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IL LIBRO D'ORE DURAZZO: De Marchi, Andrea

De Marchi, Andrea

Published by Franco Cosimo Panini, Modena (2008)

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About this Item: Franco Cosimo Panini, Modena, 2008. Illuminated Manuscripts (illustrator). 8vo. velvet binding with precious stones and gilded silver, clamshell case. 201, 336 pages. Facsimile with accompanying hardcover commentary. One of 980 copies. The Libro d'Ore Durazzo, which takes its name from its last owner, is a small masterpiece by the painter and illuminator, Francesco Marmitta. This remarkable work is in two ways quite different from all other devotional codices for private use. One is the use of purple parchment. The other is chrysography, or writing in letters of gold, the work of the master calligrapher, Pietro Antonio Sallando, who taught at the University of Bologna. The illumination work of a goldsmith and jeweller: The illumination work is by the painter from Parma, Francesco Marmitta (circa 1462/1466-1505), also a renowned jeweller and inlayer, and the creator of other splendid works such as the stunning Missal of Domenico della Rovere, belonging to the museum of the municipality of Turin (Museo Civico di Torino). The leafs of these masterpieces reflect the artist's sensitivity and delicacy, his marked interest in landscapes, and his taste for jewellery, medals and cameos, illustrated with extraordinary skill. Embellishment of the highest order: Marmittas references to the revived classic tradition indicate a meditative approach. This aspect comes to the fore in his use of purple and of gold lettering, and is also underscored by his use of motifs such as trophies, medallions, cameos and bucrania. However, as a painter, the approach adopted for the Calendar and Offices of the Virgin reveals his awareness of the latest tendencies reflected in the culture of the figurative arts in Bologna, and a special interest in the work of Amico Aspertini. The refinement of the binding: The work's lavishly elegant binding dates back to the time of the codex itself, and the love of embellishments is as evident here as in the illuminations. The binding features wrought and embossed silver, in part gilded, on crimson velvet. It also features a splendid profusion of classical motifs (acanthus and palmette motifs, ears of wheat, grapes, vases, masks, scarabs, and bucrania). The silver clasps are adorned with two small rubies. Patronage: A number of stylistic clues seem to indicate that the Libro d'Ore Durazzo was commissioned by a patron from Parma. We may also note Parmigianinos well-known Portrait of a Collector (London, National Gallery), in which the collector holds in his hand precisely this codex. It is believed that the codex accompanied Francesco Marmittas second son, Jacopo, to Portugal. However, in the nineteenth century it was in Genoa. Firstly, it was in the hands of the merchant, Antonio Bacigalupo, who inherited it from his father, Francesco, and then in the hands of the Marquis Marcello Luigi Durazzo, a collector who, having purchased it from Bacigalupos widow, then bequeathed it to the Biblioteca Berio. The Commentary: The work is accompanied by a book with commentary, edited by Andrea De Marchi, with writings by Beatrice Bentivoglio-Ravasio, Andrea De Marchi, Davide Gasparotto, Laura Malfatto, Laura Nuvoloni and Federica Toniolo. Facsimile is present with the accompanying commentary and a clamshell case. velvet binding with precious stones and gilded silver, clamshell case. Seller Inventory # 105363

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from a Gradual, ILLUMINATED MANUSCRIPT ON VELLUM: FIVE HISTORIATED INITIALS

FIVE HISTORIATED INITIALS

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From: Sokol Books Ltd. ABA ILAB (London, United Kingdom)

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About this Item: 1500. No binding. Condition: Very good. FIVE INITIALS FROM A LAVISHLY ILLUSTRATED GRADUAL OF THE BEGINNING OF THE 16TH CENTURY: AN EXCEPTIONALLY RICH PROJECT OF DECORATION (71x67mm.) THE CHRIST CHILD sitting on the grass and HOLDING A GLOBE against a short brown wall, beyond the wall a far landscape with high mountains and clouds, WITHIN AN orange INITIAL K with staves of acanthus leaves and jewels, highlighted in white, on a light pink ground of scattered flowers outlined in black. On the right trace of a four-line stave ruled in red. (71x57mm.) A BOY CLUBBING A DOG in a mountainous landscape WITHIN AN INITIAL I of pale pink and blue acanthus leaves including a grotesque face, on a ground of liquid gold. On the left trace of a four-line stave in red and text. (71x66mm.) AN ASCENDING SOUL helped by an angel ABOVE A LONG-HORNED STAG SWIMMING, in a large landscape, WITHIN AN INITIAL S of green, mauve, and orange acanthus staves, touched in white, on a yellow ground. (75x71mm.) A MAN FROM BEHIND KNEELING IN PRAYER TO CHRIST, seated on a rainbow amongst the clouds of the sky (as at the Last Judgement), in a deep landscape, WITHIN AN INITIAL R with acanthus blue staves highlighted in white, on a green ground adorned with acanthus leaves and outlined in black. On the right fragment of a red four-line stave. (67x68mm.) A MAN KNEELING BEFORE A PRIEST ADMINISTERING COMMUNION, on the back an altar with two women, jointing their hands in prayer and watching the scene, and an altarpiece of the Crucifixion, WITHIN AN INITIAL Q with blue acanthus leaves highlighted in white and adorned with pearls, on a green ground patterned with curling hairline tendrils and outlined by a double black fillet. On the right faint trace of a red four-line stave. (Framed all together; on the reverses remains of text and 4-line red staves; slight rubbing in a couple of places, else in very good condition). FINE INITIALS FROM A LAVISHLY ILLUSTRATED GRADUAL OF THE BEGINNING OF THE 16TH CENTURY: AN EXCEPTIONALLY RICH PROJECT OF DECORATION. According to the textual and musical fragments on the reverse of a couple of our cuttings, the five capitals come from a Gradual. Indeed, the K probably opened the Kyrie eleison (since there are remains of the Gloria on the reverse of the letter); the Q marked the Communion for Corpus Christi. The iconography also contributes to the identification. The sophisticate acanthus staves are typical of early sixteenth century German initials in both illuminated and printed books. The illuminator of our initials, however, was aware of the rules and the power of the Renaissance painting, known in Germany through the masterpieces of Dürer, Cranach and Altdorfer. The atmospheric landscapes characterised by distant silver-blue shapes of mountains, the effect of the movement in the water, the smooth brush, the attention paid to details such as the subtle termination of the stave curled around Christ's tiny foot or the costumes in the Communion scene (the woman's one indicating a date around 1520) make this artist and accomplished painter of the early Renaissance. The Gradual from which our initials came seems to have been lavishly adorned with historiated initials, not just for the introits. This rich project was exceptional and certainly reserved for very important books. PROVENANCE: W.M. Voelkle and R.S. Wieck, The Bernard Breslauer Collection of Manuscript Illuminations, Cat. of the exhibition, New York, The Pierpont Morgan Library, 9 December 1992 - 4 April 1993, New York 1992, nos. 50-54. Engraving. Seller Inventory # L832

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IL LIBRO D'ORE TORRIANI: Mulas, Pier Luigi

Mulas, Pier Luigi

Published by Franco Cosimo Panini, Modena (2009)

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About this Item: Franco Cosimo Panini, Modena, 2009. Illuminated Manuscripts (illustrator). Large Miniature. Bound by hand (gilded silver binding covers and spine), clamshell case. 30, 333 pages. Facsimile with accompanying hardcover commentary. One of 980 copies. With its extraordinary binding and highly elaborate illumination work, while very small, this precious Book of Hours must be considered an absolute masterpiece. The Commentary: The work is accompanied by a book with commentary, edited by Pier Luigi Mulas, with writings by Marco Collareta, Jean-Baptiste Lebigue and Monica Visioli. Facsimile is present with the accompanying commentary and a clamshell case. The Torriani Book of Hours is just one of a small handful of manuscripts of this period which still have their original bindings. It is therefore an exceedingly rare item. The two binding covers, with their gilded silver filigree work, are adorned with cameos representing Saint Catherine and Saint Lucy. Inside the binding covers, we also find 14 enamel inserts representing the Kiss of Judas, the Way to Calvary and twelve busts of saints. The wealth, luxury and refinement of the times is clearly illustrated by the Torriani Book of Hours, alongside other devotional works of this kind produced by the jewellers workshops of Milan under the House of Sforza. Thirty illuminations adorn this small devotional codex. Twelve are Calendar illustrations. For the eighteen Offices of the Virgin we find six full-page illuminations and twelve pages with illuminated initials featuring architectural and floral motifs, putti, birds, and rabbits. The illustrations for the Torriani Hours may be ascribed to the Milanese bottega (workshop) of the great Giovanni Ambrogio de Predis. This leading workshop operated in full awareness of the latest developments in the field of painting in Lombardy at the close of the fifteenth century, and, in particular, of the art of Leonardo da Vinci (with whom de Predis worked in 1483, on the Virgin of the Rocks). The embellishments of the borders, with their markedly naturalistic representations of animals, jewels, and floral sprays, are the work of the young Matteo da Milano, one of the leading illuminators of Milan who received commissions from the most important Houses of Renaissance Italy. The codex was commissioned by the Milanese Della Torre or Torriani house, an illustrious family of Lombardy which, for some time, ruled over Milan. Further confirmation of the Milanese origin of the work is to be found in the inclusion of certain features such as local saints, in the Calendar, and the church of Santa Maria Maggiore, Milans old cathedral, surmounted by a statue of Saint Ambrose (the Patron Saint of Milan). However, the identity of the lady for whom the codex was made, perhaps a lady of the court of Ludovico Sforza, is unknown. Bound by hand (gilded silver binding covers and spine), clamshell case. Seller Inventory # 105361

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Lord's Prayer

Published by NY (1945)

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Softcover
Signed

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From: Bromer Booksellers, Inc., ABAA (Boston, MA, U.S.A.)

