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Did LONGFELLOW Wish to
Write Lyrically in Micmac?
Catholic Church. Liturgy & ritual. Micmac. Buch das gut, enthaltend den Gesang.... Wien, Oesterreich: Kaiserliche wie auch königliche Buchdruckerei, 1866. 12mo (17.5 cm; 7"). Frontis., 209, [1] pp., 1 plt. [with] Catholic Church. Catechism. Buch das gut, enthaltend den Katechismus, Betrachtung.... Wien, Oesterreich: Kaiserliche wie auch königliche Buchdruckerei, 1866. 12mo (17.5 cm; 7"). Frontis., 146 pp., plt., [1] f., pp. [5]–109, [3] pp.
$7500.00
Click the images for enlargements.
Henry Wadsworth Longfellow's set. America's great early lyric poet seems to have had an interest in the Micmac, perhaps dating from his days as a student at Bowdoin College but certainly from when he began conceiving Evangeline and its story of the Acadians who lived among and intermarried with the Micmac.
Fr. Christian Kauder (b. 1817) was a Luxembourger priest who worked for ten years as a missionary among the Micmac in eastern Canada: In 1866 he produced a hymnal, a catechism, and a devotional volume (containing prayers for various occasions and excerpts from the breviary and missal) all in Micmac hieroglyphs with occasional headings in German in Roman characters.
Offered here is the complete set of three works. The trio was issued in two versions: 1) with all three works bound together and the Betrachtung full-paginated to p. 111, and 2) as here, in two volumes, the Gesangbuch separately and the Katechismus and Betrachtung together with the latter work having the final three leaves unpaginated. (See Pilling, Algonquian, on this matter of the multiple methods of issue).
This is the first edition of the issue/state of the texts in two volumes.
The highly developed system of characters used in these books was invented by Fr. Chrestien Le Clercq (b. 1641) and was used beginning in the late 17th century by the Micmac for both religious and nonreligious texts, written on birch bark. In this production, the Micmac characters are printed on blue-green paper.
Provenance: Owned by H.W. Longfellow with “Micmac Language” in his hand on the recto of the frontispiece of the Gesangbuch and “Micmac Language New Brunswick” in his hand on the recto of the frontispiece of the other volume.
Pilling, Algonquian, 275; Pilling, Proof-sheets, 2058 & 2059. The set not Evans, Masinahikan; not in Banks (rev. ed.), Books in Native Languages; not in Newberry Library, Ayer Indians. Each volume bound in black oilcloth wallet-style with a natural cloth tie; some adhesion of old paper to the exteriors of the bindings. Internally very attractive clean, and with a
wonderful provenance. (29261)
Charming
Old Missal from
PLASY
— Cistercian
Propers
Catholic
Church. Liturgy & ritual. Missal.
Missale romanum ex decreto Sacro-Sancti Concilii Tridentini Restitutum. Pii V.
Pont. Max. jussu editum, Clementis VIII. primum, nunc denuo Urbani Papæ
Octavi auctoritate recognitvm. In quo missæ propriæ de sanctis recentioribus
suo quæque loco & ordine ad longum sunt positæ ad majorem celebrantium
commoditatem. Tulli Leucorum: Sumptibus Joannis Eliae Höffling, 1672. Folio
(34 cm, 13.5"). A–D6 E8 2A–2E6
F–Z6 Aa–Zz6 Aaa–Ddd6 Eee4
a–i6 k4 3A2; [32] ff., 608,
cxii, 4 pp. [bound with] Catholic Church.
Liturgy & ritual. Proper masses. [Cistercian].
Proprivm missarvm de sanctis ad usum Sacri Ordinis Cisterciensis.... Tulli Leucorum:
Sumptibus Joannis Eliae Höffling, 1672. Folio (34 cm, 13.5"). A–B4
C2; 20 pp.
$3500.00
1570 saw the first edition of the Tridentine Missal—the Roman
Missal as ordered reformed by the Council of Trent, based on the Missal’s
first printed edition (1474) and John Burchard’s more detailed one of
1502. Their common order of mass was derived from “the Curial Missal as
adopted by- the Franciscans and imposed on the Diocese of Rome by Nicolas III
in 1277” (NCE), which was essentially that used by St. Gregory
the Great (reigned 590–604) and many of his predecessors. With minor changes,
this ancient rite remained the official one for most of the Western Church until
the imposition of the Novus Ordo Missae in 1970.

