Prayerbook (12 Ergebnisse)

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Manuscript on paper, 8vo in 6s, pp. [50], [6(blank)]; in German, neatly written in a single hand in dark brown ink, calligraphic title within manuscript border, titles and initials in a larger gothic script, ruled in pencil; title a little foxed, a few minor stains, small smudge to inner margin pp. [1213], old adhesion to pp. [2021] affecting a few characters of text; sewn, spine reinforced with (later?) brown cloth.An attractive early nineteenth-century Catholic prayerbook in German, containing prayers for both daily use and for use during Mass. This manuscript, likely produced domestically for personal devotional use, records a variety of prayers, beginning with morning prayer and evening prayers and including prayers for using during Mass, for before and after Communion, for Confession, of thanksgiving, as well as a general prayer, a prayer for a Godly life, and a prayer for a blessed death. Language: German. …

The Anam'i Sharif is a Sunni prayerbook that derives it's name from the Surah An'Am, which is usually one of the first excerpts of the Qur'an to appear in the text. The prayerbook is known for including pictorial representations of Mecca and Medina, the 'Asma'ul Husna' (99 names of Allah) and 'Asma'an Nabi' (99 names of The Prophet PBUH), which are all present in this copy. The text is very comparable to the Dala'il al-Khayrat by Imam al-Jazuli in many regards, however the Anam'i Sharif is more extensive than Jazuli's prayers because it also includes Hadiths of The Prophet (PBUH) along with pictorial illustrations of the relics of The Prophet (PBUH), including his hand- and footprints, staff and robes among other items. Hilyas of The Prophet and four Caliphs are also included as elaborate single-page calligraphic compositions, alongside Hilyas of Islamic teachings such as 'Hannan' and 'Mannan' among others. The text in this copy includes an extensive collection of Qur'anic excerpts and Du'a including: Surah al-Fatihah; Surah al-Baraqah; Surah An'am; Surah Yas; Surah Ar-Rahman; Du'a Ar-Rahman; Du'a Il'Ullah (?); Surah An-Naba; Surah Ad-Duha; Surah Ash-Sharh; Surah At-Tin; Surah A-'Alaq; Surah Al-Qadr; Surah al-Bayyinah; Surah Az-Zalzalah; Surah-Al-'Adiyat; Surah al'-Asr; Surah al-Humazah; Surah al-Kawthar; Surah al-Kafirun; Suran An-Nasr; Surah al-Masad; Surah al-Ikhlas; Surah al-Falaq; Surah an-Nas; Du'a Khatam al-Qur'an; Ismaul Husna (99 names of Allah); Asma al-Nabi (99 names of The Prophet PBUH), among other Du'a and separately quoted Ayat from the Qur'an. Illustrations include: double-page aerial views of the holy sites of Mecca and Medina, the genealogical tree of the Prophet featuring the Asharat al-Mubashsharun, the family tree of Ahl al-Bayt, depictions of the Prophet's flags and the sword of 'Ali, the Seal of Prophethood (Muhr al-Nubuwwah), the Seals of Solomon and Ja'far al-Sadiq (preceded by commentary), the Rose of the Prophet Muhammad among others. Single volume, illuminated manuscript on paper, in Arabic, 142 x 95 mm; single column, 9 lines black naskh, some headings in red, headings in white against gilt banners, opening two leaves with text-blocks framed within elaborately decorated polychrome borders, gilt margins extending to full coverage of each of the opening leaves, many calligraphic hilyas and illustrations in the text including aerial views of Mecca and Medina, verses marked by gilt roundels, leaves ruled in gilt, catch-words, hinges weakened with some leaves becoming loose, some light age-toning and mottling to some leaves, occasional light finger-soiling; contemporary morocco boards with flap, covers painted in gilt, crudely rebacked in later cloth.…

