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Click here to subscribeLaw of Succession.- [Settlement of Succession], manuscript in Latin, 15pp., signed at end and with the blind-stamp of the notary Bernardus Luppus Aretinus, water-stained (mostly to lower inner gutters) and with marginal worm trace and small holes, occasional spotting, modern marbled boards, small 4to, no place, [c. 1450].⁂ On the settlement of succession, including the validity of wills. With numerous references to specific statutes and laws.
Book of Hours, Use of Rome, manuscript in Latin, on paper, 165 leaves only, in a late gothic cursive bookhand, between 27 & 29 lines, in black and red ink, rubricated, some 3-line initials, numerous 1 & 2-line initials in red and blue, red and blue line fillers, some ff. with ruling in red, some letters with elongated ascenders and descenders, note in French crossed out in lower margin of 1f., lacks Calendar, 5 leaves of additional prayers (ff. 31, 32, 38, 39 and 44) in the same cursive hand, ff.1 & 2 on vellum cut down and mounted without loss, f.3 on paper cut down and mounted with loss, 10ff. corners in lower margins strengthened with paper, 1f. with tear in inner margin, some ff. with slight staining in margins, ff. at beginning and end working loose, later endpapers, indistinct ink stamp on front free endpaper, bookplate of the Jesuit Library of Vals (Vaals, Netherlands), 19th century calf, rubbed, remains of gilt spine, label "506" on spine, small tear at head of spine, leaves 182 x 126mm., [Flanders], [c. 1480].⁂ Provenance: Jesuit Library in Vaals, Netherlands, 19 century; From the Library of Barbara Reynolds (1914-2015), Italian scholar, lexicographer, and translator.
Medieval Prayerbook, [Die souter], manuscript in Dutch, on thick paper, in a gothic cursive bookhand, 204ff. (1 blank f.), in brown and red ink, between 28 and 31 lines, rubricated, 1 8-line initial, a few other 6-line and 4-line initials in red and blue with ink penwork decoration, numerous 2-line initials in red, one early initial offset, a few small holes in some margins repaired, slightly browned, 19th & 20th century ink provenance notes on fly-leaf, 19th century half calf, rubbed, some surface wear, joints splitting, spine split but holding, leaves 204 x 136mm., [Netherlands], [c. 1480].⁂ A prayer book, probably for a woman. Provenance: From the Library of Barbara Reynolds (1914-2015), Italian scholar, lexicographer, and translator.Provenance: (1). Monastery of Our Lady of Nazareth at Lier (Duchy of Brabant); suppressed in 1797.(2). Barbara Reynolds (1914-2015), Italian scholar, lexicographer, and translator.
Tuscany.- Notarial ledger, manuscript in Latin on paper, 188ff., including blanks, various secretarial hands, some foxing, occasional staining, vellum pastedowns from a 12th century Italian Bible, contemporary limp reversed calf, with cord ties, concave spine, a few wormholes, some staining, cocked, preserved in a modern board drop-back box, 4to (282 x 212mm.), [Lucca], [late 15th century]. ⁂ Contains 35 records of transactions from the area in and around Lucca, including some relating to the church of San Bartholomeo de Castallo and the abbey at Monte Oliveto. The contemporary binding is a good example of an Italian account book style for this period and preserves a passage from Jeremiah in 12th century manuscript as pastedowns.Provenance: Joseph Pope, acquired from Bernard Rosenthal in 1983; Bergendal MS51.
Pasquinade.- Dialogo di Marforio e di Pasquino, manuscript in Italian, in an italic hand, title and 148pp., last 13pp. later and in a different hand, pen and ink figure "Italy in Chains" laid down on f., title and first 3pp. and last 11pp. at end loose, slightly browned, contemporary limp calf, blind stamped centre pieces on both covers, slightly creased and darkened, sm. 4to, 1620 and 1625.⁂ The manuscript contains a dialogue between Marforio and Pasquino, from the point of view of an Italian, on the political events of the time. These events cover the ambitions of Spain and the reasons for Hungary and Bohemia expelling King Ferdinand II, Holy Roman Emperor, in 1618 when they set up the Elector Frederick V of the Rhineland Palatinate and began the Thirty Years War.Provenance: From the Library of Barbara Reynolds (1914-2015), Italian scholar, lexicographer, and translator.
Italian verse.- [Chiesa (Sebastiano, friar, of Reggio, 1602-66)] [Capitolo fratesco], manuscript in Italian, in a fine Italic hand, on paper, c. 480pp., slightly browned, Barbara Reynolds copy with her ink inscription on front free endpaper "Bought from Cantoni, Milan", later endpapers, 19th century patterned boards, slightly rubbed and browned, edges uncut, sm. 4to, [Italy], [late 17th century].⁂ Unpublished 17 century Italian poem.The Capitolo is a humorous and satirical poem on the life of friars. Consisting of sixteen cantos the poem is a collection of stories portraying the daily life in a monastic community.Barbara Reynolds (1914-2015), Italian scholar, lexicographer, and translator.
Logic.- Aranha (Sylvestre, Jesuit, philosopher, 1689-1768) Disputationes..., 2 parts in 1, manuscript in Latin, 2 titles and 550pp., general title ink stamp "Disputationes" and rest in manuscript, contemporary calf, slightly rubbed, gilt panelled spine, red morocco label, gilt, slight wear, sm. 4to, [?Spain], [c. 1750].⁂ Provenance: Provenance: From the Library of Barbara Reynolds (1914-2015), Italian scholar, lexicographer, and translator.
Italian verse.- [Chiesa (Sebastiano, friar, of Reggio, 1602-66)] Capitolo fratesco Prurito geniale di Fra Tisabesano Sechia, manuscript in Italian, c. 597pp., manuscript title with engraved border and 16 engraved plates (7 by Jacques Callot), a few small stains, slightly browned, Barbara Reynolds copy with her ink inscription on front free endpaper "Presented to Barbara Reynolds by Professor A.B. Cook Aug. 29, 1947. Cambridge", 19th century marbled endpapers, 18th century gilt calf spine laid down on later calf-backed boards, spine split, new leather and gilt label, 8vo, [Italy], [18th century].Provenance: From the Library of Barbara Reynolds (1914-2015), Italian scholar, lexicographer, and translator.
Italian plays.- Rocchetti (Antonio D., dramatist) David Rizio, Tragedia, autograph manuscript in Italian, title and 87pp. only, 2pp. (pp. 83-86 removed after censorship), central folds, a few ff. small stains at head, slightly browned, ink stamps of the "Censura dir Firenxe" on each page, bookplate of Cardinal Nina of Recanati on title, contemporary polished calf, upper joint splitting, [Senigallia], dated at end 14th April 1847; and another, earlier Italian play, ?Ferd. Porri, Leandro, folio (2).⁂ Rochetti, a friend of Pope Pius IX, unable to obtain permission to print this drama on Mary Queen of Scots in the form he had written it, withdrew it from publication in consequence of this interference by the Florentine Censor. Provenance: After the playwright's death the manuscript was purchased by Cardinal Nina of Recanati. Every page of the manuscript bears a large stamp with the arms of Tuscany, surrounded by the legend "Censura di Firenze"; From the Library of Barbara Reynolds (1914-2015), Italian scholar, lexicographer, and translator.
