1 484 résultats
1939réf. ST20331London: Beaconsfield Press 1939. No. 72 OF 125 COPIES SIGNED BY THE ARTIST AND THE EDITOR for sale in the British Empire. 292 x 248 mm. 11 1/2 x 9 3/4". xxvi pp. 46 leaves all leaves French fold. Edited by Cecil Roth. Elegant original blue crushed morocco by Sangorski & Sutcliffe signed on front turn-in covers with gilt French fillet border and large intricate central figure designed by Szyk of a patriarch holding a goblet and book raised bands spine gilt in double ruled compartments with ornate crown centerpiece gilt titling turn-ins with double gilt-ruled and scalloped border surrounding an illustrated silk doublure featuring a Szyk portrait of Moses with the Ten Commandments done in shades of gray within a frame of elaborate design. In an excellent velvet-lined box of blue half morocco over lighter blue cloth upper cover with central lion's head in gilt on blue morocco spine like that of the book. WITH 14 FULL-PAGE AND 32 SMALLER COLOR REPRODUCTIONS OF DESIGNS BY SZYK. English translation printed in black commentary printed in red. Front flyleaf inscribed in ink: "To Mr. and Mrs. Solomon Brachman / very cordially / Arthur Szyk / New York. April 1945." Very faint naturally occurring variations in the grain of the vellum otherwise a pristine copy. With an important Holocaust-related authorial inscription this is a very fine copy of what the London Times described as "a book worthy to be placed among the most beautiful of books that the hand of man has produced." Arthur Szyk 1894-1951 a Polish Jew is considered by scholars to be the greatest 20th century illuminator. Using the style of the Medieval illuminated manuscript artists he has here created a Haggadah for Passover that is at once a beautiful book of devotion a political protest against the rise of Nazism and a plea for England's help for the Jews of Europe. By 1939 Szyk's anti-Nazi cartoons had caused Hitler to put a price on his head forcing him to flee to England. His original illustrations for his "Haggadah" featuring the villains of the Exodus with the heads of Hitler Goebbels and other leading Nazis had to be toned down before publication. All 46 pages of the Hebrew text are illustrated with scenes from the Passover story as well as vignettes of Jewish life in modern Europe—sometimes Szyk mixes the two to great effect. Perhaps the most moving illustration in the book is the elaborately illustrated dedication to King George VI of England appealing for his mercy to European Jews. The great symbols of the British Empire—the lion and unicorn St. George defeating the dragon—surround Szyk's plea to the king: "At the feet of your most gracious majesty I humbly lay these works of my hands shewing forth the affliction of my people Israel." In the lower right corner of the painting we see Jewish refugees beside one of the ships which were usually turned away from British shores while Szyk depicts himself leaning against the painting his brush and easel in hand. The text here is enriched by the historical introduction and the commentary contributed by Cecil Roth 1899-1970 the preeminent British expert on Jewish history. This crowning achievement of Szyk's life was four years in the making and has proved to be an enduring treasure. Szyk presented this copy to Texas oilfield supply magnate Solomon "Sol" Brachman 1896-1974 and his wife Etta. The son of a Latvian Jew Brachman was the founding president of the Jewish Federation of Fort Worth in 1936 and helped arrange an emergency $100000 bank loan for Israel on the eve of statehood in 1948. His wife who served as president of the National Council of Jewish Women was known as "the mother of Hadassah." Szyk's 1945 inscription was no doubt especially meaningful to this devout family whose Latvian relatives were among the 90 percent of that country's Jews who perished in the Holocaust. Beaconsfield Press unknown
réf. 47160Bibury Gloucestshire: 1723 . Original vellum folded and creased document with blue seals. 28.5cm x 32cm. The document begins. "Know all men by these present that I Katherine Sackvlle of Bibury in the County of Gloucester have given and granted and do hereby give and grant unto William Easter of Arlington in the County of Gloucester Shoemaker leave and. to grant bargainand fill onto Richard Hall of Northlath in the County of Gloucester the Cottage and that part of the garden which was given and bequeathed by William Cooke Susannaht he wife of the said William Easter. Dated 1723. In the presence of Thomas Williams and Henry Boulton and the wax seal of Katherine Sackville. "Elizabeth Sackville was born in 1689 in Bibury Gloucestershire the daughter of Hester and Henry. She married Edmund Warneford on 18 July 1713 in London. They had one child during their marriage. She died on 17 May 1756 at the age of 67 and was buried in her hometown." - See Family History Records Bibury, Gloucestshire: 1723 . hardcover
réf. 47162Leicester: 1750. Original Vellum Document. Landscape format. 26cm x 32cm. Note to verso: "Probate of the Will of John Bray late of Bitteswell." Document reads: "in The Name of God Amen. John Bray of Bitteswell in the County of Leicester Yeoman being of Sound and perfect mind. I bequeath all goods. to my wife Sarah Bray and my son Thomas Bray. To my sisters Sarah Bray of Lutterworth and Ruth Wood the wife of Thomas Wood of Bitteswell the sum of �5.00. Attested by John Fosell Richard Smith William Wood. G Leicester: 1750. hardcover
réf. 46663Kent 1663 . Large 17th century velum document with two horizontal folds and 5 vertical folds plus 3 of the original wax seals. 55cm length x 64cm width. Vellum lightly soiled and worn along the creases. Document begins with a large initial "C". English text in a contemporary hand rubbed in places. The document states that Henry Hills and Edward Gray are at Cliffords Inn London. Also that Harry Welles and Ralph Blundell are from East Greenwich Kent. Also that Ralph Blundell is a Chandler. Notes to verso of the document include an amendment in Latin dated 1664 and signed by "John Walker". Also another note in English signed by Robert Cheke; "Gills Master"; and "Thomas Bosboke Jn." Family history records show a Ralph Blundell was a churchwarden of East Greenwich in 1679. Kent, 1663 . hardcover