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About this Item: NY, 1945. Szyk, Arthur (illustrator). A stunning original painting in ink and gouache by the renowned illustrator Arthur Szyk, signed and dated by the artist. The painting measures 7 3/4 by 5 3/4 inches, on illustration board measuring 12 by 9 1/4 inches. This illustrated Lord's Prayer is comprised of fourteen calligraphed lines, illuminated in bright colors in the style of a medieval manuscript. Along the left margin of the page is an intricate border, incorporating portraits of people praying, including a little boy kneeling with his hands folded. A floral border extends along the bottom of the page, and tiny, delicate curls of tracery fill in the border and extend along the top edge. Szyk's work is characterized by its minute detail, and his style is very much in the tradition of Eastern miniaturists. Szyk was born in Lodz, Poland in 1894. His artistic talents became evident at an early age, and he was sent to Paris to study at the Académie Julian when he was a teenager. He was a prolific illustrator of books, many of which were of Jewish content, including his masterpiece, The Haggadah. After World War II, Szyk moved to the United States, where he became one of the chief artists for the Limited Editions Club and contributed illustrations and caricatures to several magazines. This illustration was published in the January 1946 edition of Coronet magazine, inside the front cover. Mounted and framed. On the sheet of illustration board, around the illustration, are publisher's notes. Two small spots of tape residue, light soiling to margins, light toning; the painting is in fine condition. Seller Inventory # 24722

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DAS GOLDENE EVANGELIENBUCH VON ECHTERNACH. CODEX AUREUS: FACSIMILE PUBLICATION -

FACSIMILE PUBLICATION - ILLUMINATED MANUSCRIPTS, EARLY)

Published by Coron Verlag, Zürich (1982)

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About this Item: Coron Verlag, Zürich, 1982. 457 x 324 mm. (18 x 12 3/4"). 136 leaves (in the facsimile volume). Two volumes (including commentary volume in German). Companion volume by Rainer Kahsnitz. No. 8 OF 150 SPECIAL COPIES in the deluxe binding (of 850 total copies). Facsimile attractively bound in the publisher's gold slubbed silk, both covers with brass cornerplates featuring a stylized quatrefoil leaf, front cover with the same plate used, on the diagonal, as centerpiece, wide raised bands; FACSIMILE VOLUME HOUSED IN A STRIKING LEATHER BOX WITH cork lining and a top in which is set A CONVINCING 8 x 5" REPRODUCTION OF THE ECHTERNACH GOSPEL COVER, FEATURING THE 10TH CENTURY OTTONIAN IVORY CRUCIFIXION, AROUND WHICH IS A WIDE FRAME WITH JEWELS set in gold filigree between intricately decorated enamelled plaques; companion volume with vellum spine and rose boards depicting in 28 squares roaring lions in Medieval style. Text in 23 1/2 karat gold, more than 500 initials in colors, gold, and silver, full-page initial at the opening of each Gospel, four "carpet" openings adorned with the colors and patterns of Byzantine fabrics, and 60 miniatures illustrating Christ in Majesty with the Evangelists and the Prophets, parables told by Jesus, and scenes from the life of Christ. Prospectus with folder containing sample leaf laid in. The corners of the box showing a hint of wear, but the facsimile volume in virtually mint condition. The monks of Echternach, a community founded in Luxemburg in the late seventh century by the English missionary St. Willibrod, produced outstanding illuminated books, one of the grandest of which is this Golden Gospel, named for the golden lettering of the text. Our marvelous facsimile, which does not stint the use of gold leaf, effectively reproduces the delicate colors of the original, in which orchid pink and mint green predominate. The Gospel dates to the early 11th century (the ivory used on the cover of the original book is from a few decades earlier) and is executed in the style of illumination developed during the so-called Ottonian Renaissance of the 10th century, when the German Empire (in which Echternach was then included) was ruled by one Saxon Otto or another: Otto I (936-973), Otto II (973-983), or Otto III (983-1002). One interesting feature of these Gospel illustrations is that the influence of Byzantine Greek art is noticeable; this is due to the arrival in Germany in 972 of the 12-year-old Greek princess Theophano to marry the future Otto II. The Greek influence is particularly strong in the depictions of the evangelists, seated at their desks, surrounded with a classicizing architectural frame, and surmounted by their winged symbols. The four creatures reappear, along with four prophets at their desks, in the eight tondos surrounding the Christ in Majesty, also Greek in style. Whereas these scenes are formal and hieratic, the narrative scenes are done in a lively, vernacular style, and clearly more than one artist worked on this masterpiece. Christ is shown with long black hair, his large hands often raised in a gesture of healing and teaching, followed by disciples wearing a rainbow of garments. Our very substantial and heavy facsimile--the box and two volumes together weigh almost 40 pounds--is an extraordinary piece of work, and it represents facsimile production at its finest, especially in our strictly limited version that reproduces the late 10th century binding done in Trier, considered to be the finest book cover of the Ottonian era. The monks of Echternach, a community founded in Luxemburg in the late seventh century by the English missionary St. Willibrod, produced outstanding illuminated books, one of the grandest of which is this Golden Gospel, named for the golden lettering of the text. Our marvelous facsimile, which does not stint the use of gold leaf, effectively reproduces the delicate colors of the original, in which orchid pink and mint green predominate. The Gospel dates to the early 11th century (the ivory. Seller Inventory # ST12570

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Livre d'heures].: Book of Hours].

Book of Hours]. Tiersonnier, L[éonie].

Published by No place, 1873. (1873)

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About this Item: No place, 1873., 1873. 8vo. French ms. on vellum, calligraphed and illuminated by Léonie T(h)iersonnier. 88 pp. Contemporary calf on 5 raised bands with metal applications to front cover (allied coat of arms: Jacobe de Haut de Sigy and Thiersonnier). Leading edges gilt; inner dentelle richly gilt. All edges gilt, silk moirée endpapers. 2 metal clasps (slight defect to upper clasp). The present manuscript, painstakingly executed in the style of the late-mediaeval French Books of Hours, was a gift from Léonie Tiersonnier (née Ruffin) to her daughter Jeanne Clémence Guillemine Thiersonnier (1849-1936) on the occasion of her marriage to (Marie Auguste) Ambroise Jacobe de Haut de Sigy (1842-86) in the Paris church of St. Pierre de Chaillot on 6 August 1873. They were married by Théodore-Augustin Forcade (1816-85), the newly-installed Archbishop of Aix-en-Proivence. A 26-page Saints' calendar (captioned "Souvenirs") is followed by an elaborately designed 56-page missal, decorated throughout by initials (some raised in gilt), line infillings, and ornamental borders. Seller Inventory # 32537

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Ratio seu methodus; Enchiridion; Modus orandi Deum;: Erasmus, Desiderius; Gebwiler,

Erasmus, Desiderius; Gebwiler, Jerome

Published by Knobloch; Seltz, Strasbourg, Hagenau (1528)

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About this Item: Knobloch; Seltz, Strasbourg, Hagenau, 1528. Four works in one volume. Four works in one volume. In contemporary wooden panels with the traces of leather and a codex leaf on spine. Spine with three raised bands. The original copper clasps are presented. The title pages of the first three works (by Erasmus) with identical architectural borders. Erasmus, Desiderius Ratio seu methodus compendio perveniendi ad veram theologiam. [Ratio verae theologiae.] Argentorati [Strasbourg]: Ioannes Knoblochus [Knobloch], October 1523. 80 leaves. [Bound with:] Erasmus, Desiderius Enchiridion militis Christiani, saluberrimis praeceptis refertum [?]. Argentorati [Strasbourg]: Ioannes Knoblochus [Knobloch], November 1524. 100 leaves. [Bound with:] Erasmus, Desiderius Modus orandi Deum. Argentorati [Strasbourg]: Ioannes Knoblochus [J. Knobloch], December 1524. [46] leaves. [Bound with:] Gebwiler, Hieronymus Gravissimae sacrilegii, ac contemptae theosebiae ultionis, ethnicorum Hebraeorum et Christianorum verißimis comprobatae exemplis syngramma, [?]. Haguenau, [Wilhelm Seltz], 1528. [32] leaves (last blank). Three sixteenth-century, early Erasmus editions by Knobloch, bound together with Gebwiler's first edition that contains the earliest printed quote from Hortus deliciarum. Modus orandi Deum, the third work of this collection is considered as the centerpiece of Erasmus' teachings on prayer. The present, 1524 December edition is the second, after first edition by Froben in October of the same year. The book became very popular soon after it's publication and until the end of 1525 ten new impressions were produced by printers all over Europe. USTC lists only eight copies of this edition. (B.Er. I; Mynors 587; Bezzel 1285; Schmidt VII, 284; VD 16 E 3169; USTC 676366; EON 2424) The first work, Ratio seu methodus (October 1523) is also an early edition. Its editio princeps was issued in Leuven by Thierry Martens in November 1518. Scarce, USTC lists only four copies (Augsburg, Cambridge, Edinburgh, Neuchâtel), not in VD16. (USTC 709423; Muller no. Knobloch 395; Benzing no. 544) The second, Enchiridion militis Christiani, the Handbook of a Christian Knight is one of Erasmus' earliest writings, first printed in 1503. Prelims include all four Latin poems by Thomas More which first appeared in the 1520 Mainz ed. This edition is scarce as well, according to USTC only five copies could be found in institutional holdings. (VD 16 E 2774; USTC 650176) The final book of the compendia is Gravissimae sacrilegii, Jérôme (Hieronymus) Gebwiler's work. Gebwiler is renowned as the earliest scholar who described Hortus deliciarum (Bischoff, 1973, p. 13.) a manuscript of illuminated encyclopedia compiled by Herrad of Landsberg a twelfth-century nun and abbess of Hohenburg Abbey (Mont St Odile), which has been destroyed in 1870 during the siege of Strasbourg. In this book, Gebwiler quotes Hortus deliciarum's dedicatory poem which is attributed to Herrad or Relinda (Relindis), the previous abbess of Hohenburg (Griffiths, 2013, p. 231.). (VD 16 G 597; USTC 660780) Bibliography: Bischoff, C.: L'histoire. In: Green, R. et al.: Herrad von Hohenburg, Hortus deliciarum. London, Leiden: The Warburg Institute, University of Leiden, E. J. Brill, 1979. pp. 9-16.; Griffiths, F.: Herrad of Hohenbourg and the Poetry of the Hortus deliciarum: Cantat tibi cantica. In: Churchill, L. J. et al.: Women Writing Latin. [?] Volume 2. Medieval Modern Women Writing Latin. New York, London: Routledge, 2013. pp. 231- 264. Signs on top edge in ink. Old collection stamp on verso of inner front pastedown. Sporadic manuscript marginal notes removed. Occasional underlines in the text throughout. Few stains throughout, some leaves tanned. The title page of the fourth work (Gebwiler) with a tiny loss to the right edge, with no effect on the text. Overall in fine condition. In contemporary wooden panels with the traces of leather and a codex leaf on spine. Spine with three raised bands. The original copper clasps are presented. The title pages of the first three works (by Era. Seller Inventory # 1361

