2677 - 2864 MANUSCRIPTS, AUTOGRAPHS, DOCUMENTS
= Beatrice Harraden, novelist and suffragette, best known for her Ships that pass in the Night (1893). Two lettters addressed to other people (one to the journalist/ critic Meredith Starr and one to an unknown lady). In the letters in the album Beatrice Harraden discusses her novels with a correspondent of the name Mr J. Nicol Dunn, whose views she values highly. The letters in the album are preceded by a typescript factual introduction giving a short biography and listing some of her more famous works. SEE ILLUSTRATION PLATE XCIX.
= Autographs by Haverschmidt are exceedingly rare, and this autograph in which François Haverschmidt links himself with his own famous pseudonym is most likely unique. Provenance: the autograph collection of Pauline Delprat (1845-1906). SEE ILLUSTRATION PLATE C.
= I.a. on a visit to Wilhelmsbad, where she visited the newly built Spa, a cause for much enthousiasm (she has included a ribbon that shows in print the various buildings of the Spa). In a letter to "Biddy" (written in 1783) she writes about the unkindnesses that her brother (Willem V) has to endure. In the letter of 1784 she mentions her admiration for her brother and also writes about a surge in the occurance of measles in her neighbourhood. In a strictly private remark she quotes the Duchess of Brunswick, "qui m'ecrite a propos des circonstances actuelles (mais ceci entre vous et moi) Lord how can one be so wicked he is the greatest Thief of the World. J'ajoute a cela how will be ye end of all this provided my Dr Pce my Brother and honest people are saved, all ye rest mai go as it will."
AND 2 AUTOGRAPH LETTERS SIGNED by Paulina Princess of Oranje-Nassau (1800-1806), both to "Guiche" (most probably referring to her nanny mrs Guicherit) and an AUTOGRAPH LETTER SIGNED by Queen Wilhelmine concerning "Demoiselle Guicherit (...) bei Prinzessin Pauline" (dated "Fuld, 2ten July 1805").
- Lower left corner cut off (with loss of addressee's name).
= Covering letter of recommendation for "F.W. Donath, gegageerd wachtmeester, wonende te 's Bosch (...) mij als een braaf en geschikt sujet bekende zynde".
AND 2 other autograph letters signed by LOUISE DE BRUNSWICK (a very lively and interesting letter to "La Baronne Douarière d'Ablaing de Giessenburg, née Cottrel" who had apparently just fled from France in fear of the consquences of the revolution) and MARIE PRINCESSE MÈRE DE WIED PRINCESSE DE NASSAU (with orig. envelope). - ADDED: 2 other letters, not directly relating to the House of Orange, incl. 1 manuscript copy.
- Tear on one fold; traces of wax seal.
= Short note written by Wilhelmine to her grandson Willem [Frederik George Lodewijk] (date of birth 6 december 1792, and future King Willem II) on occasion of his birthday: "Groote Mama felicitiert [sic] de lieve kleine Willem met zijn geboorte dag, Zij wenscht dat Willem haar niet mag vergeten, en dat hij altijd Zoet mag blijven. Wilhelmine". SEE ILLUSTRATION PLATE CI.
- Sl. foxed; with weak/ worn spots on intersections of former folds.
= Legal document in which Jacob van Zanten ("Drossaert van IJsselstein") and Johan van Zanten ("Commandeur van Wesel"), who had been banished from their homes and whose possessions had been confiscated in 1672 because of unauthorized rapprochement with the enemy, the Prince de Condé, are allowed to return home and resume their activities. SEE ILLUSTRATION PLATE CI.
= Document conferring the rank of "vaandrig" to "Henri Joseph Robinet de Vileval". Also signed by P.J. de Larrey and as witness by A. van Royen and J. de Riemer.
WITH a transcript by a scribe of a letter by the same, concerning a request by a certain Albertus van Goor to be allowed to repossess a piece of land outside the gate of Antwerp, which was confiscated by the authorities for a never executed defence plan (dated "The Hague 30. Maart 1791").
- Contents occas. foxed (on written lvs. due to acidity of ink) and w. wormholes in upper and lower inner corners; waterstained in upper inner corner towards the end (blank lvs. only); pastedowns and endpapers decomposed round sides. Binding rubbed/ sl. worn along extremities; spine-ends sl. dam.; leather partly stained.
