N.N.

The Book of Common-Prayer and Administration of the Sacraments, and other Rites and Ceremonies of the Church, According to the life of the Church of England: Together with the Psalter or Psalms of David, Pointed as they are to Sung or Said in Churches.

London, John Baskett, 1712. (portrait) n.p. Contemporary gold-stamped Leather with raised bands and gilt-edged text block, 8°. English church book with the Book of Common Prayer and the Psalms. Beautifully illustrated with a hand-coloured portrait and 44 contemporary hand-coloured engravings. With the bookplate of Bath Public Library. (Quire L loose, bottom spine-end split on one side.).

Antiquariaat de Roo (NVvA, ILAB)Professional seller

Book number: 10990

Catalogue: Handcoloured

BINDING|DOS-Á-DOS

The New Testament of our Lord and Savior Iesus Christ. New translated out of Originall Greeke. WITH: The whole book of Psalms

London, for the Company of Stationers, 1633/1634. Two works in one volume, n.p. 330 (6) p. Contemporary dos-á-dos embroidered binding, 12°.       H. 103 x W. 54 mm  /  4 x 2.1 inches. Extremely rare and early dos-á-dos miniature binding, “back to back” worked in silver thread with pink and green rosettes on white satin. Colours faded, and some loss of stitching, especially on the spines. All edges gilt. Comes in a folding box. Owner's name in old manuscript: Catharine Turner 1776. The first flyleaf is written in pencil: Very fine fine specimen of embroidered binding by the Nuns of Little Gidding. The “Nuns of Little Gidding” refers to a religious community founded in the 17th century in the village of Little Gidding in Cambridgeshire, England. The term “nuns” is a bit misleading; while they lived a very devotional life, they were not formally Roman Catholic nuns. This community was founded in 1626 by Mary Woodnoth Ferrar and her son Nicholas, housed forty-some members of the extended Ferrar, Collet, and Mapletoft families, and their retainers. They devoted their lives to prayer, Bible study and memorization, contemplation, acts of charity, and the production of several unique Bible concordances or harmonies (as well as some Bible histories) of which fifteen are extant. Women were central to the spiritual life of the community. They followed a strict daily rhythm of Common Prayer, Bible reading, and acts of service (such as caring for the sick and educating children). They were visited by King Charles I in 1646, while he was on the run during the English Civil War. The community faded after the death of Nicholas Ferrar in 1637, but their lifestyle later inspired Anglican religious communities. The community’s spiritual legacy was revived in the 20th century by T.S. Eliot, in his poem “Little Gidding”, part of his Four Quartets (1942). In this work, Eliot meditates on suffering, time, and divine presence. He presents Little Gidding as a sacred space where the divine meets the earthly, especially in times of destruction and renewal, as during World War II. Today, the village is a pilgrimage site for Christians, poets, and seekers of spiritual stillness. Reference: Henley, Carmen Ortiz, The Women of Little Gidding, Univ. of Arizona, 2012..

Antiquariaat de Roo (NVvA, ILAB)Professional seller

Book number: 12656

Catalogue: Handcoloured

BOOK OF HOURS|DUTCH

Beautifully decorated and heightened with gold 15th-century Dutch manuscript book of hours, from the collection of Viscount Charles van Aefferden.

