1 336 résultats
1441ST19882Italy Ferrara 1441-48. 205 x 200 mm. 8 x 7 7/8". 35 lines in a very fine rounded gothic hand. <br/> Text in dark brown and red capitals touched with yellow two four-line "KL" initials in blue pink and green on burnished gold ground with leafy marginal extensions the initials on the recto crowned with an exuberant spray of green blue and gold acanthus hairline tendrils pink flowers and gilt bezants and leaves the verso initials with a long bar border on outer margin painted pink on gilt ground with pink green and blue motifs at middle and top the border traced with black the top of the border accompanied by a spray of hairline tendrils colorful flowers gold bezants and leaves. ◆Lower margin of the verso trimmed away with loss of the end of bar border though not the text some of the other margins trimmed close crowding but not affecting the decoration some fading to brown ink less faded on recto legible on both sides in any case negligible dampstain in upper margin short closed tear just entering gold bar at top left of verso; not without imperfections but still an exquisite and very desirable leaf with richly colored and gilt embellishment.<br/> <br/> This item presents a very special perhaps singular opportunity to own the only known calendar leaf from the renowned Llangattock Breviary to emerge since the manuscript was taken apart in the 20th century. Executed with great skill and delicacy in sensitive Italianate colors highlighted by spring green and pink our leaf is unsurprisingly from a manuscript intended for a powerful aristocrat. It comes from the celebrated Breviary illuminated for the chapel of the Marquises of Este rulers of Ferrara and Mantua a manuscript commissioned by Leonello d'Este duke of Ferrara from 1441-50. According to the d'Este family records this manuscript seems to be the Breviary done for Leonello by Giorgio d'Alemagna Bartolomeo de Beninc Guglielmo Giraldi and Matteo de' Pasti see Toniolo "La Miniatura a Ferrara dal Tempo di Cosm Tura all'eredit di Ercole de' Roberti" 1998 pp. 19-20 and 76-77. Leaves from this manuscript show subtle variations in the style of the illuminations a result of work performed individually by a team of artists doing variations on a theme. At one time in a Spanish library the manuscript was brought to Britain during the Peninsular War and came to be owned by the Rolls family later Lords Llangattock of Monmouth in Wales from whom it takes its name. By the time the work reached Britain most of the miniatures had already been cut out. The Breviary sold at Christie's on 8 December 1958 lot #190 after which it was acquired and subsequently dismembered by Goodspeed's of Boston. The attribution of this leaf to the Llangattock Breviary is based its script ruling and style of decoration as well as physical attributes such as width of the leaf and the appearance of the vellum which all correlate to other known leaves from this manuscript. Furthermore according to the 1958 auction description of the complete manuscript the entire calendar section had its lower margins trimmed away as here. The present leaf appeared in a 1979 catalogue of bookseller Kenneth Rendell and it remains the only known calendar leaf from this manuscript that has ever been advertised. unknown
ST20214Northern France perhaps Beauvais or Amiens late 13th or early 14th century. 286 x 199 mm. 11 1/4 x 7 3/4". Double column containing a mixture of staves and text approximately 21 lines in an excellent formal gothic book hand. <br/> Attractively matted. Rubrics in red chant text containing black penwork initials with red and yellow geometric elaboration BEAUTIFULLY ILLUMINATED with five two-line initials painted blue or pink with white tracery on a ground in the contrasting color two of the initials filled with grotesques and swirling vines and two with the filler design traced out but never completed each initial with blue and pink extensions terminating in orange leaves or spiky shapes; the verso featuring AN IMPRESSIVE SIX-LINE "N" 58 x 50 mm. in the same style filled with an intricate knotwork design and orange leaves with long extensions including a horizontal extension across the upper margin. Margins with light offsetting of the designs from the facing leaf; remnants of mounting tape on recto corners and bottom edge; verso apparently with a barely visible Medieval "14" in lower margin. An area measuring 5 mm. at edges just faintly yellowed from mat burn but IN FINE CONDITION the vellum otherwise quite bright the paint rich and the gold brightly glittering.<br/> <br/> This sumptuously decorated leaf--which is beautifully preserved and contains a particularly large and handsome initial--comes from the last volume of a three-volume Missal presented to Beauvais Cathedral by Canon Robert de Hangest d. 1356. The Missal remained at the cathedral at least through the 17th century when it is noted in an inventory but was removed from the church at some point likely in the aftermath of the French Revolution. The parent volume eventually entered the collection of Henri-Auguste Brölemann 1775-1854 of Lyon who passed it to his grand-daughter Etienne Mallet who then sold it at Sotheby's in 1926. It was then acquired for the collection of William Hearst where it remained for the next 25 years. In 1941 it was again sold at auction and subsequently dismembered. Though long thought to have been the work of famed biblioclast Otto Ege recent scholarship suggests that it was actually Phillip Duschnes who was responsible for breaking up the book keeping some leaves for himself and selling others on to his colleague Ege for inclusion in his portfolios of "Fifty Original Leaves from Medieval Manuscripts." The Beauvais Missal has been a subject of interest for many notable scholars chief among them being Christopher de Hamel--see: "Otto Ege and the Beauvais Missal" in "Gilding the Lilly: A Hundred Medieval and Illuminated Manuscripts in the Lilly Library" and it is currently the focus of a major effort to "reconstruct" the manuscript digitally--a project spearheaded by Lisa Fagin Davis. Other leaves from the parent volume are in the collections of the Morgan Library the Metropolitan Museum of Art the Cleveland Museum of Art and the Houghton Library at Harvard among many others. Although there is some dispute among art historians the illumination has been tentatively attributed to the artist of the Hours of Yolande of Soissons produced in Amiens ca. 1280 and now held by the Morgan Library MS M.729. It is worth noting that the town of Hangest home to the original owner is only 10 miles from Amiens and is a likely place of origin for the Missal. The present leaf contains a text for a major feast day and thus contains a large and extravagantly decorated initial for its opening "'Nunc scio vere." It is not too much to say that the decoration here is masterful but curiously--and of special interest to us from a modern perspective--the illuminators seem to have forgotten to put the finishing touches on the two smaller initials above which still contain sketches of the preliminary design. unknown
