Leaf Antiphonal (24 results)

No Binding. Condition: Very Good. Large manuscript leaf on vellum. Southern Europe (likely Italy or Spain), circa 1480-1550. Approx. 29 x 20 inches (74 x 51 cm). written in Gothic textura script with black ink and square Gregorian neumes on four-line red staves. Striking illuminated inital "a" in red, blue, and white with delicate pen flourishes, introducing the rubric. Red rubrication throughout with a second large striking illuminated intial "A" at the bottom of page. Condition: Vellum is cockled and lightly toned with minor stains and surface soiling consistant with use; inks and colors remain vivid, especially in the illuminated intials. A handsome and display-worthy Renaissance choir leaf from a monumental antiphonary, produced for communal liturgical singing in a monastic or cathedral setting. Ships unmatted and unframed.

Manuscript / Paper Collectible. Condition: Very Good. God is Wonderful in His Works : In Festo SS. Innocentium; Psalm 8:2. Choral Antiphonal leaf. Historiated letter "E" in red. European, circa early 17th century. Latin. Large folio sized. "Ex ore infantium et lactentium perfecisti laudem propter inimicos tuos, Domine dominus noster quam admirabile est nomen tuum in imoversa terra." This is an oversized or heavy book, which requires additional postage for international delivery outside the US.

An antiphonal was a song/chant by two groups of singers, a "call" and "response" system. Two sided, 20 1/2 x 14 inches. In Very Good condition.

Hardcover. Condition: Fair. 41 cm x 30.5 cm. Framed 17th century antiphonal leaf on vellum, circa 1650. 5 line staves. Handwritten in black and red ink in rotunda Gothic. Latin antiphonal with Pentacostal prayers. Soiling to vellum, light pencil marks to one side of leaf. 4 inch tear to margin of antiphonal affecting 3 letters of text. This is an oversized or heavy book, that requires additional postage for international delivery outside the US.

vellum; framed. Condition: Very Good. first edition. ILLUMINATED ANTIPHONAL LEAF WITH EXCEPTIONALLY LARGE HISTORIATED INITIAL OF KING DAVID AS PSALMIST. The recto features a stunning, large (6 1/4 x 7 in.) initial "T" featuring a miniature of David the Psalmist, captured mid-song with instrument in hand as an angel unfurls the opening of the Psalm 110 (Dixit Dominus)a classic image of divine inspiration rendered with rich pigments and a thickly burnished gold initial "T". The "T" frames and divides the image, with King David and the angel occupying the right half. The Psalm's beginning ("DIXIT DOMINUS") is displayed on the angel's banner, emphasizing the divine inspiration for the Psalm. David is pictured with elegant flowing blue robes and, while he's playing a stringed instrument, there is another harp lying beneath his feet. The left side of the "T" (for the opening "Tecum principium") depicts a finely painted landscape, with a winding road, a bridge, and a town in the distance. The verso continues Psalm 110, but then transitions with a large red-and-organge painted "R" into a section of Psalm 111 (Redemptionem misit Dominus populo suo). Leaf size: 13x19.25 inches; archival framed to an overall size of 19x26 in.) Likely Italian, c.1550-1550. Vellum. Some mild toning and creasing to vellum. Some lines of cracking to color on miniature from the creasing. Small closed tear at top margin. Overall, the color (particularly the gilt) is exceptionally bright. A magnificent leaf.

No Binding. Condition: Very Good. Antiphonal. Leaf on parchment with historiated illuminated initial. Italy C15th Leaf size: 360mm × 260mm Frame size: 480mm x 365mm Full single leaf written on parchment in black and red ink, 15 lines on both sides of the leaf in late Romanesque rounded hand. A beautiful illuminated historiated initial blue 'H' on a background of gold leaf within which a Cherub is facing left with foliage spraying into the left hand margin. Framed and mounted in museum glass. The illumination appears to be later, maybe C16th but, if so, has been painted in style and in the space left for the original O illumination. Some old stains. An attractive leaf. The text is a post communion prayer in Latin to celebrate the conception of Mary: domine sacrificii suanitatis presta ut qui hodie marie conceptionem iubilando celebrat O Lord offer the sacrifice of wisdom as he who today celebrates Mary's conception by rejoicing etc.

