I recently catalogued for a Sotheby's sale, on 3 December 2019, lot 1, the cutting above. It belongs to a group in which I have had an interest for many years.
Two members of the series were sold by Helbing, Munich, 24-25 November 1933, lots 86 and 87:
All of them come from a collection formed by Eugène Rodrigues (1853-1928), a Parisan lawyer and connoisseur of drawings, sold by Frederik Muller & Cie, Catalogue d’une vente importante de dessins anciens: collection R..., de Paris, principalement des écoles des Pays-Bas et de l’Allemagne ... miniatures sur velin, etc. (2 vols) 12 July 1921 , lot 244:
|[As usual, click images to enlarge; details below]|
|(Detail: top rows, with the Sotheby's cutting, lower right)|
|(Detail: middle rows, with the two ex-Helbing cuttings, upper right and centre; and the Princeton cutting, below the latter)|
|(Detail: lower rows, with the two Barnes cuttings, right)|
Frits Lugt tells us that in 1920 Rodrigues sold his collection en bloc for 500,000 fr. to Frederik Muller et Cie, Amsterdam, who resold it to Mr. A. W. Volz, a collector in The Hague; but he changed his mind and sent them back to Muller to be auctioned, through the 1921 catalogue under discussion. .
There are a lots of other interesting manuscripts in the 1921 catalogue. Lot 226 is a miniature, presumably from a Book of Hours, depicting Gilette de Coëtivy (d. 1510), wife of Antoine de Luxembourg, at prayer, accompanied by Sts Giles and Anthony (name-saints of herself and her husband), with their arms:
This drawing, lot 227 in the Rodrigues sale:
Lot 223 was these four initials, apparently from an alphabet pattern-book:
no. 62 pp. 87-88).
Six cuttings from a copy of Sigismund Meisterlin's Augsburg Chronik, written (and illuminated?) by Conrad Vaihinger, c.1490, were lot 421:
5 December 2017, lot 18:
Lot 243 is not reproduced in the catalogue, but from the description it can be identified as a leaf later in the Robert von Hirsch and Bernard Breslauer collections, and now at the Getty Museum:
Lot 281 is described as a fragment of a roll, with three round miniatures:
I am always interested to see how collections of cuttings and leaves were framed and displayed, and am therefore glad that the Rodrigues catalogue includes this image:
"Il est superflu d'en relever ici l'importance et la beauté: les reproductions de notre catalogue le prouvent suffisamment, mais nous ne suarions trop nous arrêter sur la beauté et la rareté des encadrements. Le collectionneur a eu la passion du cadre. ... Pour qu'on puisse se rendre compte de l'importance que présentent ces cadres, nous avons ajouté une planche spéciale qui en reproduit un bon nombre"Among the leaves that are not otherwise reproduced in the catalogue, the above image includes this one (third row from the top, right of centre), showing lot 239 ("Maitre miniaturiste de l'Allemagne du sud, vers 1470. Feuille de missel avec l'initiale O dans laquelle est la crucifixion. A droite, au bord de la feuille, l'empereur Henri. ... Haut. 45, larg. 32 cent."):
|[Image from Lisa Fagin Davis's blog here]|
EDIT, 26 Jan 2020
Jim Marrow has contacted me to point out that the Rodrigues-Reiss choirbook leaf shown above apparently comes from the same manuscript as two leaves made in the early 16th century for use in the monastery of St. Cornelius (Crutched Friars / Kruisheren / Kreuzherren) at Roermond, that he published in part in the exhibition catalogue, Leaves of Gold: Manuscript Illumination from Philadelphia Collections (Philadelphia Museum of Art, 2001), pp. 157-161, no. 53:
 Text volume here, plates volume here.
 Having sold his first collection, Rodrigues formed a second, part of which he sold to Gustav Nebehay (the subject of an old post) in 1926, and the rest of which was sold after his death in 1928 (28-29 November 1928 and 25-26 February 1929). The latter sales including only a small number of badly-described manuscripts, e.g. "École Flamande XVe siècle. Lettre J ornée de chaque côté d'un grand sujet religieux. Enluminure polychrome et or."
 For a recent discussion and survey of the iconography, see Didier Jugan, "La 'Bonne Mort': Iconographie du Jugement Particulier du XVe au XVIIe siècle", XVe Congrès international d'études sur les Danses macabres et l'art macabre en général (Chartres, 2012), available on Academia.edu here.