1490ST20853France ca. 1490. 144 x 99 mm. 5 5/8 x 3 3/4". Single column recto with 14 lines in a gothic book hand. <br/> Attractively matted and framed. Rubrics in red two two-line initials one painted pink on blue ground with flowers the other painted blue and inhabited by a rampant lion on pink and gold ground recto with a panel border featuring long-stemmed flowers and owls on a pink ground verso WITH A HALF-PAGE ARCH-TOPPED MINIATURE DEPICTING PENTECOST WITH A FULL BORDER featuring a plethora of different flowers berries greenery songbirds an owl and a butterfly all ON A RICHLY PAINTED GOLD GROUND. Trimmed close on one side and just grazing a border on the opposite side very minor chipping to faces trivial signs of rubbing or wear otherwise a fine leaf--colorful bright and very pleasing to the eye.<br/> <br/> This leaf contains the customary Pentecost miniature associated with the Hours of the Holy Spirit but with several attributes that set it apart from other examples we have encountered. The miniature here depicts a densely crowded scene with the Virgin at the center surrounded by the apostles each of whom wears a burnished gold halo. Packed tightly together they gaze up at a white dove who emanates small red tongues of fire above their heads. According to biblical tradition this visitation by the Holy Ghost in the form of a dove enabled Christ's disciples to start preaching marking the beginning of the Christian Church. The artist favors an unusual pastel palette choosing pale pink for the walls and eggshell blue for some of the floor tiles as well as bright yellow muted lilac rose and lime green for the robes of the apostles. Looking more closely at the figures we see that each face is carefully individualized each with its own features and expressions. Although most crane their necks to get a view of the miracle unfolding one of the apostles looks directly out at the viewer as if surprised by our presence. Moving outside the miniature we note that the leaf features a particularly exuberant border with tangles of flowers fruit acanthus leaves and several birds including an owl in one corner. There is additional interest on the verso with another bright border painted an intense pink and filled with more flowers and owls. unknown
ST20981Italy 15th century. 264 x 200 mm. 10 3/8 x 7 7/8". Single column 41 lines in a neat humanist hand. <br/> With two two-line initials in blue. One corner torn away not affecting text a few marginal wormholes vellum a bit soiled and with a few small stains but a very good example the text entirely legible and overall clean and presentable.<br/> <br/> Containing text by an author who was much admired during the Renaissance this leaf is a lovely example of the humanistic script that emerged in Italy during the 15th century. The elegance and legibility of humanistic script derives from Caroline miniscule the predominant style of writing in Western manuscripts from the ninth through 12th centuries. Both scripts favor clear rounded letter forms wider spacing between letters and few abbreviations resulting in manuscripts that are extremely attractive and easy to read. The text here comes from a work titled "De Opificio Dei" exploring the handiwork of God with a concentration on the marvels of the human body and soul. The present leaf includes chapters 8-10 which discuss the human head including especially the seats of the senses: eyes ears nose and tongue. Our author Lactantius ca. 260-340 was a late-in-life Christian who became one of the ablest defenders of the faith in its early centuries. He was held in high esteem by Renaissance intellectuals and was one of the earliest authors to be printed first appearing in 1465. unknown
1500ST20810PParis ca. 1500. 165 x 117 mm. 6 1/2 x 4 5/8". Single column 18 lines in a gothic book hand. <br/> Rubrics in red line fillers in blue and pink with gold bezant five one-line initials in burnished gold on pink and blue ground one two-line initial in blue on gold ground with a flower in the center one three-line initial in blue filled with ivy on gold ground recto with panel border of colorful flowers vase and acanthus verso with A LARGE ARCH-TOPPED MINIATURE OF THE ANNUNCIATION TO THE SHEPHERDS surrounded by A FULL BORDER of acanthus flowers and two birds all on a painted gold ground. Slight soiling to vellum but a very well-preserved leaf in fine condition.<br/> <br/> From what was surely a costly Book of Hours this leaf features a charming and skillfully painted miniature of the Annunciation to the Shepherds attributable to the workshop of Jean Pichore fl. ca. 1502-20 a major figure among illuminators of the period and one of the most sought-after artists in France at the turn of the 16th century. Depicting the traditional subject associated with the hour of Terce our miniature portrays as usual an angel appearing to shepherds tending their flock bringing news of the birth of Christ. Although the biblical narrative suggests that the shepherds were startled by the angel's appearance the three figures in this miniature appear remarkably unmoved--in fact only one of them seems to take any notice at all. The first shepherd sits on the ground looking straight ahead; the second holds his hands in prayer but looks little more than well prayerful at the angel in the sky; and a third figure maintains a slightly aloof expression taking no particular interest in the unfolding miraculous event. What may seem to be indifference can be explained easily enough by the artist's successful portrayal of nighttime cold! All three shepherds are thickly dressed one with his arms pressed tightly against his chest another with a hood partly covering his face and the sheep are tightly huddled together into one woolly white cluster. Another manifestation of the artist's success here is seen in the particularly well done molding of the faces with subtle shading attractively rendered features and clear individuation. Moreover although the shepherds seem essentially unmoved their garments are dusted with a glistening gold radiance from above a further subtle touch revealing a high level of achievement on the part of the painter. Finally the borders are one last source of delight with a small bird shown in mid-flight and a second one investigating a single strawberry that seems to have been placed there just for him. All of these indications of sophistication suggest that the original manuscript must have been commissioned by a patron able to pay a premium for the work of a highly skilled atelier. unknown
