medieval binding (5 Ergebnisse)

Full color lithograph of XI century binding in the Ashburnham collection, published by Quaritch to accompany the "Quaritch Illustration" series. 272 x 372 mm; image size 240 x 304 mm. Printed by W. Griggs. Matted in archival board and protected by mylar overlay.

250 x 175 mm. (9 7/8 x 6 7/8"). Six extant lines of text and music in a gothic hand. Rubrics and staves in red, one large initial in red, and two large decorative initials in black and red. With the binding's original paper labels on spine, remnants of old paper lining on verso. Somewhat soiled and stained, but a good specimen overall. Recovered from a 17th century binding, this specimen presents an excellent opportunity to examine how Medieval manuscripts were used in the construction of later bindings. The two preserved spine labels tell us that the leaf previously covered a copy of Alphonso Stadlmayer's "Philosophia Tripartita," first published in 1650.

132 x 164 mm. (5 1/4 x 6 3/8"). Double column, 12 extant lines in a gothic book hand. Rubrics and four-line staves in red, capitals touched in red, four large initials in red or blue. Spine with two old paper labels, one with ink titling. Vellum a bit soiled, a couple small holes, ink a little faded on verso, paper remnants on verso obscuring a few lines, but still a good specimen demonstrating use and reuse of Medieval manuscripts. From a noted Missal that had outlived its use, this manuscript leaf was later repurposed as a cover for a 17th century printed book. The spine label indicates it was a copy of Jacob Bidermann's "Herodiados libri tres," a lengthy Latin poem relating the story of John the Baptist and Herod, first published in 1622.

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, several two-line initials in red. Recovered from a binding and so the vellum a bit soiled, creased, and wavy, recto with a lighter patch (where a title label was once situated), light stains and glue and paper residue on the verso, but overall the leaf remarkably clean, entirely legible, and surprisingly well preserved. Once serving as a cover for a later 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, Sacred 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.

160 x 205 mm. (6 1/4 x 7 5/8"). Single column, 35 extant lines in a gothic hand. With several marginal doodles and pen trials, probably done in a later hand. âPreviously used in a binding and thus with several small wormholes and creases, verso with some staining and scraping (but most of the text still legible), and overall a very good specimen. Written in a distinctive and rather pretty hand, this specimen probably comes from a biblical commentary or a collection of sermons. The passage preserved here delves into Genesis 27:27, where Jacob succeeds in deceiving his old, blind father Isaac into blessing him, instead of Esau, the favored son. The ruse is accomplished partly through scent, as Jacob is wearing Esau's garments, and this element of the story leads to a detailed exploration of various types and the significance of odors. Though this fragment has been previously used as binding waste, the extant text is very well preserved and almost entirely legible.