginal notations; later inscriptions from its reuse as binding scrap dated 1557 and 1560, noting the volume "no. 181." Recovered from a binding and thus the vellum somewhat wrinkled, soiled, and with multiple folds, some dark staining affecting legibility of several lines--though sense easily recoverable on one side, and with effort on the other--a few tiny holes and two larger ones (slightly affecting the text). Showing the usual problems associated with re-use, but a grand and greatly appealing leaf nevertheless, with its handsome script and imposing presence readily apparent. Partly because of its re-use in what obviously would have been a very large binding, and more especially because of its age and early script, this vast Romanesque Bible leaf is of (there is no other way to say it but) immense interest. Measuring nearly 20 inches tall, it is almost large enough to be considered a so-called "Atlantic Bible" leaf, a distinctive (modern) designation reserved for massive Bibles produced in the 11th and 12th centuries. The script here consists of a highly legible proto-gothic book hand with elegant rounded letter forms. Its overall appearance has much in common with Caroline miniscule, including clubbed ascenders, a strong "st" ligature, and an "f" that extends below the baseline. In addition, there are very few abbreviations, and the ampersand symbol is used exclusively (rather than the Tironian "et" favored in later scripts). The text here is from Deuteronomy 20:5-23:24, containing the final laws that Moses gives to the Israelites before entering the Promised Land. These "second laws," as they are often called, include an array of statutes pertaining to sexual relations, marriage, divorce, slavery, warfare, and inheritance, as well as rules for agriculture, clothing, and diet. Our leaf previously belonged to the renowned Schøyen Collection, one of the largest and most distinguished private manuscript collections in the world. Started in the 1920s by Norwegian engineer M. O. Schøyen and expanded by his son Martin, the collection is particularly strong in paleography and biblical texts. Among its many unique and important manuscript pieces are treasures such as the St. Cecilia Bible (the only Carolingian Bible in private hands), and fragments of the Dead Sea Scrolls. 485 x 124 mm. (19 1/8 x 12 3/4"). Measured at widest part. …

497 x 294 mm. (19 5/8 x 11 5/8"). Double column, 58 lines in a late Caroline hand. Running titles in red, three two-line initials in red. Recovered from a binding, and thus with some general soiling and staining to vellum, recto illegible except for part of the headline, modern reinforcement to the gutter and margins (affecting a couple of letters at the end of a number of lines), but the verso quite legible in most places and easily recoverable in the few places where it's not. This impressive leaf was once part of an immense lectern Bible that would have been prominently displayed at a church or monastery ca. 1075-1100. Measuring just under 500 mm. tall, its dimensions are almost big enough to be considered an "Atlantic Bible," a distinctive (modern) designation reserved for massive Bibles produced in the 11th and 12th centuries. Despite the loss of legibility on one side due to the leaf's reuse as binding material, the other side displays a lovely rounded Caroline hand with few abbreviations. The text comes from Exodus 23:11-24:18, expounding parts of civil law and Moses' journey to Mount Sinai. Our leaf was most recently part of the renowned Schøyen Collection, one of the largest and most distinguished private manuscript collections in the world. Started in the 1920s by Norwegian engineer M. O. Schøyen and expanded by his son Martin, the collection is particularly strong in paleography and biblical texts. Among its many unique and important manuscript pieces are treasures such as the St. Cecilia Bible (the only Carolingian Bible in private hands), and fragments of the Dead Sea Scrolls.…