1490réf. ST20853France ca. 1490. 144 x 99 mm. 5 5/8 x 3 3/4". Single column recto with 14 lines in a gothic book hand. 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. 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
1939réf. ST17129-020Wimbledon Surrey September 1939. 373 x 255 mm. 14 3/4 x 10". 12 vellum leaves seven with text and illuminations. Single column approximately 30 lines in a fine calligraphic hand. Attractive contemporary dark blue crushed morocco covers with gilt and blind rules raised bands with gilt rules gilt-ruled turn-ins vellum pastedowns. Text in blue black green and red a few lines with larger lettering in gilt several two-line initials in colored ink five two-line initials in red or blue with floral decorations opening pages with eight two-line initials in gold the lines here of a larger size than rest of text six three-line initials in gold filled and surrounded by floral decoration three four- to six-line gilt initials with more intricate floral decorations one of these with gilt stippling and two surrounded by a gilt frame and ONE VERY LARGE 80 x 45 mm GILT "B" decorated with stippling filled with two-tone green leaves pink flowers and large gold bezants. First leaf with ink inscription "Presented by Dr. W J Pearson / in appreciation of the work of / Ashridge Hospital 1939-1946"; two silk guards. Boards with a hint of soiling but A BEAUTIFUL MANUSCRIPT IN OUTSTANDING CONDITION the paint lovely and bright and the gold sparkling. This beautifully executed manuscript by a notable female calligrapher and illuminator features the oft-quoted and much-loved biblical text known as the "Sermon on the Mount" in which Matthew relates various moral teachings attributed to Christ. The text is written in an extremely pleasing and regular upright script throughout but the first opening listing the nine Beatitudes in capital letters is especially striking. Opening with the largest and most attractive initial in the manuscript it begins with "Blessed are the poor in spirit" in prominent gilt lettering; this is followed by the other blessings each beginning with a smaller gilt "B" initial written entirely in blue capital letters. The rest of the text penned primarily in black ink but accented with cheerful gilt initials and occasional colored lettering exudes a sense of order and simple elegance befitting the contents. Illuminator and calligrapher Violet Wilson was born in Wimbledon in 1902. She studied calligraphy under Claire G. M. Evans who had been a pupil of Graily Hewitt known for his work with the Ashendene Press and one of the principal British calligraphers and teachers of lettering in the first half of the 20th century. Wilson became a member of the Society of Scribes and Illuminators in the U.K. in the 1930s. The San Francisco Public Library has examples of her work in its Harrison Collection of Calligraphy and another illuminated copy of the "Sermon on the Mount" made in 1957 was included in the Baltimore Art Museum's 1965 exhibition and catalogue titled "Two Thousand Years of Calligraphy." The catalogue entry no. 213 notes that Wilson preferred to work on books and decorative maps and exhibited her work in many countries. According to the presentation inscription in the present work this manuscript was given to Ashridge Hospital--formerly a monastery and royal residence--by the distinguished physician Dr. Wilfred John Pearson 1884-1957 who had headed one of the London sectors of the Emergency Medical Service during World War II. His obituary in the "British Medical Journal" declared him "one of the striking figures of his time.". unknown
réf. ST15769aPerhaps France mid-12th century. Each leaf measures approximately 370 x 240 mm. 14 1/2 x 9 1/2". Double column 32 lines in a fine proto-gothic hand. See: Thompson "An Introduction to Greek and Latin Paleography" p. 436. ◆Recovered from a binding and thus with one side of each leaf somewhat browned soiled and with a few creases one leaf with several small blotches of red paint in the text not affecting overall legibility one corner of each leaf torn away affecting running title and one to two lines of text other trivial defects but still very nice specimens with clear and legible script and one side of each leaf quite clean and well preserved. Once part of a large and elegant Romanesque Bible these leaves are excellent examples of a high quality proto-gothic book hand. Sometimes referred to as "praegothica" or "late Caroline" the proto-gothic script is characterized by letterforms that are more or less unchanged from Caroline minuscule but with a number of traits starting to show elements of gothic script--most notably the addition of feet appearing here as an upward flick of the pen on the bottom of minims but also including the use of more abbreviations the fusion of certain letter combinations a more elongated "o" and a straight-backed "a." Whatever the level of its evolution the script here has very pleasing rounded letterforms that are highly legible and generously spaced. Though the vellum is not unmarred by its former life as binding material the script here has not lost any of its beauty revealing a hand that is practiced regular and distinctly pleasing to the eye. As Thompson notes "In the twelfth century the scribes seem to have vied with each other in producing the best types of book-writing of which they were capable with the result that remarkable precision in the formation of the letter was attained and that the century may be named as excelling all others for the beauty of its MSS." Our leaves come from Deuteronomy the Old Testament book consisting primarily of three sermons made by Moses just before entering the Promised Land. One leaf contains brief summaries of chapters 2-18 with some chapters numbered in the margins while the other leaf contains part of the first of Moses' speeches in which he recalls the Israelites' 40-year journey through the wilderness. unknown
