Obsequiale for Jan de Witte, first Bishop of Santiago de Cuba, (Arenberg Ms. 35), 

I: one historiated initial with the Mercatellis coat-of-arms, and two illuminated initials, II: 2 illuminated initials and 21 coloured drawings of hands in text and margins, ending with full-page motto L.Y.S. – III: 4 full-page miniatures

Raphael de Mercatellis (1437-1508) – a natural son of the Duke of Burgundy – was one of the most important Renaissance bibliophiles of the Low Countries. The recovery of this long-lost composite codex (dated 1484) adds much to our knowledge of the abbot’s interests and personality. In all details, this codex is a splendid contribution to the cultural history of the Southern Netherlands and that of European book culture in general.

With its 87 miniatures, this manuscript is one of the most profusely illustrated of all known copies of Livy’s History of Rome. Moreover, this unique codex offers the names of the scribe, the illuminator, and the commissioner: Maistre Jeannin from Rouen wrote it, while Henri d’Orquevaulx painted the illustrations for Jean III de Vy, chevalier.

With xylographic title and 118 woodcuts by Leonhard Beck, Hans Schäufelein, Hans Burgkmair and others.

The first edition of this masterpiece of woodcut illustration and typography a magnifcent copy printed on vellum embellished with luxury colouring. The Theuerdank (Noble Mind) is an epic poem that celebrates the exploits and heroic deeds of Emperor Maximilian (1459-1519; Emperor since 1508).

In this allegorical account the emperor is represented as Theuerdank who overcomes the difficulties of his journey to win his bride, Queen Ernreich, that is, Mary of Burgundy (1457-82, the daughter of Charles the Bold), who had married Maximilian in 1477.

With one 15-line historiated initial with painted border decoration over 3 margins, one decorated border with figures. A total of seven full-page illuminated leaves: 3 full-page miniatures, 1 armorial page, full-page figures of: celestial spheres, a map of the known world, and computational circles of movements of sun and moon, followed by tables.

Sensational new discovery of a compendium of King Juan II of Castile and Leon  (1405-1454) including a combination of educational texts made for the young king. It was presumably created in or shortly after the nineteenth year of his reign, c. 1425. Perhaps it was intended for the heir as well, Enrique IV, born in 1425. With its creative miniatures portraying the craft of kingship and an unknown, provocative map of the world, it would serve as a incredibly helpful guide to leading a kingdom.

This codex is bound in an exquisite Ottheinrich binding datable 1553 and comprises two important Bavarian Chronicles. The first of these was originally written for a member of the Wittelsbach House – presumably George the Rich, Ottheinrich’s grandfather. As only three other manuscripts of Hans Ebran’s Chronik are known, the present witness, which not yet been thoroughly analysed, is all the more important. The second text is a chronicle about the sovereigns of Bavaria. Both manuscripts are demonstrations of Bavarian power and self-imagining in this era – which may have been one reason why the present codex was not sent to Rome in 1622 with the rest of the Palatine Library. The direct relationship of both the fine binding and the texts to the Wittelsbach House make this book into a most fascinating 16th-century document.

The first edition in Italian of this important work on war-craft, this is the first technical treatise in the vernacular. Roberto Valturio (born in Rimini, 1413-1484) was Apostolic secretary of pope Eugene IV, later he became secretary and adviser of Sigismondo Pandolfo Malatesta, ruler of Rimini (1417- 1468). Valturio composed De re militari on behalf of Malatesta probably between 1455 and 1460, in the midst of the military transition from siege-technology to gunpowder. His twelve books on warfare and military technique, however, concentrate on ancient and medieval weapons and strategies, which were still common in the 15th century

Illuminated manuscript on vellum, in French, 265 x 190 mm. – 59 leaves. With 8 full-page compositions, some with pictorial borders.

This stunningly beautiful manuscript was made for Anne of Brittany, Queen of France. The compilation includes French translations of Ovid's epistolary poems and three French poems that were written for a highly exclusive audience.

Now J. Paul Getty Museum Ms. 121

Miraculously, this exceptional flower model book has survived in almost mint condition, raising the question whether this book was really meant as a model book or whether it was originally part of a larger collection of botanical paintings. Herbal or plant books from this period are exceedingly rare. 

This work is now in the collection of the Metropolitan Museum of Art in New York City.

Iluminated Manuscript on vellum. 59 x 42 mm. – 216 leaves, with 12 Calendar miniatures, 22 full-page miniatures, and 23 full-page borders of Ghent/Bruges type.

An exceptionally painted, jewel-like prayer book, painted by one of Europe's most celebrated illuminators, Simon Bening. The miniatures of this Book of Hours are of the highest quality: incredibly detailed, affecting, atmospheric, and painted in Bening’s most polished technique.

The Wedding Hours is a highly important work of cultural heritage and is of exceptional historical and art-historical value. This manuscript is the long-lost wedding gift created for Bianca Maria Sforza (1472-1510) upon her marriage to the Holy Roman Emperor elect, Maximilian I of Austria-Habsburg. The book was commissioned by the noblewoman’s uncle, Ludovico ‘Il Moro’ Sforza and not only testifies to the high level of Renaissance art made for the Sforza family in Milan, but also shows how art was used to link social, religious, and political life.  

The decorated manuscript in Latin was made in Southern England, probably Glastonbury or Worcester, around 800. It is an exceedingly rare example of early English script and a contemporary of the renowned Book of Kells. The manuscript at hand is a bifolium from the oldest, most important, extant manuscript of a text by the earliest major English author, St. Aldhelm of Malmsbury. It additionally includes fascinating glosses in the Anglo-Saxon language. The original manuscript was potentially owned by St. Dunstan (c. 910-88), the royal court scholar of King Edgar. The manuscript was taken apart hundreds of years ago. 

Illuminated manuscript in Greek on vellum and paper. 224 x 162 mm. – 342 (vellum) + 11 (paper) leaves, with 4 large illuminated initials (1 historiated), 4 half-page, and 4 full-page miniatures. Dated 1156 (July, A.M. 6664) and 16th century (text III). 

Made for John the Cretan, archbishop of Cyprus from 1152-1177, this manuscript was copied by Manuel Hagiostephanites. The volume was completed in July A.M. 6664 (=A.D. 1156), as recorded in the scribal colophon on fol. 340v.

Now in the collection of the Museum of the Bible.

Full-page, illuminated miniature with full borders. 397 x 242 mm.

Once in the Missal of Pope Innocent VIII, which was kept in the Sistine Chapel, this leaf showing the Crucifixion would undoubtedly have prefaced the Canon of the Mass and represents, therefore, the most prestigious miniature of this papal service book.

Now J. Paul Getty Museum, Ms. 110.