(Southern Netherlands), 15th century. Small 4to Binding 5.9 x 4.7 inch. (15.5 x 12 cm); leaves ca. 5.5 x 4.3 inch. (14.5 x 11.5 cm.)  Manuscript in Middle Dutch, written in one column (18 or 19 lines to a page) in a neat gothic textura script, by one or maybe two hands. The vellum leaves are (lightly) ruled in red ink, the main body of the text is written in black ink. Leaf 1r shows a large 9-line painted initial (blue and white on a golden field) and elaborate green vines and blue, gold, and pink leaves in the margins, all text on 1r is written within a blue and gold frame. With 37 3- or 4-line painted initials (gold on a blue or pink field) with the same green, blue, gold, and pink vine-and-leaves decorations in the left margins of the leaves and 7 3-, 4-, or 5-line penwork initials (green, blue, and red) with simple red and green penwork decorations in the left margin of the leaves. Further with numerous 1- and 2-line red and blue initials throughout and occasional 6-line red or blue initials in the left margin of the leaves. 17th- or 18th-century gold- and blind-tooled half-mottled calf and sprinkled paper sides, red sprinkled edges.Strikingly decorated and heigthened with gold 15th-century Dutch-language Book of Hours, from the collection of the noble Dutch-Belgian Van Aefferden family. In the first quarter of the 15th century, the production of Books of Hours exploded. The success of the Devotio moderna, a religious movement started by Geert Grote in the Netherlands in the 14th century, largely generated a high demand for these books. This movement encouraged laymen to adjust their daily rhythm of prayer to the regular prayer of the cleric. Although Books of Hours show many variations, some texts are often present: the Hours of the Virgin, the Hours of the Cross, the Hours of the Holy Spirit, the Office of the Dead, the Seven Penitential psalms, a litany, and often a calendar and other prayers. The present manuscript is very clearly part of the popularisation of this genre of religious works by the Devotio Moderna - movement. Large parts of the text in the present manuscript follow the translation attributed to Geert Grote (here matched to the text in the 1940 annotated print edition of Het getijdenboek van Geert Grote) and more importantly, the present manuscript contains the so-called Hours (or Office) of Eternal Wisdom which does not appear in Latin Books of Hours and mainly appears in the area where the Congregation of Windesheim and Devotio Moderna-followers were active.The work opens with a captivatingly beautiful decorated page, showing a large 9-line decorated blue initial on a field heightened in gold and abundant marginal decorations. Throughout the whole manuscript, beautifully decorated initials can be found, often also heightened in gold, together with delicate decorations consisting of green vines and blue, pink, and gold leaves in the margins. This style of manuscript decoration is quite typical in the 15th-century Low Countries (northwestern Europe), but the particular style of the margin decorations might point to a more southern place of production instead of somewhere in the Northern Netherlands. Lieftink, in his 1972 typescript assessment of the present manuscript (copy included), found the decorations to be in the French style, which further supports the assumption that it was produced somewhere in the Dutch-speaking Southern Netherlands. Interestingly, on the recto of the last page, a later scribe added a date: Anno d[o]m[ini] 1499. We, together with Lieftink (1972), assume that the date must be 1499, even though it looks like it says 1299. The style of writing, decorating the language of the text, and the appearance of the Office of Eternal Wisdom, ascribed to Geert Grote (1340-1384) all point to a production date of sometime during the 15th century. A more detailed list of contents is available upon request.The manuscript in its present form was highly likely part of a larger manuscript Book of Hours. At the end of the 17th century or beginning of the 18th century, the work reached its final form when being bound in the present leather and paper binding. While most key parts of any 15th century Book of Hours can be found in the present manuscript, the texts do not appear in their regular (or common) order, and upon closer inspection, it becomes clear that parts of the text are missing. Nevertheless, it remains a beautiful example of a 15th-century Dutch-language beautifully decorated book of hours. With 16th- or 17th-century(?) annotations (religious rhymes) in the margins of several leaves, probably written with metal points. The boards and spine are scuffed but otherwise, the integrity of the binding remains very good. Internally somewhat dust-soiled, the last few leaves are somewhat browned. Occasionally the text is slightly faded, Lieftinck (1972) reckoned the vellum was not uniformly well-prepared for the writing, meaning the ink was not able to attach to the writing surface as well, and the majority of the text remains legible. Overall in good condition.A remarkable decorated and heightened with the gold 15th-century manuscript Book of hours. [189] ll. Typescript assessment of the manuscript Getijdenboek van Vicomte Charles van Aefferden te Spa by G.I. Lieftinck (1972)..

Antiquariaat de Roo (NVvA, ILAB)Professional seller

Book number: 12646

Catalogue: Handcoloured

BOOK OF HOURS|LATIN

Miniature Book of Hours, Use of Saintes, in Latin, illuminated manuscript on parchment with 5 miniatures by Maître François.