1602réf. 82392In Venetia: Appresso Gio. Battista Ciotti 1602. Due parti in un volume di cm. 30 pp. 12 524; 395. Frontespizio in rosso e nero con marchio tipografico. Leg. del tempo in cart. alla rustica e dorso ricoperto posteriormente in carta marmorizzata. Esemplare genuino e ben conservato. Edizione originale di quest'opera considerata il più importante e fortunato dei vocabolarî italiani anteriori a quello della Crusca ed il primo dizionario europeo moderno fornito di definizioni. Nel corso del xvii secolo si ebbero tre ristampe ampliata. Cfr. Gamba 2757 che cita la successiva edizione del 1617. Edizione Originale. Appresso Gio. Battista Ciotti unknown
1540réf. ST20622Germany ca. 1540. 183 x 133 mm. 7 1/8 x 5 1/4". WITH A FULL-PAGE MINIATURE DEPICTING THE HARROWING OF HELL featuring a naked Adam and Eve on the left and on the right Christ bending down to rescue John the Baptist the figures framed by a stone archway supporting a hairy creature who aims the point of a spear directly at Adam and Eve the miniature in a thin brown frame with gilt lines surrounded on two sides by the words "VERBUM DOMINI MANET IN ETERNUM" in gilt all framed in gray and red washes with double rules of black and gilt. Light soiling to frame a little flaking to the gray border and a couple of small scuffs and smudges elsewhere verso with spotting but the miniature vibrant and well preserved with only very trivial imperfections. A close copy of an early 16th century engraving by Albrecht Dürer this powerful miniature depicting the Harrowing of Hell is an intriguing artifact that ties together manuscript art print culture and the Reformation. The image depicts an apocryphal tale in the Gospel of Nicodemus in which Christ following his death but before his Resurrection descends into Limbo in order to save righteous souls who had passed away before him particularly figures from the Old Testament. Christ appears here in pale pink robes carrying a long staff with a cross and banner adorning the top. Having just brought down the gates of Hell he stoops to rescue John the Baptist here dressed in furs from its depths. A naked Adam and Eve covering their loins stand at the left of the composition--Adam now a gray-bearded old man as a reflection of sin and mortality but Eve still as she was at the Expulsion in keeping with the period's inclination to retain the classically idealized youthful feminine form. Above them is a stone arch upon which a dog-like demon perches stealthily aiming a spear directly at the oblivious couple. Another demon snaps its jaws at the feet of Christ and we can see a lick of flames below the broken gate as more captive souls clamor to escape. The painting is skillfully done showing the artist's facility with anatomy proportion and foreshortening. The bodies of Adam and Eve are particularly excellent with lovely skin tones and convincing molding. The composition is clearly based on an engraving by Dürer published in 1513 as part of a major series of 16 images known as the "Engraved Passion." In translating a black & white print into a full-color painting the artist here dispensed with a few details seen in Dürer's work such as the shadowy figure behind Adam and Eve and the stigmata on Christ's hand; however the overall composition deviates little from the original suggesting that the artist may have been working from an actual engraving. Although this leaf contains just a few words in the form of a border inscription--"Verbum Domini manet eternum" "the Word of the Lord endures forever"--they are monumentally important. This line from Isaiah 40:8 and 1 Peter 1:25 became the motto of the Lutheran Reformation appearing on art clothing coins and even armor of the 16th century. The Schmalkaldic League an influential group of allied Lutheran principalities in the Holy Roman Empire at the time also adopted it as their motto. Given the dominance of print materials during the Reformation period our hand-painted miniature--possibly produced as a frontispiece--must have been a very special commission. It is also an object that is prime for further study touching on aspects of book production religious art and the transmission of images and ideas in the early modern period. unknown
réf. ST19350-006Germany 12th century. 272 x 185 mm. 10 3/4 x 7 1/4". Single column 28 lines in a late Caroline hand. ◆Leaf trimmed irregularly along one side about 18 lines lacking a letter or two vellum a bit wrinkled and worn text a little faded in places but still very presentable and the text almost entirely legible. Penned in a pleasing and very legible late Caroline hand this leaf has sustained very little loss and is remarkably well preserved for having been previously reused as binding scrap. Although the text includes several abbreviations that are commonly found in proto-gothic scripts the hand also shares a number of similarities with the Caroline minuscule that dominated Western Europe scribal hands in earlier periods including a long "s" with the shaft on the line and the use of the ampersand as a general abbreviation for the letters "et" occurring anywhere in a word. The text here comes from Pope Gregory the Great's "Moralia" conceived as a commentary on the book of Job and begun when Gregory was just a young papal envoy to Constantinople. It is a guide to the Christian life written in simple direct language which transforms the thought of Augustine into a practical manual of behavior. unknown
1902réf. 3402F. Lumachi publisher. 1902. Florence. Full vellum limp with leather ties. This is a nice example of one of the Florence gift bindings done around the turn of the century. The front cover is hand painted titling and decoration in a fine hand. A slight bit of discoloration to the vellum otherwise a clean unmarked copy. Yapp edges all ties present. F. Lumachi hardcover
