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Buffalo and Erie County Public Library (N.Y.)
Buffalo & Erie County Public Library (publisher of digital)
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[American Legion] The New Home Of Adam Plewacki Post No.799 [1]
Postcards--New York (State)--Buffalo.
American Legion.
American Legion. New York
Black and white picture postcard of the Adam Plewacki Post No. 799.
Buffalo and & Erie County Public Library (Publisher of Digital)
Digital image copyright 2025 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes.
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[American Legion] The New Home Of Adam Plewacki Post No.799 [2]
[American Legion] The New Home Of Adam Plewacki Post No.799 [3]
Antiphonaries
Music--Manuscripts
Illuminations of books and manuscripts--Specimens
Manuscripts, Latin--Specimens
Manuscripts, Latin--New York (State)--Buffalo
Parchment; f. 1, cut down at both top and bottom; now with 16 long lines in an early gothic script (double pp is fused; round s at the ends of words, but round r occurs only once) with staffless Germanic neumes inscribed between the lines of text. 6-line letter H to open the responsory on the recto: particolored yellow and parchment, with zigzag line in red to separate the areas; infilling of non-painted leaves, outlined in red, against a light blue ground. 1-line initials within the text touched in red. Rubrics in red.
Written in Germany, or perhaps in the Netherlands, during the 13th century. It survived to modern times as the cover of a small book, with clearly visible wear and dirt along what was the spine (with the recto of the leaf facing outwards). Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf, as described by De Ricci, was no. 2 in the Elson collection.
J. V. Mierlo, Jr., S. J., "Een utrechtsch Antiphonarium: Bijdrage tot de Geschiedenis van het liturgisch Drama in de Nederlanden," in Leuvensche Bijdragen vol. 8 (1908-1909) pp. 1- 75, here p. 15 (recto) and pp. 16-17 (verso) for the office at Christmas.
Previously classified as RBR MSS. C33F7 900Z, item 1
Bibliography: De Ricci, p. 1209, n. 2, item 1.
Catholic Church
Rare Book Room of B&ECPL (repository)
Elson, Louis Charles, 1848-1920
Digital image copyright 2023 by the Buffalo & Erie County Public Library. Images in this collection are not to be used for any commercial purposes without the expressed written permission of the Buffalo & Erie County Public Library. Users of this website are free to utilize material from this collection for non-commercial and educational purposes.
Manuscripts, Medieval--Specimens
From an antiphonal, one leaf, with the liturgy for the feast of the Nativity of the Virgin (8 September).
Parchment; f. 1; 23 long lines with the neumes for the music added above each text line; the text is copied in a pregothic minuscule; the music is in staffless neumes. On the recto, 3-line initial for the responsory, "Hodie nata est beata maria," in white vine stem on a particolored blue and yellow (?) ground. Initials of the major breaks in the text are highlighted in red; rubrics in red. Thanks to Prof. Susan Boynton (Columbia University, Dept. of Music) for her description of the musical notation.
Copied in Germany or Austria towards the end of the 11th century. Damage to the reverse of the leaf shows that it survived to modern day as a pastedown in a binding.
Bibliography: De Ricci. Census, p. 1209, no. 4
Formerly classified as RBR MSS. C33A6 1100Z
Elson, Louis Charles, (1848-1920)
Manuscripts--New York (State)--Buffalo
Antiphonal, with the end of the night office for the feast of St. Paul (29 June) signaled by the rubric on the recto, "In III nocturno," and on the verso with the beginning of Lauds with the rubric, "In Mat. Laud.," for which see R.-J. Hesbert, Corpus antiphonalium officii (Rome: Herder, 1963-1979) vol. 1, and as an example of this type of book, no. 102b for Bamberg. The book from which this leaf was taken was intended for secular (rather than monastic) use, as shown by the three antiphons for the third nocturn (here, preceded by the responsories for the second nocturn; and then followed by the responsories for the third nocturn, and at the end, Lauds).