= Narrates of a miraculous small 'image' of the Holy Virgin made of ivory ("una sua imaginetta miraculosa sculpita in Avolio"), kept in the Monastero della Pietà in Palermo. It is said that the monastery obtained this 'image', in reality a statuette made in the image of the famous Madonna of Trapani, in the year 1600. From the beginning, the nuns venerated this statuette with great devotion. The text, written in at least five different hands, first tells of the boundless compassion of the Holy Virgin, and continues to list, in extensive detail, miracles, that is miraculous recoveries of people from diseases and indispositions, effected through this small portrait of the Virgin. The recovered sick were nuns of the monastery itself but also numerous lay people from the area. This manuscript is described by A. Mongitore in Palermo divoto di Maria Vergine (Palermo, 1719) as "un libro scritto a penna, che si conserva in detta Monastero; in cui la diligenza delle Religiose ebbe la cura di registrar l'orgine di questa Sacratissima Immagine con 42. miracoli, de' moltissimi, che senza numero operò la SS. Vergine" (a book written with the quill, which is kept in said monastery; in which the diligent nuns registered the origins of this most sacred portrait with 42 miracles, of very many more, which the Holy Virgin effected). A unique and very interesting source for the history of religious devotion and worship.
= Kikkert is known to have been a drawingmaster at Leyden in 1798; later on he lived at Schiedam. The present two vols., titled and numb. "1" and "4" on spines, contain a series of articles, casual essays and amusing pieces to be read at gatherings. Some titles: "Ken Uzelven"; "In arrest onder de Franschen 1811"; "Bespiegelingen op een wandeling van Vlaardingen naar Schiedam"; "De conscrit"; "Nooten zonder Text"; "Over het waare schoone"; "Geld, mode en liefde"; "Waarheid en leugen" and "Schim van het schuitpaard".
WITH 2 copies of P.J. KIKKERT, Familie-herinneringen uit de jaren 1811, 1812 en 1813 (Vlaardingen 1864, 32p., orig. wr.) (one copy frontwr. loose).
= A calligraphed letter to the merchant A.J.G. Verster, who was also known as an expert on tin objects. Van Krimpen thanks him for the "braunen Naßen" and "Ich bin lieber Herr Zinnsammler und Freund". SEE ILLUSTRATION PLATE CI.
LOOSELY INSERTED IN: J. ENSCHEDÉ EN ZONEN, Proef van Nederduitsche en Gothische initialen uit de XVde eeuw (Haarlem, 1925, printed in black and red on handmade paper, orig. marbled boards, 4to. Lacks backstrip).
- Formerly folded; mounted.
= Libellous poem, probably concerning the so-called Loevestein faction that opposed Stadtholder Willem II and was imprisoned by him in 1650. The following references lead to dating the poem to the year 1650: "Goudewaghen" (= possibly a symbolic reference to the sun chariot that Phaeton (i.e. Willem II) drove before his disastrous fall), Sommerdijk (most likely to referring to Cornelis van Aerssen, heer van Sommelsdijck (1600-1662), who was responsible for blockading Amsterdam from the West during the siege of Amsterdam by Willem II), "Sparendammer sluijs en dijck" (the dike that Van Aerssen had to guard), Loevestein and Amsterdam (strongly opposed to Willem II and besieged in vain by Willem II). For a recent fictional description of the events leading up to 1650, see i.a. J.-M. van Tol, Musch (Johan de Witt trilogy, vol.I). "Burgers weest nu int alderminste niet bevreest / soo sprach van Haerlem het Aldergrooste beest / de Vrede wert ons aengeboden en toegeseijt / Volgens Goudewaghen, en t'malle paerts beschijt / doch de Goudewagen scheen heel droncken / en noch drije wieken Comende van Sommerdijck / om raport te doen van Sparendammer sluijs en dijck / doch gaven geen ander bescheijt, dan dat sij waren beschoncken / met gouden wijnen seijden laet ons hier blijven, tsal beter sijn / tis beter dat burgers lijden, als sitten op Loevesteijn / Het tweede wiel seij ick bender niet droevich om / want ik ben int minsten geen vrindt van waelen / noch van borgers, maer vanden baes / die, alst groote beest en wij met aenhang blijven jen[?] / sullen onse medebroeders eeten van die kaes / alsmen schreef sesthien hondert en achthien. // voor de Goede // Ten waere dat de goede stat Amsterdam / eens het goet voorgenomen werck te boven quam / en doen, dan het groote beest en Goudewagen / met al haer godtloose en quaeden aenhanck / om tot staet te comen, de Burgers wagen / en soecken t goet en bloet te geven een quade ganck / daerom goede Borgers kijck uijt u oogen / eer dat ghij vande fielen wart bedrogen."
= Document concerning the rations and stocks for the various French troups during The Siege of Maastricht in April and May of 1748, which was part of the war of the Austrian Succession.
- Paper over covers worn. = Bound tête-bêche.
- Lacks second vol.; upper hinge broken.
= Discussing the first ten books of Euclides in 4 parts. The title-page mentions three other parts and books 11-16 by Euclides.
- Contents in good condition: a few miniatures occas. w. small pigment losses; some smudging to border decoration. Probably lacks part of a prayer to the Holy Trinity and 1 full-page miniature and/ or a leaf with a small miniature. Velvet over boards for the greater part worn off; upper cords broken; lacks clasps and catches. A fine and well preserved manuscript with bright colours and gilding.