Yorkshire, East Riding.- Charter, grant by Robert de Cauz to Simon his son of half of his arable land and capital messuages in Dringhoe, witnesses: Robert of Ulrome, Theobald of Ulrome, ?Henry de Lasey and others, manuscript in Latin, in a fine charter hand, 9 lines, in black ink, lacks seal, some small holes slightly affecting a few letters, folds, browned, 74 x 175mm., [c. 1180].⁂ During the period 1182-1197 Robert de Cauz gave to Meaux Abbey six bovates of land in Dringhoe.Dringhoe, approximately 5.5 miles north of Hornsea to the west of Skipsea Brough.
13 century royal cook.- Eleanor of Provence (Queen of England, consort of Henry III, c. 1223-91).- Lovel (Henry, royal cook in the household of Eleanor of Provence) Charter, agreement between Hugh G[er]negan and Henry Lovel, cook of her ladyship the Queen, that Hugh has demised to Henry his manor of 'harpefeld' [Harpsfield, Hatfield, Hertfordshire] with all its tenants' homages and lands, services, referring to a rent in St. Albans etc. as received by Hugh and Ela his wife to farm [lease] for four years from the feast of All Saints 44 Henry III [1 Nov. 1259] for ten marks [£6 13s. 4d.] a year, payable in the King's hall at Westminster, witnesses: Sir William de Hecham, Robert de Ehelniaresford and others, manuscript in Latin, on vellum, 24 lines, in a handsome bookhand, indented chirograph form, without seal, 2 small wormholes, folds, slightly creased, small stain, slightly browned, 230 x 255mm., 1259.⁂ Lovel is mentioned in the Fine Rolls of Henry III. "5 November 1256For Master Henry Lovel. The king has granted by his charter to Master Henry Lovel, the queen's cook, a certain place at Crochefeld' in the parish of Bray which contains ten acres and the fourth part of one acre by the king's perch of 20 feet to have to him and his heirs forever, rendering therefor 41d. per annum to the bailiff of Bray who shall be at that time for the king's use for all service etc."
Lincolnshire.- Epworth sermons.- Sermons, manuscript, c.196pp., numerous corrections to text, closely trimmed, touching text, occasional chipping, a few repairs, occasional staining, lightly browned, 19th century half calf, spine gilt, spine chipped at head and lower joint, covers stained, rubbed, 8vo, [c.1660-70].⁂ Sermons from the birthplace of Methodism. A working manuscript of sermons in a small hand, with each page densely packed. They were preached at Epworth and Doddington, with some being signed off with the place and date of preaching. At the time James Gardiner had the living of Epworth, which was later the birthplace of Methodism. John Wesley was soon after rector of the parish, and his sons John and Samuel were born there. Includes 'Thanksgiving for victory at sea upon the Dutch', 1666.
Berkshire Estate Map, White Waltham.- Mar (William, surveyor) A Mapp of Land belonging to Feenes House in ye Parish of White Waltham in ye County of Berks, manuscript estate map with watercolour wash in green, yellow, red and blue, on vellum, folds, small brown stain in centre, some slight soiling, 540 x 630mm., 1689.⁂ Feenes, now called Ffiennes. White Waltham, 3.5 miles west of Maidenhead.
Oxford, Tuscany, Venice & Rome.- Nicols (William, Latin poet and Church of England clergyman, 1655-1716) Copy of letter from William Nicols to Sir John Percival in defence of Mysteries, 25pp., dated 1679/80 [but 18th century] bound with 5 other manuscripts, comprising: 3 on Tuscany, 1 on the Republic of Venice and "Explication of the Abreviation of Roman letters on Medalls &c given me by Ficeroni the Antiquary [Francesco de' Ficoroni (1664-1747), Italian antiquary] at Rome 1708", all but the first manuscripts in Italian, all but the first 265pp., Contents f. at beginning loose, a few ff. with marginal tears, slightly browned, manuscript contents f. loose at beginning, bound in 18 century calf, gilt, rubbed, upper joint splitting, gilt panelled spine, 8vo, [18 century].⁂ A Grand Tour volume. Provenance: From the notes on the Contents leaf: (1) "Mr Nichols letter to Sr Jo. Percival my father", Sir John Percival (d. 1686), of Ballamachow, co. Cork, Ireland, Bt., Christ Church, matriculated, 1676 (2) "Explication... given me by Ficeroni...", probably compiled by Sir John Perceval, first earl of Egmont (1683-1748), politician and diarist; first Governor of Georgia.
Morrice/Ducarel & related families.- Collection of documents, correspondence and genealogical notes relating to the Morrice and related families, including: 5 military commissions made out to William Morrice (3 signed by George II and 2 signed by George III), 1754-71; 2 manuscript versions of a poem, "Lines addressed to Lady Clive on Receiving a Print of Lord Clive", 1790; conveyances and mortgages; correspondence relating to business and social affairs (including an ALs from Adrian Ducarel to his future wife Elizabeth Hamilton in Rotterdam; Als from H.J. Vernon regarding a visit to London, "we went to Drury Lane (at ½ price) and saw the Black-eyed Susan & the Devil on Two Sticks"); Certificate of proof of baptism made out to Owen Wright in Deal, Kent, manuscript on vellum, 1656; genealogical notes and pedigrees etc., manuscripts, most on paper, some on vellum, folds, browned, some creased, v.s., v.d. [17th - 20th centuries, most 19th & 20th centuries] (qty).
Beginning of the Anglo-Spanish War.- Gibraltar.- Berkeley (James, third Earl, First Lord of the Admiralty) Orders to Vice-Admiral Sir Charles Wager to commence hostilities with Spain, manuscript, bifolium, 1p. of orders, signed at foot by Berkeley & others, docket title, folds, some strengthened, little spotting, lightly browned, 298 x 188mm., 4th March 1726.⁂ Triggered by Spain's failed attempt to capture Gibraltar, and Britain's unsuccessful blockade of Portobelo. It was a short war (1727-29), ending with the Treaty of Seville.
Locke (John) .- Law.- Callaghan (Robert) The contractions of Mr. Lock's Essay concerning humane understanding by Robt. Callaghan, manuscript, 101pp., within a commonplace book with an additional 151pp. of mostly legal notes, a few ff. working loose, occasional spotting and mostly light staining, lightly browned, upper joint split, contemporary vellum, 'To be kept' inscribed in ink on lower cover, foot of spine worn, horizontal cut to lower cover, soiled, small 4to, [?Dublin], 1731-33.⁂ A systematic and erudite summary of Locke's Essay up to the tenth chapter of Book IV by an 18th century Irish lawyer. In the second part of the volume Callaghan discusses specific legal cases, including Sir William Pelham (Lord Lieutenant of Ireland in the 16th Century) and 'Lord Strafford ... Lieutenant of Ireland' (probably Thomas Wentworth, 1st Earl of Strafford and Lord Deputy of Ireland), and looks at the operations of different types of courts and the roles of officials within them. He also considers the differences between Irish and English law, and outlines the definitions 'of crimes & misdemeanors', including high treason, manslaughter, arson and kidnapping. Moving away from the Law we find discussion of natural law and metaphysics, and a seemingly unpublished 17pp. work of physics, beginning 'De objectu physices'. The compiler is possibly Robert Callaghan of Dublin, alumnus of Trinity College, The Middle Temple in London, and King's Inns back in Dublin, which he joined in or around 1733 (the latest year documented in the present manuscript). He later followed in his father's footsteps and became a Member of Parliament.