Northern France, 1470-1480. A tiny Book of Hours produced in Paris for the extremely rare southwestern French Use of Saintes. 3.7 x 2.6 inches  (9.5 x 6.5 cm.)  190 leaves on parchment. 16 lines, justified 52 x 32mm (2 x 1.3in), ruled in red ink, written in very small, dark brown letter bâtarde, rubrics in red. Calendar in red with significant names in blue, line fillers, illuminated initials in red and blue, with gold and white tracery. Panel border decoration framing text on the outer margin throughout 146 pages, with designs of swirling hairline stems bearing numerous acanthus and ivy leaves, fruits, and flowers in blue, green-red, and gold bezants. Three large initials measuring 5 lines high, containing white and blue flowers on liquid gold grounds, including illuminated full panel borders on the top, bottom, and outer margins of text. Five large miniatures by Maître François, in arch-toped compartments in the same decorative style, including birds, berries, and drolleries, above large initials and five lines of text. Minor stains, discoloration, and slight cockling to first and last two leaves, some thumbing to edges of first leaves, headband slightly lifting, the nineteenth-century label on front pastedown with “No 514”, ink stamp of a ‘VS’ within a circle on front endleaf. Beautiful seventeenth-century French olive-brown morocco with gilt ornamental roundel motifs filled with small dotted tooling around cover borders and spine, some rubbing on raised bands, marbled end leaves, and gilt edges. Illumination: Beautifully intricate miniatures painted with extensive liquid gold highlights. (1) fol. 31r, the Annunciation, the Virgin kneeling before Gabriel on the right with a banderole “ave maria gracia”, a green canopy and architectural frame above, gothic windows behind, and a border including white flowers, red berries, songbirds, and a peacock; (2) fol. 57r, the Nativity, the Child lying on the hem of the Virgin’s robe who kneels with Joseph outside the stable, a donkey and a cow behind, a hill to the right; (3) fol. 64r, the Annunciation to the Shepherds, two shepherds and a shepherdess gazing up as two angels appear in the heavens holding a musical scroll, sheep in the foreground drinking from a spring, a dog asleep, landscape and two towers in the background; (4) fol. 86r, the Coronation of the Virgin, with the Virgin in Heaven kneeling before the Throne of God as an angel leans over a tapestry and places a crown on her head; (5) fol. 98r, David in a prayer, kneeling before an open book on a wooden lectern, harp beside him as God appears in the sky above, with a centaur drollery shooting an arrow at a grotesque in the border. Text: Calendar (f.1r); the Gospel Sequences (f.13r), Obsecro te (f.20r, for male use) and O intemerata (f.24v); the Hours of the Virgin, Use of Saintes, with Matins (f.31r), Lauds (f.44r), Prime (f.57r), Terce (f.64r), Sext (f.70r), None (f.74r), Vespers (f.78r), Compline (f.86r); the Hours of the Cross (f.92r) and of the Holy Spirit (f.95r); Penitential Psalms (f.98r), Litany, Office of the Dead, Suffrages (f.186r). 95 x 65mm (3.7 x 2.6in). 190 leaves on parchment (plus two paper endleaves at front and back), lacking single leaves after fols. 43, 69, 73, 77, 94, 128, and 190, and two leaves after fol. 91, else complete, collation: i12, ii-iii8, iv2 ,v8 , vi7 (wanting vi), vii-ix8, x6 (wanting i and vi), xi7 (wanting iii), xii8, xiii7 (wanting ii-iii and vii), xiv-xvi8, xvii-xviii (both wanting i), xix-xxiv8, xxv7 (wanting viii). A rare miniature Book of Hours with beautiful decorations and miniatures in very bright colouring..