1500ST20810RParis ca. 1500. 163 x 115 mm. 6 1/2 x 4 1/2". Single column 18 lines in a gothic book hand. <br/> Rubrics in red line fillers in blue and pink with gold bezant six one-line initials in burnished gold on pink and blue ground two two-line initials in blue on gold ground with a flower in the center one three-line initial in blue filled with ivy on gold ground verso with panel border of colorful flowers and acanthus recto with A LARGE ARCH-TOPPED MINIATURE OF THE CORONATION OF THE VIRGIN with an "L" shaped frame of burnished gold and painted flowers and A FULL BORDER of acanthus flowers a man playing a bagpipe and a hybrid creature wearing a hat all on a painted gold ground. Very minor wrinkling to vellum but the leaf IN LOVELY CONDITION with the gold everywhere gleaming brightly.<br/> <br/> From a luxuriously appointed Book of Hours this leaf features a handsome miniature of the Coronation of the Virgin attributed to the workshop of Jean Pichore fl. ca. 1502-20 a major figure among illuminators of the period and one of the most sought-after artists in France at the turn of the 16th century. Executed with imagination and delicacy the miniature features the traditional subject associated with the hour of Compline showing the Virgin being crowned Queen of Heaven following her Death and Assumption. The composition here is quite intimate with the Virgin kneeling before her son as she accepts with humility the crown he lays upon her head. Christ is depicted barefoot and slightly bowed toward his mother in a gentle display of respect. The artist creates a wonderful backdrop for this scene composed entirely of seraphim painted gold blue light pink and green closely packed together. Two of the seraphim hold up light pink draperies behind the central figures as if to shield this tender moment from prying eyes. The borders here are a source of delight featuring a figure wearing a jester-like cap and playing the bagpipe as well as a creature with the body of a bird and the face of a human donning a rather fashionable bycocket cap. The illumination here is of high quality features a liberal use of gold and contains unique marginal details suggesting that the original manuscript must have been a costly commission for a wealthy patron. unknown
ST18250bEngland first half of 13th century. 235 x 117 mm. 9 1/4 x 4 1/2". Single column 49-50 lines in a gothic hand. <br/> Rubrics in dark brown ink three two-line initials in red or blue with contrasting penwork one four-line puzzle initial in red and blue with red and blue penwork decorations and long marginal extenders. With a few contemporary corrections in a different hand verso with scant remnants of mounting tape. Gwara Handlist no. 7. ◆Top edge trimmed cutting into the large initial's ascender one corner cut away not affecting text a couple of wrinkles and a bit of soiling to vellum but in excellent condition overall quite clean and entirely legible.<br/> <br/> Noticeably different in appearance from the Medieval leaves more commonly encountered on the market such as Books of Hours Bibles liturgical books etc. this leaf features a tall thin "ledger" format and offset initials spaced slightly apart from the rest of the line. The text here comes from the "Aurora" a commentary on the Bible in verse form written in the late 12th century by French poet Petrus Riga 1140-1209 a canon of Rheims cathedral. Although little is known about the author's life Riga's text became immensely popular throughout Europe and was routinely studied in Medieval universities. In fact it is likely that the present leaf came from a manuscript intended for a student or academic as its dimensions suggest it was made for easy transport and could even have been slipped into a pocket. In the 20th century the parent manuscript was owned and dismembered by biblioclast Otto Ege and leaves appeared as specimen no. 7 in his "Fifty Original Leaves from Medieval Manuscripts Western Europe XII to XVI Century." Single leaves from this manuscript appear at auction very rarely. The last example we were able to track on RBH and ABPC sold at Bloomsbury in 2016 for an all-in price of £3100. unknown
1441ST19880Italy Ferrara 1441-48. Visible leaf: 245 x 187 mm. 9 5/8 x 7 3/8"; Frame: 380 x 315 mm. 15 x 12 1/4". Double column 30 lines in a very fine rounded gothic hand a few lines of text in the same hand but smaller. <br/> Mounted and in a simple but pleasing gold frame. Visible side with rubrics in red one-line initials in burnished gold or painted blue one two-line initial in burnished gold on a pale pink ground with white tracery a lovely illuminated bar between the columns with a central plant knot AND SPROUTING IN UPPER AND LOWER MARGINS CLUSTERS OF FLOWERS AND LEAVES IN VARIOUS COLORS AS WELL AS GOLD BEZANTS outer margin with swirling penwork studded with gilt bezants running the length of the column each penwork swirl enclosing a painted and gilt flower with ONE FIVE-LINE HISTORIATED INITIAL DEPICTING ST. PAUL HOLDING A SWORD AND BOOK the initial painted pink with green leaves and a blue and green acanthus extension on a gilt ground. ◆Not examined outside of frame but in very fine condition: vellum slightly wavy text in the bottom margin just a bit faded but by all appearances A VERY CLEAN BRIGHT LEAF SPARKLING WITH GILT.<br/> <br/> Executed with great skill and delicacy and in sensitive Italianate colors highlighted especially by spring green and pink the present leaf is from a manuscript intended for a powerful aristocrat. It comes from the celebrated Breviary illuminated for the chapel of the Marquises of Este rulers of Ferrara and Mantua a manuscript commissioned by Leonello d'Este duke of Ferrara from 1441-50. Because the d'Este family kept excellent records we have confidence that this manuscript was done for Leonello by Giorgio d'Alemagna Bartolomeo de Benincà Guglielmo Giraldi and Matteo de' Pasti see Toniolo "La Miniatura a Ferrara dal Tempo di Cosmè Tura all'eredità di Ercole de' Roberti" 1998 pp. 19-20 and 76-77. The leaves show subtle variations in the style of the illuminations a result of work done by a team of artists doing variations on a theme. At one time in a Spanish library the manuscript was brought to Britain during the Peninsular War and came to be owned by the Rolls family later Lords Llangattock of Monmouth in Wales from whom it takes its name. By the time the work reached Britain most of the miniatures had already been cut out. The Breviary sold at Christie's on 8 December 1958 lot #190 to Goodspeed's of Boston who broke it up. The intact first quire of 10 leaves was purchased by Philip Hofer and given to Harvard cf. Wieck "Late Medieval and Renaissance Illuminated Manuscripts" p. 130 and fig. 74 and individual leaves appeared in 1967 in the catalogues of Folio Fine Art "the quality of the leaves is extremely high" Maggs Brothers "of a very high quality" and Alan Thomas "of exquisite quality". The present example is especially desirable for the portrait of St. Paul who is depicted holding a sword and book and whose carefully molded features reflect the growing interest in realistic portraiture in Renaissance Italy. unknown
