Missale.
Double sheet of a Latin liturgical manuscript on parchment, written on …

Description

Missale. Double sheet of a Latin liturgical manuscript on parchment, written on both sides, c. 1400. Text in black and red, 19 lines, with 20 single-line initials in red and green or blue and red and 1 three-line floral decorative initial D in blue, red and green, with fleuronné. Initials in red and green or blue and red and 1 three-line floral decorative initial D in blue, red and green, with fleuronné. Type area c. 43 x 29 cm., sheet size 58.5 x 42 cm. Partly stained and browned. - With: binding vellum (waste paper) of a folio binding with imprinted date 1667. Spine width 14.5 cm, height 43 cm, original binding height ca. 38.5 cm. Rolled, damaged. - Patent in the name of Louis XIV in a fragment of 19 pieces (with partly holes a. larger gaps), writing partly faded. D

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Missale. Double sheet of a Latin liturgical manuscript on parchment, written on both sides, c. 1400. Text in black and red, 19 lines, with 20 single-line initials in red and green or blue and red and 1 three-line floral decorative initial D in blue, red and green, with fleuronné. Initials in red and green or blue and red and 1 three-line floral decorative initial D in blue, red and green, with fleuronné. Type area c. 43 x 29 cm., sheet size 58.5 x 42 cm. Partly stained and browned. - With: binding vellum (waste paper) of a folio binding with imprinted date 1667. Spine width 14.5 cm, height 43 cm, original binding height ca. 38.5 cm. Rolled, damaged. - Patent in the name of Louis XIV in a fragment of 19 pieces (with partly holes a. larger gaps), writing partly faded. D

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Estim. 20 000 - 30 000 EUR

Officium Virginis Mariae secundum usum romane ecclesie. Membranous manuscript, Brescia, c. 1480. 16mo. 106 x 80 mm. French twentieth-century "Jansenist" binding in dark red morocco signed "Alix" in the front counterplate, ribbed spine with gilt title "Livre d'Heures," double gilt fillet hinging, counterplates covered in marbled paper squared with gilt fillet, marbled flyleaves, gilt edges. Sheets: 1 white, 101, 102 white. Numbering in pencil by back hand, writing mirror ca. 65 x 50 mm, 14 lines per page in Gothic lettering in black and red ink.Work consists of: 1 sheet white; Calendar, sheets 1-14; sheets 15-16 white; Virgin's Officio, sheets 17-78: Penitential Psalms and Litany, sheets 79-96; Orations, sheets 97-101, sheet 102 white. Nine full-page miniatures, numerous filigreed Initials of the height of two lines, in gold or blue, accompanied by decorations extending into the margin in light gray or red ink, respectively; many smaller filigreed Initials in gold, of the height of one line, and in blue with thin decorations in red ink.The full-page miniatures are:The Incipit Sheet, Virgin and Child within floral frame with four figures at the corners, the polychrome flowers surrounded by geometric decorations on a white ground;Incipit of the Psalms, with a kneeling king offering a golden crown;Seven Large Initials in gold and polychrome miniature, five rows high, within large frame with polychrome flowers and phytomorphic motifs, on a filigreed ground studded with gold bisants. Splendid Officiolo Miniato with very elegant filigree decoration. Overall, all the ornamentation in the volume is very fine. In the large miniature of the Incipit Officium Verginis Marie the Virgin and Child is in the center of the page framed by gold frame; the wide margins of the folio are finely decorated and lumed with gold. In the corners are four portraits on a gold background: a young man at upper left, appearing to be St. John the Baptist; at upper right, an unidentified saint, depicted as a Bishop of the Catholic Church; below right, St. Paul with canonical attributes, book and sword; below left, St. Peter with the Keys to Heaven. In the gold roundel in the lower center is the Monogram of Christ IHS. Concerning School attribution and dating, we get the information from the Catalogue of the Exhibition "Miniated Treasures ... of Bergamo and Brescia": at card 63 is presented a Missal of the Biblioteca Civica Queriniana ms. C II 3 whose ornamentation and illustration, believed to be of the Lombard School, is very close to the present codex: this Missal was made for the Cathedral of Brescia. Comparing the illuminations in the Missal reproduced in the Catalogue with the illuminations in our Codex, a remarkable similarity of style emerges: manner of working the initials in white lead; filigree friezes with large flowers and leaf viluppi and a kind of large ochre pistil; parts of the frieze on gold foils; the frames, (which in our codex are partly cut out). Drawing and colors. The figures St. Saturninus, Annunciation and Psalmist in the water also appear to be consonant with the Madonna and Child, the saints in the frame and the Psalmist. The miniaturist's name does not appear, but it is a workshop active in the city at that time. In the file, written by Marubbi, two Breviaries similar to the Missal are named-one Franciscan (Sotheby's London 1989 sale, lot. 53) and one Dominican (Christies 1990, lot. 21).Cf. Illuminated Treasures. Codices and incunabula from the ancient fonds of Bergamo and Brescia, exhibition catalog, edited by M.L. Gatti Perer, M. Marubbi, (Bergamo, Brescia 1995) Cinisello Balsamo Silvana Editoriale 1995, pp. 174-175. The lot is sold with valid export permit. Illuminated manuscript on vellum, Brescia ca. 1480. In- 16mo. 106 x 80mm. Twentieth-century French "Jansenist" binding in dark red morocco signed "Alix" on the front pastedown, spine with raised bands with gilt title "Livre d'Heures," squares with double gilt border, marbled paper-covered pastedowns framed by gilt border, flying endpapers marbled, gilt edges. Sheets: Leaf 1 blank, 101 leaves, leaf 102 blank. Later hand pencil numbering, area of text approx. 65 x 50 mm, 14 lines per page in gothic letter in black and red ink.Work composed as follows: 1 blank sheet; Calendar, sheets 1-14; sheets 15-16 white; Office of the Virgin, sheets 17-78: Penitential Psalms and Litanies, sheets 79-96; Prayers, sheets 97-101, sheet 102 blank. Nine full-page illuminations, numerous watermarked Initials two lines high, in gold or blue, accompanied by decorations extending along the margin in light gray or red ink, respectively, many smaller gold Watermarked Initials, height a line, and in blue with subtle decorations in red ink.The full page illuminations are:The i