1614réf. ST12778-0352Rome 1614. 203 x 319 mm. 8 x 12 5/8". Single column 25 lines in a papal chancery hand. With braided cloth tie for appended seal now gone. Elaborate lettering all across top line of text especially the first 8-line initial and at lower right corner. Lower margin with several signatures in ink behind the fold; verso with brief notes in ink; remains of hemp tie for appended seal which has been cut away. Three vertical and one horizontal fold creases faint overall yellowing to verso possible erasure correction in second line of text otherwise the page bright and the hand clear. Addressed to the Archbishop of Naples this Papal Bull grants a marriage dispensation between Pietro Palladino and Giovanna Cabalone. An online search finds nothing about the couple named in the present document but they were apparently high-ranking Neapolitan citizens who had the means to procure a Papal intercession. Likewise the particular impediment prohibiting the marriage is not apparent here. This type of document takes its name from the lead seals called "bullae" that were issued with official documents of the papacy as a way of ensuring their authenticity. Apart from the very rare Solemn Privilege like Innocent III's famous granting of England in 1214 to his involuntary vassal King John there are three categories of Papal Bulls: Simple Privileges also called Solemn Letters Letters of Grace which confirm privileges and rights but are somewhat smaller and Mandates which are differentiated by their use of hemp ties as opposed to silk as here. A member of the influential Borghese family Pope Paul V born Camillo Borghese 1550-1621 reigned as head of the Catholic Church for 16 years from 1605 until his death. As a staunch defender of the rights and privileges of the church he often came into conflict with secular leaders. He is perhaps best remembered for financing the completion of St. Peter's Basilica and for his involvement in the Galileo controversy in which he warned the scientist against advocating heliocentrism. unknown
1896réf. ST17129-026Paris 1896. 200 x 135 mm. 7 7/8 x 5 3/8". 11 leaves. Single column 16 lines plus headline in a thin graceful italic script. Attractive red crushed morocco by Marcellin Lortic stamp-signed on front doublure covers framed by multiple-rule gilt strapwork raised bands spine compartments with gilt French fillet gilt titling vellum doublures with gilt frame in the Romantic style leather hinges vellum endleaves all edges gilt. In matching morocco-trimmed slipcase. Title in burnished gold embellished with red and blue penwork text with red-ruled border and burnished gold stars at corners numerous one-line burnished gold initials with red or blue penwork two-line opening initial in burnished gold on a blue white and pink background and A HALF-PAGE MINIATURE measuring 71 x 64 mm. SHOWING A COURTROOM SCENE. Front free endleaf with morocco bookplate of Robert Hoe. ◆Just the slightest hint of rubbing to joints but A VERY FINE SPECIMEN entirely fresh bright and clean inside and out. This elegant little manuscript in French recounts Guy de Maupassant's satirical tale of a trial in the provinces; it was created by a man who knew the inside of a courtroom all too well. Bouton 1819-1901 was a young rebel during the 1848 Revolution who spent five years in jail for his participation in a bombing in Paris. Oddly enough the dedicated republican was also an expert on heraldry and paleography publishing pamphlets on those subjects as well as on politics and producing manuscripts like the present one. De Maupassant 1850-1893 is generally acknowledged as one of the great masters of the short story. In the present tale a wealthy older woman who had tried to buy a young peasant's love by giving him land sues unsuccessfully for the return of her property when the object of her affection forsakes her for a younger woman. According to Beverly Chew the library of Robert Hoe 1839-1911 founding member and first president of the Grolier Club was "the finest America has ever contained." Hoe acquired illuminated manuscripts early printing he owned a Gutenberg Bible on paper and one on vellum fine bindings French and English literature and Americana and when his library was sold in 1911-12 it fetched nearly $2 million a record that held until the Streeter sale more than 50 years later. Hoe owned several Bouton manuscripts of de Maupassant stories and the Morgan Library also has Bouton creations. The Lortic name was made famous in the history of French binding by Pierre Marcellin Lortic 1822-92 a leading Parisian binder for 40 years; the binder here was Lortic's son Marcellin or "Lortic Fils" 1852-1928. unknown
1465réf. ST11151bBruges ca. 1465. 181 x 127 mm. 7 1/8 x 5". Single column 19 lines in a careful pleasing gothic book hand. 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. 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
1516réf. ST20620Northern France late 15th or early 16th century. 176 x 128 mm. 7 x 5". Single column 23 lines in a neat batârde hand. i blank 101 ii blank leaves. Lacking one leaf after f. 87 possibly containing a miniature otherwise complete. Contents: Calendar f. 1r; Gospel Lessons f. 7r; Passion according to John f. 10v; Hours of the Virgin f. 15v; Penitential Psalms and Litany f. 45r; Office of the Dead f. 54v; Hours of the Cross f. 68v; Hours of the Holy Spirit f. 70v; Prayers to the Trinity St. Veronica "Obsecro Te" "O Intemerata" and "Stabat Mater" f. 72v; Suffrages f. 79r; Prayers in French to be said on various occasions f. 86v; verse prayer in French beginning "Royne des cieulx glorieuse" f. 90r; additional prayers in French and Latin f. 93v. Attractive 19th century vellum with lacy gilt border raised bands ruled in gilt gilt lettering tan silk endleaves all edges gilt. Housed in a felt-lined reddish-brown pebbled morocco clamshell box with gilt lettering on spine. Rubrics in red numerous one- and two-line initials in painted gold on burgundy