Antiquariaat de Roo (NVvA, ILAB)Professional seller

Book number: 12647

Catalogue: Handcoloured

FERDINAND BOL AND STUDIO

Portrait of Lieutenant Admiral Michiel Adriaensz. de Ruyter by Ferdinand Bol

Amsterdam, ca. 1669. Dimensions: 105 x 84,5 cm Medium & Support: Oil on canvas Description: The composition of the painting offered here is derived from five almost identical portraits of De Ruyter, that were painted by Ferdinand Bol and his workshop in 1667. De Ruyter is depicted in an admiral's uniform, holding a baton in his right hand and on his left side a sabre. Around his neck he wears the chain of the order of St Michael, that was bestowed upon him by the French king Louis XIV as a token of appreciation for his role in the battle against the English. With his right arm he leans on a celestial globe, which stands on a table covered in a red cloth. Some objects on the table are related to navigation on sea, such as a map with the coastline of Flanders and Zeeland. De Ruyter stands in front of stone balustrade and a dark red pulled-up curtain of heavy fabric and two hanging tassels, which offers a view of the sea on the right. Here his flagship ship De Zeven Provinciën (The Seven Provinces) can be recognized. It is known that De Ruyter commissioned and paid for five identical portraits, which were all intended for the admiralty buildings as a reminder and tribute to the successful Four Days Battle in 1666 against the English and the Battle of Chatham in 1667. Four of these five versions are still extant and located in Amsterdam, Den Haag, Greenwich and Hoorn (pl. 1-4). The works are all signed and dated by Bol: FBol. fecit. 1667. Yet, these canvases are not entirely painted by Bol himself; the differences in detailing and the background points to the co-operation of others. Presumably the Greenwich version (pl. 3) was the prototype. Bol may have called in Willem van de Velde The Younger (1633 Leiden—London 1707), a specialist in seascapes and naval battles, to paint the background. Such prestigious collaborations have regularly occurred since the 16th century. By combining specialisms, the most ultimate results were achieved, and the wishes of prosperous clients could be met. The portrait on offer here is a variant of the Portrait of Michiel Adriaensz de Ruyter with his flagship The Seven Provinces in the background (pl. 1-4). Here the portrayed occupies a more prominent place in the composition, so that less of the environment is visible. Less attributes are depicted; for example, the globe and map are missing and the background was not painted by a specialist, rather by a less talented studio employee. The work is also not dated or signed. The person portrayed is cut off somewhat narrowly. During the restoration it became clear that the canvas had been slightly shortened on the left- and right hand side in the past. Since the original string garlands are still visible, it may be assumed that this was not more than 1 to 1,5 cm at each side. The tassel of the red curtain on the right has now been almost completely cut off and his right hand reaches the left edge of the painting. The original composition is somewhat affected by the aforementioned adjustment in size, albeit only slightly. The composition may have initially been comparable in width with the version in the Nautical Training school in Amsterdam and the painting that was auctioned at Sotheby's London in 2018. In these two works the tassel in front of the curtain hangs loose from the frame and the right hand has more space. In the Amsterdam work, De Ruyter does not lean on the baton, but he holds it in his right hand; however, the staff rests on a red-covered table, as is the case in the present work. In the version auctioned in London the admiral holds the baton but does not support it on the table. The manner in which the portrayed rests his left hand on his hip is largely consistent, as well as the clothes and the pulled-up red curtain in the background. The posture of the right hand leaning on the admiral's staff is possibly derived from the 1669 canvas in Copenhagen, on which De Ruyter does not look at the viewer, but has his head turned to the left and is facing the image plane. The element of the hand resting on the baton also appears in the Portrait of Cornelis Tromp (1629-1691), in the Maritime Museum, Amsterdam. Also this Lieutenant-Admiral looks back at us as viewers. The Maritime Museum Zeeland (Maritiem MuZEEum Zeeland) holds a Portrait of Michiel de Ruyter, his head facing left, which is based on the version in Copenhagen. Here, too, the posture of the right hand and the admiral's staff has been adjusted. Apparently this element was a popular means for Bol in varying his compositions. Ferdinand Bol and his apprentices were responsible for a large number of portraits of Michiel de Ruyter in different designs and dimensions. The painting on offer here is not a direct copy of another well-known example but a variant version, using previously used, known elements. It proves that 17th-century painters regularly reused and compiled compositions, postures and attributes, shaping them into new successful versions, such as the present Portrait of Lieutenant-Admiral Michel Adriaensz. De Ruyter. Provenance: Collection Adriaan van der Willigen (1766-1841), by decent Collection Dr. Adriaan van der Willigen (1810-1876), Haarlem, sold circa 1872-76 to Collection Hendrik Dyserinck (1838-1906), Minister of Maritime affairs (1888-1891), by decent, 1891 Collection Hendrik Dyserinck (1872-1930), between November 1926-1930 Collection Adrienne (Allie) Gertrude Dyserinck (1876-1942) and Agnes Maria Dyserinck (1880-1965), his sisters, before 1965, via their cousin Mrs Johanna Wijsmuller-Kleiweg Dyserinck (1872-1938), to her son Collection Willem Jean Wijsmuller (1879 Haarlem – Amsterdam 1963), (by decent ?) Collection Willem Jacob Carel ‘Jaap’ Wijsmuller (1928 Heemstede – Breda 2023), by descent Their sale, Vendu veilingen & taxaties Rotterdam, 7 November 2023, lot 2, to J.B. de Roo, Zwijndrecht, by 2023 Available reports (follow the links to download the reports): 2025: Ferdinand Bol and studio. Portrait of Lieutenant-Admiral Michiel Adriaensz. de Ruyter, circa 1669. By Dr. Micha Leeflang, Art Historian, Curator Museum Catherijneconvent, The Netherlands 2024: Een admiraliteitsportret van Michiel de Ruyter (1607-1676). By Dr. Erna Kok, Art Historian PhD 2024: Summary of the report of Dr. Erna Kok and Dr. Norbert Middelkoop 2024: Restoration report: Atelier van Wassenaer, Lara van Wassenaer, Amsterdam.