Estim. 3 000 - 4 000 EUR

BINI, Pietro. Memoirs of Florentine soccer taken from various writings. Florence, Stamperia di S.A.S. alla Condotta, 1688. In 4to. 234x168 mm. Rear binding in half green morocco with corners, friezes and title in gold on spine. Pages [12], 118, 2 copper-engraved plates outside text. Markings: §⁶ A-F⁴ G-K² L⁴ M² N-P⁴ Q⁴(-Q4) R⁴ S²; paper §3 marked §. Italic, Greek and Roman typeface. Ornate initials, Typographic headpieces and endpapers. Medici coat of arms on Frontispiece engraved in copper by Francesco Nacci. The two engraved plates contain the View of Piazza Santa Croce, drawn by Alessandro Cecchini and the Plan with the tactical deployments of the two teams at the start of the match. Page 64 Copper-engraved finial. Sporadic slight foxing, nice copy with good margins. Rare figured edition, the most valuable. This is the most important treatise on the game of Florentine soccer, published for the wedding of Ferdinand Prince of Tuscany and Violante Beatrice of Bavaria. The players in this celebratory game were all members of the Florentine aristocracy and are all listed at the end, in the two formations 'Europeans' (Rosino color) and 'Asiatics' (Green color)'. The works in this anthology include a new, expanded edition of Bardi's "Discorso," originally published in 1580 and which was the first printed book on soccer. There is also a Latin treatise on the game by the Jesuit G.B. Ferrari, a description of the game in Greek verse by Georgios Koresios followed by a translation into Tuscan dialect by A.M. Salvini, and a 'Cantata in musica' by Jacopo del Borgo.Vinciana: "It is well known how the game of soccer described corresponds to that jocund feast which the Greeks called Sferomachia and the Latins Arpasto ... Very fine reprint. The plates are identical with those of the previous edition but carved with better taste." Gamba: "far more copious than any other" The name of the editor, Pietro di Lorenzo Bini, is at the foot of the dedication, on paper §3v. Cicognara, 1570; Gamba, 99; Moreni I, 84 (note); Pinto, Nuptialia, 462; Vinciana, 127. In 4to. 234x168mm. Later binding in half green morocco with gilt corners, gilt title and ornaments on the spine. Pages [12], 118, 2 plates engraved in copper out text. Collation: §⁶ A-F⁴ G-K² L⁴ M² N-P⁴ Q⁴(-Q4) R⁴ S²; the §3 leaf marked §. Italic, Greek and Roman type. Ornate initials, typographical head and tailpieces. Medici coat of arms on the title page engraved in copper by Francesco Nacci. The two engraved plates contain the View of Piazza Santa Croce, designed by Alessandro Cecchini and the Plan with the tactical line-ups of the two teams at the start of the match. On page 64 copper engraved tailpiece. Slight foxing, fine copy with wide margins. Rare illustrated edition, the most valuable. This is the most important treatise on the game of historic football of Florence, published for the wedding of Ferdinando prince of Tuscany and Violante Beatrice of Bavaria. The players of this celebratory game were all members of the Florentine aristocracy and are all listed at the end, in the two formations 'European' (Rosino color) and 'Asiatic' (Green color)'. The works in this anthology include a new expanded edition of Bardi's "Discorso," originally published in 1580 and which was the first printed book on football. There is also a Latin treatise on the game by the Jesuit G.B. Ferrari, a description of the game in Greek verse by Georgios Koresios followed by a translation in Tuscan dialect by A.M. Salvini, and a 'Cantata in musica' by Jacopo del Borgo.Vinciana: "It is well known how the game of soccer described corresponds to that playful feast which the Greeks called Sferomachia and the Latins Arpasto ... Very valuable reprint. The plates are identical with those of the previous edition but carved with better taste." [It is well known that the game of football described corresponds to that merry party which the Greeks called Spheromachia and the Latins called Arpasto ... Very valuable reprint. The plates are identical to those of the previous edition but carved with better taste]. Leg: "assai più copiosa di ogni altra" [much more abundant than any other].The name of the editor, Pietro di Lorenzo Bini, is at the bottom of the dedication, on page §3v.