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Illuminated manuscript leaf on vellum.

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From: John Windle Antiquarian Bookseller, ABAA (San Francisco, CA, U.S.A.)

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About this Item: North Italy: 1350-1375. Folio, 420 x 270mm. Written in ink on vellum in a Gothic hand, with a surrounding gloss in a smaller but similar hand, and extensive annotations in a different and perhaps slightly later hand. With colored initials in red and blue. With a large marginal drawing of three knights in armor, two with spears. Trimmed very close at the top and one edge, no apparent loss of text. In very good condition. A rare illustrated medieval leaf. The Canon Law text from the Decretals begins at book 5, title 33 of chapter 17 (de privilegiis et excessibus privilegiatorum) to the beginning of chapter 23, Interestingly, chapter 20 deals with the privileges of the Knights Templar. Seller Inventory # 105909

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IL LIBRO D'ORE DI BONAPARTE GHISLIERI. [THE: FACSIMILE PUBLICATION -

FACSIMILE PUBLICATION - ILLUMINATED MANUSCRIPTS, EARLY)

Published by Franco Cosimo Panini, Modena (2008)

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From: Phillip J. Pirages Rare Books (ABAA) (McMinnville, OR, U.S.A.)

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About this Item: Franco Cosimo Panini, Modena, 2008. No. 201 OF 980 COPIES. 216 x 152 mm. (8 1/2 x 6"). 136 leaves (in the facsimile). Three volumes (including two volumes of commentary, one in German and one in Italian). No. 201 OF 980 COPIES. SUMPTUOUS RED MOROCCO, central panel of each cover with thin open-work black leather in an ornate vine pattern laid over blue and gold silk, creating a stained glass effect, the leatherwork incorporating floral circles painted in red and gold, three large medallions arranged down the center of the panel, those at head and tail of red morocco painted in a black, gold, and blue pattern and with a large, round semi-precious stone at the middle, the central medallion comprising a miniature on silk, that on the upper cover of the Archangel Gabriel, that on the lower cover of the Virgin Mary; raised bands, spine diapered in blind, with a single gilt dot at the center of each lozenge; floral silver cornerpieces and two clasps, red morocco doublures framed in silver, doublure panels with intricate decoration in gilt and black, large central medallion of open-work black leather over blue silk with a molded leather profile of Julius Caesar at center, ivory watered silk endleaves, all edges gilt and gauffered. In a padded, silk-lined cream-colored suede box with an enamel medallion on the upper cover. BEAUTIFULLY DECORATED THROUGHOUT: with many ornamental initials, elaborate floral extensions and partial borders, a tondo miniature at the foot of each calendar page, seven historiated initials with full borders, and five full-page miniatures, each by a different Italian master. In mint condition. This sophisticated Book of Hours was produced in 1503 at the behest of Bonaparte Ghislieri, a member of an important Bolognese family. In commissioning it, Ghislieri wanted to bring together several of the most famous artists of the period, each of whom was called upon to create a full-page miniature. The intention was to offer a sort of miniature anthology of the best that the Bologna school of illumination could produce at the time. Consequently, we see a succession of works by: Amico Aspertini (Adoration of the Shepherds), Lorenzo Costa (King David and his Lyre), Il Francia (Francesco Raibolini) (Saint Jerome), Matteo da Milano, (Annunciation), and Perugino, (St. Sebastian). This last is the only miniature ever painted by Raphael's teacher. Bologna was also the home of the scribe, Pierantonio Sallando, who taught grammar at the University of Bologna and was to become a famous professor of writing. The codex passed from the Ghislieris to the Albani family of Urbino, where it is documented in the 18th century; the following century it reached England, where it was purchased by Henry Yates Thompson in 1897. Since 1941 it has been kept in the British Library. This sophisticated Book of Hours was produced in 1503 at the behest of Bonaparte Ghislieri, a member of an important Bolognese family. In commissioning it, Ghislieri wanted to bring together several of the most famous artists of the period, each of whom was called upon to create a full-page miniature. The intention was to offer a sort of miniature anthology of the best that the Bologna school of illumination could produce at the time. Consequently, we see a succession of works by: Amico Aspertini (Adoration of the Shepherds), Lorenzo Costa (King David and his Lyre), Il Francia (Francesco Raibolini) (Saint Jerome), Matteo da Milano, (Annunciation), and Perugino, (St. Sebastian). This last is the only miniature ever painted by Raphael's teacher. Bologna was also the home of the scribe, Pierantonio Sallando, who taught grammar at the University of Bologna and was to become a famous professor of writing. The codex passed from the Ghislieris to the Albani family of Urbino, where it is documented in the 18th century; the following century it reached England, where it was purchased by Henry Yates Thompson in 1897. Since 1941 it has been kept in the British Library. Seller Inventory # ST12207

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SPANISH ARTISTIC BINDING. 18th Century. SPANISH PATENT

About this Item: Hard Cover. Condition: Good. Real Provision de Hidalguia. Valladolid. 1775. In folio (30x20 cm) com 120 folios. Encadernação artística da época luxuosamente acabada em veludo vermelho com ferros rolados a ouro sobre o tecido na lombada e em ambas as pastas. Super-libris armoriado com leão heráldico. Fechos originais em metal. Cortes das folhas dourados e coloridos manualmente. Belas letras maiúsculas iluminadas no inicio dos capítulos do texto. Em 117 fólios manuscritos encontra-se a carta executória dentro de uma esquadria. Contém transcrições genealógicas sobre o autor, o requerente, o requerimento, os testemunhos, as transcrições dos assentos dos baptizados e dos casamentos até aos terceiros avós paternos e maternos. Os restantes 3 fólios contêm as assinaturas dos oficiais (reis de armas) do Rei de Espanha. Estampa do Rei de Espanha no primeiro folio. Documento a pedido e a favor de Don Agustin Baptista de Villota responsável pelo Comércio de la Carrera de las Indias, da Cidade de Cadiz. [EN] Superb binding: a contemporary artistically finished in red velvet gilt with floral tools and armorial super-libris; and original metal furniture's. Edges of leaves gilt and tooled blank and in color. Beautiful illuminated capital letters, at the opening of chapters. Grant of Spanish nobility containing several formal approvals in the form of a warrant, with the royal stamp at the first folio. Contains stamps and signatures of the officials of the King of Spain (king-of-arms) and other witnesses that had the authority to grant this nobility to Don Agustin Baptista de Villota, a responsible for the Spanish Trade to the West Indies from Cadix city, in southern Spain, or Comercio de la Carrera de las Indias de la Ciudad de Cadiz, as it is written several times in the document. Conteúdo do documento / Contents of the document: « REAL PROVISION DE HIDALGUIA, Por aora en forma, à Pedimemto de Don Agustin Baptista de Villota, vezino de la Villa de Villacaio y residente en la Ciudad de Cadiz, &c. » . « DON CARLOS III Por la Gracia de Dios Rey de Castilla, de Leon, de Aragon, de Navarra, de Granada, de Toledo, de Valencia, de Galicia, de Mallorca, de Sevilla, de Cerdeña, de Cordova, de Corcega, de Murcia, de Jaen, de los Algarves, de Algecira, de Gibraltar, de las Islas Canarias, Señor de Viszcaya, y de Molina, &c. A VOS La Justicia Regimiento, Concexo, Vecinos [etc] de la Villa de Villarcayo [.] de Castilla Leon [.] cumplimiento de lo que en esta Carta, y Real Provision de hará mencion [.] Peticion del tenor siguiente: Manuel Joseph Souejano en nombre de Don Agustin Baptista de Villota natural de la Villa de Medina del Pomar Arzobispado de Burgos, y del Comercio de la Carrera de las Indias de la Ciudad de Cadiz [.] solicitado fuese en calidad de Hidalgo, como le corresponde [.] a V[ossa] A[lteza] pido y suplico se sirva mandar librar su Real Provision [.] Por el presente Instrumento [.] Despachese de S[ua] M[agestd] a la parte de Don Agustin Baptista de Villota [.] de la Villa de Villarcaio se junten en su Concexo ò Aiuntamiento segun y en la forma de uso, y costumbre [.] vean la admision y reconocimiento de Hidalgo, que tienen hecho à el dicho Don Agustin Baptista de Villota, en virtude de la Real Provision de dar estado conocido que sele libros y Justificaciones com ella egecutadas [.] Valladolid Septiembre veintre y três de mil setecientos setenta e cinco =Villegas= Y conforme a lo referido fue acordado que devamos de mandar dar esta Nuestra Carta y Real Provision [.] que como a tal Hidalgo le son devidas, y corresponden, y se na guardado, y guardan a los otros hidalgos de las demas Ciudades, Villas, y lugares de estos Nuetros Reynos [.] ». Language: Castelhano / Spanish Location/localizacao: M-9-D-30. Seller Inventory # 1503JC001

