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de Cluis (Cluys), Knight of the Order of Saint John of Jerusalem and Bailiff of the Morea: purchased by him in 1475: dated inscription (f. 13); the arms of the Cluys family of Bourges and of his order (f. 11).
de Cluis (Cluys), Knight of the Order of Saint John of Jerusalem and Bailiff of the Morea: purchased by him in 1475: dated inscription (f. 13); the arms of the Cluys family of Bourges and of his order (f. 11).
de Cluis (Cluys), Knight of the Order of Saint John of Jerusalem and Bailiff of the Morea: purchased by him in 1475: dated inscription (f. 13); the arms of the Cluys family of Bourges and of his order (f. 11).
Painting of a couple standing at the spread Seder table, lifting the seder basket. Under the table, there is a big cat. Beneath the scene, two figures are preparing food for the Seder. Captions of the drawings are perhaps in
the coat of arms represented in Harley 5716-5717, the patron of which was Joab Emmanuel. Thus the codex most probably was ordered by the same patron, Joab Emmanuel.Domenico Irosolimitano (fl. last quarter of the 16th century-first quarter of the 17th
the coat of arms represented in Harley 5716-5717, the patron of which was Joab Emmanuel. Thus the codex most probably was ordered by the same patron, Joab Emmanuel.Domenico Irosolimitano (fl. last quarter of the 16th century-first quarter of the 17th
the coat of arms represented in Harley 5716-5717, the patron of which was Joab Emmanuel. Thus the codex most probably was ordered by the same patron, Joab Emmanuel.Domenico Irosolimitano (fl. last quarter of the 16th century-first quarter of the 17th
the coat of arms represented in Harley 5716-5717, the patron of which was Joab Emmanuel. Thus the codex most probably was ordered by the same patron, Joab Emmanuel.Domenico Irosolimitano (fl. last quarter of the 16th century-first quarter of the 17th
the coat of arms represented in Harley 5716-5717, the patron of which was Joab Emmanuel. Thus the codex most probably was ordered by the same patron, Joab Emmanuel.Domenico Irosolimitano (fl. last quarter of the 16th century-first quarter of the 17th
Coloured initials with pen-flourished decoration. The volume is a collection of fragments from manuscripts of different date and origin. It was originally part of a collection of fragments from manuscripts and printed books, including maps and drawings, assembled by the
the coat of arms represented in Harley 5716-5717, the patron of which was Joab Emmanuel. Thus the codex most probably was ordered by the same patron, Joab Emmanuel.Domenico Irosolimitano (fl. last quarter of the 16th century-first quarter of the 17th
the coat of arms represented in Harley 5716-5717, the patron of which was Joab Emmanuel. Thus the codex most probably was ordered by the same patron, Joab Emmanuel.Domenico Irosolimitano (fl. last quarter of the 16th century-first quarter of the 17th
nation for £10,000 (a fraction of their contemporary value) under the Act of Parliament that also established the British Museum; the Harley manuscripts form one of the foundation collections of the British Library. Coat of arms Samuel Samuel Solomon ben
the coat of arms represented in Harley 5716-5717, the patron of which was Joab Emmanuel. Thus the codex most probably was ordered by the same patron, Joab Emmanuel.Domenico Irosolimitano (fl. last quarter of the 16th century-first quarter of the 17th
of angels supporting the coat of arms of George Neville, archbishop ofYork (f. 4v), and gold initial with tendrils in a white vine style extending into the margin and including a bird and a head, at the beginning
Detail of decorated initials, a copy of a page from Cotton Otho C.V. The calligraphic copies include representations of a harp (f. 68) and a double flageolet (f. 101) (see Augustus Hughes-Hughes, ~Catalogue of Manuscript Music in the British Museum~,
Detail of initial 'M'(arcus) with interlace and bird's head decoration, a copy of a page from Cotton Otho C.V. The calligraphic copies include representations of a harp (f. 68) and a double flageolet (f. 101) (see Augustus Hughes-Hughes, ~Catalogue of
Detail of initial with bird's head decoration, a copy of a page from Cotton Otho C.V. The calligraphic copies include representations of a harp (f. 68) and a double flageolet (f. 101) (see Augustus Hughes-Hughes, ~Catalogue of Manuscript Music in
and blue grounds. Book of Hours, Use of Rome J. L. Van de Walle, 1766: book-plate of arms (inside upper cover), and inscription (f. 1v).Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1776, d. 1839), 1st duke of Buckingham and Chandos, of Stowe House, near
and blue grounds. Book of Hours, Use of Rome J. L. Van de Walle, 1766: book-plate of arms (inside upper cover), and inscription (f. 1v).Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1776, d. 1839), 1st duke of Buckingham and Chandos, of Stowe House, near