12mo (73 x 92 mm). 159 ff. Ge'ez manuscript on vellum. With 5 full-page miniatures, decorations to text opposite. Bound between the original dark wooden boards. Stored in a custom protective folding case. A rare medieval prayerbook from fifteenth-century Ethiopia, still with its original boards. Part of a small group of manuscripts produced around this time, whose most famous examples are in the British Library and the Berlin Staatsbibliothek, it is intended for private devotion and protection. The fine miniatures, depicting Ethiopian saints, place the grandeur of one of the world's most venerable Christian traditions on a personal scale. - The volume begins with a magical prayer against the Evil Eye: "You, O eye, come forth by the black and the red of Joseph as he came forth from evil!" The subsequent material are prayers to the Blessed Virgin, keyed to events in her life, and interspersed with the portraits of Ethiopian saints, including Abba Kiros, Yeshaq, and S'éwa Läs'edq. There are two further magical charms, against serpents and for healing. - The small, portable size reinforces the characteristic of this volume as a personal item, concentrating the majesty and protection of divine power in the hands of the devotee. With prayers attuned to the dangers and challenges of life, it offers a focus of help and consolation, while the portraits of holy men place centuries of Ethiopian Christian tradition behind the volume. - The Ethiopian Orthodox Church is one of the oldest Christian denominations in the world, dating back to the Christianisation of the Kingdom of Aksum in 330 CE. Its venerable history has given it a unique tradition of theology, saints and worship, as well as an incredibly rich vein of devotional art. - From the beginnings of the era of colonialism, doctrinal differences between Ethiopian Orthodoxy and western Christianity played a role in the conflicts with the European imperial powers, with the Portuguese in the sixteenth century being the first to try and fail to bring the ancient African kingdom under their dominion. - Extremely rare: Ethiopian manuscripts of this age, particularly ones this fine, appear very seldomly on the private market, while similar examples are among the treasures of the British Library and the Berlin Staatsbibliothek. - A jewel, placing the protection and beauty of centuries of tradition in the palm of the hand. - Boards somewhat worn with minor worm damage. Edges browned, leaves warped at rear. Soiling to margins, some marginal notations faded but main text overall clean and clear. - 1) Original owner's name erased from the invocations for blessing throughout. - 2) Purchased before 1974 in Addis Ababa. - 3) Sam Fogg, London, MS 6745. - 4) European private collection. - Cf. British Library, Or 13156; Berlin, Staatsbibliothek, Or Oct 59. Sam Fogg, Ethiopian Art, 12th-18th Century (2009), no. 29. …

Folio (204 x 300 mm). 46 ff. Arabic manuscript on paper. Black sini script in nine lines with red verse markers, titles in red, glossing in black. With beautifully illuminated full-page 'unwan with Chinese influence on designs, in gold, blue, red, green, and black. 18th century cloth and paper wrappers. A fascinating example of Chinese Muslim calligraphy and manuscript culture, with prayers in praise of Mohammed written out in the distinctive Sini script used by Muslim populations in China for hundreds of years, here accompanied by extensive glossing in the particularly Chinese-Muslim xiao'erjing (or xiaojing) script. The latter is adapted from the Arabic alphabet - with a few Persian borrowings - and is used to write out various dialects of Chinese phonetically. It appears here in interlinear and sometimes even in uncommon, vertically-written marginal glosses of the text. - Because xiaojing is famously flexible in adapting to various local Chinese dialects at various points in history, xiaojing manuscript survivals such as this one may serve an historical linguistic purpose: "An in-depth study of xiaojing transliterations carried out with the help of linguists while especially taking into account the unusual graph features may help to reconstruct the Chinese language spoken at the time under scrutiny" (Sobieroj, p. 182). - For a prayerbook, or indeed many sacred manuscripts such as the Qur'an, the use of xiaojing glosses was a growing manuscript tradition in 16th century China: "A reform of the Muslim educational system in China took place in the 16th century, when the gedimu (< qadim "old") system of mosque schools with Koranic recitation under an ahong (= 'imam) was replaced by the jingtang jiaoyu 'scripture hall education', in which Arabic was used pronounced with Chinese sounds, e.g., 'salam as sa liang mu'. In this education a systematic alphabetic representation of Chinese with Arabic letters (xiaojing) was developed, which is still used irregularly by Chinese Muslims" (Versteegh, p. 498). Through dated Safar 990 Hijri (September 1582) in the colophon, this copy may in fact be a later 18th century copy of a 16th century text. However, if indeed a 16th century original, it would be one of the earliest extant manuscript examples of xiaojing glosses. Regardless, it is a rare and valuable example of Sino-Arabic manuscript tradition, and the Muslim history of China. - Light exterior wear, binding a touch delicate. - Florian Sobieroj, "Standardisation in Manuscripts written in Sino-Arabic Scripts and xiaojing". In: Creating Standards. Interactions with Arabic script in 12 manuscript cultures, ed. by Dmitry Bondarev, Alessandro Gori & Lameen Souag (Berlin & Boston, 2019), pp. 177-216. Kees Versteegh, Arabica, Vol. 48.4, Linguistique Arabe: Sociolinguistique et Histoire de la Langue (2001), pp. 470-508.…

