Manuscript document on vellum. 28 lines of writing. Signed "C. grapheus." 20.3 x 32 cm

Manuscript document on vellum. On the verso one can read: "12 April 1516, Obligation ... Lord (?)... to David Anderson." The word "Lord" is also legible in the signature. 25 lines of text. The document still has the tag where a seal would have been attached. The parchment is stained and has a flaw next to the 10th line, on the left margin. 16 x 24.5 cm

Statutes of Rules of Association of a Lay Fraternity, Ch. 12-16, listing cities in Northern Dalmatia and offshore island in the Adriatic where members of the fraternity might fall ill. MS. in Croatian vellum, Island of Krk, Croatia, early 14th century. 2 folios, 29 x 21 cm. Text in two columns (19 x 13 cm), 26 lines in Glagolitic book script, headings in red, 2 7-line and 4 half-page illuminated initials in strapwork and leafy design in red and black with yellow wash infill. (The item includes a description from schoyencollection.com)

Vellum manuscript folio with text on both sides. Text in two columns of 50 lines (14 x 9 cm). Extremely small textura script, with some rubricated sentences and capitals touched in red ink. Four illuminated initials on the recto, in gold, blue, red and white ink. Two of these initials are also historiated: a capital "O" inhabited by a wyvern, and a capital "U" with a scene with three male figures. There are also two decorated initials with penwork in red and blue ink on the verso. The running title: "Amos," indicates the text is a passage from the Book of Amos in the Old Testament. 19 x 13.8 cm (Mounted on matte)

Fragment from parchment folio, with text on one side. The main text is surrounded by commentary, and there are also marginal annotations by different hands. Some initials are marked in red and blue ink. The page was used in binding. 19.7 x 39.4 cm

Fragment of a vellum folio with text on both sides. Includes only 12 lines of text with wide separation between the lines. It seems as if musical staves had been erased (more visible under the first 3 lines). A capital letter "D" (Dixit autem pater...) is rubricated, and there was a decorated initial (3 lines tall) that was also erased (there are traces of green, red and blue ink). 32 x 19.5 cm. The fragment was used in binding.

"Manuscript on vellum, Benedictine prayer book. Ff. 90. Augsburg or its environs, a collection of various parts ranging in date from the later 15thcentury till c. 1530. Written in brown, black and red ink in various hands, 18 to 25 lines per page, and with four illustrations, bound in blindstamped pigskin over wooden boards with two brass clasps, ca. 1530-40, the stamps represent medallion heads of warriors and floral ornaments, central emblem with remains of gilding on front cover, depicting a round object (a helmet?) at the top, the rounded tip of a crosier to its right, all placed on a tree trunk resting on a skull and flanked by two cocks emblem and some other parts rubbed and worn, some minor cracks in spine, but nevertheless a well-preserved and completely unrestored binding, (c.9,5 x 7,5 cm) Contents: Ff 1-14: Calendar, black and red ink, ca. 1500, including two blanks and one leaf for each month (most of them slightly shaved at top); gives feast days, both common and local, and symbols indicating moon phases, Local saints named point to Augsburg: Saints A(u)fra, Vodalricus, Erhardul, Colomannus, Wolfgangus, Othmarus, Cunradus are mentioned, as well as under Sep. 28 apparently the anniversary of the Augsburg cathedral, 'Dedica(ti)o cat(hedralis) Augs(burgiensis)', several corrections and additions to entries; the names of some saints, such as Thomas Aquinas, have been erased, though no explanation for this is evident, the calendar is clearly Benedictine (St. Benedict is thus the only saint of the calendar for whom both his feast day and his octava is entered), on the back of last leaf is a heraldic drawing in ""fake"" gold ink (now mostly oxidised into a green colour) representing a coat of arms divided diagonally into a field of horizontal stripes to left and a cock to right, all surmounted by a closed feathered helmet with a sword to its left and a crosier to its right; above the date ""MCCCC"" (1400: date of granting of arms?), the cock obviously suggest the coat of arms to be that of the Beno von Rothenhan mentioned later in the book; likewise, the gilt emblem with cocks on the book's cover must represent this man. The calendar is followed by prayers, psalms and hymns (beginning: ""Incipit accesue altarie""), written by various hands (at least 13 different ones can be identified), including that of the calendar, with portions of text erased or replaced in several places, on 29v an early engraving, ca. 1500, (worn and abraded) on paper, representing the Ascension of Mary Magdalene assisted by six angels, and hand-coloured in red, green and yellow, has been glued onto the page, the image is accompanied by biblical passages on and prayers to Mary Magdalene among others, on 32v a miniature (ca. 1530-40?) is painted in rather pale colours (yellow, reddish brown, brown, light violet and orange): Madonna with child in a roundel enclosed in a large ""M"", on f 46r is a monogram crowned by a seven-spiked baronet's (Freiherr) crown, below which is written the name Beno v(on) Rothenhan (ca. 1530?), on f 88r is mentioned indulgences granted by Pope Nicolas, no doubt in connection with the small jubilee of 1450.nnThe collation of the book is extremely complex; apparently the owner, Beno von Rothenhan, of the various pieces in the volume had them assembled and bound for his personal use, we have unfortunately not been able to trace Freiherr Beno von Rothenhan, fl. ca. 1530 at (or around) Augsburg; the family is found in Siebmacher's Wappenbuch, vol. 22, p. 20 & 54 with pl.s. 14 & 56, though the coat of arms illustrated there only has the image of a cock in common with that in our book. All the pieces represent Roman-Catholic orthodoxy, and none of the numerous erasures in the book seems explicable in terms of the religious struggles of the time.",Full pdf available, https://dl.mospace.umsystem.edu/mu/islandora/object/mu%3A445368/datastream/PDF/view

