Dr. Jörn Günther • Antiquariat
www.guenther-rarebooks.com

CONTENTS

Illuminated manuscripts

  1. Canones conciliorum, written by an insular scribe,
    Northern Italy, c. 775
  2. Psalter, so-called Bernwardpsalter,
    Germany, Hildesheim, c. 1020
  3. Gospel Lectionary, Byzantium,
    Constantinople,c. 1100
  4. St Augustine, Enarrationes in Psalmos, Upper
    Austria, Lambach Abbey, second half 12th century
  5. Vita Christi, Life of Christ and of the Virgin,
    Northern England,York, c.1190-1200,
    and East Anglia, Norfolk, c.1480-90
  6. Antiphonary, illuminated choirbook, Italy,Venice
    (San Marco), c. 1250 (between 1238 and 1264)
  7. Psalter and biblia latina with the interpretation
    of the Hebrew names, France, Lorraine, Metz, c. 1250
  8. Psalter for the use of Brussels, Northern France,
    Paris, c. 1260
  9. Biblia latina with the interpretations of
    the Hebrew names, Southern France,Toulouse,
    last quarter of the 13th century
  10. Psalter, illuminiated for Gui de Dampierre,
    Southern Netherlands, Bruges, c. 1280
  11. Speculum humanae salvationis, illuminated
    with pen-and-ink drawings by Magister Konrad,
    Austria, before 1386
  12. Book of hours, use of Chartres, illuminated by
    the Bedford workshop, France, Paris, c. 1400-10
  13. Psalter, Spain, Barcelona, shortly after 1400
    and c. 1440-50
  14. Book of hours, use of Rome, illuminated by
    Pseudo-Jacquemart, France, Paris, c. 1410
  15. The so-called Wardington Hours, hours of
    the Passion, illuminated by the Bedford workshop,
    France, Paris, c. 1410 and 1430
  16. Wirnt von Grafenberg, Wigalois (manuscript k),
    illustrated by the circle of the Workshop of 1418
    and of Diebold Lauber,Alsace, c. 1420-30
  17. I.Thomas de Chobham, Summa de poenitentia,
    dat. 1422; II. Stephan Palecz, Utilia contra errantes;
    III. Johannes Andreae, Processus iudicalis – et al.;
    Austria, Seitenstetten, c. 1422
  18. Joachim di Fiore Vaticinia sive Prophetiae
    et Imagines Summorum Pontificum,
    illustrated by the workshop of Lorenzo
    di Pietro ‘Il Vecchietta’, Benvenuto di Giovanni,
    Italy, Siena, c. 1450 and c. 1464
  19. Bruder Philipp, Marienleben
    and other texts, Upper Rhine, c. 1450
  20. German prayerbook with metalcuts, Germany,
    Cologne and Tyrol, Diocese of Brixen,
    dated 1458
  21. Book of hours, use of Paris, illuminated by
    the Master of Jacques de Luxembourg, France,
    Paris, c. 1460-70
  22. Book of hours, use of Rome, illuminated by the
    Master of Marguerite de Liederkerke, Flanders,
    Hainault, Mons or Valenciennes, c. 1500
  23. Croy-Arenberg Book of Hours, use of Sarum,
    with miniatures by the Master of Sir George
    Talbot, the Master of the First Prayer Book of
    Maximilian and the Master of the David Scenes
    in the Grimani Breviary, Flanders, Ghent,
    1505 and c. 1510-20
  24. Berault Stuart (Bernard Stewart),
    Traité sur l’art de la guerre, Northern France, Paris,
    second quarter 16th century
  25. Battista Agnese, Portolan Atlas, Italy,Venice,
    signed and dated 5 February 1544