Antiquariaat de Roo (NVvA, ILAB)Professional seller

Book number: 12999

Catalogue: Handcoloured

HAES, FRANS DE

Poëtische uitbreiding en bespiegeling over de Euangelische Gelykenis van Den Verloren zoon. WAARBIJ: Stichtelyke Gedichten.

Rotterdam, Philippus Losel/Nikolaes Smithof, 1744/46. 2 werken in 1 band, (titelprent, 34) 104 (2), (30) 208 (2) p. Origineel half Leer, groot 4° Het werk bevat een handgekleurde, en goudgehoogde, titel pagina, twee handgekleurde, en goudgehoogde, drukstukken op de titelpagina’s, en 20 handgekleurde vignetten, alles origineel en fraai gekleurd. 2 works in 1 binding, (frontispiece, 34) 104 (2), (30) 208 (2) p. Contemporary half Leather, large 4°. An epic poem about the parable of the lost son. Illustrated with a fine hand-colored frontispiece, heightened with gold, two printers-devices, both hand-colored and heightened with gold, and 20 fine hand-colored tailpieces. Colored in a very attractive way by an old hand and heightened with gold..

Antiquariaat de Roo (NVvA, ILAB)Professional seller

Book number: 11851

Catalogue: Handcoloured

KINSCHOT, GASPARUS RUDOLPHUS VAN

Beschryving der Stad Oudewater; Waarin aangetoont word der zelver Herkomst uit het Uitrechtsche Bisdom, Overgang tot de Graaflykheid van Holland En haare gemaakte onaffscheidbaarheid van de zelve [...]

Delft, Reinier Boitet, 1747. (XVI) 600, 14 p. Origineel Leer met ribben, goudbestempeld, groot 4°. Zeer fraaie en enige uitgave van de gedetailleerde beschrijving van de stad Oudewater, met twee uitvouwbare kaarten en vijf uitvouwbare prenten. Gezichten o.a. op de Nieuwe Poort, het kasteel, het stadhuis en de kerk. Alle kaarten en prenten zijn handgekleurd. Fine large-paper copy of the only edition of a detailed account of the topography and history of Oudewater. With 2 plans of the city and 5 views showing a.o. the Nieuwe Poort, the Castle, theTown Hall and the Church, all coloured by hand. With the bookplate of Edw. Huydecoper van Nigtevecht..

Antiquariaat de Roo (NVvA, ILAB)Professional seller

Book number: 12030

Catalogue: Handcoloured

PLUCHE, NOËL-ANTOINE

Concorde de la Géographe des différens âges.

Paris, Estienne Brothers, 1772. (LX) 511 (4) p. Contemporary Leather with raised bands, 12° (Exteriors of the binding slightly worn, mostly at the top spine-end, some very slight browning/foxing throughout. The work is illustrated with a portrait of the author and 13 folding maps. The maps are all attractively hand-coloured in outline and depict all geographic regions of the world, resp. a world map with double hemisphere, a map of Africa, Asia, SE Asia, America, Europe, France, Arabia, Holy Land, Mediterranean, Asia Minor, Greece and Western Asia.).

Antiquariaat de Roo (NVvA, ILAB)Professional seller

Book number: 10940

Catalogue: Handcoloured