In previous posts we have seen that five groups of cuttings from the Hoe Album, now at the Houghton Library, Harvard, can be confidently identified with five lots in the 1838 Ottley sale catalogue.
The first piece of evidence was the presence of a cutting signed by its illuminator, Frate Nebridio. From that firm foundation we found that other lots could be identified by a combination of features: their style, subject-matter, traces of erased pencil lot numbers, and the fact that they had all been bought by Payne.
Using the same kinds evidence, several more Harvard cuttings can be identified as coming from lots in the Ottley sale catalogue, and today we'll look at two of them.
The stated origin of the lots that immediately precede the signed Nebridio cutting (lot 172) all seem to be the same: the cathedral of Como.
Lot 160 is described as "from the Church at Como", lot 161 is "from the Cathedral at Como", lot 162 is "from the same place", and the implication is that the next several lots ("Three others", "Seven others", etc.) are also from the same place:
As shown in the image above, lots 161, 166, and 168 were bought by Payne, and so there is a strong possibility that they might now be at Harvard.
Lot 166 includes "Monks performing the Burial service", and is therefore a match for this Harvard cutting:
|Houghton Library, MS Typ 984(1) [Source]|
|"from the Cathedral of Como" and "No 3."  [Detail]|
"Eight others—The Nativity; Baptism of Christ; a Royal Prophet; Monks performing the Burial service, &c."
|Houghton, MS Typ 986|
|Houghton, MS Typ 985|
"Seven from the Cathedral at Como—The Transfiguration; the Descent of the Holy Spirit; Martyrdom of a Saint, &c.
|Houghton, MS Typ 982(2)|
|Houghton, MS Typ 982(1)|
|Houghton, MS Typ 990|
"Six others—St. Maurice, with armour painted in silver; a Group of Female Saints, &c."
|NGA, DC, Inv. 1949.5.89|
EDIT, 14 January 2021:I should have mentioned that one of the reasons I am confident that the above two cuttings correspond to lot 167 in the Ottley sale is that, when sold from the Czeczowitzka collection in 1930, the catalogue noted “Aus einem Antiphonar des Domes zu Como”. At that date, they must still have been accompanied by something (no longer present) that indicated them to be "from the Cathedral of Como".