Another Antiphonary Cutting from the Stroganoff Collection

A couple of weeks ago I looked at two early 16th-century Flemish miniatures from the Stroganoff Collection. In a blogpost in 2017 (with a postscript a week later) I identified a cutting from an early 14th-century Italian Antiphonary illuminated by the Master of the Brussels Initials, as being from the collection, and five years later, in 2022 I showed that other cuttings from the same manuscript were also probably once in his collection. I can add one more to the group.

In the 2017 blogpost I lamented that the most recent and detailed description (a 2016 exhibition catalogue) of one of the sister cuttings from the manuscript, now in the Cini Collection at Venice (shown at the top of this post), does not state what is on the back of it. I therefore took the opportunity to look at it myself last year.

Not only do the fragments of surviving text and music on the reverse show that the historiated initial 'A' comes from the responsory 'Aspiciens a longe', for the First Sunday in Advent:

([...] Nuntia no[bis 
si tu es ipse] qui re[gnaturus ...])

 but it also has in the lower left corner Stroganoff's ink-stamp:

 Here is another example, in better condition, for comparison:

The initial 'A', subject, and dimensions, all correspond to lot 610 in the 1910 Stroganoff auction catalogue: 

610. — A. Ritaglio di corale effige di Profeta con dorature. Arte 
Umbra.                                               m. 0.20 × 0.12.5

With each new item that we identify in the auction catalogue, we reduce the number of remaining unidentified ones, and make their identification easier, through a gradual process of elimination.