= CONTENTS: Cambrai-Windesheim calendar, probably for the northern part of the medieval diocese of Cambrai (possibly Antwerp or surroundings), in Middle-Dutch (w. table and computeus circle [without date]), saints mentioned in red ink include Agnes (21 Jan), Erasmus (1 June [sic]), [Achatius and the] 10.000 Martyrs (22 June), Division of the Apostles (15 July), Augustine (28 Aug), [Ursula and the] 11.000 Virgins (21 Oct), Nicasius (14 Dec) and Thomas of Canterbury (29 Dec); Prayer to the Holy Face; prayers; Hours of the Cross; Mass of the Virgin; Gospel Lessons; Seven Prayers of St. Gregory; prayers when attending mass in church; prayer on the name of Jesus; verses of St. Bernard; Suffrages; Suffrage to St. George; Marian prayers; Joys of the Virgin; Hours of the Virgin for the use of Rome; Penitential Psalms and Litany; prayer to the Trinity preceded by Psalms 53 and 66 [first part of text probably missing]. Probably made for a man named Johannes (fol. 21r: "michi famulo tuo iohanni" in a prayer on the name of Jesus); all prayers for male use. The manuscript appears to be almost complete, no indications of cuttings were found, there is no Office of the Dead, which is unusual but not necessarily lacking.
DECORATION: MINIATURES: (in order of appearance, quarter-page/ 7- or 8-line size unless stated otherwise) 1. Salvator Mundi (full-page); 2. Crucifixion (full-page); 3. Maria Lactans (full-page); 4. Mass of St. Gregory (full-page); 5. Christ-child w. the Instruments of the Passion; 6. St. Bernard w. the devil; 7. Guardian angel w. male patron; 8. John the Baptist w. a book and standing next to the Lamb of God; 9. St. John the Evangelist holding the poisoned chalice 10. St. Peter holding a key and book, St. Paul holding a sword; 11. St. James the Greater w. pelgrims bag and staff, holding a book; 12. Anna selbdritt (full-page); 13. St. Mary Magdalene holding an ointment jar and a book; 14. St. Barbara holding a palm and a book, before the tower; 15. St. Catherine of Alexandria holding a book w. a sword and part of a (broken) wheel; 16. Lamentation; 17. The Assumption of the Virgin (full-page); 18. The Tree of Jesse and Annunciation (full-page); 19. Visitation; 20. Nativity; 21. Annunciation to the shepards; 22. Adoration by the Magi; 23. Presentation in the Temple; 24. Massacre of the Innocents; 25. Flight into Egypt and 26. David Penitent (full-page). This is an attractive book of hours, featuring the strewn-flower borders on coloured grounds that are typical of southern Netherlandish illumination of the decades around 1500. There are two hands in the illumination. The first artist supplied 6 of the full-page miniatures (nos. 1-4, 12 and 26 listed above); the second artist painted the 2 full-page (nos. 17 and 21; of lesser quality) and the small miniatures. The facial types and the colouring, with intense but pale tones (esp. nos. 18, 26), point to a localisation in the region of Brabant (as suggested by the calendar as well) but the place of production cannot be ascertained. The first artist depicted expressive figures engaged in emotional interactions (for example, the group of mourning women in the foreground of the Crucifixion). The second artist's gesticulating figures are set in fluvial landscapes in blue and green hues. The compositions of both artists are indebted to the Master of the Dresden Prayer book. The border surrounding the Assumption, with trumpeting putti and italianizing elements, derives from a model used in the workshop of the Master of the David Scenes in the Grimani Breviary. Another manuscript by the same two illuminators in The Hague, Museum Meermanno, Ms. MMW 10 F 14, which contains a similar composite Tree of Jesse and Annunciation. The first artist also painted a series of passion scenes in New York, Morgan Library and Museum, Ms. M 156. A very special thanks for the contributions made by Anne Magreet W. As-Vijvers (Illuminare scribendo) and Ed van der Vlist (The Royal Library). SEE ILLUSTRATIONS ON FRONTCOVER AND PLATE CII.
- Used as part of later bookbinding, text not complete.
= Roman der Lorreinen is a 13th century Dutch novel (originating in France) with the main theme of a neverending feud. Comparable with the great novels in medieval literature Spieghel Historiael and Lancelotcompilatie and as very often is the case with these types of work, the novel is only known through fragments. We know it consists of three books; the first book starts with the origin of the eternal feud between two families, the Loherains (Lorreinen) and the Bordelais (followers of count Fromont). In our fragment, although cut up, the name "fromont" is mentioned twice.
- Remains of two leaves reused on a later binding and so with scuffed and discoloured surfaces; cuts to edges; three large dam. spots. Not examined outside of frame. Sold w.a.f.
- Paint partly chipped/ worn of in lower and left marginal borders; rubrication faded. Not examined outside frame.
- Gilding on border and a few initials sl. faded.
AND 1 similar.