Parchment; ; f. 1; 22 long lines of text with the musical notation in neumes in campo aperto copied above each text line. Written in a pregothic script (no fusing of contrary convex curves and no round letter "s"; but also no "ae" or "oe" diphthongs; one cedilla'd e noticed). Rubrics in a dark red ink, and adjacent major initials in a reinforced ink of the text itself. Copied in Germany, or more carefully stated, in Eastern Europe, during the 12th century, as is shown by the shapes of the neumes; use of this book was certainly in a secular church (see note, regarding the text).
Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 5 in the Elson collection (his name and the number, on an oval sticker attached to the upper recto). Stamp of the library (as BECPL) in lower margin of the recto
Bibliography: De Ricci. Census, p. 1209, no. 5
Elson, Louis Charles,1848-1920
lat
Illumination of books and manuscripts--Specimens
Parchment; ; f. 1; 7 lines of text and music, the text copied in a highly fractured gothic book hand, and the music in Hufnagelschrift on 5-line red staves, with a custos at the end of each set of staves, with text and music placed within "tram lines" that border the written area on both vertical sides. The opening initial corresponding to the height of 2 lines of text and their corresponding 2 sets of staves in an initial formed of scrolling green leaves, set on a punched gold ground, and enclosed withing a frame of pieces of "wood" in alternating red and blue sections; growing out of the initial, and running the length of the page in its far left border is an extended scroll of multicolored acanthus leaves and gold dots, the entire spray of leaves is roughly trimmed on the left by the knife of the person who removed this leaf from its binding. In the lower margin, an equivalent spray of acanthus leaves, flowers and gold dots, enclosed within a narrow silver frame. On the verso, a calligraphic initial (equivalent to 1 line of text and its music) in the ink of the text. In upper right area of the recto of the leaf, the foliation in red roman numerals, "ccxi."
Written in Austria during the time at the end of the 15th and the beginning of the 16th century. Although the Buffalo and Erie County Public Library states that the leaf was part of the collection of Louis Charles Elson (1848-1920), there are no round / oval stickers on the leaf that assert Elson's ownership of the leaf, nor is that assertion of provenance in the record by S. De Ricci. Formerly in the Grosvenor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library.
Bibliography: De Ricci. Census, p. 1212, no. 25
Antiphonal with the very end of the service for the feast of the Decollation of John the Baptist (29 August) and the beginning of the service for the feast of the Nativity of the Virgin (8 September).
Leaves conjugate but not consecutive; 1st leaf (5 lines) with musical notation; 2nd leaf (15 lines) with text only.
Parchment; one bifolium, i.e. ff. 2, non-consecutive, with the leaves pasted together at the gutter; On f. 1: 5 lines of text and music, the text written in a formal gothic script, the music in square notation on red 4-line staves with a custos at the end of each set of lines; added tones for the antiphons are noted in the margins: 3rd tone on the recto; 5th tone on the verso. Rubrics in red. In the uppermost right corner of the recto, the folio number: 12. On f. 2: 15 lines of text; formal gothic script. In the uppermost right corner of the recto, the folio number: 19. The folio numbers on these two leaves and the basic knowledge that in books of Italian origin and at this date the standard quire size is of ten leaves point to this set of leaves as being the second bifolium in the second quire. On both leaves: 1-line initials (i.e. the height of slightly over one line of text) either in red with purple flourishing, or in blue with dark red flourishing; the painted blue initial on the first recto was originally written as a letter N that was then partially erased to give a majuscule letter I; 4 initials in black ink, with Elefantenr sel.
Written in Italy, probably towards the end of the 15th century; this late date is suggested by the presence of a comma (!) in the text on f. 1 recto. According to De Ricci, the library acquired these leaves from Henkels, in December 1931, and there is a note in pencil in the lower margin of f. 1 reporting this fact: "Henkels 12-8-31 [signed:] E."
Bibliography: De Ricci. Census, p. 1212, no. 27
Office for the Purification of the Virgin (2 February), in part, but with musical notation showing the importance of this feast. -- Office for the feast of Agatha (5 February), at matins, including here the end of the second nocturn and the beginning of the third.
