Honoré Daumier (1808-1879).Livre Rare Book
1 528 résultats
1834réf. 251141834 Planche 423 de La Caricature N° 202.La Caricature, 18 septembre 1834. Lithographie originale sur Velin blanc. . Delteil 87. épreuve en noir ; lithographie en noir sur velin blanc pli médian vertical,bon tirage bien noir,petite tache brune en marge - Delteil 87 ,
1946réf. 016292Paris Gallimard NRF 1946 In-12 Cartonnage illustré de l'éditeur
1967réf. 015598Paris Comité Viet-Nam National 1967 In-4 En feuilles, portfolio ill.
1937réf. 010358Paris Glm collection "Parallèles" 1937 plaquette in-4 En feuilles, couverture à rabats.
1952réf. 8368Edifi 1952 169 pages in8. 1952. broché. 169 pages. Un sujet de roman est une comédie en quatre actes de Sacha Guitry créée au théâtre Édouard VII en 1923. La pièce traite principalement du thème du divorce avec l'humour et la vivacité caractéristiques de l'auteur tout en dissimulant une analyse lucide de l'âme humaine
réf. 0161680 En feuilles
1988réf. 009760Paris Mercure de France 1988 In-12 Broché Edition originale
réf. 12511Paris, Editions du Sagittaire, 1926 11 x 15, 84 pp., reliure carton, couverture conservée, bon état
1966réf. 013120Paris Gallimard NRF - Collection "Du Monde entier". 1966 In-8 Broché, couverture à rabats
2004réf. 010298Paris Les Pharmaciens Bibliophiles 2004 en feuilles, couverture rempliée, emboitage toilé éditeur
1470réf. ST20836Western France Angers ca. 1470. 122 x 88 mm. 4 3/4 x 3 1/2". Single column 15 lines in a neat bâtarde hand. 152 leaves first and last three are ruled blank leaves; leaf count does not include the first blank endleaf erroneously included in the modern pencil foliation. COMPLETE. Contents: early ownership inscriptions f. 2v Calendar f. 5r Hours of the Virgin f. 17r Extract from the Gospel of John f. 55v Obsecro Te f. 57r Penitential Psalms and Litany f. 61r Office of the Dead f. 78r series of devotional prayers in Latin to the Virgin Mary Christ and the Archangel Michael f. 115r O Intemerata f. 134v series of devotional prayers in Latin f. 138r ruled blank leaves with family records of Jacques Bille f. 150v. Pleasing early 19th century caramel colored straight-grain morocco covers bordered with a double gilt rule smooth spine gilt in compartments divided with a double gilt rule and dotted roll and cross centerpieces neat early repair to head of spine turn-ins gilt marbled endpapers all edges gilt. Housed in a 20th century felt-lined slipcase with a gilt monogram on front. Ruled in red rubricated in red and blue two one-line burnished gold initials on a blue or pink ground one three-line blue and red penwork initial eight three- to four-line initials in pink and blue filled with ivy leaves on a burnished gold ground these pages with three-quarter borders of acanthus leaves dense rinceaux colorful fruit and flowers gold ivy leaves and bezants and WITH FOUR ARCH-TOPPED MINIATURES above a three- or four-line initial painted blue or pink on gold ground each surrounded by a full border of painted gold and brightly colored acanthus leaves vines and flowers studded with burnished gold bezants three borders inhabited with fantastical creatures the subjects of the miniatures including the Annunciation f. 17r; King David in Prayer f. 61r; a funeral procession f. 78r; and the Pietà f. 115r. Verso of first leaf with signature of Jacques Bille or Billes and the following page with a note in a different contemporary hand with the day and year erased and written over: "Ces presentes heures sont a iaques bille qui les trouvera si les luy Rende et il paiera voluntriers le VIII le jour de la sainct martin. Tesmoion son seign manuel cy mis le huytiesme jour de Avril L'an mil cinqcens et seze" "These present hours belong to Jaques Bille; whoever finds them should return them to him and he will gladly pay on the eighth the day of Saint Martin. Witness his manual signature placed here on the eighth day of April in the year one thousand five hundred and sixteen" followed by Bille's signature; third blank leaf with the ownership inscription "Tussanus Philippus Adeline Presbyter anno 1763"; verso of final text leaf and next three blanks with family records see below. Superficial crease to spine other insignificant signs of use to the leather but the binding sound and attractive. A hint of thumbing at lower corners of first half of the manuscript miniatures with a few isolated minor spots of rubbing not affecting faces otherwise in very fine condition internally the paint bright and fresh and the vellum clean. Almost certainly made in western France and with early ownership inscriptions tying it to that area this Book of Hours contains four extraordinarily high-quality miniatures by an accomplished artist very likely related to one of the greatest French manuscript illuminators of the period. Stylistic markers here include drapery with crisp folds figures with pale skin and high foreheads simple but perfectly executed scenery and a flair for detail. The latter talent is particularly evident on the various textiles and garments which include almost impossibly fine gold trimmings and sophisticated draping. It was in fact on the basis of the extraordinary