or blue ground WITH 27 SMALL MINIATURES one miniature of Christ Carrying the Cross measuring 60 x 68 mm. the rest depicting saints and measuring between eight and nine lines each surrounded by a full border of acanthus flowers and small dots on bare or painted vellum and 14 LARGE MINIATURES EACH OPENING WITH A FULL BORDER either with acanthus and flowers as before or architectural some borders embellished with figures animals or hybrids two with a small scene in the lower margin and about a dozen with the added coats of arms and/or mottos of Jean Boutin. The subjects of the large miniatures include the following: St. John of Patmos f. 7r; Annunciation f. 15v; Visitation f. 23r; Nativity f. 27v; Annunciation to the Shepherds f. 29v; Adoration of the Magi f. 31v; Presentation in the Temple f. 33v; Flight into Egypt f. 35v; Death of the Virgin f. 38v; Bathsheba bathing f. 45r; Funeral Mass f. 54v; Crucifixion f. 68v; Pentecost f .70v; Trinity f. 72v. See: Fairfax-Murray "French" p. 265-266. Vellum binding soiled but perfectly sound. Small portions of some border figures and perhaps three or four miniatures touched up in the 16th century see below occasional chipping to white paint small hole in the border of ff. 11 & 29 light scattered spotting fading thumb soiling and other minor issues but an attractive and substantially complete manuscript the illumination extensive and mostly well preserved. This heavily illustrated Book of Hours is a lovely example of provincial illumination; it calls attention in an interesting way to the influence of printed books on manuscript art; and it contains intriguing traces of an early prominent owner. Our manuscript contains a total of 41 large and small miniatures by a skilled artist who clearly had some training and familiarity with the prevailing styles of the time. The overall appearance of the work suggests the artist or workshop was located in Northern France and although the figures and backgrounds are indicative of a provincial hand the rich colors profuse use of liquid gold and sumptuous borders are unmistakable marks of luxury. The image of the Trinity is particularly lovely demanding the viewer's attention with God the Father's piercing gaze and conveying the majesty of the subject with a patterned throne set against a starry sky. Of special interest here are the compositions of the large miniatures many of which seem to have been copied from printed Books of Hours of the period. When we talk about the transition from manuscripts to print culture in the late-15th and 16th centuries the discussion often focuses on how the art of manuscripts influenced the appearance of printed works. There is no better example than Books of Hours which in printed editions often mimic the look of their manuscript predecessors in appearance and the way many were finished by hand. However as the present example demonstrates the opposite was also true as printed works inevitably made their way into the hands of manuscript artists. Some even worked simultaneously both as illustrators for publishers working with metal- and woodcuts and as manuscript painters. As a reflection of this point in the present work we find distinct similarities between our miniatures and a series of metalcuts used by Philippe Pigouchet for the publisher Simon Vostre beginning in 1496 Fairfax-Murray's set 2. According to Fairfax-Murray "These cuts . . . were evidently very favourably received by Pigouchet's rivals and imitators for one finds several close copies and adaptations in the various productions of other presses" including a very close imitation of woodcut images commissioned by the publisher Antoine Vérard. Evidently the popularity of these plates extended to manuscript artists and it is fascinating to see the adaptation of each composition to suit the painter's own style and the patron's needs. Most of the compositions in our manuscript are essentially simplified versions of the printed miniatures retaining the central figures their gestures garments and props but with complex backgrounds eschewed as are extra figures deemed unnecessary to fulfill the narrative. The resulting miniatures are far less busy than their printed counterparts allowing the viewer to focus on the central story. In a few instances the artist has added small scenes beneath the large miniatures. An example on f. 35 depicts the so-called "Miracle of the Wheat" featuring harvesters misleading Herod's soldiers by truthfully saying that the fleeing Holy Family passed by when their now miraculously matured crop was just being sown. This kind of inclusion may have been influenced by the copious small metalcut scenes that decorate the borders of numerous printed Books of Hours of this period. The text here follows a fairly typical structure but includes prayers in French to be said for each day of the week and on various occasions such as when one awakens or when one leaves a house. Also in French are additional verses to the Virgin--one of which is credited to the Franciscan preacher Jean Tisserand d. 1497 who founded an order for repentant women. Another accessory prayer included here f. 98 appeared in both prayer books and conjuring manuals of the period straddling the line between religion and popular magic. Based on an apocryphal encounter between Pope Leo III and Charlemagne during the Battle of Roncevaux this prayer was often used as a protective amulet against all manner of evil; here it is said to "conquer demons and one's enemies." Although we do not know for whom this manuscript was originally made the book shows a number of marginal customizations in the form of different coats of arms the motto "Soit avenu" "Let it come to pass" and the name of Jean Boutin written on ff. 23 and 35. This owner could have been Jean Boutin Sieur de la Court et de Chamballan and Mayor of Nantes from 1575-76. In addition to the marginal customizations the manuscript may possibly have some very neat replenishing of white facial paint in a handful of marginal figures and perhaps in a very small number of the miniatures. Using magnification and strong light we are unable to find convincing evidence that this retouching took place at least in the miniatures and if it was we think it was done quite early perhaps in the 16th century. Worst case it would necessarily be termed subtle and skillful enough to cause uncertainty now and whatever the verdict is in this respect the manuscript remains very fresh and attractive features attractively executed paintings is complete but for one leaf and would provide ample room for additional research. unknown