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Illuminated manuscript leaf on vellum.

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About this Item: Britanny: c. 1430. 7.8" x 5.6". Illuminated leaf on vellum, from a Book of Hours with two large miniatures of St. Nicholas blessing the three children in the pickling tub, and of St. Sebastian tied to a pillar in a mountainous landscape while two archers shoot arrows at him, in strong color and burnished gold. In good condition. On the recto St. Nicolas is shown standing on a grassy field holding a crozier against a red decorated wall while the three naked boys stand up in the tub, and on the verso St. Sebastian is tied to a post, bleeding and pierced with arrows shot at close range. Six initials (one-line to three-line) illuminated in gold and colours, line-fillers; on either side of page panel borders composed of burnished gold leaves on hair-line stems, with sprays of colored leaves in center of panel.Unusual and attractive miniatures painted in strong colors in the style which spread the Roham Master westwards from Paris into Rennes and elsewhere in Britanny in the 1420's and 1430's. Seller Inventory # 107057

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Illuminated manuscript leaf on vellum.

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About this Item: Italy (Milan), c. 1400. Full leaf with historiated initial "E" showing a bearded sainted apostle, dressed in robes of pink and mauve and holding a palm in one hand and a book in the other; the initial painted in pink on a chequered orange background and in a blue frame and with foliate extension; four ornamental illuminated initials, one of them infilled with decorative fern-like plants and with foliate marginal extension, square musical notation on eight four-line staves. Size of leaf: 482 x 332mm. 8 lines of interlinear text in a rounded gothic hand. A fine historiated initial of a sainted apostle which is the work of the Milanese illuminator Tomasino da Vimercate, the master of the Modena Hours, according to Dr. Kay Sutton who has written several articles on the artist. The initial introduces the Introit to the Common of Saints for an Apostle:" Ego autem oliva fructifica?". Seller Inventory # 8714

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Les Évangiles des Dimanches et Fêtes de: Manuscript illuminations]. Curmer,

Manuscript illuminations]. Curmer, L. (publisher), Delaunay, l'Abbe (annot.)

Published by L. Curmer (1864)

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From: Yushodo Co., Ltd. (Fuefuki-shi, Yamanashi Pref., N/A, Japan)

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About this Item: L. Curmer, 1864. Hardcover. Condition: Good. 2 vols. The plate volume: 2 parts in 1 vol., [xl, 361, v pp.], contains a total of some 413 chromolithographs. Bound in full brown morocco, elaborately gilt red morocco doublures, signed by Hardy-Mennil, gilt and gauffered edges, red silk free endpaper and a second set of marbled endpapers. The text volume: [xxiii, 154, 255 pp.; largely unpaginated], illustrated with woodcuts and tipped-in photographs. Bound uniformly in half morocco, marbled boards, marbled endpapers, all edges gilt. Both volumes with raised bands and gilt lettering on spine and in slipcases. A very fine copy of another of Curmer's superb productions. The full-page miniatures and lavish illuminated borders are borrowed from manuscripts ranging in date and style from the Carolingian period to the Renaissance. One of 800 copies. Seller Inventory # KS4946

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Avusturya devleti tebaasinin Memalik-i Osmaniyede ticaretlerine ait: Collection of treaty

Collection of treaty articles relating to commercial transactions of subjects of the Austrian state in the Ottoman Empire].

Published by Vienna, Dar tiba' al-imberaturiyy (k. k. Hof- und Staatsdruckerei), 1846. (1846)

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About this Item: Vienna, Dar tiba' al-imberaturiyy (k. k. Hof- und Staatsdruckerei), 1846., 1846. Large 8vo. 88 pp. Printed in black with red headings, within printed gilt rules. Illuminated head-piece and 'unwan printed in three colours and gilt, in imitation of manuscript illumination. Gilt tail-piece. (Bound with:) Raccolta dei trattati e delle principali convenzioni concernanti il commercio e la navigazione dei sudditi Austriaci negli Stati della Porta Ottomana. Ibid., 1844. (4), VIII, 224 pp. Contemporary green morocco binding with fore-edge flap, covers giltstamped with an oriental design. All edges gilt. The full text of 19 trade treaties, in Ottoman Turkish throughout, closed between the Austrian and the Ottoman Empire between 1110/1699 (Peace of Karlovac) and 1259/1844. Bound in the same volume is the 1844 Italian-language edition, containing the texts of the various treaties in their respective original European language, with an Italian translation on the opposite pages. - Ownership "C Fr Jelinek 1855" signed to endpaper. The Turkish text shows occasional insignificant foxing, as common; altogether very well preserved. A splendidly bound copy. Zenker, BO II, 805. Seller Inventory # 46424

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Philip II King of Spain (1555-98). Confirmation of arms for an Estremaduran family.

Published by Dated at end: Granada, 12 August 1566. (1566)

Manuscript / Paper Collectible
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From: Hünersdorff Rare Books ABA ILAB (London, United Kingdom)

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About this Item: Dated at end: Granada, 12 August 1566., 1566. Soft cover. Condition: Very Good. Folio. Calligraphic manuscript of 48 leaves of strong vellum, ruled in red with double-line border in margins throughout (including the 7 otherwise blank leaves at the end). 36 lines to a page finely executed in a rounded gothic chancery hand. First initial painted in gold on a blue background; calligraphic opening initials and head-pieces throughout; flourishes and initials of the notary in tailend margins; at the end, signatures of Dr Ostos Pecayas, Lic. Juan Velasques, Dr Torres and various other officials; subsequent manuscript notarial entries confirming the authenticity of the document. With full-page illuminated frontispiece painting on verso of first leaf. Bound in contemporary limp vellum (repaired) with original flaps, toggles and ties intact. Royal confirmation of arms and nobility for the Gutierres family from Cáceres, Estremadura, and their descendants. The illuminated full-page painting is made up of three panels: the top left contains a fine miniature painting of the Annunciation (140 x 110mm), the top right bears the king’s name in bold gilt lettering ‘Don Phelipe’ on a blue speckled background interlined with red bars ornamented in white (140 x 95mm); the lower panel contains the family arms showing a lion rampant crossed with the heads of two hounds in gilt on a green shield within multi-coloured borders of orange, blue and red, flanked on each side by a floral –grotesque ornamental border in red, green, and blue, on a gilt background (170 x 203mm). A good example of Spanish baroque calligraphy and illumination in its original binding. Well preserved. A handsome document. Seller Inventory # ABE-1511957957102

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Zhytie Feodora Studita [The Life of Feodor: BLINOV, Ivan Gavrilovich

BLINOV, Ivan Gavrilovich (scribe).

Published by Russia, (1903)

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About this Item: Russia, 1903. Full contemporary calf. Condition: Fine. Beautiful illuminated manuscript produced by one of the best scribes of the early XX century Russia; very fresh and in its original binding. The text, accompanied by 19 full page watercolours highlighted in gilt, presents the life of the Byzantine monk Feodor (759 - 826) known to have been one of the biggest authorities of asceticism in his time. The colophon lists not only the name of the creator of the manuscript, scribe Blinov, but also points to the original source of this text Ð a book dated 7096 as from the creation of the world [1588]. The manuscript has all the distinctive features of the work of the celebrated calligrapher Ivan Blinov (1872 - 1944): high quality paper; sophisticated calligraphy with the use of semi-uncial script; skillfully executed miniatures and leather binding over wooden boards in the style XVII century. Since his teenage years Blinov was engaged in copying illuminated manuscripts, taking works of the local Old Believers scribes as examples. With time he started to receive multiple commissions for manuscripts from the Nizhegorodskaya province wealthy peasants, as well as prominent collectors, who included Petr Alekseevich Ovchinnikov (1843-1912) and Grigoriy Matveevich Prianishnikov (1845-1915). It was one of Blinov's main patrons, collector Ovchinnikov, who addressed the young calligrapher with the following words: 'You will become a celebrated scriptor and artist, this is the way they used to produce manuscripts for the tsars in the old days'. When working on the commissions, Blinov thoroughly studied collections of the Historical museum and Tretyakovskaya gallery; library of the the Trinity Lavra of St. Sergius and multiple private collections. He also collaborated with such celebrated artists as V.M. Vasnetsov, B.V. Zvorykin, M.V. Nesterov, A.I. Savin and D.S. Stelletskiy. Nowadays BlinovÕs manuscripts can be found in the collections of Russian State and National libraries; State Historical museum and the Historical and Architectural museum of the Nizhegorodskaya province. Folio (37 x 23 cm). 95 ll. numbered in [Cyrillic numerals], including 19 full page watercolours, paper shelf label of 'International Books, antiquarian department' to lower pastedown. Contemporary brown calf on wooden boards, decorative floral ornaments in blind to boards and spine, red morocco label with title in blind to spine, red edges; lacking one clasp. Seller Inventory # 90192

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Illuminated Qur'an manuscript.: Quran.