Estim. 30 000 - 35 000 EUR

FONTANA, Carlo. The Vatican Temple and its origin. Templum Vaticanum et ipsius origo. Rome, Stamperia di Gio. Francesco Buagni, 1694. In-folio large. 440x310 mm. Splendid Italian coeval binding to arms in red morocco, decoration à la fanfare stamped in gold to small irons, with fillets, intricate scrolls, putti, pitchers, twigs, flowers around a large central coat of arms, ornate spine to small irons, internal dentelles, gilt edges. Pages [32], 489 [recte 491], [29]. Errors in numbering of papers in fascicles 2C and 2E, repeated p. 343-344. Text in two columns in Latin and Italian. Frontispiece and text in frame; woodcut initials and friezes. 79 magnificent copper-engraved plates, 10 of which are folded. Caps restored, usual scattered yellowing. First and only edition of the most important architectural treatise on the construction of St. Peter's Basilica and the Vatican. Superb presentation copy given by Innocent XII Pignatelli to Prince Pignatelli Aragona Cortes. The binding, richly decorated with the arms of the Pontiff, was created in the atelier of Giovanni Andreoli in 1694. The work, written by one of the leading architects of the period, is divided into seven books that deal with the site on which the basilica stands, the various stages of construction, the current state of the building, etc. The third book describes and illustrates the complex operation of the erection of the obelisk in St. Peter's Square, carried out in 1586 by Domenico Fontana. The 79 plates, drawn by Fontana and finely engraved in copper by Alessandro Specchi depict views, plans, cutaways. Cicognara: "This great and magnificent work ... the edition could not have been more noble." Cicognara 3731; Berlin Kat. 2678. Fowler 122. Schudt 1017. Rossetti 5091. Folio. 440x310 mm. Magnificent contemporary Italian red morocco gilt fanfare binding with the Pope's coat of arms, sumptuous fanfare decor on the covers, the design is entirely gilt worked around the central coat of arms oval with a multitude of compartments and half compartments connected by volutes and torsades, with fillets, putti, jugs, twigs, flowers all filled with a small gilt tools, spine richly gilt, inner dentelles, edges gilt. Pages [32], 489 [i.e. 491], [29]. Errors in the numbering of the papers of quires 2C and 2E, repeated the p. 343-344. Text on two columns in Latin and Italian. Title page and text within frame; woodcut Initials and ornamentes. Illustrated with 79 engraved plates, including 10 double-page or folding. Joints restored, scattered usual yellow stains, good copy. First and only edition of the most important architectural treatise on the construction of the Basilica of St. Peter and the Vatican. Superb presentation specimen donated by Innocent XII Pignatelli to the Prince Pignatelli Aragona Cortes. The binding, richly decorated with the arms of the Pope, was created in the atelier of Giovanni Andreoli in 1694. The work, written by one of the greatest architects of the period, is divided into seven books dealing the Vatican and the Vatican obelisk, a description of its origin, the most conspicuous ancient and modern buildings made within and outside it, including the plates from his Della trasportatione dell'obelisco vaticano published 1590. In the third book the complex operation of the erection of the obelisk in St. Peter's Square, described in 1586 by Domenico Fontana, is described and illustrated. Book VII includes a comparison of St. Peter's, the Pantheon and the Duomo in Florence. Contents: 1. Most notable things of Roman power --2. Ancient basilica --3. Transportation of the obelisk --4. Porticoes, Squares --5. Vatican Temple --6. Expenses --7. Pantheon & other templesj.The 79 plates, designed by the Fountain and finely engraved in copper by Alessandro Specchi represent views, plants, cross sections.Cicognara: "This great and magnificent work ... the edition could not have been more noble."