The
Tridentine Missal saw a huge number of editions in the 400 years it was in
full force, and is still printed today. Tullum, or Tullum Leucorum is Latin
for Toul, a town on the Moselle River in northeastern France that was a diocesan
see until 1790. It appears to have been a fairly early printing city, as a
manual for artists was printed there in 1503. This particular edition is uncommon:
A search of OCLC revealed only one other missal printed in Toul, and this
one is not listed there, nor was it found on RLIN or in NUC Pre-1956.
The Proprium cisterciense is also unusual: a search of the above three
mentioned catalogues revealed no other copies in any edition. The Cistercians
eventually adopted the missal of Pius V after much discussion, but soon issued
their own version with Cistercian rubrics and feasts, thus giving this Proper
what was probably a short life.
The
title-page has an engraving of angels before a monstrance, two with censers.
The masses begin with a small charming woodcut initial, and the major feasts
and the Canon are each preceded by a full-page engraving, some of which are
signed by Iottain: these are the Annunciation (First Sunday of Advent), Nativity
of our Lord, Adoration of the Magi (Epiphany), Crucifixion (Canon), Risen
Christ (Easter Day), Ascension, Pentecost, Last Supper (Corpus Christi), Assumption,
and All Saints. There are more than
50
pp. of music, including the Exsultet and the prefaces, printed
with black square notes on a red four line staff, as usual.
Provenance: On the title-page
below the engraved vignette is the following inscription: “Pro Monasterio
B.M.V. in Plass S.O.Cist comparavit R[everendissimus] D[ominus] Benedict Engelken
loci abbas . . . Anno D[omin]i 1673.” Plass or Plasy is a Cistercian
abbey (now redundant) in western Bohemia, founded ca. 1144. On the verso of
second front flyleaf is inscribed in ink “Sacristiæ S. Thomæ
a 1 Julii 1804.”
Mottled calf with remnants of sumptuous gilt; rebacked, leather
with holes for hardware not present; stained and peeling in places. Leaves
in good condition for a missal; some paper repairs in margins with loss of
rules, a few small holes in bottom margins, expected soiling on most used
pages and some in margins elsewhere, no obscured or lost text. Marbled endpapers.
Vellum tabs for leaves of canon. Six silk placemarkers attached to a red and
green silk headband (not part of binding). All edges gauffered and gilt.

The
FIRST Complete
Church of
England Liturgy
in
GREEK
Church of England. Book of Common Prayer. Greek. [in Greek, romanized as ] Leitourgia Brettanikē ēgoun Biblos dēmosiōn euchōn kai diakonēseōs mystēriōn kai tōn allōn thesmōn kai teletōn en tē Ekklēsia hēmōn Anglikanē eis t[ēn] tōn philhellēnōn neōn charin hellēnisti ekdotheisa. Liber precum publicarum ac celebrationis sacramentorum reliquorumq[ue]; rituum & caeremoniarum in Ecclesiâ nostrâ Anglicanâ, in studiosae juventutis gratiam nunc primùm graecè editus. Operâ & studio Eliae PetilI presbyteri. Londini: Typis Tho. Cotes pro Richardo Whitakero, 1638. 8vo (16.1 cm, 6.5"). [262] pp. (lacking prelim. blank f.). [π1A4α4(-α1) β4γ4 ¶4¶¶4¶¶¶1 B–N4 A–04 P2].
$1500.00
Click the images for enlargements.
First Greek translation of the entire Liturgy, including the Psalter, done by Elias Petley from the 1604 English Prayer Book. The Oxford Guide to the Book of Common Prayer
describes this work as “reflecting an interest in Anglican-Orthodox union being promoted by Archbishop Laud and the Greek Patriarch Cyril Lucar”; the volume is dedicated to Laud.The main title-page is printed in red and black; the separate title-page for the Psalter has a neat woodcut printer's vignette and blazons (in Greek type) Psalterion prophetou kai basileos tou Dabid. The elegant Greek type is set in double columns, with some nicely laid in typographic ornaments and decorated capitals. The signing is erratic, but the collation of this example matches most recorded descriptions: Leaf α1, apparently a cancel in a few copies but lacking in most reported examples and not present here, was a supplemental title-page giving Biblos dēmosiōn euchōn, kai leitourgēseōs mystēriōn; Griffiths calls for only one preliminary leaf, as is found here, with the other leaf in the gathering being a blank. Leaf 1C2 is a cancel.
Provenance: Front pastedown with armorial bookplate of Twistleton Fiennes, with that family's motto: “Fortem posce animum”; front free endpaper rubber-stamped “Birch” and front fly-leaf inked “Tho.s Birch e Coll. Herts. Oxon.” (apparently neither the historian nor the marine painter); title-page with inked monogram (obscure).
ESTC S108726; STC (rev. ed.) 16432 & 2353; Griffiths, Bibliography of the Book of Common Prayer, (Other Languages) 45/2. Psalter: Darlow & Moule 4683. See: Oxford Guide to the Book of Common Prayer 57. Contemporary speckled calf, covers framed in gilt double fillets, rebacked with speckled calf quite plainly (without labels but with gilt-dotted raised bands); corners rubbed, original leather showing expectable acid-pitting. One preliminary blank (only) lacking; title-pages trimmed closely at outer edge, affecting typographical border and (on main page) one letter of publication information. Ownership marks as above. Pages lightly age-toned, otherwise clean; tiny spot of worming in lower inner margin, not affecting text.
A handsome and evocative little book. (26373)