ST12083fItaly ca. 1150. 406 x 273 mm. 16 x 10 3/4". Double column 42 lines in a fine rounded early proto-gothic hand. <br/> With rubrics in red one three-line initial "I" and A PANELLED 13-LINE INITIAL "F" all of these on the very faded recto and consequently indistinct. Formerly used in a binding with text on the recto unreadable the verso with a narrow band of darkening along one edge not obscuring text edges very wormed but 90 percent of the worming in the margin with very little damage to the text; some obvious condition problems but the large and beautiful script on one of the sides entirely legible and certainly very pleasing.<br/> <br/> This leaf comes from a very large copy of one of the major texts by one of the great popes of the early Middle Ages and it is notable for the spaciousness and elegance of its script. The sermon here is based on the Gospel reading for Easter Sunday John 20:1-9 which reports Mary Magdalene's discovery of the empty tomb and her running to tell the apostles what she had--and hadn't--found. Given the fact that the passage under discussion celebrates the most critical event in Christianity the opening phrase "Fractus longa molestia stomachus" is unexpected who would have thought it appropriate to mention protracted gastrointestinal problems and probably more effective as a result. Gregory says he is so weakened that he had given up explaining the Gospel to his flock but now he must resume. He recounts how Mary Magdalene told John and Peter about the empty tomb how John arrived first but did not enter the sepulcher and how Peter the tardier one did. Gregory then gives an allegorical interpretation of this episode: John he says represents the Synagogue Peter the Church; the Jews were prior to the Christians but they hesitated on the brink of belief in the Son of God while the Christians entered into full belief. unknown
ST12083eItaly ca. 1150. 406 x 273 mm. 16 x 10 3/4". Double column 42 lines in a fine rounded early proto-gothic hand. <br/> Recto with a pleasing three-line red initial. ◆Formerly used in a binding and consequently a bit soiled and trimmed at the head with loss of the first line perhaps 100 or so small wormholes in the margin only a few causing trivial harm to the text a faint grayish stain affecting a couple of words in the top 20 lines of one column on each side but the entirety of the text completely clear and the stately leaf quite fresh and unusually well-preserved in general for a recovered specimen.<br/> <br/> This leaf comes from a very large copy of one of the major texts by one of the great popes of the early Middle Ages. Dealing in part with the central occurrence in the salvation of humanity the text here treats of John 20:19-31 which tells of the risen Christ's appearance to the Apostles. Doubting Thomas insists on touching the Lord's wounds before he will be convinced of the Resurrection. Gregory tells his audience that Thomas was healed of unbelief and so must they be although they cannot see Jesus in the flesh as did Thomas. Written ca. 593 Pope Gregory's 40 homilies on the Gospels enjoyed enduring popularity throughout Medieval times as they offered ordinary Christians practical guidance on applying the lessons of the Gospels to their own lives. Elected pope in 590 Gregory ca. 540-604 was one of the most influential pontiffs in the history of the Church. In addition to revising liturgical worship he wrote extensively on theology offering homespun wisdom rather than esoteric debates. He was declared a saint immediately upon his death. The script here is regular rounded and very pleasing--almost soothing--to the eye. Moreover the letters are so large and there is so little significant damage to the leaf that the text can be easily read from a considerable distance. unknown
ST18542England ca. 1375. 287 x 198 mm. 11 1/4 x 7 3/4. Single column 32 lines in a small rounded English gothic hand with rubrics in the margins. <br/> Rubrics in red running title in red paragraph marks in red or blue two initials measuring two lines in height and colored blue with red penwork. See: P. E. Beichner "Aurora Petri Rigae Biblia Versificata A Verse Commentary on the Bible." ◆Remnants of mounting tape in top margin of recto but a really excellent specimen the hand very clear the ink especially rich and the vellum extremely clean and quite bright.<br/> <br/> Written in a gothic hand heavily influenced by the English secretarial style this leaf comes from a copy of the "Aurora" a commentary on the Bible in verse form written in the late 12th century by French poet Petrus Riga 1140-1209 a canon of Rheims cathedral. Although little is known about the author's life Riga's text became immensely popular throughout Europe and was routinely studied in Medieval universities. According to Beichner "for those who could read Latin it supplied Scriptural lore in a popular form and it also served as a book of popular theology devotional reading moral instruction and entertainment. Its influence was propagated by teachers preachers and lexicographers by poets and other writers. It was studied imitated translated and quoted. Not only was it widely read in monasteries and convents but it was also recommended reading for the sons of nobles." It is interesting to note that although Riga's work was copied numerous times in the 13th century copies from the later Medieval period such as the present work are uncommonly rare. The parent manuscript containing our leaf was previously in the possession of the Dukes of Westminster and was sold at Sotheby's on 11 July 1966 lot 229 when it was advertised as having 267 leaves missing the first gathering plus 13 other leaves. Bookseller Francis Edwards acquired the manuscript at that sale removed three damaged leaves and sold the remainder. It was thereafter broken up and dispersed. Several sister leaves are now in the collections of Marquette University Lawrence University and the University of South Carolina. unknown
ST12668bHNortheastern France probably Arras late 15th century. 146 x 95 mm. 5 3/4 x 3 3/4". Single column 15 lines in a pleasing bâtarde hand. <br/> Rubrics in red one- and two-line initials in brushed gold on a red or blue ground EACH SIDE OF LEAF WITH A BRUSHED GOLD PANEL BORDER WITH VERY PRETTY ILLUSIONISTIC FLOWERS AND FRUITS and intricate strapwork design in colors; WITH TWO SMALL MINIATURES measuring approximately 40 x 25 mm. depicting John the Baptist and John the Evangelist shown with their attributes. Headlines written in French in a later 18th century calligraphic hand. ◆Light soiling a touch of paint loss to frames and background not very noticeable and not affecting the figures otherwise an excellent specimen generally clean and smooth with ample margins winning decoration and shining gold.<br/> <br/> From a charmingly decorated 15th century prayer book this leaf offers the opportunity to acquire two particularly nice miniatures each depicting an important saint. The recto shows St. John the Baptist with a lamb at his side and a book balanced on his knee; and the verso depicts St. John the Evangelist as a young man holding a chalice with what ought to be snakes emerging from it in reference to the poisoned cup he was invited to drink as a test of faith but which instead look more like tendrils of smoke. For other leaves from this same manuscript please check our website. unknown