    26. Early Prints

  26. Nativity, Single-leaf print, Southern Germany,
    c. 1440
  27. The Good Sheperd – ihesus xpristus,
    Single-leaf print, Southern Germany,
    West-Swabian, c. 1460-70
  28. Block-book – Ars Memorandi per figuras
    Evangelistarum, first print of first edition,
    Southern Germany, Nuremberg, c. 1470
  29. Block-book – Der Antichrist und die fünfzehn Zeichen
    Germany, Nuremberg: Hans Briefmaler 1472,
    second edition, i.e. Hans Sporer, 1470
  30. Celestial vision at Constantinople. Kunt und
    wissennt sey allermeniglich das ein sölich geschicht
    unnd erschreckliches erschein gesehen ist worden hinter
    Canstantinopel ..., Single leaf print, Southern
    Germany, Nuremberg c. 1491
  31. Biblia Latina – A single leaf,Mainz: Johann
    Gutenberg and Johann Fust,‘c. 1454/55’; rather 1452-1454
  32. Psalterium Benedictum Congregationis Bursfeldensis
    – A single leaf, Mainz: Johann Fust
    and Peter Schöffer, 29 August 1459
  33. I.Thomas de Aquino. Summa de articulis fidei,
    Mainz: Printer of the Catholicon before 1460
    or Peter Schöffer c. 1469
    II. Matthaeus de Cracovia. Dialogus rationis
    et conscientiae de frequenti usu Communionis,
    Mainz: see above, c. 1469;
    III.Antoninus Florentinus. Confessionale:
    Defecerunt.With: Johannes Chrysostomus. Sermo
    de poenitentia, Cologne: Ulrich Zell, c. 1470
  34. Johannes Balbus, Catholicon, Mainz: printer of
    the Catholicon, probably Gutenberg workshop
    1460, c. 1472, or 1469
  35. Rudimentum Novitiorum, Lubeck: Lucas Brandis,
    5 August 1475
  36. Speculum humanae salvationis, German:
    ein spiegel der menschlichen behaltnisze,
    Basel: Bernhard Richel, 31 August 1476
  37. Conrad von Megenberg, Das buch der Natur,
    Augsburg: Johann Bämler, 20 August 1481
  38. Auslegung – Messe singen oder lesen wer
    das thun sol, wenn, wie oder wo, Nuremberg:
    Friedrich Creussner, not after 1482
  39. Jacobus de Theramo, Belial. Cy commence le proces
    de Belial a l’encontre de Ihesus. Lyon, Mathias Huss:
    19 May 1486
  40. Compilation of ten French
    literary incunabula, Paris, 1488-c. 95, among them Olivier
    de la Marche, Le Chevalier Délibéré. Paris: Guy Marchand
    or Antoine Caillaut for Antoine Vérard,
    8 August 1488
  41. Olivier de la Marche. Le Chevalier Délibéré,
    Gouda, printer of the Chevalier délibéré,
    Collaciebroeders, after 31 October 1489
  42. Petrus de Crescentiis, Ruralia commoda.
    In commodum ruralium cum figuris libri duodecim,
    Speyer: Peter Drach, not before 1493
  43. Alanus de Rupe, Von dem psalter unnd Rosen
    krancz unser lieben frauen.Wie man den beten sol,
    Augsburg: Anton Sorg, 1492
  44. Der Doten dantz mit figuren. Clage und
    Antwort schon von allen staten der welt,
    Mainz: Jacob Meydenbach, c. 1492
  45. Fiore di virtù. Questa sie una utilissima operetta
    acada uno fidel christiano chiamata fior de virtu,Venice:
    Matteo Capcasa di Codeca, 15 January 1493
  46. Christophorus Columbus, De insulis nuper
    in mari Indico inventis, and Carolus Verardus,
    Historia Baetica. In laudem Serenissimi
    Ferdinandi Hispaniarum regis Bethicae & regni
    Granatae obsidio, victoria & triumphus,
    Basel: Johann Bergmann von Olpe, 1494
  47. Scriptores Astronomici veteres: Julius Firmicus
    Maternus, Mathesis and other Greek and Roman
    astronomical texts,Venice:Aldus Manutius, 1499
  48. a: La dance macabre des hommes, Paris,
    widow of Jehan Treperel and Jehan Jehannot,
    c. 1512-22 234

     b: La dance macabre des femmes toutes
    hystories & augmentee de nouveau, Paris,
    Jehan Treperel (II), c. 1525-32
  49. Martin Luther, Das newe testament deutzsch,
    Wittenberg: Melchior Lotter, 1524
  50. Aurelius Theodosius Macrobius, In somnium
    Scipionis libri II. Saturnaliorum libri VII.
    Basel: Johannes Herwagen the Elder, 1535

    Key to bibliographical references

Wondrous Sienese illustration cycle of cryptic prophecies concerning Popes and the Papacy

18 [Joachim di Fiore] Vaticinia sive Prophetiae et Imagines Summorum Pontificum

Manuscript on vellum, illustrated by the workshop of Lorenzo di Pietro ‘Il Vecchietta’ (Benvenuto di Giovanni?). Italy, Siena, c. 1450 and c. 1464.

245 x 175 mm. 5+16+5 leaves: I10, II6. – Written in red ink in an Italian batârde script, by the hands of various scribes. 22 coloured full-page pen-and-ink drawings, 10 uncoloured pen-and-ink drawings in brown ink. – Overall in very fine condition, minor browning, some washed stains on red scripture, parchment partly corrugated. – Green morocco by the English bookbinder Katherine Adams (1862-1952) in Worcestershire, 1905. Modern book case in crimson leather containing two separate boxes for the book and the folder that is attached to the manuscript. It contains references to former owners, comparable manuscripts and above all the correspondence by Sir Sidney Cockerell. The letters of Sir Sidney and Ulrich Middeldorf from the 1940’s in particular, bear witness to the difficulties of scholarly work during war and post-war times.

