Lot 54

Book of Hours, Use of Rome, in Latin, illuminated manuscript on vellum [northern France (Paris), c.1500]

Estimate

18,000 - 25,000 GBP

bidding is closed

Description

Vellum

124 leaves (plus two original endleaves at front and a gathering of 6 blank endleaves at back), 141mm. by 103mm., wanting single leaves from the beginnings of Matins and Compline, with the inner two bifolia containing the Gospel readings after John now misbound and interrupting Matins of the Hours of the Virgin, else complete, collation: i-ii6, iii4, iv2, v6 (wanting i; viii added to quire vii), vi4, vii9 (i is a singleton), viii-ix8, x7 (vii wanting), xi8, xii2, xiii-xiv8, xv6, xvi-xix8, 17 lines in an excellent lettre bâtarde in dark brown ink, written space 80mm. 50mm., rubrics in red, one- and 2-line initials in liquid gold on burgundy or blue grounds heightened with single-hairstroke gold penwork, line fillers in bars of same with delicate scrolling foliage or composed of rotund flowers touched at edges with liquid gold, some texts opening with white or grey initials formed of acanthus leaves on gold grounds, often accompanied by decorative border panels of coloured acanthus leaves and sprigs of more realistic foliage with flowers and fruit on geometric shapes in dull gold or blank vellum, Calendar in red, blue and gold ink, nine small miniatures (within black and gold frames, and all arch-topped apart from that on fol.27r), with three-quarter decorative borders as before, twelve large arch-topped miniatures in same frames, above a large coloured initial with scrolling white bands picked out on its body with penwork and enclosing liquid gold sprays, with 4 lines of text and within full decorative borders as before, one full-page coat-of-arms added to fol.123r in late sixteenth or early sevententh century, eighteenth- or nineteenth-century green silk sheets tipped in before each miniature, some small chipping from some miniatures and thumbing to edges in places, worm to endleaves (especially pastedowns), overall in good and presentable condition, early (and perhaps contemporary or near-contemporary) binding of red velvet over wooden boards, now worn away in patches through use and with holes at extremities (skilful modern restoration of binding, especially cracks at spine, back board once split), marks from earlier clasps (those present probably eighteenth-century gilt-brass replacements)

Provenance

(1) Written and illuminated for a patron most probably resident in Paris: Calendar with SS. Geneviève (in gold, 3 January) and Denis (in red, 9 October), patrons of the city.

(2) Evidently in Spain by the late sixteenth or early seventeenth century when the elaborate and colourful coat-of-arms was added to fol.126r.

(3) From the private collection of Gösta Stenmann (1888-1947), Finnish art-dealer, and perhaps acquired by him in England: nearly erased price in early twentieth-century pencil on one of last endleaves, "3/-/-"; sold by Stenmann’s heirs to the present owner around 2009.

Catalogue Note

text

The volume comprises: a Calendar (fol.1r); the readings from the Gospel of John (fol.13r); the Obsecro te (fol.15r); The Hours of the Virgin with Matins (fol.19r); the misbound leaves with Gospel readings from Luke (fol.25r), Matthew (fol.26v) and Mark (fol.28r); the end of Matins (fol.29r), Lauds (fol.31v), Prime (fol.41v), Terce (fol.45v), Sext (fol.49r), None (fol.52r), Vespers (fol.55r) and Compline (fol.60r); the Seven Penitential Psalms (fol.71r) followed by a Litany; the Hours of the Cross (fol.87r); the Hours of the Holy Spirit (fol.90r); the Office of the Dead (fol.93r); and Suffrages to saints (fol.119v).

illumination

This artist’s work has not yet been defined, but his carefully designed compositions and even execution are easily recognizable. The style, dominated by monumental figures set against lightly coloured landscapes, was fashionable in Paris in the early sixteenth century. One of the leading artists of that time was the prolific illuminator Jean Pichore (see C. Zöhl, Jean Pichore, 2004), and his influence is felt here. The ‘dramatic close-up’, showing figures in half-length or three-quarter-length format, was promoted in France by the celebrated Tours artist Jean Bourdichon. This formula was especially favoured in Paris by the Master of Martainville to whom this artist is closest. The sculptural quality in the present Book of Hours is emphasized by the artist’s method of colouring figures in the background evenly in brown with gold highlighting. A strong preference for accentuated horizontals and verticals conveys the sense of a well organised picture plane.

The large miniatures include: (1) fol.13r, St. John on Patmos; (2) fol.15r, the Virgin and Child; (3) fol.31v, the Visitation of the Virgin to St. Elisabeth; (4) fol. 41v, the Nativity of Christ; (5) fol.45v, the Annunciation to the Shepherds; (6) fol.49r, the Adoration of the Three Magi; (7) fol.52r, the Presentation in the Temple; (8) fol.55r, the Flight into Egypt; (9) fol.71r, David watching Bathsheba bathing; (10) fol.87r, the Crucifixion of Christ; (11) fol.90r, the Pentecost; (12) fol.93r, Job on the Dungheap visited by his three Friends; plus another nine small miniatures, including one of Mary Magdalene holding her ointment pot, here painted as a realistic marble jar (fol.122r).