Complete parchment folio from a Bible in Latin, from the book of Jeremiah. The recto of the folio shows a historiated capital "U" (11 lines), with the figure of Jeremiah, illuminated in gold, blue, red, white, green, gray and black. It also shows two capitals in red and blue ink, decorated in penwork. On the verso, an initial in red, decorated with green penwork. Text in two columns of 46 lines, textualis script (?). 44 x 31 cm. Text: 30.8 x 20 cm.

Fragment from parchment folio, with text on one side. The main text is surrounded by commentary, and there are also marginal annotations by different hands. Some initials are marked in red and blue ink. There is a large (9 lines tall) decorated capital "I" (Incipit...), that has been partially erased, but was painted in blue and red. From the letter stems a manicule. The page was used in binding. 19.7 x 39.4 cm

12mo (19.6 x 13.1 cm, 7.75 x 5.125"). [1] f.Paris was the center of Bible production in the 13th century, with the text having been standardized there, and the University attracting scholars who wished to have just such a small Bible as this leaf came from—a new thing in the 13th century. [BEING QUERIED: The text here is I Samuel 22:15-25:8, including the pursuit of David by King Saul and the famous scene where David sneaks up and cuts off part of the king's cloak, later showing it to Saul as proof of his good faith, that when he could have killed him, he forebore doing so.]nnThis leaf is of fine quality (i.e., thin) vellum, with the text in two columns per page of 57 lines each, ruled in lead, the top line written below the top rule. The pricking for the rules is still present on the outside edge of the leaf. The scribe has written very small in black ink in compact Gothic script of the style typical of Bibles and other scholarly manuscripts of the 13th century, though it shows a few characteristics of later cursive Gothic. The running headers are in red and blue letters with a little pen tracery. The numbers heading each chapter (XXIII, XXIIII, and XXV) are likewise in red and blue, and there are 3 two-line initials (one on the recto and two on the verso) heading each chapter, a red E, a blue A (with a long descender), and a red M, each with elaborate and long tracery in the contrasting color. There are also notes to the rubricator on the edges.nnProvenance: Ex-Zion Research Foundation (later known as the Endowment for Biblical Research); very likely to Zion from Ege. nnSome spots of staining in the margins, and remnants of adhesive with vellum thinned where it was removed.,Full pdf available, https://dl.mospace.umsystem.edu/mu/islandora/object/mu%3A439261/datastream/PDF/view