1622réf. ST12778-0281Rome 1622. 295 x 410 mm. 11 5/8 x 16 1/8". Single column 23 lines in a papal chancery hand. Elaborate lettering across top line of text. Lower margin with several signatures in ink; verso with brief notes in ink; lacking the original hemp tie and lead seal. Two tears at bottom of the document where ties were removed not affecting text vellum lightly soiled but in excellent condition overall. Addressed to the Archbishop of Naples this Papal Bull grants a marriage dispensation between Fabritio Virgopia and Judith Cuono. An online search finds nothing about the couple named here but the document reveals that they were petitioning for a dispensation because they fell into the second and third degrees of consanguinity meaning that they shared at least one common ancestor. Although marrying within four degrees of consanguinity was prohibited by the church it was not uncommon for the Holy See to issue dispensations as here allowing such marriages to take place—particularly for the privileged classes. The Papal Bull takes its name from the lead seals called "bullae" lacking in the present example that were issued with official documents of the papacy as a way of ensuring their authenticity. Apart from the very rare Solemn Privilege like Innocent III's famous granting of England in 1214 to his involuntary vassal King John there are three categories of Papal Bulls: Simple Privileges also called Solemn Letters Letters of Grace which confirm privileges and rights but are somewhat smaller and Mandates which are differentiated by their use of hemp ties as opposed to silk as would have been the case here. Pope Gregory XV born Alessandro Ludovisi 1554-1623 ruled for just over two years from 1621-23. His brief papacy was marked by efforts to support the Catholic Counter-Reformation including the establishment of the Congregation for the Propagation of the Faith to oversee missionary work. He also played a key role in the election of Holy Roman Emperor Ferdinand II canonized notable saints such as Ignatius of Loyola and Francis Xavier and issued the last papal mandate concerning witchcraft. Documents issued by Gregory XV are unsurprisingly rare given the shortness of his rein: we could trace just one sold at auction since 1995. unknown
1415réf. ST19350-056Germany and Low Countries 14th & 15th centuries. Smallest piece: 209 x 152 mm. 8 1/8 x 5 7/8"; largest piece: 372 x 235 mm. 14 3/4 x 9". Recovered from bindings and thus with uneven trimming and occasional small holes resulting in loss staining and toning to vellum some leaves with remnants of pastedowns obscuring the script but generally the leaves quite legible substantially complete and in presentable condition. This packet contains five vellum manuscript leaves all complete or nearly so all with musical notation and all serving as linings or covers of a binding when reused in their second lives. Prepared with an academic audience in mind the group presents an excellent opportunity for libraries teachers and students to develop or expand their teaching or personal collections. In addition to their obvious value as manuscripts containing the text and music of the Medieval period these leaves are also of educational importance as physical artifacts demonstrating the reuse of manuscript material in the production of later bindings. The shape of each binding is still easily discernable and a few of these specimens even include early spine labels and ink notations as well as paper remnants used in the bookbinding process. unknown
réf. ST20509a-bGermany Late 11th or early 12th century. Largest bifolium measures 221 x 275 mm. 8 7/8 x 10 3/4". Single column 25-27 lines in a late Caroline hand. Rubrics in orange each bifolium with one or more one one-line initial in orange and one or more large four- to five-line initials in orange. With marginal notations in a later hand. Recovered from a binding and thus with some soiling abrasions glue residue and other small problems; the pages nearly complete but with a couple of letters and/or lines cut away from one side of each bifolia with more extensive abrasions on one side affecting legibility but very good specimens overall the better side in each case quite clear and readable. Once part of a Lectionary a collection of scriptural readings appropriate for Masses through the year and other ceremonial occasions these attractive mostly legible binding fragments display an excellent transitional script with both Caroline minuscule and proto-gothic characteristics. The present examples include short lessons or "lectiones" taken from the Old and New Testaments including among other passages excerpts from John in which Christ casts the sellers out of the temple and Daniel relating the prayers of the three men who refused to bow to Nebuchadnezzar's golden idol. The lovely script here shares much in common with the pure Caroline miniscule of earlier centuries--particularly in the overall legibility of the text the space between individual letters and the limited use of ligatures and abbreviations; also of note is the exclusive use of the long "s" unless at the beginning of a sentence and the ampersand as a general abbreviation for the letters "et" occurring anywhere in a word e.g. "propheta" written "proph&a" here. Evidence of a progression toward proto-gothic script can also be observed here in the appearance of certain letter forms such as the closed "g" a more oval "o" and the use of two forms of "d" both upright and Uncial the latter with a sloping shaft. There is added interest here in the form of marginal notations in a later hand--probably dating from the time these bifolia were in situ as binding waste. unknown