drapery that the manuscript had previously been associated with the circle of Jean Fouquet called by Avril and Reynaud "the greatest French painter and illuminator of the 15th century." In a case of twin summits recent scholarship suggests an alternative attribution to the similarly illustrious circle of Maître de Jouvenel des Ursins a contemporary of Fouquet who according to Avril and Reynaud was "the most important illuminator of the mid 15th century in western France." Around him sprung up a group of artists collectively referred to as the "Jouvenel group" who were based primarily in the area between Tours Nantes and Angers. The illuminations in the present work are so skillful that with additional research it may be possible to pin down an attribution with more certainty; whatever the identity of the artists the level of finishing in these illuminations--from the careful molding of the faces and bodies to the expertly balanced compositions and elegant brushwork--are the hallmarks of a superior hand. When this item was sold at Sotheby's on 13 July 1977 the auction catalogue said that the miniatures "are painted with fine clear colours with great delicacy in the modelling of faces and costumes. The finest miniature is that of the Pietà set against a deep green hill with a fiery sun setting behind dark mountains and buildings and lighting up the evening sky." Indeed this image is a quiet masterpiece of illumination and an excellent example of this artist's work. The naked figure of Christ exhibits a real command of anatomy and proportion while subtle details such as the foreshortening to Christ's face and the whisper-thin cloth clinging to the lower body are done with an exquisite touch. The miniature of the funeral procession also stands out for its superior quality. The composition is quite different from the Pietà being a large group of people rather than an intimate portrait of two figures but it is approached with equal rigor and devotion to detail. The faces turning toward the viewer all show impressive individualization with the figure dressed in blue being particularly well formed and highly differentiated from the crowd--so much so that this could possibly be considered a patron portrait. Three of the miniatures in this work contain borders with delightful examples of marginalia including a court jester a hedgehog a male and female centaur wielding weapons a monkey riding a camel another monkey rubbing his posterior and other whimsical hybrid creatures. These stand out because they are rendered with the characteristic skill and attention to detail found in the larger miniatures so it is possible that they could also be the work of the miniature artist. Although the Calendar in this manuscript is fairly sparse at least two unusual entries in red point toward western France: St. Julian Bishop of Le Mans 27 January; and St. Maurilius patron saint of Angers 13 September. Significantly the Translation of St. Maurilius also appears on both 16 August and 19 of October in black. Strengthening this association with the west are the early ownership inscriptions tying to the Bille family from at least the early 16th century and possibly before. The final three leaves contain family records that include the date of Jacques Bille's wedding 8 April 1516 and the births of 15 children written in two or three hands between approximately 1520 and 1549. The name of our former owner was difficult to trace with certainty but we find mention of a Jacques Bille in the French National Archives where he is listed as a notary in Bourg in southwestern France. This would make sense given Bille's complex signatures found on the first two leaves--the extra flourishes may well reflect notarial signatures that he used in his work. In modern times our manuscript was sold at Sotheby's on 25 February 1946 lot 57 to Maggs who may well have sold it to Sven Ericcson who is listed as the owner of this and four other 15th century illuminated Books of Hours when it was sold at Sotheby's in 1977 for £3200. According to RBH it was purchased at that auction by "Malle" almost certainly Bernard Malle 1929-2008 brother of filmmaker Louis Malle and an eminent collector and bibliographer. In an elegant tribute to his late friend and mentor Bernard Clavreuil calls Malle "one of the most discerning . . . collectors of the postwar era" someone who "never ceased to refine and improve in order to achieve an impossible perfection." Malle also acted as a private advisor to more than one major collection and it is possible that he purchased the present manuscript on behalf of an unknown collector rather than his own library. These former owners clearly looked after this Book of Hours carefully over the years and for good reason: it is a work of considerable craftsmanship and beauty with illuminations distinguished by very substantial artistic skill. unknown
