Helmingham herbal and bestiary.

Barker, Nicholas, ed. Two East Anglian picture books : a facsimile of the Helmingham herbal and bestiary and Bodleian ms. Ashmole 1504. (London: Roxburghe Club, 1988).
British sporting and animal drawings c.1500-1850, p. 1
Selected exhibitions: "Paul Mellon's Legacy: A Passion for British Art" (Yale Center for British Art, 18 April-29 July, 2007); "'The Compleat Horseman': Sporting Books from the Bequest of Paul Mellon" (Yale Center for British Art, 17 February-29 April, 2001).
Provenance: Barker (p. 54-59) speculates that the manuscript was with the Tollemache family at Helmingham Hall, Suffolk, from the early sixteenth century (there cataloged as MS Tollemache 6). Sold to Witten (Sotheby's, 6 June 1961, lot 15). Paul Mellon, 1961.
For quiring diagrams, see Barker, p. [87]. Leaves are irregularly cut; the average size is 413 x 283 mm. All leaves were originally unnumbered. Small leaf numbers were subsequently written in light graphite in the upper corner of each recto. These numbers are used for reference in the list of contents below. The leaves were originally gathered in three quires; on the evidence of offsetting, the sequence of leaves in the third quire has been rearranged. Barker speculates that two parts of the bestiary have been lost. The first, conjugate with leaf 19, would probably have contained illustrations of an "elephant, eagle, fox, cats and dogs". Also likely lost was a bifolium between 17v and 18r, which may have contained more harts and honicorns.
The manuscript was kept unbound, in a paper wrapper (not preserved), until shortly before its sale in 1961. It was subsequently bound in white pigskin, tooled in blind, by Sangorski & Sutcliffe, London.
Of green leaf, bird, and flower: artists' books and the natural world, p. 13.
Manuscript herbal and bestiary, in an unidentified hand, completed circa 1500 at Helmingham, Suffolk. The volume comprises 95 drawings of flowers and trees and 49 drawings of animals and birds, giving a remarkable picture of English knowledge of natural history in the Tudor period. The herbal and bestiary are preceded by two scroll alphabets. There are generally four drawings on the recto and verso of each leaf. All drawings are neatly finished in gouache and watercolor, with pen and ink, on parchment throughout. Names of species are written directly above each drawing, in large textura letters in pen and black ink; the initial letter of each species name is written in Lombardic style, in pen and red ink.
In most cases, the plants or animals are not drawn from nature; they are depicted to varying degrees of realism. Where plants have been drawn in a stylized manner, it is in order to portray the essential useful characteristics of each plant. The 95 illustrations of flowers and trees are presented in approximate alphabetical order and depict common species in Britain. The 49 drawings of animals and birds in the bestiary are also in rough alphabetical order, and depict fabulous creatures such as the alde (a purple hound with three-pointed tail and yellow claws), bonacon (a pink horse with yellow horns), koketrice (half rooster, half serpent), and a honicorn (unicorn). Real animals, drawn either from direct observation or as imagined from traveler's reports (occasionally with imaginary attributes), include the ape, hyena, bear, badger, beaver, ibex, rat, and leopard.
The present manuscript has a variant twin at the Bodleian Library, Oxford (Bodleian Library. MS Ashmole 1504). The pair are studied together, with photographic facsimiles, in Nicholas Barker's Two East Anglian picture books : a facsimile of the Helmingham herbal and bestiary and Bodleian ms. Ashmole 1504. (London: Roxburghe Club, 1988). The two manuscripts share nearly identical pictures, with small differences in size, content, and organization. Both manuscripts are loosely connected to contemporary traditions--the Agnus Castus manuscripts in the case of the herbals, and the Hortus Sanitatis for the bestiaries--but there are significant differences in content and style. Barker speculates that they must have been copied from a common source, but the model is now lost or unknown. Printed images in Dürer's "St Eustace" and Cranach's "Adam and Eve" served as a model for some of the drawings in the Ashmole manuscript, but no image in the Helmingham herbal and bestiary is copied from those works. The Helmingham herbal and bestiary also lacks illustrations of household goods, present in the Ashmole manuscript. It is clear that the twin manuscripts were both produced in England in the early 16th century, and it is likely that both were at one time together at Helmingham Hall. The present manuscript probably predates Ashmole by about 20 years.
Barker proposes that the Helmingham herbal and bestiary may have been used as a pattern book for decorating Helmingham Hall in the early 16th century. In 1511, Lionel Tollemache began renovations to the hall (then called Creke Hall), in a traditional half-timbered style. The illustrations in the manuscript may have been used as models for a variety of decorative work, such as paneling, embroidery, or stained glass (although no such decoration has survived to confirm this hypothesis). Barker also suggests that the present manuscript (and Ashmole) may have functioned as an educational primer for children of the Tollemache family.