1745 Rebellion.- Stuart (Charles Edward Stuart, known as the Young Pretender and Bonnie Prince Charlie, 1720-88).- Money Borowed of ye Following persons to pay what ye Rebells extorted from ye Town of Salford 10th December 1745 for which mr Dickenson & my Selfe gave our joints notes payable in 3 months, manuscript, 18pp., stitched as as issued, spine repaired, unbound, slightly foxed and browned, Britannia watermark, 320 x 104mm., 1745.⁂ The Young Pretender invaded England on 31 October 1745 and marched through Carlisle, Preston and Manchester before stopping at Derby and retreating. He enjoyed widespread popular support on the journey south, particularly at Preston, Manchester and Salford, but very few joined his army.
Mathematics of trades.- John LLoyd his accoumpt book, 2 parts in 1, manuscript, 180 + c.104pp., numerous diagrams, the odd table or illustration, second part pp.11-12 torn out, some repaired tears with loss of text in most instances, a few ff. loose, stained, lightly browned, contemporary vellum, rebacked, soiled, small 4to, 13th December, 1748.⁂ A comprehensive work that includes, timber, glazing, plastering, and chimneys.
Dorset Estate Map, Cheddington.- Donne (Samuel, surveyor, of Melbury Osmond, near Yeovil) An Accurate Map and Survey of Several Farms and Tenements Situate within the Manor of Cheddington... the Property of Thomas Bishop of Weeks Court near Bridport..., manuscript estate map in pen and ink and boundaries highlighted in red, on vellum, soiled and creased, 790 x 755mm., 1763; and another estate map relating to Weston Farm in the Manor of Costom, 1763, v.s. (2).⁂ Chedington, 4 miles southeast of Crewkerne.This lot is sold subject to the Manorial Documents Rules and cannot be exported from England and Wales.The purchaser of the documents must notify the Secretary of the Historical Manuscripts Commission of their acquisition and provide details of where they will be kept.
America.- New Hampshire bastardy laws.- A group of 9 eighteenth century manuscript documents relating to violations of bastardy laws, folds, some with small holes at folds, occasional spotting or light staining, lightly browned, v.s., Rockingham County, NH, 1766-91.⁂ Detailing events that led to women falling pregnant out of wedlock. 'Labourer came to her into the chamber of the said house and by wheedling & promises of great ?kindings prevailed with her & then & there had carnal knowledge of her body whereby she is now pregnant of a child likely to be born a Bastard'.
Oxfordshire Estate Map, Williamscot.- Jennings (J., surveyor and delineator) Plan of the Estate, at Williamscot, Wardington & Bourton in the County of Oxford Belonging to John Loveday, manuscript estate map in pen and ink and green watercolour wash boundaries, on vellum, some slight soiling, 680 x 800mm., 1786.⁂ Williamscot, 4 miles northeast of Banbury.
Genealogy.- Langham/Musgrave family.- Pedigree roll of the line of descent from Edward I to Sir James Langham Bt. and children, manuscript on a single vellum membrane, hand-coloured line of descent from Edward I and manuscript names within roundels, ending with the children of Sir James Langham & his wife Juliana Musgrave, short tear in left corner not affecting pedigree, some slight surface wear, slightly browned, 307 x 804mm., [c. 1790s].⁂ A pedigree roll drawn up in support of Langham's appeal for a peerage in right of his wife, Juliana Musgrave who could trace her lineage back to Edward I, and through his youngest daughter, Elizabeth's (1282-1316) marriage to Humphrey de Bohun, fourth earl of Hereford and ninth earl of Essex (c. 1276-1333). Langham, in a letter to William Pitt, 4 January 1788, requested "the high honour of an English peerage", pleading his service in the army, his estate of "unencumbered landed property in Northamptonshire and Somersetshire of £10,000 p.a.", and his connections with the aristocracy. Langham's appeal failed with Pitt declining to raise him to the peerage. Langham's son tried again some years later and was similarly unsuccessful. Sir James Langham, seventh Baronet of Cottesbrooke (1736-95) was an English politician who sat in the House of Commons from 1784 to 1790. He was the son of William Langham and his wife Mary Drought, daughter of Anthony Drought. He inherited the baronetcy from his uncle Sir John Langham, sixth Baronet in 1766. He was sheriff of Northamptonshire in 1767, and elected Member of Parliament for Northamptonshire in 1784, holding seat until 1790. Langham married Juliana Musgrave (1741-1810), daughter of George Musgrave (1717-42) of Nettlecombe and Combe Sydenham in Somerset, and sister and heiress of Thomas Musgrave (1741-66). By his wife he had four children including the eldest son and heir, Sir William Langham, eighth Baronet (1771-1812); and younger son, Sir James Langham, tenth Baronet (1776-1833). The roll includes the names of Sir James' & Juliana's children, William, Marianne, Charlotte & James.
Slavery.- St Vincent Island.- Akers (Edmund Fleming, plantation owner, 1757-1821) Mortgage to his brother Aretas Akers II with schedule of 203 enslaved persons and 165 acres of land on Monkton's Land, St Vincent, sold for £15,664-14s-4d; with duty stamps, manuscript on vellum, 6 sheets, slightly yellowed and soiled, 560 x 680 mm., London, 2nd November 1796.⁂ The schedule lists slaves names and, where relevant, occupations, including: carpenters, distillers, coopers, boilers, masons, carters, a fireman and a sick nurse, with names of mothers entered against their children. The present mortgage relates to part of the estate of Aretas Akers (1734-85), a substantial landowner in St Kitts and St Vincent.
Naval.- Peninsular War.- Orders and Letters Received, manuscript fair copies, 88pp., first f. loose, folds, occasional spotting or light staining, contemporary vellum, circular ms. label to covers, soiled, folio, 1808-10.⁂ A fascinating insight into operations of the period, mostly relating to HMS Impetueux under the command of Captain John Lawford. Includes provisions, use of rockets, and reports on victories. Signatories include Lord Gambier (mostly), and Captain Robert Stopford.