No Binding. Condition: Very Good. 1st Edition. Antiphonal. Leaf on parchment with historiated illuminated initial. Italy C15th Leaf size: 360mm × 260mm Frame size: 480mm x 365mm Full single leaf written on parchment in black and red ink, 15 lines on both sides of the leaf in late Romanesque rounded hand. A beautiful illuminated historiated initial blue 'H' on a background of gold leaf within which Christ facing in a praying posture with foliage spraying into the left hand margin. Framed and mounted in museum glass. The illumination appears to be later, maybe C16th but, if so, has been painted in style and in the space left for the original O illumination. Some old stains. An attractive leaf. The text "Post communionem, hĉc nos, quĉsumus, Domine, divini sacramenti perceptio." is a Latin prayer used in the Catholic Church during the celebration of the Mass. It is part of the post-communion prayer, which is said after the distribution of the Eucharist. The English translation of the prayer is: "Having received the sacrament of salvation, we beseech You, O Lord, that through the intercession of the Blessed Virgin Mary, whom You have given us as a Mother and whose festival we celebrate, we may obtain with the help of Your grace the eternal happiness which it promises. Through Christ our Lord. Amen.".

Condition: In fine fresh condition. Illuminated leaf on vellum, 469 x 353 mm., with illuminated initial "I", 122 x 90 mm. (body of initial); initial on a burnished gold ground and painted in rich colours of blue, red, green and ochre, the initial extended with lush leafy decoration in similar colours with a bird-head terminal to form a full marginal border, several small gold balls around the decoration; square musical notation on red 4-line staves, 7 lines of interlinear text in a large rounded gothic script. Framed. A leaf of exceptional quality from an early fifteenth century Venetian Antiphonal. The extravagantly illuminated initial "I", which includes a wolf's head in the decoration, introduces the text "Ierusalem cito veni", a Responsory at Matins for the Second Sunday in Advent. The very rich colours of the foliate decoration are characteristic of the work of Christopher Cortese (fl.1409-39), the leading Venetian illuminator of his day. .

Written in gothic letter in black, blue, red, gray and yellow-gold, with a very large and beautifully decorated initial capital over two inches tall, additional initials and fine penwork. Single folio leaf on vellum [15" x 10"], handsomely presented in cream mounting. Very finely preserved, very bright and very fresh and in excellent condition.

Ephemera. Leaf from an Antiphonal or Choir Missal. In Latin, on paper. Printed in black and red with decorated initial letters. 8 lines of music and verse. 12 x 8". Framed and matted. Latin Breviarum choral music score page. Psalm 17; Offertorium. "-tiaapparebo in conspectu tuosatiabor dum manifestabitur gloria tua [Psal] Exaudi,Domine,justitiam meam; intende deprecationem meam.Gloria. Ad Dominum dum tribularer clamavi & Exaudivit me. [Versus] Domine". -verso- "libe ra anima meam a labiis iniquis & a lingua dolofa. [Tract Domine. P. 86 Offertorium] Domine in auxilium meum respice consundantur & Revereantur qui quaerunt animam meam ut auferant eam [Comunio] Tu Domine servabiis nos".

This illuminated antiphonal leaf from 12th-century Italy, likely Tuscany (c. 1125-1150), preserves chants for the Feast of Saint Lucy (Santa Lucia). Written in Latin in a rounded Carolingian hand, the page features neumatic notation on a single red stave, a transitional form of medieval musical notation. Rubrics in red uncials guide the singer, while blind ruling for sixty lines ensures precise alignment of text and chant. The centerpiece is a historiated initial "L" inhabited by a whimsical bird with red wings and yellow tail, set against a red-and-blue paneled background. This inventive zoomorphic design is characteristic of Romanesque Italian illumination, combining playfulness with liturgical solemnity. The text and chant correspond to Lucia virgo quid a me petis, a responsory sung at Matins for the Feast of Saint Lucy, December 13th. The responsory, set in Mode 7, reflects the veneration of Lucy across Italy, especially in Tuscany, where she was revered as a protector of sight and celebrated as one of the earliest Christian martyrs. This fragment not only embodies the artistry of Romanesque illumination but also provides valuable evidence for the transmission of medieval chant and the devotional culture of 12th-century Italy. Its blend of bold script, whimsical decoration, and precise liturgical function make it a rare survival. Provenance: Italy, likely Tuscany, 12th century Sotheby's, London, 25 April 1983, lot 11 (two other leaves from this dispersed manuscript sold Sotheby's, London, 19 June 1979, lot 1) Private Collection, USA Literature: Cantus: Database for Latin Ecclesiastical Chant, cantusdatabase.