Quran.

Published by [Ottoman Empire]., 1222 AH (1807 AD). (1807)

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About this Item: [Ottoman Empire]., 1222 AH (1807 AD)., 1807. 8vo (165 x 105 mm). Illuminated Arabic ms. on paper. 312 ff., 15 lines, Naskh script. Black ink on polished paper. Double-page 'unwan on first two pages shows elaborate gilt ornamentation; ornamental colophon. Borders in red, black and gold. Gold discs between verses, sura headings written in gold. Blindstamped and gilt calf. Signed by a copyist named Hafez 'Ahmad ibn Ahmad al-ma'ruf, "Ahmad the Hafez" (respect title bestowed on those who have proved to know the entire Quran by heart), son of the renowned ‘Ahmad’, as quoted (underlined) in the colophon: Kataba hada-l mushaf as-sarif adafu ibad-‘Allah al-Kabir al-Mutaal Hafez ‘Ahmad, ibn ‘Ahmad almaruf,ba-yawwab-e (?) halifa-zade Hamidu-lLah Taala [.] (literally, ‘he who wrote this noble Qur'an is a very foolish slave of God the Greatest, the Exalted, named Hafez ‘Ahmad, son of the renowned Ahmad, servant (?) of Hamidu-lLah Taala, offspring of the Caliph [ ]’), etc. - Binding partially restored, in good condition. Seller Inventory # 48525

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About this Item: 1500. Miniature in a gently arched compartment showing two three-quarter length shepherds leaning on their staves as thye stand among their sheep in a night-time pastoral landscape, a gold angel appearing in a blue arc in the sky radiating light which catches the clothes of the shepherds themselves, above a large initial, full border on a parti-coloured ground of liquid gold and brown with coloured flowers and acanthus leaves and three birds; verso with illuminated initials, rubrics in blue, and line-fillers, panel border (a little rubbed at edges). Size of leaf: 140 x 92mm, size of miniature c. 84 x 55mm. On recto 7 lines of text in a small lettre bâtarde (opening of Terce), verso with 30 lines of text (written space 94 x 56mm). An elegant night scene, lit by the light radiating from the angel, in the style which originated with Jean Bourdichon in Tours and worked its way up, through Rouen, to the capital. The miniature is in the style of the illuminator known as the Master of Morgan 219 or, more recently, the Master of the Chronique Scandaleuse, who worked in Paris c. 1493-c.1510, illustrating manuscripts and probably designing woodcuts for printed books. The practice of using blue for rubrics is characteristically Parisian. The Use, with the antiphon 'Maria virgo' at Terce, on the verso here, is that of Rome. Another leaf probably from the same manuscript, showing the Baptism of Christ, was sold at Sotheby's, 12 December 1967, lot 6, afterwards our European Bulletin 6 (1969), no. 8, with plate. Seller Inventory # 227707

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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A LARGE MINIATURE OF KING DAVID AT PRAYER, FROM A BOOK OF HOURS IN LATIN

Published by ca. 1460s, France [Limoges?] (1460)

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About this Item: ca. 1460s, France [Limoges?], 1460. 165 x 117 mm. (6 1/2 x 4 5/8"). Single column, three lines of text on recto, 15 lines on verso, in a fine gothic book hand. Attractively matted. Verso with five one-line initials in burnished gold on pink and blue grounds, RECTO WITH AN ANIMATED FULL RINCEAU BORDER filled with blue and gold acanthus leaves and vines bearing red, blue, pink, and green flowers and leaves amid numerous burnished gold bezants and ivy leaves on twining hairline stems, the border tangent with a fine inner baguette of highly burnished gold decorated with strawberry vines, and the whole ENCLOSING A RICHLY DETAILED ARCH-TOPPED MINIATURE OF KING DAVID AT PRAYER (measuring approximately 80 x 64 mm.), the miniature atop text begun with a large and lovely "D" in pink with white tracery enclosing a trio of blue violets, the letter on a burnished gold ground. Minor loss of paint to a few strawberries, top and inner margins very slightly extended (and with a number of tiny losses to border decoration), very thin vertical crease downward from God the Father, slight thumbing in lower right corner, but still an extremely appealing leaf, the paint very rich, the gold especially brilliant, and with the miniature itself generally in a fine state of preservation. This very fine miniature serves to introduce the first of the Seven Penitential Psalms, which were to be recited during Lent as an act of contrition, but the sober text here did not prevent our artists from making this a very joyful and animated composition. David is depicted as no longer the slayer of Goliath or the young harper in a bucolic setting. His harp rests against the wall, and the aged, repentant sinner kneels in an archway between two rooms, an unroofed study with a bookstand in the foreground, and a chapel with an altar behind. The black and green checkered floor serves to unify the space, and in the upper right the Lord, his high forehead, forked white beard, and pink robe echoing David's own appearance, leans forward out of the sky, golden orb in hand. The Lord appears to be smiling, and we might conjecture that he is dispensing the forgiveness for which the Psalm asks. Lest the penitant become too confident, however, an archangel, presumably Michael, flies forward beneath the Divinity with a threatening sword raised aloft. The garments of David are a particularly attractive feature here. The artist uses sharp folds that seem to rustle almost audibly as they cascade around David. His voluminous red robe is etched with golden fold lines, and his sweeping blue cloak blows back, as if blasted by the intrusion of the Lord and the archangel, to reveal a solid gold lining. The border of strawberries that sets off the image from the surrounding welter of foliage is a sweet touch, and the outer border is unusually luxuriant. This very fine miniature serves to introduce the first of the Seven Penitential Psalms, which were to be recited during Lent as an act of contrition, but the sober text here did not prevent our artists from making this a very joyful and animated composition. David is depicted as no longer the slayer of Goliath or the young harper in a bucolic setting. His harp rests against the wall, and the aged, repentant sinner kneels in an archway between two rooms, an unroofed study with a bookstand in the foreground, and a chapel with an altar behind. The black and green checkered floor serves to unify the space, and in the upper right the Lord, his high forehead, forked white beard, and pink robe echoing David's own appearance, leans forward out of the sky, golden orb in hand. The Lord appears to be smiling, and we might conjecture that he is dispensing the forgiveness for which the Psalm asks. Lest the penitant become too confident, however, an archangel, presumably Michael, flies forward beneath the Divinity with a threatening sword raised aloft. The garments of David are a particularly attractive feature here. The artist uses sharp folds that seem to rustle almost audibly as they cascad. Seller Inventory # ST11531

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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A FINE, SMALL MINIATURE OF A CISTERIAN MONK WITH THE VIRGIN AND CHILD, FROM A MISSAL IN LATIN

Published by ca. 1450, Eastern France, perhaps Neubourg Abbey in Alsace (1450)

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About this Item: ca. 1450, Eastern France, perhaps Neubourg Abbey in Alsace, 1450. 311 x 229 mm. (12 1/4 x 9"). Double column, 21 lines in a lovely gothic liturgical hand. In a handsome gilt wooden frame. Rubrics in red, five two-line initials in burnished gold on pink, blue, and white grounds with two- to three-line marginal extensions of hairline stems terminating in burnished gold leaves, recto with one three-line "S" in pink, white, and gold and infilled with scrolling floral vines, a blue and burnished gold bar border extending from the initial the length of the central margin, a small furry gold creature with large ears and curling tail sitting atop the bar within a wreath of red and blue acanthus leaves, this the centerpiece of an upper rinceau border of swirling hairline stems abloom with flowers of various colors and bearing many burnished gold ivy leaves, a lower border of similar design, with a brushed gold urn of flowers at center, a small gold lion reclining amid the vegetation, the same side of the leaf WITH A COLUMN-WIDE MINIATURE (58 mm. square) just above the large initial DEPICTING THE VIRGIN AND CHILD seated within a walled garden, A CISTERCIAN MONK KNEELING BEFORE THEM, a banderole emanating from his lips with the words "Mater Dei memen[to mei]" ("Mother of God, remember me"). A little paint flaking from the Virgin's robe, otherwise IN ESPECIALLY FINE CONDITION, very clean and bright, with lustrous gold. This lovely leaf comes from a very fine illuminated Missal perhaps made at Neubourg Abbey in Alsace. Even though the Cistercians typically eschew lavish decoration in their manuscripts, the connection with the order is confirmed in the present case by the punctus flexus punctuation and by the presence of the Cistercian monk in his distinctive white habit with black scapular (a figure also appearing in other miniatures known to have been part of the manuscript represented here). This was one of four leaves from the same manuscript auctioned at Sotheby's as lot #8 on 5 December 1995. A leaf from the Mass of Corpus Christi had a miniature depicting four Cistercian monks in the Procession of the Holy Sacrament, and the leaf containing the Introit for the Nativity of Saint Bernard of Clairvaux shows that founder of the Cistercian order preaching to a group of his monks. It is notable that the Mass is not for Saint Bernard's regular feast day of August 20, but for his nativity--something that would be more likely to be celebrated by the order he founded. The provenance of Neubourg Abbey is suggested by the presence of the abbey's arms--sable, with double tower argent--in the border of a page from the feast of Epiphany. The Rhineland style of illumination seen here accords with the Abbey's location in Alsace. Founded in the early 1130s by Count Reinhold of Lützelburg, Neubourg Abbey had a library of more than 500 manuscripts at the time of its suppression following the French Revolution; none of these has ever been traced. The decoration here is pleasingly symmetrical, and the rinceaux borders are light and airy, with the whimsical inhabitants adding charm. The miniature has wonderful small details, most particularly the beatific expression on the face of the monk as he kneels in awe before the Madonna and Child, and the very realistic folds of his habit. The sky above the gray stone wall encircling the garden is filled with swirling gilt tracery that seems to emanate from the serene Virgin. In keeping with the delicate nature of the illumination, the scribal hand here is elegant and slender. This lovely leaf comes from a very fine illuminated Missal perhaps made at Neubourg Abbey in Alsace. Even though the Cistercians typically eschew lavish decoration in their manuscripts, the connection with the order is confirmed in the present case by the punctus flexus punctuation and by the presence of the Cistercian monk in his distinctive white habit with black scapular (a figure also appearing in other miniatures known to have been part of the manuscript represented here). This was one of four leaves f. Seller Inventory # ST12292