19th century autobiography.- Steele (John, of Manchester) [Autobiography including service in the British Army and the assault on Buenos Aires], autograph manuscript, 92pp., first 3ff. and last f. margins repaired, all ff. inner margins on stubs, browned, first and last f. soiled, new endpapers, modern panelled calf, watermarked 1805, sm. 4to, [1806].⁂ An account of the unsuccessful British assault on Buenos Aires in 1806.An account of Steele's life from an early age in Manchester, including running away to Liverpool and joining a Royal Naval vessel (but leaving before it sailed), getting married, marital discord, joins the Lancashire Militia in Essex, rise to the rank of sergeant, and sailed with his regiment to service overseas to South America via the Cape of Good Hope. Describing life on board, "Blacks and greatest part of the Women and Men was Entirely naked except a small rug or cloth... Living... [on] Goats milk and Indian Corn... I have seen them eat Stinking Meat... ." He digresses with the story of an old school girl friend from Manchester, "One night... with a Gentleman... I was so unfortunate as to take from him in jest his pocket book... he ordered me to be sent to prison, and on being Tryed... sentenced Seven Years Transportation... I was put on Board a Ship... we set Sail for Bottony Bay but was Drove upon a Rock... near Folks Town where all... on Board Perished... Except myself and 3 More... ." The regiment sails to South America, landing at Buenos Aires, and the assault, "... at three O Clock in the Morning we was to assemble for the purpose of Storming the town at Day Break with small arms... . We entered the town... meeting with very little Oposition... we was attacked with a Very hot fire... we Suffered with Great loss of Men... we Came to the Grand Cathedral, where we took our Post... with Moment Expectations Of Being Suported with Genl. Whitelock and his Grand Army but he never Came... which Occasioned us to surrender having lost nearly 300 Men Killed and Wounded... ."
British diplomat to Florence in the year of Napoleon's return from exile.- Fane (John, eleventh Earl of Westmorland, as Lord Burghersh, diplomatist and composer, founder of the Royal Academy of Music, 1784-1859).- Correspondence to which Letters, &c., by & to Lord Burghersh have Relation... 1815 to... 1816, manuscript fair copies of diplomatic letters, most in English, a few in French, c. 260pp., later title and 3½pp. list of Contents, dockets on verso of letters, folds, slightly browned, mid nineteenth century half morocco, gilt, slightly rubbed, gilt spine, folio, 29th March 1815 - 28th September 1816.⁂ "Naples Bay September 28th 1815 Sir, I have the honor to inform you of my arrival in the Bay of Naples in consequence of the trust vested in me by the Prince Regent... for the distribution to the British and Sicilian troops... of the produce of the property captured in Genoa and its dependencies. The nature of this commission renders it almost impossible for me to settle the various matters connected with it, excepting upon the spot and in communication with the parties concerned,. Having also had occasion to know the disappointment that these troops have experienced in former cases of prize money, I am particularly that my brave companions in arms should not only receive the just reward of their services, but that they should be convinced that they have been treated with justice and impartiality. It seems imputed to me by the marquis [Circello] that in conjunction with Murat's army, I may conspire to the danger of the state, and His Majesty in consequence forbids my entrance into the kingdom. I am willing to believe that a supposition so monstrous can only have arisen in misconception... ." - William A'Court, first Baron Heytesbury (1779-1860), diplomatist.Copies of letters sent to Lord Burghersh in his capacity as British Minister in Florence in the aftermath of Napoleon's defeat at Waterloo. The correspondents include: Lord William Bentinck, Lord Bathurst, William A'Court, William, first Baron Heytesbury, Lord Castlereagh, Lord Stewart, Lord Clancarty etc.
Oak of Abraham & Poems written in Palestine.- Rogers (Mary Eliza, traveller, author of "Domestic Life in Palestine", 1861, daughter of William Gibbs Rogers, wood carver, 1792-1875, 1827-1910), William Harry Rogers (1825-73), designer and illustrator; George Alfred Rogers (b. 1837), wood carver, brothers of M.E.R. Gleanings from an old desk for Jane Paul with M.E.R's love, autograph manuscript, title and 71pp. excluding blanks, bound in carved oak boards in relief ?from the Oak of Abraham depicting leafy branches within an oval border and acorns in corners on both covers, ?by William Gibbs Rogers, new panelled calf spine, g.e., housed in the original morocco box, slightly rubbed and faded, 8vo, Easter Monday 1862-87.⁂ Mary Eliza Rogers had a wide circle of friends in the artistic and literary society of London, including William Holman Hunt, John Ruskin and Professor Francis Newman (brother of Cardinal Newman).Poems include: "Lines to be placed under Holman Hunt's picture 'The Shadow of the Cross'... George Alfred Rogers"; "It is Christ that died... Written in the Church of Mount Zion, on the occasion of the baptism of a beautiful young Jewess Mary Eliza Rogers September 1855."
Elyot (Sir Thomas) The Boke named the Governour..., black letter, lacking title but supplied from 1553 edition (with woodcut architectural border dated 1534 in the sill, leaf slightly shorter than rest of text), woodcut initials, contemporary and near contemporary ink signatures & inscriptions to head & verso of title, verso of final leaf and leaf of printer's waste bound as front free endpaper, including those of John Alyngton & Thomas Cutter and later Francis Winn dated 1686, marginalia in fine contemporary hand, later manuscript index of corrections bound in at rear, title soiled and with short tear to inner margin, free endpapers supplied from 15th century Latin illuminated manuscript on vellum, old calf, a little worn, rebacked and repaired, [STC 7640; cf. Pforzheimer 254 & PMM 61, first edition], 8vo, [printed by Thomas Marsh], [1557].⁂ Influential work on moral philosophy and concerning the education of those destined to govern. It was first published in 1531 and there were several further editions throughout the 16th century. Despite the title dated 1553 this is actually the 1557 edition bound with the earlier title, evident from the signings of signatures y and z being in lower case.
Refuge (Eustache de) A Treatise of the Court or Instructions for Courtiers, translated by John Reynolds, 2 parts in 1, first edition in English, fine engraved architectural title, woodcut initials and typographic ornaments, with blank leaf & letterpress title to second part and 2 preliminary leaves bound after O6 as usual and text continuing with O7, with errata leaf at end but lacking final blank, light browning to first few leaves but an excellent copy in contemporary vellum, spine titled in manuscript, a little soiled and marked, [Heltzel 494; STC 7367], by A[ugustine] M[atthews] for Will. Lee, 1622; The Accomplish'd Courtier...By H.W., woodcut initials and head-pieces, without 20pp. Index at end (never bound in), title and final leaf a little browned, contemporary sprinkled sheep, rubbed, a little stained, spine and joints worn, covers slightly splayed, [Wing D2682C], for Thomas Dring, 1658, 8vo (2)⁂ Scarce translations of Refuge's Traité de la Cour, first published in 1616, the second item being the second part only. ESTC lists 6 UK copies of the first.
[Shaw (John)] A True Christians Daily Delight: being the Summe of every Chapter of the Old and New Testaments..., translated by Simon Wastel, headings with woodcut borders, lacking final gathering of 3 text leaves and blank (text supplied in manuscript in neat nineteenth century hand), some soiling, unusually bound in nineteenth century calf with lattice containing ornaments tooled in blind, red morocco label, rubbed, [STC 25103], 12mo, by G.Eld and M.Flesher, for Robert Mylbourne, 1623.⁂ First and only edition under this title of Wastel's translation into English of John Shaw's Biblia summula, with chapters summarised in verse, each one with initial letter in alphabetical order to help children memorise the Bible. A second, enlarged edition appeared in 1629 under the title Microbiblion.... Rare; ESTC lists only 3 UK copies (BL and 2 at Oxford) and 4 in America.