réf. ST20509c-dGermany Late 11th or early 12th century. Larger bifolium measures 221 x 275 mm. 8 7/8 x 10 3/4".; smaller bifolium measures 207 x 275 mm. 8 1/8 x 10 3/4". Single column 25-27 lines in a late Caroline hand. Rubrics in orange each bifolium with one or more one-line initial in orange and one or more large four- to five-line initials in orange. With marginal notations in a later hand. Recovered from a binding and thus with some soiling abrasions glue residue and other small problems as well as limited loss of legibility in a few places; the pages nearly complete but with a couple of letters and/or lines cut away from one side of each bifolium; even with the problems very good specimens overall the letters on the better side quite clear and readable in each case. Once part of a Lectionary a collection of scriptural readings appropriate for Masses and other ceremonial occasions through the year these attractive mostly legible binding fragments display an excellent transitional script with both Caroline minuscule and proto-gothic characteristics. The present examples include short lessons or "lectiones" taken from the Old and New Testaments including among other passages excerpts from John in which Christ casts the sellers out of the temple and Daniel relating the prayers of the three men who refused to bow to Nebuchadnezzar's golden idol. The lovely script here shares much in common with the pure Caroline miniscule of earlier centuries--particularly in the overall legibility of the text the space between individual letters and the limited use of ligatures and abbreviations; also of note is the exclusive use of the long "s" unless at the beginning of a sentence and the ampersand as a general abbreviation for the letters "et" occurring anywhere in a word e.g. "propheta" written "proph&a" here. Evidence of a progression toward proto-gothic script can be observed here in the appearance of certain letter forms such as the closed "g" a more oval "o" and the use of two forms of "d" both upright and Uncial the latter with a sloping shaft. There is added interest here in the form of marginal notations in a later hand--probably dating from the time these bifolia were in situ as binding waste. The price given here is for one bifolium. unknown
réf. 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. 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. 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
1891réf. ST15049London: Seeley and Co 1891. No. 85 OF 160 COPIES ON LARGE PAPER. 382 x 275 mm. 15 x 10 3/4". 4 p.l. 111 1 pp. Publisher's gilt-stamped vellum upper cover with titling and the Tennyson coat of arms BOTH COVERS WITH LOVELY HAND-PAINTED DESIGN BY JOHN T. BEER upper cover with urn at foot and blooming rose branches emanating from a medallion bearing the date 1902 and curving around the title and escutcheon lower cover with branches of apple blossoms dividing the board into quadrants each inhabited by a bird in flight smooth spine with gilt titling edges untrimmed. With frontispiece photographic portrait of Tennyson 31 vignettes in the text and 14 copper-plate engravings after drawings by Edward Hull. Verso of title page and limitations page with ink stamp of Gloucester County Library. Weber "The Fore-Edge Paintings of John T. Beer" 195. Small scratch near head of front joint minor soiling and rubbing to edges of boards mild foxing mostly marginal and not affecting copper engravings otherwise an excellent copy clean and fresh internally with wide margins the binding especially bright the pretty decoration perfectly preserved. AN EXTREMELY ATTRACTIVE COPY. This very large format deluxe illustrated work describing the places associated with England's beloved Poet Laureate Alfred Lord Tennyson is enhanced by former owner John T. Beer's Arts & Crafts-style embellishments to the vellum binding. After retiring from a successful career as a clothier Merseyside book collector Beer ca. 1826-1903 occupied himself decorating books from his library mostly with fore-edge paintings but in a score of instances with painted bindings. Jeff Weber considers Beer "one of the most highly skilled artists of fore-edge paintings" noting that he was the first artist to put his signature to such works. Weber's catalogue raisonnée of Beer's works lists 189 fore-edge paintings 22 painted bindings including this one #195 and three bindings designed by Beer and executed by Fazakerley of Liverpool. The design here is clearly influenced by the Arts & Crafts movement and Beer owned several works by William Morris including a Kelmscott Press "Godefrey of Bologne" on the vellum covers of which he had painted a design of tulips and lilies. Among the locations discussed and pictured in the "The Laureate's Country" are Tennyson's childhood homes in Somersby and Bag Enderby Trinity College Cambridge where he matriculated and his estates Farringford on the Isle of Wight and Aldworth in West Sussex. Seeley and Co unknown
réf. ST12083fItaly ca. 1150. 406 x 273 mm. 16 x 10 3/4". Double column 42 lines in a fine rounded early proto-gothic hand. 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. 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
1450réf. ST11774-85Paris 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. 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. 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