1470réf. ST20836Western France Angers ca. 1470. 122 x 88 mm. 4 3/4 x 3 1/2". Single column 15 lines in a neat bâtarde hand. 152 leaves first and last three are ruled blank leaves; leaf count does not include the first blank endleaf erroneously included in the modern pencil foliation. COMPLETE. Contents: early ownership inscriptions f. 2v Calendar f. 5r Hours of the Virgin f. 17r Extract from the Gospel of John f. 55v Obsecro Te f. 57r Penitential Psalms and Litany f. 61r Office of the Dead f. 78r series of devotional prayers in Latin to the Virgin Mary Christ and the Archangel Michael f. 115r O Intemerata f. 134v series of devotional prayers in Latin f. 138r ruled blank leaves with family records of Jacques Bille f. 150v. Pleasing early 19th century caramel colored straight-grain morocco covers bordered with a double gilt rule smooth spine gilt in compartments divided with a double gilt rule and dotted roll and cross centerpieces neat early repair to head of spine turn-ins gilt marbled endpapers all edges gilt. Housed in a 20th century felt-lined slipcase with a gilt monogram on front. Ruled in red rubricated in red and blue two one-line burnished gold initials on a blue or pink ground one three-line blue and red penwork initial eight three- to four-line initials in pink and blue filled with ivy leaves on a burnished gold ground these pages with three-quarter borders of acanthus leaves dense rinceaux colorful fruit and flowers gold ivy leaves and bezants and WITH FOUR ARCH-TOPPED MINIATURES above a three- or four-line initial painted blue or pink on gold ground each surrounded by a full border of painted gold and brightly colored acanthus leaves vines and flowers studded with burnished gold bezants three borders inhabited with fantastical creatures the subjects of the miniatures including the Annunciation f. 17r; King David in Prayer f. 61r; a funeral procession f. 78r; and the Pietà f. 115r. Verso of first leaf with signature of Jacques Bille or Billes and the following page with a note in a different contemporary hand with the day and year erased and written over: "Ces presentes heures sont a iaques bille qui les trouvera si les luy Rende et il paiera voluntriers le VIII le jour de la sainct martin. Tesmoion son seign manuel cy mis le huytiesme jour de Avril L'an mil cinqcens et seze" "These present hours belong to Jaques Bille; whoever finds them should return them to him and he will gladly pay on the eighth the day of Saint Martin. Witness his manual signature placed here on the eighth day of April in the year one thousand five hundred and sixteen" followed by Bille's signature; third blank leaf with the ownership inscription "Tussanus Philippus Adeline Presbyter anno 1763"; verso of final text leaf and next three blanks with family records see below. Superficial crease to spine other insignificant signs of use to the leather but the binding sound and attractive. A hint of thumbing at lower corners of first half of the manuscript miniatures with a few isolated minor spots of rubbing not affecting faces otherwise in very fine condition internally the paint bright and fresh and the vellum clean. Almost certainly made in western France and with early ownership inscriptions tying it to that area this Book of Hours contains four extraordinarily high-quality miniatures by an accomplished artist very likely related to one of the greatest French manuscript illuminators of the period. Stylistic markers here include drapery with crisp folds figures with pale skin and high foreheads simple but perfectly executed scenery and a flair for detail. The latter talent is particularly evident on the various textiles and garments which include almost impossibly fine gold trimmings and sophisticated draping. It was in fact on the basis of the extraordinary drapery that the manuscript had previously been associated with the circle of Jean Fouquet called by Avril and Reynaud "the greatest French painter and illuminator of the 15th century." In a case of twin summits recent scholarship suggests an alternative attribution to the similarly illustrious circle of Maître de Jouvenel des Ursins a contemporary of Fouquet who according to Avril and Reynaud was "the most important illuminator of the mid 15th century in western France." Around him sprung up a group of artists collectively referred to as the "Jouvenel group" who were based primarily in the area between Tours Nantes and Angers. The illuminations in the present work are so skillful that with additional research it may be possible to pin down an attribution with more certainty; whatever the identity of the artists the level of finishing in these illuminations--from the careful molding of the faces and bodies to the expertly balanced compositions and elegant brushwork--are the hallmarks of a superior hand. When this item was sold at Sotheby's on 13 July 1977 the auction catalogue said that the miniatures "are painted with fine clear colours with great delicacy in the modelling of faces and costumes. The finest miniature is that of the Pietà set against a deep green hill with a fiery sun setting behind dark mountains and buildings and lighting up the evening sky." Indeed this image is a quiet masterpiece of illumination and an excellent example of this artist's work. The naked figure of Christ exhibits a real command of anatomy and proportion while subtle details such as the foreshortening to Christ's face and the