ST17060VFrance probably Besançon 3rd quarter of 15th century. 239 x 165 mm. 9 3/8 x 6 1/2". Single column 15 lines in an elegant gothic book hand. <br/> Rubrics in dark pink line-enders in dark pink and blue with a gilt bezant several one-line initials in burnished gold on dark pink and blue ground with white tracery one three-line initial in blue with white tracery filled with flowers painted pink or blue all on a gold ground verso with panel border of delicate hairline vines terminating in gilt bezants and ivy and with a spray of blue flowers and a red bud recto with A FULLY-REALIZED HALF-PAGE MINIATURE OF A BURIAL in an arch-topped gilt frame with two laymen lowering a shrouded corpse into the ground a small group of hooded monks to the left and two ecclesiastical figures reading from a book to the right all in front of a gothic church painted pink with a blue roof SURROUNDED BY A FULL BORDER consisting of hairline vines terminating in gold bezants and ivy colorful acanthus strawberries and blue flowers the text below the miniature further framed with a thin "U"-shaped line extending the full height of the miniature. A very few trivial imperfections quite minor wear to paint on clothing a little insignificant smudging one small light stain in the blank margin of verso but these defects not the least distracting and overall the miniature in fine condition with rich well-preserved color.<br/> <br/> This is a splendid miniature from a particularly large Book of Hours showing a detailed rendering of a scene from contemporary Medieval life--that of a burial in a churchyard involving clergy mourners and laymen. Apart from those relatively few copies with illustrated calendars the miniatures found in Books of Hours are almost entirely devoted to retrospective Bible scenes that are obviously outside the experience of the illuminator; it is only in the present kind of scene at the beginning of the Office of the Dead that we can see a contemporaneous image that would have come directly from the Medieval experience. While our painting is fairly typical in subject matter and design it offers a number of interesting details about the Medieval rites and rituals surrounding death. The present scene represents the final stage preceded by the funeral procession Requiem Mass prayers Absolution and the procession into the graveyard in which the body is actually laid to rest in the ground. Though the corpse would have been encased in a coffin during the aforementioned rites and processions it was customary to bury the dead in only a shroud in the present example the artist has even thought to show the stitching along the length of the shroud. Three groups of people each serving a different function appear in this miniature: in the foreground are two laborers lowering the body into an earthen grave a small group of mourners in black cloaks stand off to the left and a duo of clergy members stand to the right. The latter have tonsured heads and each wears a black cope donned prior to administering Absolution to the deceased; together they hold a manuscript containing the Rites for Burial. The background is composed of a grand church or cathedral containing a number of fine architectural details including several windows including a clerestory level an arched entrance a dome and decorative touches. Stylistically this leaf can be localized to the Franche-Comté region in eastern France and is closely related if not directly attributable to an atelier specializing in Books of Hours made for the Use of Besançon and most likely situated in that city see Avril and Reynaud p. 197. The similarities are especially apparent in the figures' faces which are slightly puffy in appearance and have distinct slit-like eyes. As noted by Avril and Reynaud the unnamed master of this atelier was deeply indebted to the Master of Morgan 293 a talented Burgundian illuminator active in the second quarter of the 15th century whose name derives from a particularly lovely Book of Hours made for the Use of Besançon. Whoever the artist responsible for the present miniature this work is an excellent representation of a distinct regional style extremely attractive and replete with interesting details that connect us to the Medieval experience. unknown
1465ST17243bBruges ca. 1465. 193 x 145 mm. 7 5/8 x 5 3/4". Single column 21 lines in a gothic book hand. <br/> Rubrics in red one two-line initial in gold filled with blue on pink ground WITH THREE LARGE HISTORIATED INITIALS: ONE FEATURING AN OVAL-SHAPED PIECE OF FLESH WITH A GASH IN THE CENTER AND TWO WITH CHRIST'S DISEMBODIED FOOT SHOWING THE PUNCTURE WOUND FROM THE CRUCIFIXION each initial in pink or blue with white tracery filled with dark pink and thin gilt lines and dots four wavy blue rays radiating from behind each appendage all within a thin gilt frame both sides with a three-quarter border consisting of hairline vines gold bezants and a few colorful flowers. ◆Vellum a shade less than bright faint marginal rumpling trivial paint transfer on one initial BUT IN FINE CONDITION the initials richly painted and extremely well preserved.<br/> <br/> From a manuscript probably produced in Bruges for the English market this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck Passion Cycle images enjoyed a particular vogue in 15th century Dutch Flemish and English Books of Hours including those that were exported to England. In the present example the strikingly unusual imagery includes the wounds of the left and right foot as well as the spear injury to Christ's side depicted as an oval piece of flesh with a laceration across the center. A sister leaf to the present item features three additional initials showing a portrait of Christ wearing the Crown of Thorns his gaze fixed directly at the viewer and in separate initials his left and right hands appear disembodied and displaying the stigmata. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 lot 16 the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester with their names crossed out indicating that it was in England through at least the time of the Reformation and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant with miniatures possibly by his chief assistant the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library MS Widener 3 and the Huntington HM 1086--both of which were produced in Flanders or the Netherlands around the same time as the present work. The present leaf surpasses both of these examples in terms of excellence of the artistic hand and attention to detail. unknown