Buffalo & Erie County Public Library (Publisher of digital)
Parchment; ff. 2, not consecutive nor attached to one another; with a very deep lower border (as if in anticipation of an eventual need to add notes to the page?); 9 lines of text, each preceded by its row of staves; pricking along both the outer and the inner margins that ties in groups of 5 holes to the 1 text line plus 4 stave lines. Formal gothic minuscule that includes both the curled line ("ricciolo") and the small waved line ("ondina") abbreviation marks for, respectively, the preconsonantal "r" and the prevocalic "r"; see Andrea Bocchi, "Riccioli e ondine. L'abbreviazione per vibrante preconsonantica e prevocalica nella gotica italiana dei secoli xiii e xiv," Scriptorium 61 n. 2 (2007) 430-437 and images on pl. 52; at the end of the article, Bocchi places use of these marks in central Italy, and he dates them to the time span of the 13th century and into the early years of the 15th. Music in square notation on 4-line red staves with a custos at the end of the set of staves. Initials of somewhat more than 1-line height (they extend into the staves' second line from the bottom) in plain alternating red with simplistic blue flourishing, and blue with red flourishing; the letter following the decorated initial and occasional other initials throughout the text are touched in red. Rubrics in red that are copied above (not before) the beginning of the relevant piece of text. Early modern pagination in ink in the uppermost outer corner of each side of the leaf.
Written in Italy during the early years of the 15th century. On p. 202, in the center lower margin, the pencilled note: "Mr. Charles D[avenport ?] Champlin, 3-2-36 D" presumably representing the person from whom these two leaves were acquired, and the date of acquisition, March 2, 1936; the initial "D" may represent the librarian. In-house library files cite the name of Louis Charles Elson (1848-1920) but probably incorrectly.
Bibliography: De Ricci. Census, p. 1212, no. 28
Antiphonal, with responsories 2 through 6, and their accompanying versicles, for Quinquagesima Sunday. -- Antiphonal, with responsories 1 through 5, and their accompanying versicles, for Passion Sunday.
Buffalo and Erie County Public Library (publisher of digital)
[Bert Hyde pictured outside the Waterfront Memories and More Museum with the Lake and Rail Elevator and Buffalo river in the background]
Grain elevators--New York (State)--Buffalo--Employees
Grain elevators--New York (State)--Buffalo
Grain trade--New York (State)--Buffalo
Bert Hyde is pictured outside The Waterfront Memories and More Museum in February 2020, with the Lake and Rail Elevator in the background.
Kaye, Kate
https://redtailmedia.org/spilling-grain/
Grosvenor Room of B&ECPL (repository)
Hyde, Bert
[Book of hours of the Blessed Virgin Mary]
1) Parchment; 1. ff. 38-44v, The Gospel pericopes (beginning with the standard text from John 1:1-14), missing the opening leaf, followed by the usual prayers (Protector in te sperantium; Ecclesiam tuam quesumus domine benignus illustra), and then the usual extracts from Luke (1:26-38), Matthew (2:1-12) and Mark (16: 14-20). Misbound in the present position; the pericopes usually occur after the calendar and before the prayers, Obsecro te and O Intemerata (or before the beginning of the Hours of the Virgin).
2) ff. 42-43v, f. 37r-v, ff. 1-5; f. 5v blank//et leticie, fons consolationis et indulgencie Per illam sanctam ineffabiliter leticiam qua exultavit spiritus tuus in illa hora quando tibi per gabrielem archangelum annunciatus et conceptus filius dei fuit . . . [f. 43v] et michi famulo tuo impetres a dilecto filio tuo complementum omni misericordia et consolation, omni consilio, omni auxilio et [f. 37r-v:] adiutorio, omni benedictione et sanctificatione, omni salvatione, pace, prosperitate, omni gaudio et alacritate. Eciam habundanciam . . . tenere me faciat et a septem peccatis crimina- [ff. 1-5] -libus me liberet et deffendat usque in finem vite mee. Et in novissimis diebus meis ostende michi faciem tuam . . . . et exaudi me dulcissima virgo maria mater dei et misericordia. Amen. Oratio beate marie virginis, O Intemerata et in eternum benedicta . . . [f. 2v] et esto michi miserrimo peccatori propicia in omnibus auxiliatrix . . .