This illuminated Antiphonal leaf, depicting Saint Ursula within a large initial D was painted in Bologna around 1290-1300. The artist was a close follower of Jacopino da Reggio, one of the key painters of the late Duecento. Ursula is crowned and noble, with a slender figure and delicate facial features, holding the palm of martyrdom. Her portrayal closely parallels a Gradual leaf in the Fondazione Giorgio Cini (inv. 22018), confirming the attribution to this anonymous Bolognese master. The page, written in Latin, comes from the First Nocturne, first Responsory for the feast of the 11,000 Virgins of Cologne (Deonoto fuit nata placens). Large in scale (485 × 375 mm), with a historiated initial measuring 134 × 128 mm, it was designed for communal liturgical use. The bold red rastrum (32 mm, six four-line staves) frames notation in square script, typical of Bolognese choirbooks of the late 13th century. Saint Ursula was one of the most celebrated female saints of the Middle Ages. Her legend, tied to Cologne, inspired innumerable depictions in manuscripts, frescoes, and panel paintings. In this miniature she embodies both regality and sanctity, reflecting the expressive refinement of Bolognese illumination at the cusp of Gothic and Renaissance styles. The leaf has an esteemed provenance, formerly in the collection of Dr. H.F. Jossi Debrunner of Chur, Switzerland; sold at Sotheby's, London (3 December 2008, lot 10); and subsequently acquired by Dr. Edwin E. Gordon (1927-2015), Madison, Wisconsin, a prominent American collector. Provenance: Dr. H.F. Jossi Debrunner (1922-1986), Chur, Switzerland Sotheby's, London, 3 December 2008, lot 10 Dr. Edwin E. Gordon (1927-2015), Madison, WI, USA Literature: M. Medica & F. Toniolo, Le miniature della Fondazione Giorgio Cini (2016), no. 88. D. Benati, "La città sacra," in Duecento: Forme e Colori del Medioevo a Bologna (2000). M. Medica, La città dei libri e dei miniatori," in Duecento: Forme e Colori del Medioevo a Bologna (2000).

A single leaf on vellum, black square notation with custodes, five staves of five red lines on both sides. Size is 19cm x 26.5cm. Text is in Latin, from Mark:14. It begins on the recto: "manum in parapside: hic me tradet, filius quidem hominis vadit" and ends on the verso: "Respondens autem iudas, qui". One small red initial on the verso. Two small tape marks from matting, in the upper margin on the recto; clean and in excellent condition. Part of the Institutional Narrative of the Roman Catholic Mass. A handsome antiphonal leaf.

Antiphonal Leaf. Manuscript in Gothic Rotunda. Black and red ink on vellum. Five-line staves in red, eight staves on each page. Text in Latin on both sides. Measures 34.3 x 47.6 cm. A chant for Lent. It reads: "Qui confidunt in Domino sicut mons Sion, non commovebitur in aeternum, qui habitat in Jerusalem. Montes in circuitu eius, et Dominus in circuitu populi sui, ex hoc nunc et usque in seculum". Old mend to upper edge, one side is toned. ; Folio.

Antiphonal Leaf. Manuscript in Gothic Rotunda. Black and red ink on vellum. Five-line staves in red, eight staves on each page. Text in Latin on both sides. Measures 34.3 x 47.6 cm. From the Posuisti domine. Short closed tear to upper edge, one side is toned. ; Folio.

Antiphonal Leaf. Manuscript in Gothic rotunda. Black and red ink on vellum. Five-line staves in red, eight staves on each page. Text in Latin on both sides. Measures 34.3 x 47.6 cm. From the Beati mundo corde. Old mend to top edge, one side is toned. ; Folio.

Antiphonal Leaf. Manuscript in Gothic Rotunda. Black, blue, gold, and red ink on vellum. Five-line staves in red, six staves on each page. Text in Latin on both sides. Measures 38.5 x 56 cm. It reads "Ego dixi domine miserere mei sana anima meam.". Closed tear to fore edge, one side is toned. ; Folio.