whisper-thin cloth clinging to the lower body are done with an exquisite touch. The miniature of the funeral procession also stands out for its superior quality. The composition is quite different from the Pietà being a large group of people rather than an intimate portrait of two figures but it is approached with equal rigor and devotion to detail. The faces turning toward the viewer all show impressive individualization with the figure dressed in blue being particularly well formed and highly differentiated from the crowd--so much so that this could possibly be considered a patron portrait. Three of the miniatures in this work contain borders with delightful examples of marginalia including a court jester a hedgehog a male and female centaur wielding weapons a monkey riding a camel another monkey rubbing his posterior and other whimsical hybrid creatures. These stand out because they are rendered with the characteristic skill and attention to detail found in the larger miniatures so it is possible that they could also be the work of the miniature artist. Although the Calendar in this manuscript is fairly sparse at least two unusual entries in red point toward western France: St. Julian Bishop of Le Mans 27 January; and St. Maurilius patron saint of Angers 13 September. Significantly the Translation of St. Maurilius also appears on both 16 August and 19 of October in black. Strengthening this association with the west are the early ownership inscriptions tying to the Bille family from at least the early 16th century and possibly before. The final three leaves contain family records that include the date of Jacques Bille's wedding 8 April 1516 and the births of 15 children written in two or three hands between approximately 1520 and 1549. The name of our former owner was difficult to trace with certainty but we find mention of a Jacques Bille in the French National Archives where he is listed as a notary in Bourg in southwestern France. This would make sense given Bille's complex signatures found on the first two leaves--the extra flourishes may well reflect notarial signatures that he used in his work. In modern times our manuscript was sold at Sotheby's on 25 February 1946 lot 57 to Maggs who may well have sold it to Sven Ericcson who is listed as the owner of this and four other 15th century illuminated Books of Hours when it was sold at Sotheby's in 1977 for £3200. According to RBH it was purchased at that auction by "Malle" almost certainly Bernard Malle 1929-2008 brother of filmmaker Louis Malle and an eminent collector and bibliographer. In an elegant tribute to his late friend and mentor Bernard Clavreuil calls Malle "one of the most discerning . . . collectors of the postwar era" someone who "never ceased to refine and improve in order to achieve an impossible perfection." Malle also acted as a private advisor to more than one major collection and it is possible that he purchased the present manuscript on behalf of an unknown collector rather than his own library. These former owners clearly looked after this Book of Hours carefully over the years and for good reason: it is a work of considerable craftsmanship and beauty with illuminations distinguished by very substantial artistic skill. unknown books
réf. ST20295Northern France probably Paris third quarter of 15th century. 130 x 100 mm. 5 1/8 x 3 7/8". Single column 15 lines in an elegant gothic book hand. 280 leaves. First four leaves misbound lacking at least seven leaves five of which probably contained miniatures. Contents: Devotion to the Passion f. 1r; blank f. 4; Calendar f. 5r; Gospel Lessons f. 17r; "Obsecro te" and "O intemerata" f. 23r; blank f. 23; Hours of the Virgin lacking opening leaves for Terce Nones and Vespers f. 33r; Penitential Psalms and Litany f. 100r; Hours of the Cross lacking preliminary leaf f. 120r; Hours of the Holy Spirit p. 123r; Office of the Dead lacking preliminary leaf f. 127r; "Sept Vers de Saint Bernard" and Suffrages f. 176v; series of devotional prayers in Latin and French including the Hours of the Conception an indulgence devotional poems in French prayers for specific occasions such as when facing tribulations going to confession protection against storms and for friends abroad the Stabat Mater the Seven Joys of the Virgin Gospel sequences "Le chemin de paradis" and many others f. 199r; blank f. 280. ESPECIALLY BEAUTIFUL MID-19TH CENTURY LIGHT BROWN MOROCCO LAVISHLY GILT IN THE "FANFARE" STYLE BY CAPÉ stamp-signed in gilt on front turn-in covers with large green and red morocco inlaid panels gilt strapwork scrolling and small star tools raised bands spine compartments with red or green morocco inlay surrounded by gilt scrolling embellishments gilt lettering RED MOROCCO DOUBLURES gilt in the style of Duodo with repeating pattern of flowers encircled by vines marbled endleaves modern paper and vellum flyleaves all edges gilt. Housed in a fine suede-lined pebble-grained leather pull-off case with gilt lettering on spine. Light red ruling and rubrics numerous line-fillers in blue and pink with gilt embellishments many one- and two-line initials in burnished gold on pink and blue ground