La Serre (Jean Puget de) The Secretary in Fashion: or, An Elegant and Compendious way of writing all manners of Letters, translated by John Massinger, sixth edition in English, additional engraved title, contemporary ink signature "Eliz. Amherst junr" to head of title, stain to fore-edge of first few leaves, some spotting, contemporary sprinkled calf with corner-pieces in blind, rubbed, spine ends a little worn, splits to joints, [Wing L462bA], for Peter Parker, 1683 § [Le Faucheur (Michel)] The Art of Speaking in Publick: or an Essay on the Action of an Orator, second English edition, title and final leaf browned, contemporary manuscript notes to rear endpapers, contemporary speckled calf, gilt, rubbed, upper joint split, small chip to head of spine, for N.Cox, 1727, 8vo (2)⁂ The first is the final edition of Massinger's translation (a reissue of the fifth edition with a cancel title) and is rare; ESTC records only a copy at Yale but WorldCat adds one in the British Library, and another in Germany.The second item is a translation of Le Faucher's Traicte de l'Action de l'Orateur published in 1676.
James II, King of England. The Pious Sentiments of the late King James II, of Blessed Memory. Upon Divers Subjects of Piety, only edition, browned, contemporary ink signature to front free endpaper, contemporary sheep, worn, rebacked, 1704 § F[ox] (G[eorge]) Concerning Good-Morrow, and Good-Even; the Worlds Customs..., only separate edition, browned, lacking small portion from lower margin (repaired), later roan-backed boards, rubbed, [Wing F1766], for Thomas Simmons, 1657 § Calamy (Edmund) A Patterne for all, especially Noble and Honourable Persons, to teach them how to die Nobly and Honourably..., first edition, title in first state with age supplied in manuscript, thick black border, browned, some stains, modern calf-backed marbled boards, [Wing C262], for Edward Brewster, 1658 § Sovereign (The): Or a Political Discourse upon the Office and Obligations of the Supreme Magistrate, only edition, lacking initial blank, woodcut initial and typographic ornament, old ink library reference to head of title and number to verso, title and final leaf a little soiled, modern calf ruled in blind with ornaments to corners, spine faded, [Wing S4777], 1680, 4to (4)⁂ The first item is rare; only 5 copies in ESTC (Aberdeen, BL, Cambridge, Oxford, and Cornell in America).
Chaucer (Geoffrey) The Workes, edited by William Thynne, 2 parts in 1, double column, black letter, title to part 2 within woodcut architectural border, woodcuts of the Knight and a squire, woodcut criblé initials, contemporary ink marginalia, lacking all before A4 (including first title), A6-8, 3P1, 3Q1,5&6, some of these provided in attractive contemporary manuscript, 2S1-4 repairs where text excised or in case of the 2S4 torn away, some text supplied in same hand as above, 2R6 upper corner repaired with loss of text, a few tears, last few ff. loose, some water-staining / staining, occasional spotting, lightly browned throughout, contemporary blind-ruled panelled calf, worn, with loss, lower cover detached, [cf. STC 5074; Pforzheimer 175; Grolier 41], small folio, [c.1550]; sold not subject to return. ⁂ One of four variants of the undated fourth collected edition, which was published simultaneously by four London booksellers (William Bonham, Richard Kele, Thomas Petit and Robert Toye). It is the last edition of Thynne's highly regarded version of The Workes. Thynne held a number of offices at the Court of Henry VIII, including chief clerk of the kitchen, who was in charge of all royal banquets.
Bible, English.- The Holy Bible, Conteyning the Old Testament, and the New: Newly translated out of the Originall Tonges;..., Second Folio edition, the 'Great She Bible', black letter, text in double columns, 59 lines, printed within a ruled border with enclosed inner and outer margins for side-notes, roman type for chapter summaries, roman and italic for side-notes, general and New Testament title within ornate woodcut border (McKerrow & Ferguson 231), calendar in red and black, woodcut historiated and decorated initials, headbands and tail-pieces, Speed's Genealogies inserted before Genesis, lacking engraved More-Speed 1611 double-page map of Canaan, lacking 4 ff. of text (2E1, 4A6, 4B1, Z2), general title silked and laid down on paper, A2-3 silked along edges, A4 paper reinforcement to lower edge, B1 paper reinforcement to gutter, 2R1 small marginal manuscript ink annotation, NT 3 ff. lower corner fore-edge defective affecting border no text loss (B1, B3, D5), 3 ff. lower corner fore-edge defective with loss of text (F2, F5, Z3-4), 3 ff. defective with major text loss (C6, P6, Z1), X6, Y1-6, Z3-4, 2A1-6 silked or with paper reinforcement to lower or fore-edge, Z5-6 silked on both sides, Z5 and 2A4 defective with portion supplied in manuscript facsimile, 2A1-2 and 2A5-6 supplied entirely in manuscript facsimile in 18th century hand (2A6 manuscript hand too large; last line Rev 22:12 (of 22:21, lacks final 9 verses)), a few other leaves with very small chips or tears to blank margins, damp-staining, some creasing, endpapers renewed, hinges reinforced with cloth, 18th century mottled calf, stamped in blind, rebacked, upper cover with calf repair to fore-edge, tooled brass corner-pieces and centre-pieces (chipped), lower cover with brass clasp fixtures, [Herbert 319; STC 2224], folio, Robert Barker, 1613-11.⁂ A substantially complete copy of one of the early King James folio Bibles. Second folio edition, also known as the 'Great She Bible', it has Ruth 13:15 as, "she went into the citie". In this copy, the misprint in Matthew 26:36, where the name of "Judas" appears rather than "Jesus", - "then cometh Judas with them unto a place called Gethsemane..." - remains uncorrected (often found with a corrected over-slip laid down over the error).
Bible, English.- The Holy Bible, Containing the Old Testament and the New: Newly Translated out of the Originall Tongues;..., black letter, text in double column, 59 lines, printed within ruled border with enclosed inner and outer margins for side-notes, roman type for chapter summaries, roman and italic for side-notes, general and New Testament titles within ornate woodcut border, calendar in red and black, woodcut initials, headbands and tail-pieces, without John Speed's double-page engraved map and genealogies, lacking final leaf of printed text (7D6), text supplied over two leaves of manuscript facsimile in a later hand, general title loose, trimmed and chipped (some loss to woodcut border), laid down to paper with some glue staining, 3 ff. defective lower corner fore-edge with some loss of text (A4, B1 and 7D5) but many ff. with small amounts of chipping or small tears (predominantly to blank margins), creasing to margins and corners, especially towards rear, damp-staining, spine entirely defective, contents loose, remains of stitching, near contemporary blind-stamped reverse calf, covers detached, lower cover large portions torn away and peeling revealing board, upper cover rubbed, [Herbert 487; STC 2312], Robert Barker...by the Assigns of John Bill, 1634; sold not subject to return. ⁂ Fourth distinct folio edition of the King James' Bible.