Antiphonal Leaf. Manuscript in Gothic Rotunda. Black, purple, blue, gold, and red ink on vellum. Five-line staves in red, seven staves on each page. Text in Latin on both sides. Measures 38.5 x 57.5 cm. It reads "Ad te levavi animam meam.". Lower corner torn, one side is toned. ; Folio.

Antiphonal Leaf. Manuscript in Gothic Rotunda. Black, blue, gold, and red ink on vellum. Five-line staves in red, six staves on each page. Text in Latin on both sides. Measures 38.5 x 56 cm. It reads "Alleluia Sancti et iusti in domino gaude.". Closed tear to fore edge, one side is toned. ; Folio.

Antiphonal Leaf. Manuscript in Gothic Rotunda. Black, gold, and red ink on vellum. Five-line staves in red, six staves on each page. Text in Latin on both sides. Measures 56 x 80 cm. It reads "Iratus rex Saul, dixit mihi mille dederunt et filio Isai dederunt decem milia.". Old mends to edges, toning. ; Folio.

A large initial 'D' formed of light pink and orange acanthus extending into the margin and including a human head, on a blue ground with white penwork decoration, framed in light pink, enclosing the Pentecost with the twelve Apostles seated under two arches supported by a central column, large initials in red or blue with contrasting penwork. Size of leaf: 490mm x 340mm. 10 lines of text with accompanying music on 4-line red staves; rubrics in red, capitals stroked in red.   The illumination here shows the twelve apostles seated in an architectural setting, with faces painted in dark green and using strokes of white paint for modelling. The style is notably close to that of the Maestro d'Imola (see F. Lollini in Dizionario biografico dei miniatori italiani, 2004, p. 685) who was named after a group of choirbooks decorated for San Domenico in Imola (see Cor unum et anima una. Corali miniati della Chiesa di Imola, 1994). He was active in and around Bologna, a leading centre of manuscript production in the thirteenth and fourteenth century, and can be recognised by his peculiar modelling technique in lead-white as well as the colours with predominance of dark blue, bright orange, light pink and green. His painting technique is clearly influenced by Byzantine art. Thin white brushstrokes detail facial features such as eyebrows, noses, lips and chins, and thin elongated brushstrokes have also been used to indicate fingers and toes.   The leaf has been separated from its parent manuscript for many centuries and was once used as a binding in the early seventeenth century with inscriptions on the leaf for the years '1600' and '1604', so possibly for an account book. Its use as a binding has produced remarkably little wear to the initial although the colours have faded slightly, but there is some staining and cockling in places, a few small holes and the remains of paper at edges and on verso. The initial 'D' opens "Dum complerentur dies pentecostes ." the second response of the first nocturne for Pentecost.

Begins: "Morte dira."Framed.

No Binding. Condition: Very Good. Large elephant folio Antiphon leaf with watermarks in the laid paper, but in Latin and difficult to read. Two pieces of music in praise of Mary (the Virgin) & St Cecilia (Caecilae) Very clean, but not been restored this leaf being pages 449/450. Two small hand written notation numbers to end of the music 878? light but also old, printed both sides. Measures approx 20 x 12 inches (50 x 30 cm).

No Binding. Condition: Fine. Leaf from a portable Antiphonal, with the Annunciation to the Virgin in a large historiated initial. [Iberian peninsula (probably Spain), second half 12th Century], in Latin, illustrated manuscript on vellum. A single leaf, 320 by 216mm, recovered from reuse on the binding of an account book, with a near-half-page initial 'D' (opening Psalm 39: "Dixi custodiam uias .") framed with penwork and coloured with yellow wash, enclosing a winged angel appearing to the Virgin holding a banderole with "Ave Marie" on it, both with rosy red-dotted cheeks and in pale green robes, all on red and dark blue grounds, marginal penwork foliage sprays emerging from the initial. Initials in red with foliate infill, some capitals infilled with yellow wash, others infilled in red, red rubrics, text in single column of 20 lines of a fine Iberian Romanesque hand, with music in neumes arranged around a clef-line, an added line at head most probably of the seventeenth century, faded. Examples of Iberian manuscripts of this age are extremely rare on the market. For comparable leaves see Peter Kidd, The McCarthy Collection, Volume II: Spanish, English, Flemish and Central European Miniatures, 2019, nos. 1-3.