three four-line initials in pink or blue filled with ivy leaves on a burnished gold ground two of these with a gilt and painted baguette along the outer edge of text and all with a three-quarter border of hairline vines flowers acanthus and gold leaves the majority of the leaves with a panel border of hairline vines and flowers on one side one historiated initial painted blue on a burnished gold ground depicting the Virgin accompanied by a gilt and painted baguette and three-quarter border FOUR SMALL MINIATURES DEPICTING THE APOSTLES each with a gilt and painted baguette and surrounded by a three-quarter border and EIGHT LARGE ARCH-TOPPED MINIATURES above a three-line initial painted blue or pink on gold ground a gilt "L" shaped bar border incorporating colorful flowers and a full border of border of hairline vines flowers acanthus and gold leaves and A HALF-PAGE RECTANGULAR MINIATURE with a border along the lower half. The subjects of the large miniatures include: the Mass of St. Gregory f. 1r; Annunciation f. 33r; Visitation f. 57r; Nativity f. 70r; Adoration of the Magi f. 80v; Crowning of the Virgin f. 94v; David in Prayer f. 100r; Pentecost f. 123r; and a rectangular miniature of the Holy Wound or perhaps the Bleeding Host of Dijon f. 241v. Isolated light rubbing and negligible chips to miniatures the dark blue paint appearing slightly worn in places as is often the case occasional faint smudges to borders and other imperfections but all of these trivial. IN THOROUGHLY FINE CONDITION INTERNALLY--the paint fresh the vellum clean and the margins quite comfortable--AND THE EXTRAORDINARILY FINE BINDING FLAWLESS. In a spectacular 19th century binding this lovely thick little Book of Hours was executed by a talented follower of Maître François and the Master of Jean Rolin and contains a large number of prayers and devotional texts many of them in French. The manuscript includes a fine array of large and small miniatures executed with a colorful palette and careful attention to detail. Particularly noteworthy is the excellent molding of faces. Each figure--no matter their station or importance to the scene--displays unique characteristics that give us a sense of their age sentiments and demeanor. This is an impressive feat given the small scale of the compositions and this individualization adds a great deal of value to the miniatures as well as the viewer's emotional experience connecting to the images. Our artist owes much to the work of the so-called Maître François and slightly before him the Master of Jean Rolin the latter an eponym attached to the illuminator of missals done for Rolin cardinal-bishop of Autun d. 1483. Perhaps of Burgundian origin the Master of Jean Rolin completed his artistic education in Paris probably in the workshop of the Bedford Master and afterward established his own atelier in Burgundy. There he played a key role in the transition from the Bedford Master's slightly more gothic style to the more thoroughly Renaissance style of Maître François who ran the most successful Parisian workshop during the years between 1460 and 1480 producing illuminated manuscripts small and large sacred and secular. Characteristic of Maître François's style are richly colored scenes interiors depicted with considerable detail women and children with pale porcelain complexions and male figures with darker weathered flesh tones--all of which can be seen in the present work. The final miniature present in this work however seems to have been executed by a different artist altogether being rather more flat in appearance and without the detailed facial molding noted earlier. About two-thirds of the manuscript follows fairly regular arrangement of texts with the exception of the Mass of St. Gregory which is misbound at the beginning of the volume. Then following the Suffrages are approximately 80 leaves of devotional texts in Latin and French including popular verses such as the "Seven Joys of the Virgin" and the "Stabat Mater" as well as more unusual texts such as the Hours of the Conception prayers for specific occasions or protections--for example against storms "Contre tempeste" and when one passes over water "Quant on passe par eaue"--indulgences and other related texts. Two of the more interesting passages are "Le chemin de paradis" a French prayer beginning "Qui en paradis veult aller" and a series of Latin poems that claim to be copied from originals found at the church of St. Paul in Rome. These copious additional prayers suggest a high degree of customization for a client who may have been particularly religious or at least very concerned with self-preservation! and they present intriguing possibilities for further study. The manuscript was rebound sometime in the middle years of the 19th century by Capé d. 1867 one of the most distinguished binders in France in his day. He was especially well known for the delicacy of his work which can be observed to great effect in the present example. He was the binder to the Empress Eugenie and Béraldi calls him "the Bozérian of the second Empire." His work has always been highly sought after and it resides in all of the great collections where bindings are considered important. This volume seems to have been sold to bookseller Francis Edwards as lot no. 95 at Sotheby's sale on 3 April 1957 and has been in private hands ever since. The manuscript is a little jewel inside and out and has obviously been a treasured vessel of prayer and art for generations of owners. unknown