3) ff. 6-29, 47-52v -- //psalmis iubilemus ei. Ave maria gratia plena dominus tecum. Quoniam deus magnus dominus et rex magnus super omnes deos . . . Hours of the Virgin (at matins), opening defectively, probably use of Rouen; the office of prime occupies ff 47-52v, and the antiphon and capitulum at prime are: Ant., Maria virgo assumpta est ad ethereum thalamum; Cap., Per te dei genitrix est nobis vita perdita; the service at nones is no longer in the book, as only parts of matins, lauds and prime remain, with all miniatures cut out. Following the remaining part of lauds are, on ff. 25-27v, suffrages of the Holy Spirit, John the Baptist, Nicholas, Martin of Tours, Anthony of Padua, Maurus, and Lupus (here spelled "Luppus," in whose suffrage the text breaks); on ff. 28-29 (f. 29v, blank) is the end of a suffrage of Catherine of Alexandria, here remaining are 27 verses in French in 6-line stanzas ([aa]baab ccdccd eefeef gghggh etc.) plus an irregular final stanza.
4) ff. 30-35vShort hours of the Cross, opening miniature cut out, but containing the rest of the text, through compline -- 5) f. 35v, f. 36r-v, ff. 43-46v, Short hours of the Holy Spirit, opening miniature cut out after f. 35r-v (rubric is on f. 35v, Les heures du saint esperit). -- 6) f. 46v, Rubric in French at the bottom of the page to signal the beginning of the Office of the Dead, which would have followed the Short hours of the Holy Spirit, but which is no longer in this book: Les vespres des mors.Parchment; ff. 52, much misbound and with all illumination removed, as well as easily half of the text leaves, including all of the calendar, the second half of the Hours of the Virgin, the Penitential Psalms, and the Office of the Dead. 175 x 125 mm. Written in a formal gothic book hand in 2 sizes (the smaller is for versicles and responses), on 15 pale red lines to the page. No catchwords or signatures remain.
Illuminated initials and floriated borders.
Written in France, probably in Rouen, given the liturgical use of the Hours of the Virgin (at Prime; Nones no longer remains in the manuscript), during the middle of the 15th century. Probably during the 18th to 19th century, the book belonged to the family residing in Milton Hall, near Peterborough, given the book label on the front pastedown (but this attribution is made with some caution, since the shell of the binding might have belonged to another book).
Now surviving only on f. 1, a 4-line white-decorated blue initial with both colors on acanthus leaves in the initial, set on a square gold ground with a bar border on the left extending the length of the text space formed of a gold strip and a colored strip (divided, in part blue and in part pink), and with a C-shaped border of flowers (blue 4- and 5-leaf flowers, strawberries and round red berries) and acanthus leaves in blue and gold around the text on three sides. 2-line initials in white-decorated color (alternating blue or pink) with both colors in the acanthus leaves within the initial, set on a squared gold ground, with a spray of mainly gold trilobe leaves with one colored flower at the top and one at the bottom of the spray, and extending into the margin. 1-line gold initials on blue and pink white-decorated grounds; line fillers in the same colors. Initials of the verses in French for St. Catherine, f. 28r-v, touched in yellow. Rubrics in red. Offset of blue paint from decoration on what was the facing page with a full border, now visible on ff. 5v (before the Hours of the Virgin), 15v (before lauds), 30 (before the Short Hours of the Cross), 35v (before the Short Hours of the Holy Spirit), 42 (before the Obsecro te), 47v (before the now-missing Office of the Dead), 52v (before the now-missing terce of the Hours of the Virgin). On f. 22, lower margin, note, s. XVII (?), "En faint mon fils s<?> ne voullez po<?> maine." Foliated, September 2023.Bound, possibly in former days, in limp vellum over boards, to the extent that there is with today's completely unbound book an outer shell of a limp vellum binding, but it is uncertain if this was ever attached to the present book, in that, sitting on the book's "front" and ''back" areas, there is a dark vellum "leaf" that might have been part of this book's binding. The stitching of the book's gatherings is solid, holding the book in its present jumbled state, and placing the book's one leaf with its highest present level of decoration in first position (the opening of the O Intemerata prayer, with a 4-line initial and C-shaped page decoration).