Bible (English) The Holy Bible Containing the Old Testament and The New, engraved architectural title, ruled in red, final blank with modern manuscript annotations, lacking initial blank? (pi1?), occasional spotting, by the Assigns of John Bill deceas'd, Henry Hills and Thomas Newcomb, 1682 bound with The Psalms of David in Meeter, title within woodcut border, ruled in red, some marginal browning, Edinburgh, George Swintoun, 1675, together 2 works in 1, lacking endpapers, contemporary red panelled morocco, richly gilt, covers with centre-pieces of acorns, flowers and leaves within a small field of framed dots, in turn within a wide scrolling foliage border with its own triple filet frame richly decorated with flower heads and foliage corner-pieces, all within an outer double filet border, spine in compartments and with central floral- and foliage-filled circular decorations, each dissected by a raised band and flanked by triangular floral side-pieces, all within a border of double filets, spine with central vertical crease and occasional splitting, corners worn, some staining, rubbed, vanishing fore-edge painting depicting a rose and thistle, 8vo (172 x 121mm)⁂ A very early example of a vanishing fore-edge painting. This decorative tradition is accepted as having taken-off in the 1650s, in a London bookbindery. The image here present is typical of early styles in fore-edge painting which were often floral designs, scrolls and possibly biblical scenes; this example depicts a verbal caption encased within a heart, between a rose and thistle, as well as what might be a frond of strawberries to the right, and further flowers to the left. Fore-edge painting reached its zenith in popularity in the late eighteen century. Bible as per Wing B2319B, but with collation A-Zz4 Aaa8 and with New Testament title dated 1675. Psalter as per Wing B2519, but with collation A-F4. Both scarce.
Music.- Purcell (Henry) Orpheus Britannicus. A Collection of all the Choicest Songs for One Two and Three Voices, first edition, engraved portrait frontispiece, title in red and black, wood-engraved music, lacking 'A Table of Songs' leaf with advertisement to verso after a2, some trimming at head and foot, affecting page numbers at head, loss of some signatures and sometimes affecting musical score at foot, occasional light spotting, endpapers renewed, but retaining original front endpaper to which later ink manuscript annotations, nineteenth century half-calf, with mounted morocco label to upper cover, worn, [Wing P4218], folio, J. Heptinstall for Henry Playford, 1698
Music.- Babell (William) Suits of the most Celebrated Lessons Collected and Fitted to the Harpsicord or Spinnet..., first edition, engraved title, engraved 'Table of the Lessons', 76 engraved plates of music (numbered 2-77), manuscript ink annotation to front endpaper verso, title with light uniform browning and offsetting, plate 65 with small marginal tear to lower edge (just touching but not affecting music), some light browning and spotting, endpapers renewed, modern half calf, upper joint splitting at head and foot, rubbed, folio, Walsh and Hare, [1717].⁂ Rare. RISM (Répertoire International des Sources Musicales) lists no copy at the BL, nor is it listed on ESTC. Meanwhile, RBH lists only 4 copies at auction in the last 40 years. This collection, which includes some of Babell's own material, also contains some of the earliest known published arrangements and harpsicord transcriptions of arias by G. F. Handel, for example from his operas Rinaldo (1711) and Teseo (1713). Although Babell (1960-1723) was trained predominantly by his bassoonist father, it is thought to be possible that Handel also contributed to his musical training.
Music.- Graystock or Greystock (John) [Volume of music set to the Psalms], manuscript lyrics and notation, 52pp. excluding blanks, signed numerous times, some ink marks, browned, last f. some worming, loose in original roan, worn, traces of worming, covers broken but holding, 100 x 155mm., 1726-46.⁂ Includes a few lyrics and some music instruction: "... you must mind your time for you had as good sing without tune as without time"; "Into this world we nothing brought"; "Of Chords & Discords"; "Bassus Psalm 23 Beverly tune" etc.
Music.- Skelton (Francis) [Psalms, Hymns and Anthems], manuscript lyrics and notation, c. 370pp. excluding blanks, browned, some marks, hinges weak, original roan, blind-stamped borders, worn, 120 x 200mm., 1813.⁂ Includes: "A Noon Hymn"; "Psm 104th. Last 3 Verses"; "Anthem for Funerals taken from ye Burial Service"; "Vital Spark"; "Harvest Home"; "Funeral by Jas. Leach"; "Millennium... Crabb"; "The Summers Evening Words by Dr [Isaac] Watts" etc.
Music.- Wood (Thomas, composer, of Parsonage Hall, Bures St Mary, Essex, 1892-1950) Suffolk Punch, autograph manuscript score signed, 120pp., a few autograph manuscript notes in ink and pencil, original cloth, gilt spine, folio, 3rd April 1930.⁂ The concert overture Suffolk Punch appeared in 1930.
Presented to a minister of the 'First Church in Boston'.- Watts (Isaac) The Holiness of times, places, and people under the Jewish and Christian dispensations consider'd and compared, first edition, initialled presentation copy from the author to the Rev. Thomas Foxcroft, advertisement f. for books by Watts (with a manuscript addition at end, ?by Watts himself), some contemporary ink underlining and marginal markings, staining (including some ink) and spotting, lightly browned, contemporary calf, gilt, spine in compartments, upper cover detached, spine ends and corners worn, small circular piece from leather of lower cover, rubbed and scuffed, large 12mo, Printed for R. Hett and J. Brackstone, 1738.⁂ Provenance: 'To the Rev'd Mr. Foxcroft - in Boston - IW:'. Rev. Thomas Foxcroft (1697-1769) minister of the First Church in Boston, MA. He was the son of Col. Francis Foxcroft, Warden of King's Chapel and Elizabeth Danforth, daughter of Governor Thomas Danforth. He was educated at Harvard. Presumably his 'Rec'd August.17.1738'; 'Nath. Emmons, A.D. 1777.'. Nathanael Emmons (1745-1840) New England Congregational minister and influential theologian, who was educated at Yale; 'Jacob Ide's'. Jacob Ide (1785-1880) Massachusetts Congregational minister, who was educated at Brown University (ink inscriptions to front free endpaper).
18 century velocipede.- This Ticket Will entitle the Bearer to a Sight of the Automaton; or, Flying Chariot... 13th December, 1793, woodcut velocipede, manuscript insertion "No. 45" [ticket no.], stitched into a pamphlet of blank paper, [not in ESTC], 200 x 145mm., Britannia watermark, 1793; and 6 other related pieces, including: a manuscript copy of a Dublin handbill advertising the velocipede in 1783 and a bill from Ovenden and Bushnell, Bent Timberwheel Manufacturers, probable builders of the velocipede, v.s., v.d. (7 pieces).⁂ The "Flying Chariot" is probably taken from the invention of David Manson (1726-92), Irish schoolmaster, who designed to "amuse his pupils... various machines, one a primitive kind of velocipede." (Oxford DNB). Ovenden and Bushnell, "Bent-Timber Wheel Manufactory, No. 13, Surrey Side Westminster Bridge" were probably the builders.
Southey (Robert).- James (Isaac) Providence Displayed: or, the Remarkable Adventures of Alexander Selkirk...who lived Four Years and Four Months by himself, on the Island of Juan Fernandez..., first edition, Robert Southey's copy with his neat ink signature to foot of title and his trimmed wood-engraved bookplate by Thomas Bewick on half-title, engraved map frontispiece, woodcut illustrations, first and last leaf browned, title soiled at foot, a few small stains, old boards, uncut, rubbed, rebacked in cloth preserving old paper label titled in manuscript in Southey's hand, new endpapers, 8vo, Bristol, Biggs and Cottle, 1800.⁂* Alexander Selkirk was marooned on Juan Fernandez Island, off the coast of Chile, from 1705 to 1709, when he was rescued by Capt. Woodes Rogers. His story inspired Daniel Defoe's novel Robinson Crusoe.ESTC records only 5 UK copies, 2 being in the British Library.