NOT Printed from Moveable Type — An Entirely Engraved Book
A Contemporary Sombre Binding
Church of England. Book of Common Prayer. The book of common prayer and administration of the sacraments and other rites and ceremonies of the Church according to the use of the Church of England together with the psalter or psalms of David pointed as they are to be sung or said in churches. London: Engraved & pr. by John Sturt, 1717. 8vo (20.6 cm, 8.13"). XXII, 166 pp.; illus.; lacking volvelle (only).
$2000.00
Click the images for enlargements.
Sole edition. Silver plates, not copper, were used to print this beautiful and finely engraved Prayer Book. The engraver, John Sturt, was well known for producing a calligraphy manual, as well as for micro-engraving the Apostles' Creed on a silver penny and the Lord's Prayer on a silver halfpenny. Both his engraving and micro-engraving skills are employed in this famous and elegant volume.
On 188 silver plates he calligraphically engraved the text and used a number of entrancing borders, and supplied a wealth of illustrations appropriate to the seasons of the Church's year or the feast being celebrated. He excelled himself in his portrait of George I, whose likeness he created via carefully and minutely inscribed texts of the Lord's Prayer, the Apostles' Creed, the Ten Commandments, the Prayer for the Royal Family, and the 21st Psalm!
The text, entirely ruled in red, is the 1662 Book of Common Prayer, which is still the official Prayer Book of the Church of England, with the additions usual at the time: the thanksgiving for deliverance from the gunpowder treason, the prayers on the anniversary of the martyrdom of King Charles, the prayers on the anniversary of the accession of the reigning monarch, etc.
Binding: Contemporary sombre binding in black morocco, an English style used on devotional books ca. 1670–1720. Both covers intricately tooled in blind with a wide border of alternating circle stamps and delicate sprays framing a central lozenge made up of similar tools, arranged asymmetrically, surrounded by pendant floral ornaments; spine with raised bands and a single tool repeated in each of seven compartments.
Unusually for a sombre binding, this has gilt board edges and all edges gilt. Marbled endpapers.
Provenance: George Richard Mackarness M.A. (bookplate); Wallace Parham (bookplateand sticker).
Gewirtz, But One Use, 55; ESTC T141242; Griffiths, Bibliography of the Book of Common Prayer, 1717/2. Binding as above; leather cracking slightly along joints and scuffed in a few places, chips at top of spine. Lacking volvelle, as is almost always the case; later manuscript note citing Walpole's “Anecdotes of Painting” laid in. Age-toning/soiling across page-bottoms and lower outer corners, with only a bit of soiling/spotting otherwise; reds remain very bright and impressions dark and crisp. Ink inscription “From my mother Jan. 1855" on front fly-leaf verso.
A wondrously beautiful piece of devotional art in very nice condition. (30126)


AND we've a Gathering of :
Leaves
from a
Large
18th-Century CHOIRBOOK
Leaves from
a Graduale romanum. Venice: Balleoniana, 1729. Folio extra
(19.25" x 13.625"). 1 f.
With two large initials (example at left): $65.00
With one large initial (example at right): $45.00

Offered are interesting, handsome leaves from large choirbook — a Gradual. The term choirbook refers to a particular format of a volume of liturgical music, intended to be placed on a lectern in the midst of the liturgical choir and to be large enough for those standing in the choir to sing from. The Gradual is the oldest and most important of the four chants that make up the choir's part of the Proper of the Mass. The Gradual fills the time while something significant is being done, and represents the singing of psalms alternating with readings from the Bible.
Click either image for an enlargement.
This particular choirbook was printed with 10 lines of text and music per page. Each leaf contains music and words, and is printed in black and red;
text is in black, with an occasional small letter in red, and the music is provided in black square notation on a four-line red staff. Antiphons begin
with a tall decorative initial printed in red, as high as the text and music together. The initials vary from leaf to leaf.
Crisp, wide margined leaf with slightest bleed-through from one side to another. Printed on handmade paper of 100% rag.
A marvelous display, accent, or gift item.


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