PROVENANCE: As is frequently the case with manuscripts once in the possession of Sir Sidney Cockerell, the interior cover and the first sheet contain handwritten notes concerning the provenance and parallel manuscripts with the same text. 1. Mr. Paravicini’s sale, Sotheby’s, London, July 2nd 1824. 2. J. H. Bushby, exhibition at the Society of Antiquaries of London before March 3rd 1865 and at the Burlington Fine Arts Club 1908, no. 188. His auction at Sotheby’s London, 10 December 1904, lot 981. 3. Sir Sidney Cockerell (1867-1962). 4. H. P. Kraus, New York. 5. Dr. Peter and Irene Ludwig,Aachen. 6. H. P. Kraus, cat. Monumenta Codicum Manu Scriptorum, New York 1974, no. 37. 7. Private collection, Europe.

TEXT: The book recounts cryptic prophetic visions concerning historical and future popes and the papacy in general, in a mostly critical tone.The author of these ominous prophecies remains unknown. Supposedly, franciscan radicals who emigrated to Greece under pope Boniface VIII composed the first 15 texts, beginning with pope Nicolas III (1277-80). In the Middle Ages the text was often connected with Joachim di Fiore to furnish it with some authority. The texts are almost incomprehensible, first because of repeated copying and second because obscurity was a necessary characteristic of an oracle, and was intentional: the abstruse structure allows the texts to be read as referring to various popes. During the pontificate of Benedict XIII (1334-42) or of Clement VI (1342-52) a second series of 15 prophecies was written and another anonymous author compiled a third version, like ours. These Vaticinia spread widely in the 15th and even 16th centuries and became so popular that they were published in print too.The first scribe annotated fol. 1-9, the second – in a more cursory, less meticulous hand – fol. 9v-11v. A third scribe added the texts on fol. 12-16v.

ILLUSTRATION: fol. 1: I: Nicholas III – fol. 1v: II: Martin IV – fol. 2: III: Honorius IV – fol. 2v: IV: Nicholas IV – fol. 3: V: Celestin V – fol. 3v:VI: Boniface VIII – fol. 4:VII: Benedict XI – fol. 4v:VIII: Clement V – fol. 5: IX: John XXII – fol. 5v: X: Benedict XII – fol. 6: XI: Clement VI – fol. 6v: XII: Innocent VI – fol. 7: XIII: Urban V – fol. 7v: XIV:Gregory XI – fol. 8: XV: Urban VI – fol. 8v: XVI: Boniface IX – fol. 9: XVII: Innocent VII – fol. 9v: XVIII: Gregory XII – fol. 10: XIX: Alexander V – fol. 10v: XX: John XXIII – fol. 11: XXI: Martin V – fol. 11v: XXII: Eugene IV – fol. 12: XXIII: Nicholas V – fol. 12v: XXIV: Calixt III – fol. 13: XXV: Pius II – fol. 13v: XVI: without name – Paul II – fol. 14: XXVII: without name – Sixt IV – fol. 14v: XXVIII: without name – Innocent VIII – fol. 15: XXIX: without name – Alexander VI – fol. 15v: XXX: without name – Pius III – fol. 16: Gog and Magog – fol. 16v: the Good Shepherd. The illustration cycle consists of two sections: the first stage comprises the texts, including fol. 11v, up to Eugene IV (1431- 47). Assuming that the first part of the manuscript was executed during or directly following his reign, the terminus post quem should be c. 1447.After fol. 12, still within the first quire, the uncoloured drawings are less refined and drawn with a slightly stronger quill. Either two different artists illustrated the codex at the same time – therefore around 1464 – or the second part of the manuscript was illuminated later on leaves originally left blank. The second scribe worked during the years 1461-64, as the last mentioned pope is Pius II (1458-64). The exact artistic source of the pictures is difficult to determine, although, iconographically, they are clearly dependent on a model. Nevertheless, the first 30 images relate the manuscript to one of three groups determined by the arrangement of Vat. XXI-XXVI. Our codex belongs to the so-called ‘Regina’group (Millet 2004). Two images from outside that iconographic tradition close the cycle, providing a hopeful perspective after the rather gloomy prophecies: in the end, after Gog and Magog have walked the earth, a virtuous pope will be elected who will reign as the Good Shepherd (fol. 16/v). Bernard Berenson ascribed the drawings to the Sienese circle of Lorenzo di Pietro alias ‘il Vecchietta’. Scholarly analysis of Sienese drawing, especially around 1450, is still in its infancy since so few objects are known, so the attribution of the illustrations to a particular artist must be approached with caution. Even so,Vecchietta’s was the only workshop in Siena able and willing to adopt northern Italian elements (such as the young lady with a goblet on her head on fol. 2v, which references the work of Pisanello) and adapt them for the visual world of Siena around the mid-15th century. At least two artists worked on the coloured illustrations:Vecchietta himself probably conceived the cycle, whereas young Benvenuto di Giovanni executed most of the coloured drawings.A third artist is responsible for the uncoloured depictions, but to define his individual style would require further research.

LITERATURE: Hermann 1930, p. 166; Millet 2004, p. 216. Hermann 1920, p. 165; Degenhart/Schmidt 1968, no. 120; De Polo 1985, pp. 585-596; Lerner/Moynihan 1985, Millet 2004.