1470ST17245-09Northern France probably Rouen ca. 1470. 180 x 117 mm. 7 x 4 5/8". Single column 18 lines text in a bâtarde hand. <br/> Text in red blue and gold two-line "KL" in shell gold on blue and red ground both sides with panel border composed of flowers and ink dots WITH TWO SMALL MINIATURES each centered in the middle of the panel borders featuring the labor of the month Threshing and the zodiac sign a young woman for Virgo. Vellum a bit soiled and slight wrinkling in margins small area of rubbing at bottom of the Virgo miniature but in excellent condition overall the fine details in the miniatures well preserved.<br/> <br/> Situated among the flowers of the panel borders here are two small but charming miniatures depicting the labor of the month "Threshing" and the zodiac sign for August. According to Roger Wieck far fewer than half the Books of Hours of the period contain illustrated calendars "even in manuscripts with otherwise lavish cycles of miniatures"; when they do appear they are invariably charming as is the case here. In the threshing scene a young layman brings down his grain flail two hinged pieces of wood the longer one called a helve and the other a beater joined by a thong in an effort to separate the grain while neatly gathered bushels of straw appear just behind him. On the verso we see a representation of Virgo as a young woman holding appropriately two long stalks of grain in her hands. The rich palette used in these miniatures allows the delicate gold highlighting on the harvested crop and garments to shine through adding a fine sense of detail to each image. unknown
ST17060ZFrance probably Besançon 3rd quarter of 15th century. 239 x 165 mm. 9 3/8 x 6 1/2". Single column 15 lines in an elegant gothic book hand. <br/> Rubrics in dark pink line-enders in dark pink and blue highlighted with a gilt bezant several one-line initials and one two-line initial in burnished gold on dark pink and blue ground with white tracery one three-line initial in pink with white tracery filled with trefoils painted red or blue all on a gold ground verso with panel border of delicate hairline vines terminating in gilt bezants and ivy and with acanthus and flowers recto with A HALF-PAGE MINIATURE OF THE CRUCIFIXION in an arch-topped gilt frame Christ in the center of the composition with the mocking inscription "I N R I" "Iesus Nazarenus Rex Iudaeorum" on a banner above him the Virgin standing on the left and St. John on the right the landscape behind them filled with hills and trees under a tessellated sky SURROUNDED BY A FULL BORDER consisting of hairline vines terminating in gold bezants and ivy colorful acanthus strawberries and flowers the text and image further framed by a "U"-shaped bar of gold pink and blue extending the full height of the miniature. ◆Virgin's robe a little mottled and chipped minor chipping elsewhere borders with slight smudging to some of the hairline vines small marginal stain but in all in excellent condition with wide margins with the colors very bright and the miniature well preserved.<br/> <br/> Opening the Hours of the Cross a shorter text that is sometimes found in addition to the Hours of the Virgin this touching miniature of the Crucifixion is richly painted and features a particularly emotional depiction of Christ his head slightly bowed with an expression of pain. Blood flows freely from his wounds partly merging with the orange in the sky and partly forming rivulets at the base of the cross. This exsanguination stands in contrast to the more typically restrained indications in other Crucifixion scenes and serves to emphasize the cruel suffering of the execution. His mother stands to the left in a blue cloak hands knitted together and with a look of weary resignation on her face; to the right stands St. John whose lips are slightly parted as he looks directly at the crucified Christ as if searching his face for signs of life. Our artist has made an unusual choice for the background with the lower two thirds devoted to a naturalistic landscape with many hills and trees and the sky entirely tessellated with squares of red blue and gold. While the Virgin and St. John are both firmly situated within the earthy realm the body of Christ occupies both spaces perhaps emphasizing his dual nature as both human and divine. Stylistically this leaf can be localized to the Franche-Comté region in eastern France and is closely related if not directly attributable to an atelier specializing in Books of Hours made for the Use of Besançon and most likely situated in that city see Avril and Reynaud p. 197. The similarities are especially apparent in the figures' faces which are slightly puffy in appearance and have distinct slit-like eyes. As noted by Avril and Reynaud the unnamed master of this atelier was deeply indebted to the Master of Morgan 293 a talented Burgundian illuminator active in the second quarter of the 15th century whose name derives from a particularly lovely Book of Hours made for the Use of Besançon. In fact there are certain consonant details between this miniature and the Crucifixion in the Morgan manuscript: Christ's position and physicality are nearly identical as is the pattern of blood as it moves down the cross and both artists create a division in the landscape with the Morgan artist using gold rather than tessellation for his sky. Whoever the artist responsible for the present miniature the work here is clearly accomplished both quietly powerful and an excellent representation of a distinct regional style. unknown
1465ST17243aBruges ca. 1465. 193 x 145 mm. 7 5/8 x 5 3/4". Single column 21 lines in a gothic book hand. <br/> Rubrics in red WITH THREE LARGE HISTORIATED INITIALS: ONE WITH A PORTRAIT OF CHRIST WEARING THE CROWN OF THORNS AND TWO WITH DISEMBODIED HANDS SHOWING THE STIGMATA each initial in pink or blue with white tracery filled with dark pink or blue with thin gilt lines and dots hands with wavy blue rays radiating from behind the appendage all within a thin gilt frame both sides with a three-quarter border consisting of hairline vines gold bezants and a few colorful flowers. ◆Margins with a little light soiling BUT IN FINE CONDITION THE PAINT OF THE INITIALS ESPECIALLY RICH AND WELL PRESERVED.<br/> <br/> From a manuscript probably produced in Bruges for the English market this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck Passion Cycle images enjoyed a particular vogue in 15th century Dutch Flemish and English Books of Hours including those that were exported to England. In the present example the strikingly unusual imagery includes a portrait of Christ wearing the Crown of Thorns his gaze fixed directly at the viewer and in separate initials his left and right hands appear disembodied and displaying the stigmata. A sister leaf to the present item features three additional initials showing the wounds of the left and right foot as well as the spear injury to Christ's side depicted as an oval piece of flesh with a laceration across the center. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 lot 16 the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester with their names crossed out indicating that it was in England through at least the time of the Reformation and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant with miniatures possibly by his chief assistant the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library MS Widener 3 and the Huntington HM 1086--both of which were produced in Flanders or the Netherlands around the same time as the present work--but the present leaf surpasses both of these examples in terms of excellence of the artistic hand and level of detail depicted. unknown