Lamb (Charles [& Mary]) John Woodvil, a Tragedy...to which are added, Fragments of Burton, first edition, a fine copy in handsome later crushed dark blue morocco, by Rivière & Son, covers with triple gilt fillet border, spine gilt in compartments, inner gilt dentelles, t.e.g., others uncut, 1802; The Works, 2 vol., first collected edition, lacking advertisement leaf at end of vol.2, modern blue morocco, by Bayntun of Bath, covers with geometric panel formed by rules in black & gilt and small gilt circles to corners, spine gilt, g.e., spine slightly faded, 1818; and an 1867 Essays of Elia with mounted manuscript note by Charles Lamb, 8vo (4)⁂ The first mentioned is Lamb's first dalliance with prose drama; against the advice of his friends Coleridge & Southey he submitted John Woodvil to the Drury Lane Theatre but the play was deemed unsuitable. The work also includes Mary Lamb's poem 'Helen', marking her first appearance in print, while the second item also contains poems by Mary.
Southey (Robert).- Cottle (Joseph) The Fall of Cambria, a Poem, 2 vol., first edition, Robert Southey's copy with his neat ink inscription "Robert Southey from his friend the Author" to half-title and his trimmed wood-engraved bookplate by Thomas Bewick to verso of titles, half-titles, engraved map frontispiece to vol.1 (offset onto title), occasional spotting, with long newspaper cutting 'A Bristol Bookseller's Recollections' concerning the author and S.T.Coleridge pasted to rear endpapers of both volumes, additional ink inscription "E.A.Taylor June 1843" to half-titles, contemporary Cottonian binding of red leafy-patterned fabric over boards with manuscript paper labels to spines, uncut, a little rubbed, spines faded and a little worn at foot, labels slightly chipped, 12mo, 1808.⁂ Joseph Cottle (1770-1853) was a Bristol bookseller and publisher; he also wrote epic poetry which was ridiculed by Byron. He met Southey and Coleridge in 1794 when they stayed in Bristol preparing to emigrate to America to found a "pantisocratic" community. The project was abandoned but Cottle helped them financially in return for the copyright of poems which he then published.Many of Southey's books were bound in this fashion, executed by his daughters or female friends using coloured cotton prints over the original worn boards. They filled a room in his house which became known as the "Cottonian Library".
Cambridge Garrick Club.- Collection of 35 small playbills of the Cambridge Garrick Club amateur theatre productions at the Theatre, Barnwell, some duplicates, another playbill for the Theatre, Newmarket, also a small amount of associated ephemera relating to the Cambridge Garrick Club in a vol. of newspaper cuttings, all laid down on album ff., some folding, some with manuscript insertions, some slightly browned and marked, contemporary half calf album, rubbed, upper cover detached, lacks spine, sm. 4to, playbills variously 224 x 142mm. & 377 x 155mm., Cambridge Printers, 1834-42.
Chapbooks.- Lumsden & Son, publishers. Gammer Gurton's Garland of Nursery Songs, and Toby Tickle's Collection of Riddles, compiled by Peter Puzzlecap Esq., 26 woodcut vignettes, Glasgow, Lumsden and Son, [water-marked 1812]; Fun upon Fun; or the Humours of a Fair, oval woodcut vignette to title and a few other leaves, 8 engraved plates printed in red, J.Lumsden & Son, [water-marked 1819]; Nurse Dandlem's Little Repository of Great Instruction, 8 engraved plates printed in red, J.Lumsden & Son, [water-marked 1819], all stitched in original wrappers the first pink, titled in manuscript on upper cover, a little rubbed and marked, Glasgow § Cinderilla; or the Glass Slipper, original printed yellow wrappers with woodcut of slipper, York, J.Kendrew, [c.1820] § World Upside Down (The )..., original printed yellow wrappers, York, J.Kendrew, [c.1820] § Pretty and Entertaining History (The) of Tom Thumb, woodcuts, original printed wrappers with woodcut vignettes, Otley, W.Walker, [c.1830], together loose in small red morocco, gilt, slip-case with pull-off top labelled "Photographs" on spine, slightly rubbed, 16mo (6)
Herbert (Sir Thomas) A Relation of Some Yeares Travaile, begunne Anno 1626. Into Afrique and the greater Asia..., first edition, lacking initial blank but with additional engraved pictorial title 'A Description of the Persian Monarchy...' by William Marshall and final colophon leaf, woodcut decorations and initials, engraved maps and illustrations in text, tears to B3, M2, Ee2 & 3 repaired (mostly marginal), later manuscript note to margin of Ff1 by mention of Madoc ap Owen first discovering America, bookplate of D.G.Mackenzie, contemporary calf, rubbed, rebacked, new morocco label, corners repaired, new endpapers, note re repairs by Sangorski & Sutcliffe in 1965 to rear pastedown, [STC 13190; Sabin 31471], folio, by William Stansby and Jacob Bloome, 1634.⁂ Including extensive information on the Persian empire and an illustration of a dodo on p.212. One of two variant imprints.
Kipling (Rudyard) Under the Deodars, first edition, advertisement leaf at beginning and 7pp. at end, a fine copy in contemporary navy crushed morocco, gilt, by Morrell, spine gilt in compartments, inner gilt dentelles, g.e., Allahabad, A.H.Wheeler & Co., [1888] § Yule (Col. Henry) & Arthur Coke Burnell. Hobson-Jobson: being a Glossary of Anglo-Indian Colloquial Words and Phrases, first edition, manuscript slip "With Colonel Yule's Compliments" mounted on front pastedown, original roan-backed cloth, rubbed, rebacked preserving most of original spine, 1886, 8vo (2)⁂ "Hobson-Jobson. A native festal excitement....".
Lobo (Jeronimo) A short Relation of the River Nile, of its Sourse and Current; of its Overflowing the Campagna of Aegypt..., translated by Sir Peter Wyche, first edition in English, with initial imprimatur leaf but not final blank, imprimatur leaf with small holes and torn at inner margin (old repair), title slightly defective at lower outer corner not affecting text, F8 with small repair to lower margin, some light browning, engraved bookplate of John Stackhouse, later calf-backed marbled boards, rubbed, spine ends slightly chipped, [Wing L2733], small 8vo, for John Martyn, 1669.⁂ Account of a Jesuit missionary's travels in Ethiopia from 1625 to 1633; originally written in Portuguese it was translated from the manuscript by Sir Peter Wyche for the Royal Society. It includes descriptions of Lake Tana, the source of the Blue Nile, Arab shipping, Prester John, "the famous Unicorne", and palm trees.
