Latin manuscript of the Tres-Ancien Coutumier de Normandie, dated 1290-1310, of 100 parchment leaves containing a latin Coutumier de Normandie. 19 by 13 cm.
Bibliothèque nationale de France. Catalogue Entry. Digital Version.
Kamawa-sa, Myanmar (Burma), 19th century, Cloth, wood, lacquer, gold leaf, ROM, 2014.55.10.1,
This Burmese book of Buddhist scriptures (Kamawa-sa) includes selections written in Pali from the Tipitaka (literally, "three baskets") of Therevada, the most ancient form of Buddhism. Costly and ornate Kamawa-sa were written on cloth or palm leaves in chunky, square tamarind-seed script (magyi si sar), and offered as gifts to a monastery to commemorate the taking of religious vows. Sometimes the cloth pages were made from the robe of a respected elder monk, lacquered and coated in gold.
Dimensions: 16 x 57.5 cm Material: lacquer and gold leaf on cloth, wood
Painting of King Solomon's seated on a gold throne above a congregation of creatures and beings. The image was likely intended to demonstrate the King's influence over the realm of animals, angels, celestial beings and demons. The horned human-like creatures bear a strong resemblance to Islamic artistic representations of the Jinn, a demon or genie, a mythological invisible evil force. In Islamic tales and within the Qur'an, Solomon is referenced as the ruler of the Jinn.
A lavishly illustrated Coutumier de Normandie from the fifteenth century, in French and Latin. 242 leaves, 17 by 12 cm.
Library of Congress. Catalogue Entry.
Lenander - Illustration of The Story of the Fisherman from the Arabian Nights
A woodcut engraving illustrated by William Harvey showing the scene "The Story of the Fisherman" for the 1912 book titled "The Thousand and One Nights: Commonly called, in England The Arabian Nights' Entertainments" by Edward William Lane. The engraving depicts the moment the fisherman lets the Jinn out of the container that was fished out of the sea. The Jinn rises from a column of smoke towards the sky while the fisherman watches.
Lane, Edward, trans. The Thousand and One Nights; commonly called the Arabian Nights' Entertainments. Illus. William Harvey. 3 vols. London: Chatto & Windus, 1912.
Wikimedia Commons
photographic reproduction of a Woodcut engraving
Likely England based on author birth and coverage of related woodcut engravings
Jet gemstone inscribed with a seal translated to "Rely on God" or "Ali trusts in God" (translated by The MET). Seals inscribed in stone or other materials were often placed on rings and used as signatures or talismans for the protection of the owner (The MET). This particular seal is inscribed on a piece of gemstone that was likely hung around the wrist or neck with a string or chain (The MET) given the pierced hole. The seal is approximately 2 cm long by 1.1cm wide by 0.8cm deep.
The Metropolitan Museum of Art
Public Domain
Lenander - Seal Ring with the name of Hajji Muhammad ibn Mahmud
A Silver and Lapis-Lazuli seal ring. Seal rings or signet rings are rings engraved with text in reverse that were used to stamp text into seals like a signature and may have also "functioned as talismans used to protect their owners from harm" (The MET). This particular ring is inscribed with the name Hajji Muhammad ibn Mahmud and features elaborate designs around the shank and bezel of the ring. Rings similar to this item were worn by men depicted in many fifteenth and sixteenth Persian miniature paintings, with this particular ring described as a "striking materialization" of the images of the rings found in said paintings (The MET).
Silver shank and Lapis-Lazuli carved stone ring
Not specified (likely Arabic or Persian). The museum catalogue identifies that his ring is similar in style and period to another seal ring which contains inscriptions in both Arabic and Persian but does not identify the language of the seal stone inscription for this item.
A Middle French Mid-late 15th Century illuminated manuscript with Latin quotations on 166 leaves of parchment. (Medieval Manuscripts in Oxford Libraries 2019) The codex is bound between two wooden boards, possibly contemporary. Contains a rare copy of the Livre de la Vigne nostre Seigneur, a collection of prose and illustrations broken into two sections. (Livre de la Vigne nostre Seigneur 2019) The first section is a treatise on the Passion, while the second is a meditation upon the end of the world, damnation, and salvation. (Archives de Littératuredu Moyen Age 2019) The second section includes an illustrated version of the Fifteen Signs before Doomsday, with each sign accompanied by a large miniature (fol. 40v-50v). The signs and their order of appearance are based on the Comestor Version of the legend (which originated in Peter Comestor’s Scholastica) with the exception of the last sign: the moon and the Sun waiting for the second coming. (Heist 1952, 26)
Los Angeles, J.Paul Getty Museum, MS Ludwig VII 1, fol. 38.
The Last Supper, from a bishop’s benedictional made in Bavaria, Germany, ca. 1030–40.
Marriage Contract (Ketubah) of David ben Shabettov and Serula bat Samuel, Greece, Thessaloniki,, 24 March 1797/26 Adar 5557, Opaque watercolour and gold on paper and parchment, , Royal Ontario Museum, 974X409.1,
This Jewish marriage contract (Hebrew ketubah) details the groom"s financial obligations to the bride in the event of divorce or widowhood. Both text and decorative object, designed to be displayed in the couple"s home, it belonged to David ben Shabettov and Serula bat Samuel, who were married in 1797 when Greece was part of the Ottoman Empire. Inscribed above the floral arches are the opening words of Proverbs 18:22, "Matsa isha matsa tov"" (He who finds a wife, finds good and obtains the Lord"s favour).
[would the bride and groom's names fit here?]
Dimensions: Mat dims: 64.5 ?? 47 ?? 0.3 cm Material: opaque watercolour and gold on paper and parchment