"4to (26.3 x 18.3 cm, 10.375 x 7.25"). [1] f. Perhaps more important than European universities as a market for Bible production were the friars: the Dominicans and Franciscans. Thus Bologna, not possessing a faculty of theology like Paris, but having the second most important Dominican house, was also, next to Paris, the most prolific producer of Bibles. This leaf in many ways could have come from Paris, but the fact of prominent chapter divisions, arguing also for a date later than ca. 1225, and the fact that the top line of text is above the top line of ruling point to southern Europe. The text is II Chronicles 16:4-18:34, including the end of the reign of Asa, king of Judah, and part of the reign of Jehoshaphat. It is worthy of note that chapter XVIIII in this manuscript begins with 18:28 in the standard numbering.nnThis leaf is written in brown ink in a compact and rounder Gothic, in two columns of 48 lines, ruled in lead, with the prickings still present on the inside edge. The running headers are in red, as are the numbers heading each chapter; chapters also bear decorative initials: a green two-line R with red tracery for chapter XVII, a four-line red F with purple tracery for chapter XVIII (both on the recto), and (on the verso) a four-line red I with red tracery. In some places the text has been erased and corrected in black ink in a more angular hand. In the (two) left margins are three nota (?) marks consisting of a single stroke with two or three dots over it. nnProvenance: Ex-Zion Research Foundation (later known as the Endowment for Biblical Research); very likely to Zion from Ege.nnSome light soiling or staining in the margins. A closed cut, appr. 2.5 cm, 1" in length, from outside margin into text without loss.",Full pdf available, https://dl.mospace.umsystem.edu/mu/islandora/object/mu%3A439255/datastream/PDF/view

"Bifolium. Manuscript on vellum, 12mo (17.7 x 23.7 cm, 7 x 9.25"). [2] fA double-page spread from a small Paris Bible. Paris was the center of Bible production in the 13th century, with the text having been standardized there, and the University attracting scholars who wished to have just such a small Bible as this double leaf came from—a new thing in the 13th century. The texts on this bifolium are Ezekiel 27:11-30:3, containing prophecies against Tyre and Egypt, and Ezekiel 44:17-47:4, with directions for restoring the life of a just and righteous Israel and the beginning of Ezekiel's vision of water pouring forth from the temple.nnThis leaf is of very fine paper-thin vellum. The text is in two columns per page of 53 lines, faintly ruled in lead, the top line written above the top rule. The outer edge of the second leaf retains its prickings. Text is written in black ink in a very small and compact Gothic script of the style typical of Bibles and other scholarly manuscripts of the 13th century. The running headers are in red and blue ink, the numbers heading each chapter are likewise in red and blue, and there are 1 ten-line initial I (in red with blue tracery), 1 four-line initial H (in blue with red tracery), and 4 two-line initials (in red or blue with tracery in the contrasting color). Key initials in the text are lined in red. Some corrections have likewise been made in the text, in black or red, and there is some marginalia in black and red in an early hand.",Full pdf available, https://dl.mospace.umsystem.edu/mu/islandora/object/mu%3A439250/datastream/PDF/view

(Mark, chapts. 9-10, including the Transfiguration)nn"ILLUMINATED VELLUM MANUSCRIPT LEAVES FROM A PORTABLE BIBLE IN LATIN. (France, ca. 1250) 5 3/4 x 3 3/4". Double column, 49 lines, written in a tiny gothic book hand. Each leaf featuring capitals struck with red, headlines and verse numbers in blue and red, and one-line versal initials in red or blue. Many leaves with larger (typically four-line) initials in blue or red with elaborate penwork infilling and marginal extension in the same and contrasting colors. SOME LEAVES WITH LARGER INITIALS (typically seven- and nine-lines high) IN DIVIDED RED AND BLUE, OFTEN WITH VERY LONG MARGINAL EXTENSION, sometimes the entire length of the leaf. Most leaves with at least some (and a few leaves with many) MARGINAL ANNOTATIONS IN AN INCREDIBLY TINY HAND. Leaves variably dampstained diagonally across upper portion (sometimes as little as a tenth of the leaf affected, sometimes as much as a third, the discoloration never really absent, but never really dark), vellum a bit cockled, but pleasing leaves nevertheless, the text still quite distinct, the vellum generally clean, and the margins especially ample. Available are a number of leaves from a sizable fragment of a so-called pocket Bible, a 13th century innovation that is discussed in item #9, above. Of special interest here are the annotations: while the script of our leaves is quite tiny (though no smaller than many other 13th century portable Bibles), the annotations here are half(!) the size of the text, a fact that is almost as astonishing as the fact that these marginal notes are beautifully written and perfectly legible (though requiring for most eyes the assistance of magnification). Provided with each leaf offered here is an English translation of the text present on both sides of the leaf. While no English printed version is equivalent to the Latin Vulgate text used here, we have chosen one that comes close, using the 1582 Rheims New Testament and a 1635 printing of the Douay Old Testament.",Full pdf available, https://dl.mospace.umsystem.edu/mu/islandora/object/mu%3A439247/datastream/PDF/view