Single volume, lithographed from a manuscript in Arabic, 160pp., complete, 125 x 80 mm; printed from a manuscript in single column, 7 lines bold naskh script with vocalisation and diacritics, leaves a little browned and some very small chips to outer edges of margins (not affecting text), numerous early ink inscriptions in English including a list of contents and a part-translation of the colophon; contemporary quarter leather over marbled boards, a little rubbed. Provenance: Given to Lieut R. Story of the 8th Bengal Cavalry by Ahmed Shah, likely an Indian officer, in August 1880 when they were travelling from Multan (modern day Pakistan) to Afghanistan, possibly to serve in the second Anglo-Afghan war (inscription to upper pastedown).…

A very attractive copy of the popular collection prayers entitled al-Sahifah al-Kamilah, intended for daily use. Copied in a very fine naskh script by the apparently unrecorded scribe 'Abdullah al-Husayni al-Nayrizi, described in the colophon as the son of Aqa Mirza 'Ali Reza. Single volume, illuminated manuscript on paper, in Arabic, 161 leaves plus a final free blank at the end of the volume, complete, 173 x 103 mm; single column, 11 lines fine black naskh, chapter headings in gold throughout, contemporary catch-words, text-block ruled in gold and blue, final two leaves loose becoming loose otherwise in very good and very clean condition; contemporary diced red leather morocco, covers ruled in border of small circular tooling in blind, extremities very slightly rubbed, a very nice copy. Muhammad Baqir al-Sharif (oval seal impression to final leaf of dated 1278 AH [1861-62 AD]). …

Amsterdam, J.L. Joachimsthal, 1879 - 1882. 8 (of 9) volumes. Contemporary red morocco with gilt decorations on front and back boards, spines gilt, a.e.g., (spine ends sl. dam.). Hebrew and Dutch text. - Prayer for: Den avond van den verzoendag; Eersten en tweeden dag van het Paaschfeest; Zevenden en achtsten dag van het Paaschfeest; Eersten dag van het nieuwjaarsfeest; Tweeden dag van het nieuwjaarsfeest; Sabbath der middeldagen van het loofhuttenfeest, het slotfeest en het vreugde feest der wet; Eersten en tweeden dag van het loofhuttenfeest; Eerste en tweeden dag van het wekenfeest. - A fine set.…