Breviaries
Leaf from an office book (that would later be termed breviary) containing chants and lessons for matins of the feast of the Trinity (celebrated on the Sunday after Pentecost); six lessons (readings) are present here; with musical notation. The cues for the repetenda within the responsories are written in rustic capitals. Thanks to Prof. Susan Boynton (Columbia University, Dept. of Music) for her description of the musical notation.
Parchment; one leaf; ruled in dry point on the flesh side for 28 lines of text. Written in a late caroline minuscule; music notated in staffless neumes. Rubrication for the chant genres.
Written in France (?), towards the end of the 11th century. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grovesnor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 3 in the Elson collection (his name and the number, on an oval sticker attached to the upper recto). Stamp of the library (as BECPL) in lower margin of the recto.
Manuscripts, Medieval--New York (State)--Buffalo
Office book or breviary, containing the office at matins for the feast of Sts. Philip and James (3 May). Parchment; f. 1; 15 long lines ruled in drypoint. Copied in a caroline minuscule script in two sizes; the larger script is used for lessons, and the smaller size is used for chant texts (responsories with their versicles). Somewhat later, staffless Germanic neumes (some in red ink that is now faded, but most in brown) were added in the interlinear space under the chant texts.Thanks to Prof. Susan Boynton (Columbia University, Dept. of Music) for her description of the musical notation.
Written in Germany, during the 10th century; it survived to modern times as the pastedown in a bound volume: the dark areas on the recto of the leaf (shaped as a backwards letter c) show where the glued was adhered. Belonged to Louis Charles Elson (1848-1920) who was a professor of music theory and history at the New England Conservatory of Music from age 34 onwards; he had begun studying music with his mother, then went on to study in Leipzig; he composed songs, operetta and works for the piano, but mainly he studied and wrote on the history of music; he published in a number of Boston newspapers, and was the editor-in-chief of Modern Music and Musicians (1912; 20 vols.) and of the University Musical Encyclopedia (1912-14; 10 vols.), among the ca. 50 items that he published over the course of his life. The collection of medieval fragments of music that had belonged to Louis Charles Elson was acquired in 1924 by the Grovesnor Library in Buffalo NY; this library, together with the Erie County Library and the Buffalo Public Library merged in 1953 to form today's Buffalo and Erie County Public Library. This leaf was n. 1 in the Elson collection.
Formerly classified as RBR MSS. C33L4 900Z
Elson, Louis Charles, 1848-1920 Rare Book Room of B&ECPL (Repository)
Buffalo (N.Y.)--Buildings, structures, etc.
Botanical gardens
Photographic postcard of the Buffalo Botanic Gardens.
Carhart Service, Inc., Buffalo, N.Y.
Carhart Service, Inc., Buffalo, N.Y. (publisher of original)
Colourpicture Publishers, Inc., Boston 15, Mass., U.S.A. (artist)
Edward Gray (artist)
Photographic postcards.
American bison.
Photographic postcard of a buffalo standing in a green field.
W.H. Brandel, Buffalo, N.Y.
W. H. Brandel (artist)
[Buffalo Public Library and St. Peter's Roman Catholic Church, view from west]
Buffalo and Erie County Public Library (N.Y.)--History
Libraries--New York (State)--Buffalo
Buffalo Public Library (Buffalo, N.Y.)
[Buffalo Public Library from Lafayette Square]
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Branch libraries
Stamped "Hare Photographs, Inc" on back.