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LES TRÈS RICHES HEURES DU DUC DE: FACSIMILE PUBLICATION -

FACSIMILE PUBLICATION - ILLUMINATED MANUSCRIPTS, EARLY)

Published by Faksimile Verlag Luzern, Lucerne (1984)

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About this Item: Faksimile Verlag Luzern, Lucerne, 1984. No. 755 OF 980 COPIES. 302 x 216 mm. (11 7/8 x 8 1/2"). [206] leaves (in the facsimile). Two volumes (the facsimile plus a commentary volume in German). Commentary by Raymond Cazelles and Johannes Rathofer. No. 755 OF 980 COPIES. Publisher's replica red morocco binding, covers with gilt-ruled border and cresting floral frame, coat of arms with coronet at center, raised bands, spine gilt in compartments with floral spray centerpiece and leafy frond cornerpieces, green silk pastedowns, all edges gilt. Commentary volume in red morocco-backed green silk. Both housed in an acrylic case with slide-out panel. With numerous illuminated initials, many WITH marginal extensions, 65 SMALL MINIATURES (measuring approximately 80 x 50 mm.) AND 66 FULL-PAGE MINIATURES. In nearly mint condition. This is an excellent facsimile of one of the greatest--and certainly the most famous--Medieval Book of Hours. It was commissioned by Jean, Duke of Berry (1340-1416), from the great illuminators Paul, Herman, and Jean Limbourg, who had previously created the "Belles Heures" for the duke. They began work on this masterpiece around 1412, but all three brothers died in 1416, probably from plague, leaving the manuscript incomplete. The duke also died in that year, broken by the defeat of the French monarchy at Agincourt, and the manuscript passed into the hands of his great-nephew, King Charles VII of France. An artist known only as the "Intermediate Painter"worked on some of the illustrations: costume details in some of the miniatures indicate they were executed in the mid-15th century. In 1485, Charles, Duke of Savoy, commissioned painter Jean Colombe to complete the book of hours. The large miniature of the Man of Sorrows on folio 75 depicts the duke and his duchess kneeling on either side of the wounded Christ. Cazelles and Rathofer identify the calendar miniature of November as Colombe's sole work. Other indications that a painting was done or finished by Colombe is the presence of an architectural frame or the use of an intense blue in the landscape. In addition to being far more lavishly illustrated than the usual book of hours, the "Tres Riches Heures" is distinguished by its quarto size. It is an impressive tome, not a small book for personal devotion. This is an excellent facsimile of one of the greatest--and certainly the most famous--Medieval Book of Hours. It was commissioned by Jean, Duke of Berry (1340-1416), from the great illuminators Paul, Herman, and Jean Limbourg, who had previously created the "Belles Heures" for the duke. They began work on this masterpiece around 1412, but all three brothers died in 1416, probably from plague, leaving the manuscript incomplete. The duke also died in that year, broken by the defeat of the French monarchy at Agincourt, and the manuscript passed into the hands of his great-nephew, King Charles VII of France. An artist known only as the "Intermediate Painter"worked on some of the illustrations: costume details in some of the miniatures indicate they were executed in the mid-15th century. In 1485, Charles, Duke of Savoy, commissioned painter Jean Colombe to complete the book of hours. The large miniature of the Man of Sorrows on folio 75 depicts the duke and his duchess kneeling on either side of the wounded Christ. Cazelles and Rathofer identify the calendar miniature of November as Colombe's sole work. Other indications that a painting was done or finished by Colombe is the presence of an architectural frame or the use of an intense blue in the landscape. In addition to being far more lavishly illustrated than the usual book of hours, the "Tres Riches Heures" is distinguished by its quarto size. It is an impressive tome, not a small book for personal devotion. Seller Inventory # ST12465

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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A MINIATURE OF THE CORONATION OF THE VIRGIN, FROM A BOOK OF HOURS IN LATIN

Published by Rouen (1470)

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About this Item: Rouen, 1470. 163 x 120 mm. (6 1/2 x 4 3/4"). Single column, 13 lines (four lines on verso), in a fine gothic book hand. Rubrics in red, verso with pink and gold line fillers, five one-line capitals in gold on a blue and pink ground, a fine four-line initial painted blue on a gold ground with a large central floral motif, recto with a quarter panel border of acanthus leaves, and blue, pink, and red flowers with a ground of hundreds of tiny black dots with highlights of gold, verso with a highly decorative border inhabited by a small human, a beast, and a human-beast hybrid, the ground animated by black and gold dots, much vegetation, and swaths of painted gold, and WITH A BEAUTIFUL HALF-PAGE MINIATURE DEPICTING THE CORONATION OF THE VIRGIN. A touch of soiling along one edge, a small wrinkle just visible in the border, but IN VERY FINE CONDITION, virtually as bright and appealing as when it was first created. This very attractive leaf features the ultimate moment in the image cycle of the Hours of the Virgin, depicted in a burst of patterns and colors by a workshop of obvious skill, and offered in a fine state of preservation. The Coronation of the Virgin portrays the moment that Mary is crowned Queen of Heaven by God the Father, shown here as a bearded man with a pointed crown. The artist of this miniature has enlivened our scene with a trio of attending angels in contrasting pink and light blue robes. One in flight crowns the Virgin, while another stands behind her in prayer, and off to the right a seated angel strums a harp. A particularly delightful aspect of this leaf is the joy, movement, and clever design in the surrounding border. Acanthus leaves and hundreds of tiny dots swirl and dance on the page, and of particular interest are the three creatures who inhabit the border. As they look up at the miniature, each of them seems to mimic the gesture or posture (prayer, kneeling acceptance, musical accompaniment) of one of the figures in the coronation scene. This very attractive leaf features the ultimate moment in the image cycle of the Hours of the Virgin, depicted in a burst of patterns and colors by a workshop of obvious skill, and offered in a fine state of preservation. The Coronation of the Virgin portrays the moment that Mary is crowned Queen of Heaven by God the Father, shown here as a bearded man with a pointed crown. The artist of this miniature has enlivened our scene with a trio of attending angels in contrasting pink and light blue robes. One in flight crowns the Virgin, while another stands behind her in prayer, and off to the right a seated angel strums a harp. A particularly delightful aspect of this leaf is the joy, movement, and clever design in the surrounding border. Acanthus leaves and hundreds of tiny dots swirl and dance on the page, and of particular interest are the three creatures who inhabit the border. As they look up at the miniature, each of them seems to mimic the gesture or posture (prayer, kneeling acceptance, musical accompaniment) of one of the figures in the coronation scene. Seller Inventory # ST12834

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AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A MINIATURE OF THE HOLY TRINITY, FROM A BOOK OF HOURS IN FRENCH AND LATIN

Published by ca. 1460, Paris (1460)