12mo (17 x 12.3 cm, 6.75 x 4.875"). [1] f.A "Peaceable Kingdom" leaf from a small Bible: Paris was the center of Bible production in the 13th century, with the text having been standardized there, and the University attracting scholars who wished to have just such a small Bible as this leaf came from—a new thing in the 13th century. The text here is Isaiah 61:3-66:10, containing a prophecy of the restoration of Jerusalem, including the well-known Isaiah 65:25: "The wolf and the lamb shall feed together, and the lion shall eat straw like the bullock: and dust shall be the serpents meat. They shall not hurt or destroy in all my holy mountain, saith the Lord."(KJV)nnThis leaf is of very fine paper-thin vellum. The text is in two columns per page of 53 lines, faintly ruled in lead, the top line written below the top rule; it is written in black ink in an extremely small and compact Gothic script of the style typical of Bibles and other scholarly manuscripts of the 13th century. The running headers are in red and blue ink, the numbers heading each chapter are likewise in red and blue, and the 5 two-to-three-line initials (3 on the recto, and 2 on the verso) beginning each chapter are in red or blue, the Q's with long descenders, and all with elaborate long tracery in the contrasting color. A few instructions to the rubricator are to be found in the gutters.nnParchment with slight cockling. Some letters rubbed, affecting legibility in one place. Two pieces of cloth tape, likely for mounting, have been attached in the inner margin of the verso, running beyond the edge of the leaf. The quality and thinness of the parchment, the minuteness of the writing, and quality of the decoration make this a particularly fine, beautiful, and delicate piece.,Full pdf available, https://dl.mospace.umsystem.edu/mu/islandora/object/mu%3A439258/datastream/PDF/view

ISAAC BEN ABBA MARI OF MARSEILLES (c.1122 – c.1193), Sefer ha-Ittur or Ittur Sofrim (a compilation of the main Halakhic laws), in Hebrew, manuscript on vellum [southern France, late 13th century]nn"10 leaves, each 390 x 240 mm, blind-ruled for two columns of 60 lines written in brown ink in a beautiful Provençal Hebrew rabbinic cursive script, ruled space 270 x 160 mm, some headings in Hebrew square script, occasional side notes (a few stains and spots, one leaf cut but not affecting text, else in excellent condition). Bound in grey buckram at the Quaritch bindery."nn"A beautiful example of rabbinic cursive script of the 13th century, almost contemporaneous with the author's lifetime....nnProvenance:nn(1) Sotheby's, 29 November 1990, lot 56.nn(2) Schøyen Collection, MS 705.nnText:nnIsaac ben Abba Mari, often referred to as 'Ba'al ha-Ittur', was a Provençal rabbi and author of the Sefer ha-Itturor Ittur Sofrim, a treatise on Jewish conjugal, civil and dietary laws. It was accepted as an authoritative halakhic treatise by the great rabbinical authorities of Spain and Germany. Both the manuscript and the printed editions (Pt. 1: Venice, 1608; Warsaw, 1801; Pt. 2: Lemberg, 1860) of the text of the Sefer ha-Ittur are faulty to the extent of the deletion of entire lines, rendering its study difficult.nnThe present text is from part 2, concerning the laws of forbidden portions of meat, laws of the phylacteries (tefillin), fringes (zizit) and of marriage.,Full pdf available, https://dl.mospace.umsystem.edu/mu/islandora/object/mu%3A443179/datastream/PDF/view

Six manuscript documents on pieces of parchment of various sizes. Sawn together. They could be a series of receipts. The script looks like a 16th English century minuscule cursive, chancery hand or court hand. Written in pencil on the first folio is "Henry VIII," on the 4th, 5th and 6th "Eliz l" (Elizabeth I). (they are all around 32 x 12 cm, or smaller)