1910réf. ST14374England ca. 1910. 392 x 287 mm. 15 3/8 x 11 1/4". 32 leaves with text in an attractive italic hand all separated by tissue guards. SUMPTUOUS OLIVE GREEN STRAIGHT-GRAIN MOROCCO ELABORATELY GILT BY ZAEHNSDORF stamp-signed on front doublure and with their exhibition stamp on rear turn-in covers with densely stippled floral roll border enclosing a large frame formed by drawer handle tools and floral tools on a stippled ground; central panel with large cornerpieces rampant with flower tools circlets volutes and much stippling; raised bands spine compartments heavily gilt in a similar style gilt titling RED MOROCCO DOUBLURES with opulent dentelle frame surrounded by gilt-tooled green morocco turn-ins red watered silk endleaves with gilt edging all edges gilt.ma WITH 76 BLACK & WHITE PHOTOGRAPHIC REPRODUCTIONS OF PORTRAIT MINIATURES BY RICHARD COSWAY ANDREW PLIMER AND OTHERS mounted and enclosed by hand-painted burnished gold frames EACH PORTRAIT WITH HAND-ILLUMINATED TITLE in red blue green and burnished gold. Verso of front endleaf with book label of Thomas Agnew & Sons Old Bond Street Library. A bit of wear to front joint a little rubbing to extremities occasional mild rumpling to head or tail of vellum leaves isolated small marginal smudges otherwise a fine specimen the vellum creamy and bright the illuminations shining and the binding quite sound and lustrous with gold. Composed of vellum leaves this is a unique luxurious catalogue of a miniatures collection with delicate script lovely illumination and a stately binding by one of London's foremost workshops. State-of-the-art photographic reproductions of mostly 18th century miniatures are juxtaposed here with calligraphy and illuminations harking back to Medieval bookmaking. Each portrait is surrounded by a gold frame and accompanied by a hand-written description with an illuminated title giving biographical details of known subjects and a physical description of the miniatures whenever they are labelled simply "Portrait of a Lady" or "Portrait of a Gentleman." The scale of this production--which is nearly twice the size of most illuminated manuscripts of the early 20th century--and the splendor of the binding point to a patron of considerable means likely either the proprietors of or a client of the Agnew art dealers. The Agnew firm began as printsellers in Manchester in 1817 but over the course of the 19th century became one of the principal British galleries under the leadership of the founder's son William. A London branch opened in 1860 and the Bond Street flagship in 1875. William Agnew 1825-1910 did much to foster the careers of British artists Holman Hunt Frederick Leighton and Edward Burne-Jones and his clients included Henry Tate whom he encouraged to found the celebrated Tate Gallery. The binding here is a superb example of the work of the Zaehnsdorf firm long a top-ranked English bindery. Born in Pest Hungary Joseph Zaehnsdorf 1816-86 served his apprenticeship in Stuttgart worked at a number of European locations as a journeyman and then settled in London where he was hired first by Westley and then by Mackenzie before opening his own workshop in 1842. His son and namesake took over the business at age 33 when the senior Joseph died and the firm flourished under the son's leadership becoming a leading West End bindery. Over the years Zaehnsdorf employed a considerable number of distinguished binders including the Frenchman Louis Genth who was chief finisher from 1859-84 and trained a number of others including Roger de Coverly and Sarah Prideaux. A family-run business until 1947 the Zaehnsdorf bindery continued to produce consistently attractive and innovative designs executed with unfailing skill. It is generally understood that the firm reserved the use of its oval stamp showing a binder at work seen here for their finest bindings including those entered in exhibitions. unknown
1460réf. ST12835Paris ca. 1460. 195 x 143 mm. 7 3/4 x 5 1/2". Single column 16 lines in a gothic book hand. Minor feast days in red and blue major feasts in gold numerous gold and painted line fillers the five "A" initials and the "KL" highly decorative and painted pink and blue against a gold background gold and pink bar surrounding the text on three sides BOTH SIDES OF THE LEAF WITH EXTRAVAGANTLY DECORATIVE BOTANICAL FULL BORDERS with two small birds hidden within and INCORPORATING TWO MEDALLION MINIATURES DEPICTING THE LABOR OF THE MONTH SOWING AND THE SIGN OF THE ZODIAC SCORPIO FOR OCTOBER. ◆IN VERY FINE FRESH CONDITION with gold and paint extraordinarily bright. The extraordinarily lavish and animated full borders coupled here with extensive use of brushed and burnished gold--for major feast days for decorative border elements and even for the hundreds of seeds being sown!--suggests that this calendar folio comes from a Book of Hours that was commissioned for a person or persons of high rank since it would have been very costly. The leaf comes from a manuscript that included numerous roundels depicting the lives of St. Catherine and the more obscure St. Alexius and it is possible that the Book of Hours belonged to a husband and wife for whom these saints served as patrons. The style of the delicately painted figures especially in the roundels indicates an artist who was familiar with the early output of the Coëtivy Master who according to Avril and Renaud can be identified with Colin d'Amiens who made a great name for himself in Paris not as was previously thought with Henri de Vulcop who made a great name for himself in the Loire region. The master takes his name from the Book of Hours now in the Austrian national library that he painted for Olivier de Coëtivy and his wife Marie de Valois one of some 30 works that have been identified as his. Although there is considerable Flemish influence that can be seen in his work he has links for example with Simon Marmion Colin d'Amiens was active in Paris during the third quarter of the 15th century and with Barthélmy van Eyck and Jean Fouquet was among the three great artists of this period patronized by the French court--Avril and Renaud says flatly that our master was "the most important artist practising in Paris in the third quarter of the century from about 1450 to 1485." For more on the Coëtivy Master see Avril and Reynaud pp. 58-69. unknown