ST17245-02France probably Rouen second half of 15th century. 162 x 117 mm. 6 3/8 x 4 5/8". Single column 17 ruled lines text in a bâtarde hand. <br/> Text in gold blue and red "KL" in scrolling white letters on a gold ground with small blue and red blossoms both sides with panel border of acanthus flowers small ink dots and gold bezants WITH TWO SMALL MINIATURES showing the labor of the month Threshing on recto and the zodiac sign Virgo on verso. ◆Small wrinkle in lower margin just touching the lower edge of the miniatures trivial smudging but IN VERY FINE CONDITION the vellum especially clean and bright the paint quite rich and the miniatures extremely well preserved.<br/> <br/> With clean white vellum small but appealing miniatures and attractive lettering and decoration this is a desirable example of a calendar leaf from a high-quality Book of Hours likely made in Rouen. According to Roger Wieck far fewer than half the Books of Hours of the period contain illustrated calendars "even in manuscripts with otherwise lavish cycles of miniatures"; when they do appear they are invariably charming as is the case here. In the lower margin of the recto is a small miniature depicting the typical labor for August "Threshing" in which a young layman brings down his grain flail two hinged pieces of wood the longer one called a helve and the other a beater joined by a thong in an effort to separate the grain while neatly stacked unprocessed clumps of straw appear just behind it. On the verso we see a representation of Virgo as a young woman holding appropriately a long sheaf of grain in her hand. While most of the feast days that appear in the calendar are typical for the period the inclusion of St. Sauveur i.e. Transfiguratio Domini on 6 August is characteristic of a calendar for the use of Rouen suggesting that the parent manuscript may have been produced in that place or the region around it. unknown
ST17245-04France possibly Rouen mid-15th century. 173 x 130 mm. 6 3/4 x 5 1/8". Single column 16 ruled lines text in a gothic book hand. <br/> Text in gold blue and dark pink "KL" in blue with white tracery on a gold ground decorated with dark pink baubles and leaves and with a floral spray extension both sides with panel border composed of densely packed acanthus flowers and hairline vines with gold bezants WITH A SMALL ROUNDEL MINIATURE at the bottom depicting the labor of the month Pruning set on a panel of flowers hairline vines and gold bezants. With numbering to the left of the golden numbers and a few calendar entries in a later hand. ◆Light soiling to vellum a few small smudges in the borders a little paint transfer affecting a couple lines of text and margins of the verso but these issues all very minor and on the whole in fine condition with a particularly well-preserved miniature with rich uneroded paint.<br/> <br/> With lovely panel borders and a particularly charming roundel miniature showing the labor of the month this leaf likely comes from a high-quality manuscript made for a person of means. Though miniatures depicting the labors of the month are often illustrated with just a single person performing the task here we are treated to two laypeople--a man and a woman--working together to prune and break ground in their field. The man appears to be carrying an axe for trimming branches while the woman carries a long stick to loosen dirt for spring plantings. The names of several saints have been added to the calendar by a later hand though it would appear that they were erroneously placed in March: St. Hugh belongs on 9 April Pope Leo on 11 April and St. Tiburtius on 14 April. While almost all of these feast days are commonly found in Books of Hours of this period Hugh Bishop of Rouen is slightly unusual suggesting that the manuscript may have been made in or at least ended up in Rouen. unknown
1460ST12839Paris ca. 1460. 153 x 110 mm. 6 x 4 3/8". Single column 14 lines of text in a fine gothic book hand. <br/> One-line initial in burnished gold on a pink and blue ground with white tracery a two-line initial and a three-line initial in pink with white tracery on a ground of burnished gold the center filled with twining blue vines bearing pink and scarlet flowers verso with a rinceau panel border featuring twining hairline stems bearing burnished gold ivy leaves and fruit blue and gold acanthus leaves and flowers recto WITH AN ARCH-TOPPED MINIATURE OF THE HOLY TRINITY SURROUNDED BY THE HEAVENLY HOST this and the accompanying text enclosed by a pink blue and burnished gold bar border on one side and a brushed gold bar border with pink lotus flowers on two sides the whole surrounded by A FULL RINCEAU BORDER DENSE WITH ACANTHUS LEAVES FOLIAGE FRUIT FLOWERS AND TINY GOLD BERRIES on hairline stems. ◆A little paint flaked from the book held by the Trinity a couple of small spots in the margin otherwise in fine condition--clean and smooth with comfortable margins and bright gold.<br/> <br/> The Trinity is shown here seated on a canopied throne with God the Son his hand raised in blessing to the left of the Father. The latter in a towering crown holds a gold orb and the Father and Son together support a large book opened between them. The dove of the Holy Spirit hovers above the book radiating golden beams. The Trinity is flanked on both sides by cherubim and seraphim in rich red and soft yellow. It is the rendering of this angelic ambiance that elevates the level of aesthetic achievement here: both red and yellow celestial beings are given a ghostly appearance as if appearing out of a filmy yellow or a densely red fog. The artistic qualities as a whole suggest that this leaf comes from a manuscript commissioned by a person of significant means. unknown
1450ST11774-85Paris ca. 1450. 159 x 108 mm. 6 1/4 x 4 1/4". Single column four lines of text on the verso 15 on the recto in a very pleasing gothic book hand. <br/> Attractively matted. Recto with a line filler in colors and gold verso with a one-line initial in burnished gold on a maroon and blue background with white tracery and a three-line "D" in blue and white enclosing a spray of violets in the same colors the capital on a burnished gold ground the same side WITH A FULL SWIRLING BORDER of acanthus leaves flowers and berries and many burnished gold ivy leaves ENCLOSING A BLOODY ILLUMINATED MINIATURE OF THE MASSACRE OF THE INNOCENTS measuring approximately 78 x 54 mm. Fore and lower margins on the side with the miniature a bit rubbed and with a faint patina reflecting frequent use also minor fading and loss of paint and gold in the same place otherwise in fine condition THE MINIATURE itself REMARKABLY WELL PRESERVED WITHOUT ANY EROSION OF PIGMENT.<br/> <br/> This leaf comes from a Book of Hours decorated by extremely skilled members of what must have been a first-class workshop. The Massacre of the Innocents cannot help but be a moving subject and the composition here as well as the painter's considerable ability add to the emotional impact in the present miniature. The center of the scene is dominated by the gold-armored gray-bearded soldier whose sword is raised over the head of a woman clinging to her son. The blood-spattered foreground is littered with the dismembered bodies of infants looking like so many broken dolls. On the left we see a row of modest cottages providing considerable depth as they recede toward distant hills. On the right stands a crowd of grim-faced soldiers all as elderly as their commander and seemingly following orders that are unwelcomed; it is perhaps the acute sadness in their faces that makes this scene especially memorable. The clear sky green fields and serene blue mountains in the distance contrast markedly with the horrific events unfolding. unknown