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About this Item: ca. 1460, Paris, 1460. 153 x 110 mm. (6 x 4 3/8"). Single column, 14 lines of text in a fine gothic book hand. One-line initial in burnished gold on a pink and blue ground with white tracery, a two-line initial and a three-line initial in pink with white tracery on a ground of burnished gold, the center filled with twining blue vines bearing pink and scarlet flowers, verso with a rinceau panel border featuring twining hairline stems bearing burnished gold ivy leaves and fruit, blue and gold acanthus leaves, and flowers, recto WITH AN ARCH-TOPPED MINIATURE OF THE HOLY TRINITY SURROUNDED BY THE HEAVENLY HOST, this and the accompanying text enclosed by a pink, blue, and burnished gold bar border on one side, and a brushed gold bar border with pink lotus flowers on two sides, the whole surrounded by A FULL RINCEAU BORDER DENSE WITH ACANTHUS LEAVES, FOLIAGE, FRUIT, FLOWERS, AND TINY GOLD BERRIES on hairline stems. A little paint flaked from the book held by the Trinity, a couple of small spots in the margin, otherwise in fine condition--clean and smooth, with comfortable margins, and bright gold. The Trinity is shown here seated on a canopied throne, with God the Son, his hand raised in blessing, to the left of the Father. The latter, in a towering crown, holds a gold orb, and the Father and Son together support a large book opened between them. The dove of the Holy Spirit hovers above the book, radiating golden beams. The Trinity is flanked on both sides by cherubim and seraphim in rich red and soft yellow. It is the rendering of this angelic ambiance that elevates the level of aesthetic achievement here: both red and yellow celestial beings are given a ghostly appearance, as if appearing out of a filmy yellow or a densely red fog. The artistic qualities as a whole suggest that this leaf comes from a manuscript commissioned by a person of significant means. The Trinity is shown here seated on a canopied throne, with God the Son, his hand raised in blessing, to the left of the Father. The latter, in a towering crown, holds a gold orb, and the Father and Son together support a large book opened between them. The dove of the Holy Spirit hovers above the book, radiating golden beams. The Trinity is flanked on both sides by cherubim and seraphim in rich red and soft yellow. It is the rendering of this angelic ambiance that elevates the level of aesthetic achievement here: both red and yellow celestial beings are given a ghostly appearance, as if appearing out of a filmy yellow or a densely red fog. The artistic qualities as a whole suggest that this leaf comes from a manuscript commissioned by a person of significant means. Seller Inventory # ST12839

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AN ILLUMINATED VELLUM MANUSCRIPT LEAF SHOWING PENTECOST, WITH FOUR INSET MINIATURES DEPICTING VARIOUS ASPECTS OF THE RESURRECTION OF CHRIST, FROM A BOOK OF HOURS IN LATIN

Published by ca. 1480, Paris (1480)

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About this Item: ca. 1480, Paris, 1480. 174 x 123 mm. (7 x 4 3/4"). Single column, 19 lines on verso (five on recto), in a gothic book hand. Rubrics in pink, line fillers of blue and red, five one-line initials and one two-line initial painted in gold on either a red or blue ground, one three-line initial in blue on a red ground with gold embellishments, verso with a primarily blue and gold border of acanthus leaves and flowers with long stems, and a HALF PAGE MINIATURE OF PENTECOST SURROUNDED BY FOUR INSET MINIATURES. Some negligible soiling in the margins, occasional trivial chipping to the paint in the inset miniatures (mostly in the lower section), but on the whole in fine condition, the vibrancy of the colors and crispness of the images intact and still very pleasing. This leaf presents Pentecost, the usual image to begin the Hours of the Holy Spirit, in a highly creative way. The main scene of the Holy Spirit descending on the Virgin and assembled Apostles is conventional: the Virgin is at the center, with Peter and John the Evangelist flanking her on either side, and the other Apostles behind them. But the rest of the leaf has an unusual design. In place of a floral border with acanthus and bezants, we have four additional scenes that portray various episodes of the Resurrection, which, according to Christian tradition, occurred exactly 50 days before Pentecost. In the largest of those scenes, the artist has used the "L"-shaped space next to the left edge and bottom left of the main miniature in an inventive way, showing Christ rising into the air in the long vertical element of the "L," while employing the horizontal part of the letter space at bottom to depict his amazed followers, as they witness the event from the ground below. The other three scenes making up the rest of the very eventful frame show the Road to Emmaus (where Christ reveals himself to two of his disciples), then "Noli me tangere" (a favorite image of Western art, where Christ appears to Mary Magdalene and speaks the words "Do not touch me"), and finally the Incredulity of Thomas (where Christ invites the "doubting" Apostle Thomas to touch his wounds). This leaf presents Pentecost, the usual image to begin the Hours of the Holy Spirit, in a highly creative way. The main scene of the Holy Spirit descending on the Virgin and assembled Apostles is conventional: the Virgin is at the center, with Peter and John the Evangelist flanking her on either side, and the other Apostles behind them. But the rest of the leaf has an unusual design. In place of a floral border with acanthus and bezants, we have four additional scenes that portray various episodes of the Resurrection, which, according to Christian tradition, occurred exactly 50 days before Pentecost. In the largest of those scenes, the artist has used the "L"-shaped space next to the left edge and bottom left of the main miniature in an inventive way, showing Christ rising into the air in the long vertical element of the "L," while employing the horizontal part of the letter space at bottom to depict his amazed followers, as they witness the event from the ground below. The other three scenes making up the rest of the very eventful frame show the Road to Emmaus (where Christ reveals himself to two of his disciples), then "Noli me tangere" (a favorite image of Western art, where Christ appears to Mary Magdalene and speaks the words "Do not touch me"), and finally the Incredulity of Thomas (where Christ invites the "doubting" Apostle Thomas to touch his wounds). Seller Inventory # ST12838

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A VAST LEAF FROM AN EARLY MARTYROLOGY

Published by ca. 1140, Italy (1140)

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About this Item: ca. 1140, Italy, 1140. 495 x 345 mm. (19 1/2 x 13 1/2). Double column, 51 lines, in an early proto-gothic hand. Rubricated capitals at text divisions, WITH A LARGE CAPITAL "T" in red and yellow with white vine tendril decoration. Insignificant soiling, a little wrinkling of no consequence at one lower corner, a small snag at very bottom, but A MOST ATTRACTIVE LEAF IN BEAUTIFUL CONDITION. This striking early specimen features a vibrantly colored opening initial, a prominent top line in contrasting black and orange, and an elegant, early book hand. The text comes from the Passio agaunensium martyrum of Eucherius of Lyons( Migne,P. L. 50, 827-832). Eucherius was an important fifth-century bishop of Lyons, whodied probably in 449, and this work concerns the legend of themartyrdom of St. Maurice and the 6600 Christian soldiers of the Theban Legion near Aqaunum (modern St-Maurice-en-Valais in Switzerland) as ordered by the emperor Maximium. The church there was an important center of medieval pilgrimage and has today an impressive collection of valuable medieval reliquaries. Given the scale of the manuscript from which this leaf comes, the church paying for the work could only have been of considerable importance. This striking early specimen features a vibrantly colored opening initial, a prominent top line in contrasting black and orange, and an elegant, early book hand. The text comes from the Passio agaunensium martyrum of Eucherius of Lyons( Migne,P. L. 50, 827-832). Eucherius was an important fifth-century bishop of Lyons, whodied probably in 449, and this work concerns the legend of themartyrdom of St. Maurice and the 6600 Christian soldiers of the Theban Legion near Aqaunum (modern St-Maurice-en-Valais in Switzerland) as ordered by the emperor Maximium. The church there was an important center of medieval pilgrimage and has today an impressive collection of valuable medieval reliquaries. Given the scale of the manuscript from which this leaf comes, the church paying for the work could only have been of considerable importance. Seller Inventory # CBM1503

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1476 Hebrew Bible (Kennicott) 2 volumes. 1
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About this Item: Hardcover. Condition: Near Fine. 1476 Hebrew Bible (Kennicott) 2 volumes. 1 of 50 sets, facsimile editions. Folio, facsimile in elaborately blindstamped brown morocco replicating the contemporary Hispano-Moresque box binding on the original manuscript, commentary volume in brown morocco; publisher’s velvet lined cloth folding case. Originally belonging to the designer and dedicatee Jesse Zierler, of an edition of 550. Completed in La Coruna in 1476 and acquired by Oxford in 1771 at the suggestion of the scholar Benjamin Kennicott, the Bible named after his is regarded today as one of the most sumptuous Hebrew illuminated manuscripts and a masterpiece of medieval Shepardi art. London. Good condition. Seller Inventory # ABE-1498755494434

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Liber Scriptorum.: Authors Club] Mark

Authors Club] Mark TWAIN, Theodore ROOSEVELT, Andrew CARNEGIE, et. al.

Published by Authors Club, 1893., New York: (1893)

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Signed
Hardcover

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From: Jeff Weber Rare Books, ABAA (Carlsbad, CA, U.S.A.)