réf. ST20295Northern France probably Paris third quarter of 15th century. 130 x 100 mm. 5 1/8 x 3 7/8". Single column 15 lines in an elegant gothic book hand. 280 leaves. First four leaves misbound lacking at least seven leaves five of which probably contained miniatures. Contents: Devotion to the Passion f. 1r; blank f. 4; Calendar f. 5r; Gospel Lessons f. 17r; "Obsecro te" and "O intemerata" f. 23r; blank f. 23; Hours of the Virgin lacking opening leaves for Terce Nones and Vespers f. 33r; Penitential Psalms and Litany f. 100r; Hours of the Cross lacking preliminary leaf f. 120r; Hours of the Holy Spirit p. 123r; Office of the Dead lacking preliminary leaf f. 127r; "Sept Vers de Saint Bernard" and Suffrages f. 176v; series of devotional prayers in Latin and French including the Hours of the Conception an indulgence devotional poems in French prayers for specific occasions such as when facing tribulations going to confession protection against storms and for friends abroad the Stabat Mater the Seven Joys of the Virgin Gospel sequences "Le chemin de paradis" and many others f. 199r; blank f. 280. ESPECIALLY BEAUTIFUL MID-19TH CENTURY LIGHT BROWN MOROCCO LAVISHLY GILT IN THE "FANFARE" STYLE BY CAPÉ stamp-signed in gilt on front turn-in covers with large green and red morocco inlaid panels gilt strapwork scrolling and small star tools raised bands spine compartments with red or green morocco inlay surrounded by gilt scrolling embellishments gilt lettering RED MOROCCO DOUBLURES gilt in the style of Duodo with repeating pattern of flowers encircled by vines marbled endleaves modern paper and vellum flyleaves all edges gilt. Housed in a fine suede-lined pebble-grained leather pull-off case with gilt lettering on spine. Light red ruling and rubrics numerous line-fillers in blue and pink with gilt embellishments many one- and two-line initials in burnished gold on pink and blue ground three four-line initials in pink or blue filled with ivy leaves on a burnished gold ground two of these with a gilt and painted baguette along the outer edge of text and all with a three-quarter border of hairline vines flowers acanthus and gold leaves the majority of the leaves with a panel border of hairline vines and flowers on one side one historiated initial painted blue on a burnished gold ground depicting the Virgin accompanied by a gilt and painted baguette and three-quarter border FOUR SMALL MINIATURES DEPICTING THE APOSTLES each with a gilt and painted baguette and surrounded by a three-quarter border and EIGHT LARGE ARCH-TOPPED MINIATURES above a three-line initial painted blue or pink on gold ground a gilt "L" shaped bar border incorporating colorful flowers and a full border of border of hairline vines flowers acanthus and gold leaves and A HALF-PAGE RECTANGULAR MINIATURE with a border along the lower half. The subjects of the large miniatures include: the Mass of St. Gregory f. 1r; Annunciation f. 33r; Visitation f. 57r; Nativity f. 70r; Adoration of the Magi f. 80v; Crowning of the Virgin f. 94v; David in Prayer f. 100r; Pentecost f. 123r; and a rectangular miniature of the Holy Wound or perhaps the Bleeding Host of Dijon f. 241v. Isolated light rubbing and negligible chips to miniatures the dark blue paint appearing slightly worn in places as is often the case occasional faint smudges to borders and other imperfections but all of these trivial. IN THOROUGHLY FINE CONDITION INTERNALLY--the paint fresh the vellum clean and the margins quite comfortable--AND THE EXTRAORDINARILY FINE BINDING FLAWLESS. In a spectacular 19th century binding this lovely thick little Book of Hours was executed by a talented follower of Maître François and the Master of Jean Rolin and contains a large number of prayers and devotional texts many of them in French. The manuscript includes a fine array of large and small miniatures executed with a colorful palette and careful attention to detail. Particularly noteworthy is the excellent molding of faces. Each figure--no matter their station or importance to the scene--displays unique characteristics that give us a sense of their age sentiments and demeanor. This is an impressive feat given the small scale of the compositions and this individualization adds a great deal of value to the miniatures as well as the viewer's emotional experience connecting to the images. Our artist owes much to the work of the so-called Maître François and slightly before him the Master of Jean Rolin the latter an eponym attached to the illuminator of missals done for Rolin cardinal-bishop of Autun d. 1483. Perhaps of Burgundian origin the Master of Jean Rolin completed his artistic education in Paris probably in the workshop of the Bedford Master and afterward established his own atelier in Burgundy. There he played a key role in the transition from