[Bologna. c. 1490-1500.] Manuscript on vellum (95 x 70 mm). Nineteenth-century dark brown morocco, borders tooled in blind to a rope design, unidentified Italian arms blocked in blind to boards, blue silk endleaves, housed in a modern custom-made black cloth box; ff. ii, 144, ii; 1-28, 3-810 (f. 31 in 4, apparently in original condition on a stub and with outer edge made-up), 9 8, 10-15 10, complete; written in a round gothic bookhand in brown ink for 11 lines to a page, ruled in light brown, early manuscript foliation to upper corners (ff. 98 and 138 numbered twice), written space c. 60 x 45 mm; rubrics in red, 1-line initials alternately in red and blue, 2-line initials of liquid gold on blue, red, or green grounds with fine penwork, large illuminated 7-line initial 'S' (f. 31v) enclosing Virgin and Child against a black ground, initial entwined by elaborate foliage, painted in green and blue, heightened in gold, and set against a magenta ground, with accompanying panel border including jewels and pearls, and large 5-line historiated initial 'D' (f. 86r) painted magenta and green including jewels and pearls, against blue and gold grounds, with matching full-page partial border; extremities of binding very lightly rubbed; a little smudging to page with historiated initial, occasional small stain, but generally very well preserved; title to second front flyleaf and ownership inscription to lifted rear pastedown in an early nineteenth-century hand in black ink, late nineteenth- century bookplate after sixteenth-century design with initials 'T.N.D.L.', twentieth-century bookplates to front free endpaper (see below).An elegant manuscript prayerbook on vellum, produced in Bologna in the 1490s, apparently the result of collaboration between the calligrapher Pierantonio Sallando and an illuminator from the circle of the great painter and jeweller Francesco Marmitta, featuring numerous devotional indulgences with guidance in the vernacular. Illumination:The Mass of the Virgin ('Missa Beatae Mariae Virginis', f. 31v) opens with a large illuminated initial 'S' depicting a half-length Virgin adoring the Christ Child, and an elaborate full-page border. The colour palette (dark red, blue, green, black and gold) and the use of attenuated architectural forms, jewels and foliage place this manuscript alongside a group of Books of Hours produced for aristocratic patrons in Bologna around 1500 (cf. Medica). Many of these manuscripts resulted from the partnership between illuminators in Bologna - the most influential among them Francesco Marmitta (c. 1460-1505) - and the prolific calligrapher Pierantonio Sallando (c. 1460-1540). Together Marmitta and Sallando developed the sophisticated architectural borders, such as those of the present prayerbook, that became a hallmark of Bologna's finest High Renaissance manuscripts. Their most celebrated and luxurious joint effort is the Offiziolo Durazzo (Genoa, Bib. Civ. Berio, m.r.cf.Arm.I).Our prayerbook was apparently also written by Sallando. The illumination may be ascribed to the same painter who collaborated with Marmitta on the Rangoni-Bentivoglio Hours (Baltimore, WAG, ms W.469) and contributed to other Hours written by Sallando in Oxford (Bodleian Library, ms Canon. Liturg. 260), Bassano del Grappa (Bib. Civ., Esp. 4 ms 1564), and the Hours of Giovanni II Bentivoglio (Morgan Lib. Ms M.53). In the present manuscript, the two large initials and borders on f. 31v and f. 86 share similar forms and colour palette. Stylistically closely related borders are found in one of Sallando's most famous commissions, the Hours of Bonaparte Ghisilieri illuminated by Amico Aspertini, Perugino and Matteo da Milano (BL, Yates Thompson 29).Contents:Calendar (ff. 2r-19v); Confessio generalis (ff. 20r-21r); Gospel Extracts (ff. 21r-31r); Missa Beatae Mariae Virginis (ff. 31v-49r); Prayer of St Augustine opening 'Deus propicius esto mihi peccatori' (ff. 49v-51v); Fifteen prayers on the Passion as said daily by St Bridget and indulgenced by Boniface VIII, opening 'O domine iesu christe eterna dulcedo' (ff. 51v-80r); Apostles Creed (ff. 80r-81r); Sequence of prayers (ff. 81v-85r), to be said daily while kneeling before an image of Christ to keep from the pain of Hell, to gain divine assistance, counsel and favour, and when body or soul are in danger; Seven Penitential Psalms and Litany (ff. 86r-116v); Prayers and devotions addressed to God, opening with Psalm 68 and including two prayers naming the owner, 'famulo tuo Jacobo' (ff. 125v, 126v, and 133r), and ending with a prayer to protect when travelling and a prayer to the Guardian Angel (ff. 117-134); Prayers attributed to St Bernard and other indulgenced prayers (ff. 135-143v).From f. 79v (the heading opening the sequence of devotional prayers to be recited before an image of Christ), the subject headings for individual orations appear in the vernacular to more clearly remind our Jacobus of the function of each prayer, even though the prayers themselves are to be recited in Latin. 'In formal books of hours, manuscript or printed, the prayers are almost always in Latin - even if the pardon or promise is in [the vernacular]. This again raises questions about whether the prayers were actually understood, or merely recited as a mechanistic device to procure the pardon' (Swanson, p. 222). The final prayers deal with indulgences, e.g. 'the following verses are those which we read that the devil appeared to St Bernard. And they bring great virtue and merit to he who reads them every day; he will not die without confession, nor experience the punishments of Hell; and he will know the day of his death' (f. 136, trans.); another offers 6666 days' indulgence for each time a given prayer is recited after the elevation of the Body of Christ (ff. 139v-140r).The final indulgence accompanies the elevation prayer Domine Iesu Christi qui hanc, written by Pope Boniface VIII 'for King Philip IV, and for its recitation after true confession 2,000 ye.…