1465ST11151bBruges ca. 1465. 181 x 127 mm. 7 1/8 x 5". Single column 19 lines in a careful pleasing gothic book hand. <br/> In a very attractive new gilt wooden frame. Rubrics in pink or faded red one two-line initial in blue magenta and burnished gold two lines with undulating line fillers in blue and gold both sides of the leaf with a three-quarter panel border incorporating foliage blossoms and ivy leaves on hairline stems the vertical part of this frame with a bar border composed of colors and burnished gold terminating at top and bottom in colorful acanthus leaves and WITH TWO SMALL BUT VERY PLEASING MINIATURE PAINTINGS SAINT ELIZABETH ON THE RECTO AND SAINT GERTRUDE ON THE VERSO. ◆Tiny wormhole in fore edge where it has done negligible damage small portions of the blue paint in the Elizabeth miniature eroded gray paint slightly smeared as well but apparently at the time of painting otherwise in fine clean fresh condition.<br/> <br/> This leaf is characteristic work from the circle of Willem Vrelant the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century. His leading position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. The illuminator of our Book of Hours shows a number of distinctive stylistic traits. Among these are a preference for boldly patterned cloth backdrops tessellated flooring landscapes filled with stylized bushes and trees and persisting prominent architectural constructions that frame the subject frequently in a corner in these leaves it is a waist-high outdoor wall or an indoor feature resembling wainscoting. The inclination for strong geometrical patterning is manifested in the artist's angular treatment of human figures and their garments. Dressed in pink and blue Elizabeth is depicted with a sweet round face. She is saluted here as the woman worthy to be the mother of John the Baptist the forerunner of the Redeemer. Gertrude is dressed in monastic black although a pink undergarment is visible and her inky habit is trimmed in gold. This shimmering feature is a reminder that Gertrude 626-59 was the daughter of Pepin I of Landen Mayor of the Palace for the Frankish realm of Austrasia and the forebear of Charlemagne. Gertrude is a natural choice for illustration by an artist of Bruges since she was the patron of nearby Nivelles. The saint was routinely invoked for aid in coping with mice and is here shown surrounded by four animated rodents as black as her habit. No legend survives to explain why she had such power over the creatures who seem here to be more her pets one climbs her staff of office than her victims. unknown
ST18310cGermany ca. 1100. 130 x 204 mm. 5 1/8 x 8". Single column 13 extant lines in a late Caroline hand. <br/> Rubrics in red. ◆Recovered from a binding and thus noticeably browned stained and vaguely wavy one side somewhat faded several small holes just two touching any letters other imperfections but still a very presentable specimen the ink especially dark on one side and legible on both.<br/> <br/> This is an early fragment in a distinctive hand lacking the heaviness of other scripts of the period and with a feeling of the elongated grace of the humanistic. Despite having previously been used as a binding scrap the fragment remains definitely readable partly because of the clarity of the scribal hand. Elected pope in 590 Gregory I ca. 540-604 also known as Gregory the Great was one of the most influential pontiffs in the history of the Church. In addition to revising liturgical worship he wrote extensively on theology offering homespun wisdom rather than esoteric debates. His "Homilies on the Gospels" were intended to be preached to common people rather than a monastic audience and as a consequence were greatly admired for their straightforward language and pastoral relevance. unknown
ST18310bGermany ca. 1100. 120 x 200 mm. 4 3/4 x 8". Single column 21 extant lines in a late Caroline hand. <br/> ◆Recovered from a binding and thus noticeably browned and stained several small holes costing perhaps 30 letters other imperfections but still a very presentable specimen the ink dark and with loss of legibility in only one small place.<br/> <br/> This is an early fragment in a distinctive hand lacking the heaviness of other scripts of the period and with a feeling of the elongated grace of the humanistic. Despite having previously been used as a binding scrap the fragment remains extremely legible partly because of the clarity of the scribal hand. Elected pope in 590 Gregory I ca. 540-604 also known as Gregory the Great was one of the most influential pontiffs in the history of the Church. In addition to revising liturgical worship he wrote extensively on theology offering homespun wisdom rather than esoteric debates. His "Homilies on the Gospels" were intended to be preached to common people rather than a monastic audience and as a consequence were greatly admired for their straightforward language and pastoral relevance. unknown
ST12668bKNortheastern France probably Arras late 15th century. 146 x 95 mm. 5 3/4 x 3 3/4". Single column 15 lines in a pleasing bâtarde hand. <br/> Rubrics in red one- and two-line initials in brushed gold on a red or blue ground EACH SIDE OF EACH LEAF WITH A BRUSHED GOLD PANEL BORDER WITH VERY PRETTY ILLUSIONISTIC FLOWERS and one panel with acanthus apparently unfinished; EACH LEAF WITH ONE SMALL MINIATURE measuring approximately 40 x 25 mm. DEPICTING SAINTS. Headlines written in French in a later 18th century calligraphic hand. ◆Light soiling otherwise excellent specimens generally clean and smooth with ample margins and attractive decoration.<br/> <br/> From a charmingly decorated 15th century prayer book these lovely leaves offer the opportunity to acquire a miniature andconsiderable gold ornamentation at an attainable price. One leaf depicts Sts. Peter and Paul in a single frame and the other shows St. Vedast or Waast--a saint that was particularly venerated in France especially in the Arras region whence we be believe these leaves originated. For other leaves from this same manuscript please check our website. unknown