the Bedford Master's slightly more gothic style to the more thoroughly Renaissance style of Maître François who ran the most successful Parisian workshop during the years between 1460 and 1480 producing illuminated manuscripts small and large sacred and secular. Characteristic of Maître François's style are richly colored scenes interiors depicted with considerable detail women and children with pale porcelain complexions and male figures with darker weathered flesh tones--all of which can be seen in the present work. The final miniature present in this work however seems to have been executed by a different artist altogether being rather more flat in appearance and without the detailed facial molding noted earlier. About two-thirds of the manuscript follows fairly regular arrangement of texts with the exception of the Mass of St. Gregory which is misbound at the beginning of the volume. Then following the Suffrages are approximately 80 leaves of devotional texts in Latin and French including popular verses such as the "Seven Joys of the Virgin" and the "Stabat Mater" as well as more unusual texts such as the Hours of the Conception prayers for specific occasions or protections--for example against storms "Contre tempeste" and when one passes over water "Quant on passe par eaue"--indulgences and other related texts. Two of the more interesting passages are "Le chemin de paradis" a French prayer beginning "Qui en paradis veult aller" and a series of Latin poems that claim to be copied from originals found at the church of St. Paul in Rome. These copious additional prayers suggest a high degree of customization for a client who may have been particularly religious or at least very concerned with self-preservation! and they present intriguing possibilities for further study. The manuscript was rebound sometime in the middle years of the 19th century by Capé d. 1867 one of the most distinguished binders in France in his day. He was especially well known for the delicacy of his work which can be observed to great effect in the present example. He was the binder to the Empress Eugenie and Béraldi calls him "the Bozérian of the second Empire." His work has always been highly sought after and it resides in all of the great collections where bindings are considered important. This volume seems to have been sold to bookseller Francis Edwards as lot no. 95 at Sotheby's sale on 3 April 1957 and has been in private hands ever since. The manuscript is a little jewel inside and out and has obviously been a treasured vessel of prayer and art for generations of owners. unknown books
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
1450réf. ST20835Flanders ca. 1450. 109 x 81 mm. 4 1/4 x 3 1/8". Single column 14 lines in a gothic book hand. 161 leaves. COMPLETE. Contents: Calendar f. 1r; Mass of the Holy Spirit f. 14r; Mass of the Holy Cross f. 23r; Requiem Mass f. 30r; Prayer on the Seven Last Words of Christ by the Venerable Bede f. 36v; Passion according to John f. 40v; blank f. 53; Hours of the Holy Cross f. 55r; Mass of the Virgin Mary f. 60r; Gospel Lessons f. 66v; Hours of the Virgin f. 73r; Penitential Psalms f. 126r; Litany f. 138r; Office of the Dead f. 144r. PLEASING NEAR-CONTEMPORARY BLIND-ROLLED CALF apparently with some old skilled restoration to joints spine and corners covers with rolled vine border surrounding a panel of three columns bearing a roll with parts of the inscription "AVE MARIA GRACIA PLENA" each word separated by one of four small motifs a flower a human profile the lamb of god and a sitting animal--perhaps a lion raised bands compartments with part of the same inscription roll. Lacking the original ties. Housed in a very attractive custom-made brown calf folding case with blind-stamped lettering on the spine interior lined in suede the whole within a calf-lipped suede-lined matching slipcase. Rubrics in red numerous one-line initials in blue with red penwork or gold with dark blue penwork many two-line initials in burnished gold on pink and blue ground with white embellishments several larger "I" initials between four and 11 lines in burnished gold on pink and blue ground with white embellishments 12 six- to seven-line initials some painted pink or blue with white embellishments and filled with flowers and tendrils on a gold ground or the initial in burnished gold on pink and blue ground with white embellishments EIGHT LARGE MINIATURES each inside a thin gold frame and with a three-quarter border of gilt leaves hairline vines and floral spays each facing page with a similar three-quarter border the subjects of the miniatures being: the Holy Spirit in the form of a dove f. 13v; St. Helena and the True Cross f. 22v; Raising of Lazarus f. 29v; Crucifixion f. 54v; Virgin and Child Enthroned f. 59v; Annunciation f. 72v; Last Judgment f. 125v; Funeral Mass f. 143v. Prickings visible in fore margins. See: Defoer et. al "The Golden Age of Dutch Manuscript Illumination" pp. 75-86. Just minor wear to the solid very pleasing early binding. A little chipping almost always mild to four of the miniatures with square frames the fifth the Annunciation somewhat rubbed and faded the