Estim. 4 000 - 5 000 EUR

BROCHERO, Julián José. Patent of nobility of Don Luis Bermudo Soriano and Dona Antonia Ortiz De Espinosa. Membranous manuscript, Madrid, May 5, 1774. Membranous manuscript in 4to, mm. 300 x 200. Binding in full red morocco with very rich gold decorations on the plates and on the six-nerved spine, in the center of the plates the arms of King Charles III of Spain. Guard sheets in polychrome marbled paper. Interior consists of 68 vellum papers with text within red double linear frame, at corners arabesque decoration in blue. Text in Spanish, crisp chancery script, brown ink. In the opening two large illuminated folios: the first with two large coats of arms, the second, which serves as the Frontispiece, with the seal-stem of King Charles III surmounted by crown and the Author's name, within architectural composition with the two columns of the Royal House and the motto "Plus Ultra." In text, large illuminated Initials with landscapes, Figured headpieces with titles, Endpapers with coats of arms illuminated in bright colors and gold. Interleaved with coeval silks protecting the illustrations. Outside text a very large family tree dating from Don Ignacio Bermudo Soriano, fold-out. Beautiful, perfectly preserved specimen. Spanish heraldic manuscript from the 18th century, beautifully illuminated. The document is officially compiled and attested by Don Julian Joseph Brochero, first king of arms of Spain. The noble origins of the Bermudo Soriano, Medina Mejorada, La Cadena, Escovar and Ortiz de Espinosa lineages are described. The chapter devoted to each house depicts, in garish and vivid colors, the respective coat of arms, with rich gold embossing. The king of arms, the chief rank among those of the officers of arms, was the chief of the heralds and had the task of guarding the coats of arms granted, making any changes or additions that resulted from new concessions or marriage alliances. To this end, he also saw to recording and correcting the family trees of families. At the end of the volume, the Patente de Noblesse is guaranteed and countersigned by Felipe López de la Huerta, Oficial Real Contador del real Tribunal de Cuentas de Madrid en el Reyno de España.A similar manuscript by Brochero, "Certificación de nobleza y escudo de armas de Bernardo Ballerino," with the same title page, but without binding to the Arms, at the Archivo Histórico Nacional, CODICES, L.1415; digitized in: http://pares.mcu.es/ParesBusquedas20/catalogo/show/2610353. Parchment manuscript in 4to, mm. 300 x 200. Binding in full red morocco with rich gold decoration on the covers and on the ribbed back, in the middle of the plates the coat of arms of King Charles III of Spain. Endpapers in polychrome marbled paper. Interior consists of 68 vellum leaves with text within red double linear frame, at corners arabesque decoration in blue. Text in Spanish, crisp chancery script, brown ink. In the opening two large illuminated folios: the first with two large coats of arms, The second, which serves as the Title-page, with the seal-stem of King Charles III surmounted by crown and the Author's name, within architectural composition with the two columns of the Royal House and the motto "Plus Ultra." In the text, large illuminated Initials with landscapes, illustrated headpieces with titles, Tailpieces with coats of arms illuminated in bright colors and gold. Interleaved with coeval silks protecting the illustrations. Outside text a very large family tree dating back to Don Ignacio Bermudo Soriano, folded. Beautiful specimen. Spanish heraldic manuscript from the 18th century, beautifully illuminated. The document is officially drawn up and attested by Don Julian Joseph Brochero, first king-at-arms of Spain. The noble origins of the Bermudo Soriano, Medina Mejorada, La Cadena, Escovar and Ortiz de Espinosa lineages are described. The chapter devoted to each house depicts, in garish and vivid colors, the respective coat of arms, with rich gold embossing. The king of arms, the principal rank among those of the officers of arms, was the chief of the heralds and had the task of guarding the coats of arms granted, making any changes or additions that resulted from new concessions or marriage alliances. Because of this he also saw to recording and correcting the family trees of families. At the end of the volume, the Patent of Nobility is guaranteed and countersigned by Felipe López de la Huerta, Oficial Real Contador del real Tribunal de Cuentas de Madrid en el Reyno de España.A similar manuscript by Brochero, "Certificación de nobleza y escudo de armas de Bernardo Ballerino," with the same titlepage, but without Armorial binding of the King, at the Archivo Histórico Nacional, CODICES, L.1415; digitized in: http://pares.mcu.es/ParesBusquedas20/catalogo/show/2610353.

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