Fragment of a fresco. Byzantium, 14th century."Saint Peter".Fresco on a whitewashed surface removed from the wall and attached to a wooden support.It shows lack of polychromy.Measurements: 22.5 x 18 cmIn this fragment of a Byzantine fresco, the head of the Apostle St. Peter, crowned with gold leaf, is looking upwards, possibly contemplating a Pantocrator that occupied the central scene. Gold, the colour of the sun and illumination, dominates this mural painting in which the Byzantine artist, in accordance with canonical teachings, combines the pigments by encircling them with a stylised pattern. Each colour carried a particular symbolism, and shadows did not exist in Byzantine painting. By the 12th century, hieraticism had been softened by Western influence, tempered by more classicist lines, but with no naturalistic interest.In Byzantine frescoes in the basilicas of the East, the usual subjects were biblical, as well as depictions of angels and saints, which were arranged in apses and domes. The figure of the Pantocrator surrounded by angels was a prototype inherited from Hagia Sophia. Sometimes apostles and saints took the place of angels. The Christ in Majesty inserted in an ellipse or mandorla, the Virgin enthroned with the child on her lap and flanked by local saints and apostles, symmetrically distributed, were the dominant scenes. The linearity of the line and the vividness of the colours were a constant feature.Byzantine painting developed from early Christian art, its character being established between the time of Justinian I and the 15th century. There is little evidence of pre-9th-century artistic production in the territory of what was the Byzantine Empire due to iconoclasm. Pictorial representation in Byzantine culture and in Eastern Christianity played a particularly important role, as it was considered to be a materialisation of the divinity itself (revelation of the divine or theophany), in some cases even considered to be "made by non-human hands". The main techniques of Byzantine painting were mosaic, tempera on panel (icons), fresco and manuscript illumination. A number of panels with paintings, mosaics and scrolls with miniatures or codices, produced in Constantinople and spread throughout the West during the Middle Ages, are preserved in churches and museums.
Fragment of a fresco. Byzantium, 14th century."Virgin Mary.Fresco on a whitewashed surface removed from the wall and attached to a wooden support.The frame has a break in the upper left corner.Size: 26 x 25.5 cm; 35 x 34.5 cm (frame).In this fragment of Byzantine fresco, the Virgin bows her head with a delicate gesture. It is an attitude that reminds us of motherhood as Byzantine iconographic conventions reproduced it, so that the Christ Child was probably on her lap. The red veil zigzags around the outline of the cloth, drawing a type of fold characteristic of Byzantine painting. The long bridge of the nose, the perfect arches of the eyebrows and the almond-shaped eyes are a canonical stylisation of Byzantine art.In Byzantine frescoes in the basilicas of the East, the usual subjects were biblical, as well as depictions of angels and saints, which were arranged in apses and domes. The figure of the Pantocrator surrounded by angels was a prototype inherited from Hagia Sophia. Sometimes apostles and saints took the place of angels. The Christ in Majesty inserted in an ellipse or mandorla, the Virgin enthroned with the child on her lap and flanked by local saints and apostles, symmetrically distributed, were the dominant scenes. The linearity of the line and the vividness of the colours were a constant feature.Byzantine painting developed from early Christian art, its character being established between the time of Justinian I and the 15th century. There is little evidence of pre-9th-century artistic production in the territory of what was the Byzantine Empire due to iconoclasm. Pictorial representation in Byzantine culture and in Eastern Christianity played a particularly important role, as it was considered to be a materialisation of the divinity itself (revelation of the divine or theophany), in some cases even considered to be "made by non-human hands". The main techniques of Byzantine painting were mosaic, tempera on panel (icons), fresco and manuscript illumination. A number of panels with paintings, mosaics and scrolls with miniatures or codices, produced in Constantinople and spread throughout the West during the Middle Ages, are preserved in churches and museums.
Fragment of a fresco. Byzantium, 14th century."Saint John the Evangelist'.Fresco on a whitewashed surface removed from the wall and attached to a wooden support.The polychromy is missing.Measurements: 22.5 x 22 cm; 30 x 28 cm (frame).In this fragment of a Byzantine fresco, the head of Saint John the Evangelist is slightly tilted and the large green eyes of the young saint shine with an interior look. Gold, the colour of the sun and illumination, dominates this composition of mural origin in which the Byzantine painter, in accordance with canonical teachings, combines the pigments by encircling them with a stylised pattern. Each colour carried a particular symbolism, and shadows did not exist in Byzantine painting. By the 12th century, hieraticism had been softened by Western influence, tempered by more classicist lines, but with no naturalistic interest.In Byzantine frescoes in the basilicas of the East, the usual subjects were biblical, as well as depictions of angels and saints, which were arranged in apses and domes. The figure of the Pantocrator surrounded by angels was a prototype inherited from Hagia Sophia. Sometimes apostles and saints took the place of angels. The Christ in Majesty inserted in an ellipse or mandorla, the Virgin enthroned with the child on her lap and flanked by local saints and apostles, symmetrically distributed, were the dominant scenes. The linearity of the line and the vividness of the colours were a constant feature.Byzantine painting developed from early Christian art, its character being established between the time of Justinian I and the 15th century. There is little evidence of pre-9th-century artistic production in the territory of what was the Byzantine Empire due to iconoclasm. Pictorial representation in Byzantine culture and in Eastern Christianity played a particularly important role, as it was considered to be a materialisation of the divinity itself (revelation of the divine or theophany), in some cases even considered to be "made by non-human hands". The main techniques of Byzantine painting were mosaic, tempera on panel (icons), fresco and manuscript illumination. A number of panels with paintings, mosaics and scrolls with miniatures or codices, produced in Constantinople and spread throughout the West during the Middle Ages, are preserved in churches and museums.
Fragment of a fresco. Byzantium, 14th century."Salvator Mundi'.Fresco on a whitewashed surface removed from the wall and attached to a wooden support.It shows lack of polychromy.Measurements: 20.5 x 20 cm; 29 x 26 cm (frame).In this fragment of Byzantine fresco, the head of a majestic Christ has been represented following the rigorous stylistic precepts of Byzantine painting: stylisation of the features, linear drawing, intense chromatic contrasts, symbolism of the pigments? However, a certain classicist influence can be discerned in the entry of Western solutions into the Byzantine Empire. In the Byzantine frescoes in the basilicas of the East, the usual subjects were biblical, as well as depictions of angels and saints, which were arranged in apses and domes. The figure of the Pantocrator surrounded by angels was a prototype inherited from Hagia Sophia. Sometimes apostles and saints took the place of angels. The Christ in Majesty inserted in an ellipse or mandorla, the Virgin enthroned with the child on her lap and flanked by local saints and apostles, symmetrically distributed, were the dominant scenes. The linearity of the line and the vividness of the colours were a constant feature.Byzantine painting developed from early Christian art, its character being established between the time of Justinian I and the 15th century. There is little evidence of pre-9th-century artistic production in the territory of what was the Byzantine Empire due to iconoclasm. Pictorial representation in Byzantine culture and in Eastern Christianity played a particularly important role, as it was considered to be a materialisation of the divinity itself (revelation of the divine or theophany), in some cases even considered to be "made by non-human hands". The main techniques of Byzantine painting were mosaic, tempera on panel (icons), fresco and manuscript illumination. A number of panels with paintings, mosaics and scrolls with miniatures or codices, produced in Constantinople and spread throughout the West during the Middle Ages, are preserved in churches and museums.
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