XII + 16 pages, etching by Conrad Waldstromer (* 1178 1266, imperial council, Reichsschultheiß zu Nürnberg) as frontispiece, 97 lithographs on 78 sheets (by HF Jütte), hand-colored by H. Gustav Brinckmann, half-parchment binding from the time approx. 21 × 34 cm (see Figure 5), illustrated inner cover and front pages, cover slightly bumped, one sheet with a backed tear on the side margin (approx. 2 cm), otherwise only minor signs of wear, very nice and firmly bound copy of this rare and richly illustrated editionnnExcerpt from Wikipedia: "The Schembartlauf (to mhd. [Der] schëm (e) shadow, mask", schëmbart bearded mask "folk etymological Schönbart, hence also Schönbartlauf), until 1539 part of the Nuremberg tradition on Carnival, is first documented in 1449. According to legend After a craftsmen's uprising, the Nuremberg butchers were rewarded for their loyalty to the Nuremberg Council with the privilege of holding a Zämertanz on Shrovetide and, among other things, facial to be allowed to wear asks. The original Zämertanz was a performance by the butchers in the tradition of the many artisan dances, in which the dancing men formed a long intertwined chain. Here sausage rings, probably made of leather, were sometimes used as a link from man to man, while other guilds also used swords, hoops or wooden bows with flowers. Probably the Schembartlauf originally arose from the accompanying protective force of the butcher's dance and then became independent. The Schembartläufer, masked and singing shoddy songs, wandered through Nuremberg at Mardi Gras. Their dance was more of a run in which simple hopping figures like figures of eight and mills were formed. The runners were accompanied by men who rode horse dummies. The patrician youth of Nuremberg bought the right to participate (it was probably essentially about the right to mask themselves) from the butchers and thus used the opportunity to present themselves imaginatively. The robes became more and more precious, the Schembartlauf became a great spectacle over the years. In addition to the dance group, individual runners appeared in wild costumes, and from 1475 the Schembart runners pulled a so-called hell "through the Nuremberg streets, a vehicle on sled runners, with the symbolism of which they more and more mocked the social conditions and, in the final phase, the strict Protestant regiment Weimar, Society of Bibliophiles, 1908 (number 96 out of 500 copies), 1908.