A Russian Orthodox service book for Easter and the week following it, in the Old Church Slavonic language, printed, published and bound at the Pechersk Lavra (Monastery of the Caves) in Kiev. The monastery was established in the 11th century. After the fall of Constantinople in 1453 the Orthodox Churches in Russia and Ukraine developed independently. The power of the Czars allowed the Russian Orthodox Church to dominate, so that the Ukrainian Church came under the Moscow Patriarchate in 1686. The Monastery of the Caves is therefore now Ukrainian Orthodox, but fell under the authority of the Russian Orthodox Church when the present service book was published. It nevertheless had its own traditions and rites, so that the present book should be regarded as part of the Ukrainian heritage.The only other copy we have located is at Amsterdam University Library, one of three Easter service books by the Kiev Pechersk Lavra recorded on WorldCat, all octavos. With a lengthy cyrillic inscription on an endleaf. The sewing is somewhat loose and as a result a few leaves are tattered at the edges. There are occasional minor smudges and drops of candle wax. Much of the gold-tooling has rubbed off the binding and the spine is slightly damaged. In spite of these minor defects, the book is in good condition, especially for a book of this nature.l For the Kiev bindery: S. A. Klepikov, "Historical notes on Ukrainian bookbinding", in: The book collector, 15 (1966), pp. 135-142. Contemporary gold-panel-stamped and gold-tooled calf by the Kiev Monastery of the Caves, sewn on 4 cords, with a panel stamp of Jesus on the front board (9.7 x 4.5 cm, perhaps with a name in the left half of the lower border) and a panel stamp of Maria with the serpent holding an apple under her feet (9.5 x 4.3 cm), each in a gold-tooled border and with another gold-tooled border around the whole board, gold-tooled spine with "Kanonu Paskhi" (Easter Canon) in Old Slavonic capitals in the second of five compartments, gilt edges. The endpapers, like the paper of the book itself, are laid and have a blue-green cast. Easter liturgy in Old Church Slavonic, with title-page and about 20 other pages printed in red and black, the title in a woodcut border and with a woodcut Paschal lamb, a full-page engraving of Jesus's Resurrection (10 x 6 cm) on the back of the title-page, all pages after the title-page with borders made up of 4 woodcut strips, woodcut head- and tailpieces and decorated initials (a 17 mm and a 9 mm series), and decorations built up from cast fleurons. Set in 3 sizes of Old Slavonic poluustav cyrillic type. Printed on laid paper with a blue-green cast.…

A fascinating example of Chinese Muslim calligraphy and manuscript culture, with prayers in praise of Mohammed written out in the distinctive Sini script used by Muslim populations in China for hundreds of years, here accompanied by extensive glossing in the particularly Chinese-Muslim xiao'erjing (or xiaojing) script. The latter is adapted from the Arabic alphabet - with a few Persian borrowings - and used to write out various dialects of Chinese phonetically. It appears here in interlinear and sometimes even in uncommon, vertically-written marginal glosses of the text. Because xiaojing is famously flexible in adapting to various local Chinese dialects at various points in history, xiaojing manuscript survivals such as this one may serve an historical linguistic purpose: "An in-depth study of xiaojing transliterations carried out with the help of linguists while especially taking into account the unusual graph features may help to reconstruct the Chinese language spoken at the time under scrutiny" (Sobieroj, p. 182) - For a prayerbook, or indeed many sacred manuscripts such as the Qur'an, the use of xiaojing glosses was a growing manuscript tradition in 16th century China: - "A reform of the Muslim educational system in China took place in the 16th century, when the gedimu (< qadam "old") system of mosque schools with Koranic recitation under an ahong (= 'imam), was replaced by the jingtang jiaoyu "scripture hall education", in which Arabic was used pronounced with Chinese sounds, e.g., salam as sa liang mu. In this education a systematic alphabetic representation of Chinese with Arabic letters (xiaojing) was developed, which is still used irregularly by Chinese Muslims" (Versteegh, p. 498). Through dated Safar 990 Hijri (September 1582) on the colophon, this copy may in fact be a later 18th-century copy of a 16th-century text. However, if indeed a 16th-century original it would be one of the earliest extant manuscript examples of xiaojing glosses. Regardless, it is a rare and valuable example of Sino-Arabic manuscript tradition, and the Muslim history of China.Light exterior wear, binding a touch delicate.l Florian Sobieroj, "Standardisation in Manuscripts written in Sino-Arabic Scripts and xiaojing". In: Creating Standards. Interactions with Arabic script in 12 manuscript cultures, ed. by Dmitry Bondarev, Alessandro Gori & Lameen Souag (Berlin & Boston, 2019), pp. 177-216. Kees Versteegh, Arabica, Vol. 48.4, Linguistique Arabe: Sociolinguistique et Histoire de la Langue (2001), pp. 470-508. 18th-century cloth and paper wrappers. Arabic manuscript on paper. Black sini script in nine lines with red verse markers, titles in red, glossing in black. With beautifully illuminated full-page 'Unwan with Chinese influence on designs, in gold, blue, red, green, and black. Pages: 46 ll.…

Amsterdam, J.L. Joachimsthal, 5642 - 1882. Contemporary half calf. Hebrew and Dutch text.