My primary interest in the Hoe Album, until recently, was not Nebridio: it was the border cutting from the Murano Gradual, discussed here. But now that we have established that many or all of Hoe's Nebridio cuttings came from the Ottley sale, we can ask another queston: did Ottley also own the Murano cutting?
Looking at the Ottley catalogue did not provide a conclusive aswer to this question, but one entry seemed like a potential match. Lot 139, "A piece of border, splendidly gilt, and four others", is an apt description of the album sheet that ncludes the Murano cutting, except for the fact that it is accompanied by three others, not four:
|"A piece of border, splendidly gilt, and four others _____ Payne"|
|New York, Morgan Library, MS M.521 [Source]|
|BL, Add. MS. 18196, no. 84 [Source]|
"151 One—Christ standing on the bank of a Lake, addressing a Man, richly habited, in a Boat"
- 204 Five splendid Borders [ ... ] it is supposed the book to which they appertained was presented to the Papal Chapel.
- 209 Five others—St. Peter and two Prophets, in compartments, with Cupids. Executed for Pope Leo X.
- 210 Four others, with Cupids, Flowers, the letters L.X.P.M.
|"211 Four others"|
|Houghton Library, MS Typ 980 [Source]|
|Bl, Add. MS 60630, nos. 33-36 [Source]|
I mentoned last week that these numbers have significant ramifications. One of these is that they allow us to identify more of the Harvard cuttings with their respective lots in the Ottley sale.
|"224 Four others _____________________________ Payne"|
 It is probable that Hoe acquired the album of cuttings at the very end of his life, probably in London, possibly in 1909. He died in London in September 1909, very shortly before the publication of a privately printed catalogue of his manuscripts, from which the album is absent. It seems unlikely that the album was omitted deliberately, because the catalogue includes a bound collection of 32 illuminated initials, a bound set of 20 small miniatures from a 16th-century Italian Book of Hours, 8 miniatures from a 15th-century Flemish Book of Hours, several individually framed miniatures and historiated initials, and two bound volumes containig 19th-century copies of medieval miniatures. It therefore seems more likely that the catalogue was already typeset when he acquired the Houghton album, and it was too late to incorporate an extra description. See Carolyn Shipman, A Catalogue of Manuscripts Forming a Portion of the Library of Robert Hoe (New York: Privately printed, 1909) [online]. The album is also absent from the 1892 at the Grolier Club, to which Hoe was major lender of illuminated leaves. If Hoe did acquire the album in late 1908 or 1909, he may in part have been inspired to do so by visiting the 1908 exhibition of illuminated manuscripts at the Burlington Fine Arts Club.
For a very recent discussion of Hoe's illuminated cuttings and albums, see Scott Gwara, ‘Collections, Compilations, and Convolutes of Medieval and Renaissance Manuscript Fragments in North America before ca. 1900’, Fragmentology: A Journal for the Study of Medieval Manuscript Fragments, 3 (2020), 73–139 (online).
EDIT: 3 Jan 2021Bill Stoneman has been in touch to explain what I should have realised for myself: the Fogg Museum numbered the cuttings from 1916.7 to 1916.52 because they had already accessioned six items that year (1916.1-6).