148 leaves (including fly), complete, collation: i- xv10, xvi7 (first leaf a singleton added to complete text, but text continuous – compare the online photographs of Yale, Beinecke MS. 1079, fols. 196r-197v; this gathering includes three endleaves and the rear pastedown), contemporary catchwords and modern pencil pagination on lower corners of rectos, Latin text in double columns of 18 lines (main text generously spaced) with commentary in smaller script set within blocks filling entire sections of columns or smaller rectangular part (see below), rubrics in dark red-burgundy, paragraph marks in red, running titles in same at head of each page, small initials in red or blue (some with purple or red contrasting penwork). Four illuminated initials in blue, green or dark pink acanthus leaf fronds, enclosing other foliage on burnished gold grounds, single hairline foliage and acanthus leaf sprays in margin, terminating in gold bezants and ivy-leaves and long pointed fruit, encased in penstrokes giving them a distinctive 'hairy' appearance (similar to borderwork on early fifteenth-century Books of Hours and liturgical books, compare L.M.C. Randall, Medieval and Renaissance Manuscripts in the Walters Art Gallery, II: France, 1420-1540, 1992, figs. 197, 199, 201 and 203, all Parisian or northern French first half of fifteenth century). Many marginal and interlinear additions by main hand, a little flaking to opening initial, one or two leaves with small splashes, a few small marginal wormholes, good margins, generally excellent condition. In sixteenth-century blindstamped pigskin boards bevelled in their mid-sections in German style, and tooling of panels of Tudor rose style flower heads and small flowers, binding skilfully restored, traces of metal clasps at fore-edge. Overall, a high quality and elegantly produced ms in excellent and crisp condition.nn"A very fine copy of a fundamentally important medieval text, yet to be edited or extensively studied; and most probably the sole copy to appear on the open market since records began.nnProvenance:nn1. Written and illuminated, most probably for a monastery or cathedral school in eastern France, in the fifteenth century. Bound or rebound with bevelled boards in the German fashion, in the sixteenth century.nn2. In French-speaking ownership in the nineteenth century, with notes on the date of the codex and its contents on front pastedown and front flyleaf.nn3. Alexis Noisilier of Paris: his 1929 printed bookplate to front pastedown.nnPeter Lombard's Sentences was a fundamental compilation that provided the medieval Church with a comprehensive framework for theological and philosophical discussion. It ranks among the most important works of the Middle Ages, and among the handful of commentaries that the thirteenth century produced, that of Hugh of Saint Cher (d. 1263), a French Dominican friar, holds a commanding position. It steered and guided study of Lombard's work for several generations, making itself felt in the works of John of Treviso, the anonymous abbreviation Filia Magistri, the commentary of Richard Fishacre, among others, and most probably contributed to the development of a new type of commentary (see M. Bieniak, 'The Sentences Commentary of Hugh of St.-Cher', in Mediaeval Commentaries on the Sentences of Peter Lombard, 2009, ed. P.W. Rosemann). It is particularly surprising that there is no edition of the text, and only two partial studies of its manuscript tradition – focussing only on the thirteenth-century witnesses (T. Kaeppeli, Scriptores Ordinis Praedicatorum Medii Aevi, 1975, II, p. 272, no. 1983, and IV, p. 125; updated by B. Faes de Mottoni, 'Les manuscrits du commentaire des Sentences d'Hugues de St. Cher', in Hugues de Saint-Cher († 1263) bibliste et theologien, ed. L.-J. Bataillon et al., 2004, pp. 273-98, listing 41 manuscript commentaries – all in European institutions; save a thirteenth-century Spanish at Yale, Beinecke MS. 1079).nnA contemporary hand has added at the end the erroneous note that it was "Abbreviatus ut credunt per M[agister] Alexander de halis", linking its authorship to the English Franciscan writer, Alexander de Hales (d. 1245), which might provide for future scholarship. Faes de Mottoni notes the glosses of this English Franciscan are found alongside those of Hugh of Saint Cher in the crucial early witness of the text in Stockholm, Kungliga Bibliotheket, MS. A 150, a thirteenth-century Parisian witness, which gives all four books of the Sentences in their full form, with the commentary in the margins, and has been identified as an authorial related copy of the work by F. Stegmüller ('Die älteste Redaktion des Senten zenkommentars Hugos von St. Cher in einer Handschrift der königlichen Bibliothek zu Stockholm', Nordisk Tidskrift för Bok- och Biblioteksväsen, 35 (1948), p. 69-79; and the same author's 'Die endgültige Redaktion des Sentenzenkommentars Hugos von St. Cher', Classica et mediaevalia, 9 (1948), pp. 246-265) see also W. H. Principe, 'Hugh of Saint-Cher's Stockholm 'Gloss on the Sentences': An Abridgment rather than a First Redaction', Mediaeval Studies, 25 (1963), pp. 372-376, and J. Gründel, 'Hugo von St. Cher O.P. und die älteste Fassung seines Sentenzenkommentars', Scholastik, 39 (1964), pp. 392-401, for opposing views. If comparison of the commentaries in the Stockholm manuscript and the present links them textually, our copy would be particularly important for knowledge of the history and use of the text in later medieval France.nnThis is thought to be Hugh of Saint Cher's first work, and he is known to have lectured on the Sentences at the University of Paris in 1226-1227, 1229-1230 and perhaps also 1230-1231. It is in fact two texts: a complete abridgement of the entire Sentences (hence the work is sometimes, inaccurately, called an epitome), as well as the commentary itself. Moreover, it is notable that the commentary here is set in smaller script in smaller blocks occupying the whole or sections of the text columns in a way clearly derived from the arrangement of glossed books of the Bible by Parisian book-producers in the twelfth and thirteenth centuries (see C. de Hamel, Glossed Books of the Bible and the Origins of the Paris Booktrade, 1984). While such a format is absent from some early witnesses (such as the Stockholm manuscript), it is found in others, such as the Yale copy, which presents the similar text and commentary in a near identical format. Clearly this 'Glossed Bible' format has its origins in the earliest history of the text, and thorough study of the surviving witnesses would probably reveal families and patterns. The present ms stands as an important record of the continuing use of this format into the fifteenth century.nnThe work itself is of breath-taking rarity on the market, with the vast Schoenberg database listing only one possible copy: offered for sale by B. Rosenthal, cat. 1 (1954), no. 5 (although its small size there suggests that it was in fact a copy of the Filia Magistri – as was the text of the same title offered online by Les Enlumineres, their TM 905, in 2019). The Beinecke bought theirs from an undeclared and possibly private source in 1920. Thus, the present copy would appear to be the sole copy of this important text to appear on the market since records began.

Fragment from parchment folio with Hebrew text on one side. 34 lines of text. The folio was used in a binding. 29.5 x 19 cm

Fragment from parchment folio with Hebrew text on one side. 38 lines of text. The folio was used in a binding. 33.5 x 32 cm