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About this Item: Authors Club, 1893., New York:, 1893. Folio. xvi, [2], 588, [4] pp. Title printed in red and black, decorative headpieces, initials, decorative endleaves. Original dark brown decorative black- and gilt-tooled calf; minor neat repairs. Bookplate of HENRY WILLIAM POOR, embossed stamps of Reagan Samuel Bond. SIGNED BY 109 PERSONS INCLUDING MARK TWAIN & THEODORE ROOSEVELT. Very good. Limited edition of 251 numbered copies, this being copy #20. The edition features SIGNED ESSAYS BY ALL 109 CONTRIBUTORS, printed and bound by club member Theodore Low De Vinne. The contents feature: "A Californian's Tale" by MARK TWAIN, "A Shot at Bull Elk" by Theodore Roosevelt, "Genius Illustrated from Burns" by Andrew Carnegie, each SIGNED by Twain, Roosevelt and Carnegie. / As Rossiter Johnson observes in the preface, the most difficult part of publishing this book was arranging to have all the copies signed by all 109 contributors, as many of them were compulsive travelers. "Every article, in every copy of the book, is singed by its author with pen and ink. In this feature it is unique. The obtaining of these signatures proved to be the most difficult problem connected with the task. Several of the contributors were in Europe, one was just setting out for Japan, another was suddenly ordered by his physician to cruise in the Mediterranean, another was possessed by a desire to see the Hawaiian Islands, and two others appeared to the committee to have nothing to do but cross the Atlantic in the wrong direction while the sheets they were to sign were passing them in mid-ocean on another steamer. Every precaution was taken to elude the proverbial stupidity of custom-houses. Special tin boxes were devised and fastened with buckled leather straps, so that they could be opened easily and examined; while the outside of the package bore a large label, printed in four languages, explaining the nature of the contents and why they were traveling about in such an unaccountable manner, and appealing to revenue officers, as the loved the cause of letters, not to mislay, soil, or unnecessarily detain the precious papers." â€"Editing Committee, from the preface. / The original goal was to raise funds for a clubhouse in New York, however, by the time the signatures had all been collected, Carnegie had donated a suite of rooms in New York, so the profits from the publication went towards the decoration of the clubhouse. PROVENANCE: [1] Henry William Poor (1844-1915), was a New York banker and the son of Henry Varnum Poor, who founded the company that would eventually become Standard & Poor's. He was a profound bibliophile of the highest order. Among the books he either wrote or that featured his remarkable library are: American bookbindings in the library of Henry William Poor, compiled by Henri Pà ne du Bois (1903). Forced to liquidate his library due to stock and investment issues, the collection was sold at Anderson Galleries, New York, in 1908-9: Catalogue of the library of Henry W. Poor . Masterpieces of printing; illuminated and other manuscripts, English literature of the Elizabethan and later periods; a rare collection of the English authors of the eighteenth and nineteenth centuries; illustrated and extra-illustrated books; association books of remarkable interest; rare and artistic bookbindings; Americana; autographs and private book-club publications. [2] Reagan Samuel Bond was a book collector, formerly of Dallas, Texas, and San Diego, Calif. BAL. 1283, 3438. Seller Inventory # LV2327

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KENNICOTT BIBLE.

Published by London: Facsimile Edition (1985)

Manuscript / Paper Collectible
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Hardcover

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From: Forest Books, ABA-ILAB (Grantham, LINCS, United Kingdom)

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About this Item: London: Facsimile Edition, 1985. 2 Vols., folio, one of number 500 copies, the facsimile consists of 922 pages, 238 illuminated pages with gold and silver, 24 canonical book headings, 49 parashah headings structured with gold in different motifs featuring zoomorphic figures in many colours, 27 lavishly-illuminated arcaded pages framing the text of the Sefer Mikhlol, 9 fully illuminated carpet pages, 150 psalm headings, numbered and illuminated with gold and silver; commentary volume consists of 97 pages and contains many additional illustrations of comparative material and is produced as a separate volume the same size as the facsimile, fine Italian morocco goatskin box-binding over specially prepared boards, interlacing geometric designs on all six sides embossed with handmade dies, facsimile edges gilt with 23 carat gold leaf, the two volumes are cased in a presentation portfolio box. The Kennicott Bible, copied in north-west Spain in 1476, is one of the treasures of the Bodleian Library. It was a chance acquisition, named after Benjamin Kennicott, biblical scholar and Radcliffe Librarian, who in 1771, when it was brought into the Library by a young man, recognised its importance and purchased it for 50 guineas. The study of the Kennicott Bible and its illuminations was carried out and written especially for this facsimile by Professor Bezalel Narkiss, Founder of the Centre for Jewish Art, Jerusalem, and Dr Aliza Cohen-Mushlin, its Director. Seller Inventory # 27405

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Illuminated manuscript vellum leaf from a Gradual: BAPTISM OF CHRIST,

BAPTISM OF CHRIST, THE

Published by Northeastern Italy or Dalmatia (1300)

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From: Sokol Books Ltd. ABA ILAB (London, United Kingdom)

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About this Item: Northeastern Italy or Dalmatia, 1300. No binding. Condition: Very good. LATIN TEXT - BYZANTINE ICONOGRAPHY Large folio (c. 52 x 38 cm), initial ‘E’ measuring 10.5 x 9 cm, with a blue ground set within a burnished gold field, depicting Saint John the Baptist to the left, one hand on Christ's shoulder, Christ to the right, standing naked in a mound of stylized water, with a gold and orange cruciform halo, the initial joined by a short curl of foliage to a three-sided border with swirling acanthus foliage in blue, red, sage green and gold discs. In a gothic bookhand in dark brown ink in three sizes, the largest for text accompanied by five lines of musical notation on red staves with neumes, the middle size for rubrics (in red) and cues to the offertory and communion, the smallest for liturgical directions (9 lines; underlined in red), small initials alternately blue with red penwork flourishing, or vice versa; occasional surface wear, vellum with natural flaws; framed and glazed (not examined out of frame).?? The initial opens the introit for the feast of Epiphany, ‘Ecce advenit dominator [dominus on verso]’ (Behold, the Ruler, the Lord is come). Epiphany (spelled consistently ‘ephyphania’ on this leaf) is the oldest feast day of Christianity with a fixed date (January 6). Epiphany was celebrated from the early fourth century onwards to commemorate the baptism of Christ, his birth and the miracle of the Wedding at Cana. In the West the feast became more associated with Christ being revealed to the Three Magi. The iconography of the initial is clearly Byzantine. The only place in the Latin West where this was possible around 1300 is the Northeast of Italy and the opposite coast of the Adriatic Sea with its strong Byzantine traditions and historic links with the Eastern Empire. Torcello, Grado, Venice, Ravenna and the Dalmatian coast were areas where Byzantine iconography survived up to the Renaissance, although they followed the Roman Rite. The baptism scene in this initial represents a rather minimalist version of the event: reduced to only Saint John and Christ, without the hand of God or the dove of the Holy Spirit above. Regarding origin and iconography (including ortography) an unusual illuminated manuscript leaf. Illumination. Seller Inventory # L912

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TEXT FROM THE OPENING OF COMPLINE: AN ILLUMINATED VELLUM

AN ILLUMINATED VELLUM MANUSCRIPT LEAF WITH A LOVELY MINIATURE OF THE CORONATION OF THE VIRGIN, FROM A FINE BOOK OF HOURS IN LATIN AND FRENCH

Published by ca. 1450, Paris (1450)

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About this Item: ca. 1450, Paris, 1450. 159 x 108 mm. (6 1/4 x 4 1/4"). Single column, four lines of text on the recto, 15 on the verso, in a very pleasing gothic book hand. Attractively matted. Rubrics in red, verso with two two-line and five one-line initials as well as four line fillers, all in colors and burnished gold, the same side with a swirling quarter panel border featuring flowers, leaves, strawberries, and many burnished gold ivy leaves and berries on hairline stems, the recto with a large three-line "C" in blue and white with enclosed spray of blue and white violets, the initial on a burnished gold ground, and with a one-line initial and a line filler in colors and gold, recto also WITH A FULL SWIRLING BORDER of acanthus leaves, flowers, strawberries, and thistles ENCLOSING A BEAUTIFULLY REALIZED ILLUMINATED MINIATURE OF THE CORONATION OF THE VIRGIN (measuring approximately 77 x 54 mm.). IN ESPECIALLY FINE CONDITION, everything fresh, clean, and bright. This is an enormously appealing miniature, rendered with great skill and unusual detail. The demure Virgin is shown in blue robes and a golden crown kneeling before God enthroned in majesty, the latter holding an orb and blessing her, while fiery seraphim and the rest of the heavenly host watch from behind a purple tapestry screen. Our artist, who has the imagination and daring to compose scenes differently from his contemporaries, does not, as is more typical, show the Virgin in the center flanked by the heavenly father and son, nor does he choose, as usual, the moment when the crown is placed on her brow. Instead, he limits the major figures to two, placed on a diagonal to one another. The heavy crown is already on the Mary's head, which bows under its weight and in reverent thanks, while God the Father raises a hand in blessing. While we are, of course, absorbed by the action in the foreground, it is in the audience of angels that we see especially how good our painter is. Our eyes are drawn to the red-orange seraphim, who provide a rich contrast to the colors chosen for the main part of the miniature (soft pink and purple for God the Father, pale brown and pink for the throne and floor, lavender for the screen). And behind the seraphim, the artist has used a swath of dark blue as a particularly successful visual context for a row of 10 angels whose bodies and faces emerge from the background in a ghostly way. A superficial look does not pick up the individuated figures, but a more studied inspection reveals that we are in the presence of a great many heavenly shadows. We can see how deft the artist is by how carefully he has applied his paint, but even more noteworthy is his clever design involving three zones of action, an aspect assuring that the miniature will repay close and protracted study. This is an enormously appealing miniature, rendered with great skill and unusual detail. The demure Virgin is shown in blue robes and a golden crown kneeling before God enthroned in majesty, the latter holding an orb and blessing her, while fiery seraphim and the rest of the heavenly host watch from behind a purple tapestry screen. Our artist, who has the imagination and daring to compose scenes differently from his contemporaries, does not, as is more typical, show the Virgin in the center flanked by the heavenly father and son, nor does he choose, as usual, the moment when the crown is placed on her brow. Instead, he limits the major figures to two, placed on a diagonal to one another. The heavy crown is already on the Mary's head, which bows under its weight and in reverent thanks, while God the Father raises a hand in blessing. While we are, of course, absorbed by the action in the foreground, it is in the audience of angels that we see especially how good our painter is. Our eyes are drawn to the red-orange seraphim, who provide a rich contrast to the colors chosen for the main part of the miniature (soft pink and purple for God the Father, pale brown and pink for the throne and floor, lavender for the. Seller Inventory # ST11774-93

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