three domed miniatures perfectly intact vellum with minor soiling and thumbing in places especially in lower corners of leaves in second half other trivial imperfections but overall a very well-preserved manuscript with no major issues. This enchanting little prayer book features eight attractive miniatures large gleaming burnished gold initials and a pleasing period binding--all in an excellent state of preservation. The miniature program here can be attributed to the so-called Masters of Otto van Moerdrecht the name given to a variety of Dutch artists active in the 1430s and '40s all working in a similar mode rather than to a specific master or workshop. According to Defoer et al. the work of these miniaturists "exhibit varied compositional formulas and bright highly contrasting colors . . . . The small somewhat doll-like figures appear rather wooden but their expressive gestures give the scenes a varied and vivid character." Two artistic hands are responsible for the present miniatures. The artist behind the first three miniatures all set within domed gilt frames the Holy Spirit St. Helena and Raising of Lazarus shows particular skill with a very smooth application of color figures with long eloquent hands and faces with subtle white highlighting. A second artist was responsible for the remaining five miniatures set within square golden frames Crucifixion Virgin and Child Enthroned Annunciation Last Judgment and Funeral Mass. Though this hand is less polished and the miniatures slightly smaller in size the scenes are all quite charming and attractively colored with vivid splashes of bright orange bubblegum pink sky blue and pale green. It is worth noting that the miniatures differ not only because of the artists' degree of success but also because of their condition: whereas the five are generally well preserved the other three are in a virtually perfect state. In addition to the central text of the Hours of the Virgin this manuscript contains several Masses each of which is preceded by a miniature. Perhaps the most interesting of these is the Mass of the Holy Cross which is paired with a miniature of St. Helena mother of Constantine the Great. According to Christian tradition Helena found the wooden cross used in the Crucifixion while she was travelling in Jerusalem in the fourth century. Constantine built the Basilica of the Holy Sepulchre in its honor and installed the relic there to be venerated. Britannica says that the adoration of the True Cross led to wide-spread sale of its fragments sought after as objects of devotion. It is unusual to find St. Helena depicted in a Book of Hours and this image is especially appealing with Helena in a beautiful red robe crown and halo embracing a large wooden cross in the center of the composition. The background is reminiscent of the work of the Gold Scrolls group with small swirls of liquid gold swimming in a scarlet sky the same scrolling motif graces the Holy Dove miniature. There is no indication of former ownership in this manuscript although the Calendar presents a few unusual saints that confirm a Flanders connection. These include St. Amandus in red known as the "Apostle of Flanders" on 2 February; St. Guido known as the "Poor Man of Anderlecht" on 9 September; St. Bavo in red patron saint of Ghent where a Cathedral is named in his honor on 10 October; and St. Eligius patron saint of goldsmiths and metalworkers on 1 December. The binding here is very close to contemporary and probably dates to the late 15th century. Neither the floral roll nor the "Ave Maria" roll seems to appear in EBDB. Similar rolls include r001954 r000623 and r000670 but ours is the only one with four different and charming tools one of each used between every "Ave" and "Maria." For a manuscript only slightly bigger than the palm of one’s hand this Book of Hours has a great deal to offer. In addition to its early binding and lovely illumination by an influential group of artists great care has been put into its preservation so that it resolutely endures for our pleasure and for owners in the centuries to come. unknown
1505réf. ST21080Northern France probably Paris ca. 1505-10. 213 x 137 mm. 8 3/8 x 5 3/8". Single column 25 lines in a gothic hand. i 123 leaves. COMPLETE. Contents: blank f. i; Calendar f. 1r; Gospel Lessons f. 13r; Passion according to John f. 17r; "Obsecro te" and "O Intemerata" f. 23v; Hours of the Virgin f. 28r; Hours of the Cross f. 69r; Hours of the Holy Spirit 71v; Seven Penitential Psalms f. 75r; Litanies f. 82r; Office of the Dead f. 88r; Suffrages 114r; ruled blank f. 123. SPECTACULAR NEAR-CONTEMPORARY LYONNAISE BINDING OF POLISHED CALF VERY DENSELY GILT covers with a central oval filled with diamond-shaped tools surrounded by an intricate strapwork pattern incorporating acanthus and three heads at the top and bottom two with helmets looking sideways one more prominent staring ferociously straight on the negative space densely azured appearing from a distance as if entirely filled with gold raised bands spine compartments gilt with door-handle tools floral motifs and sawtooth borders edges gauffered and gilt later 17th century endpapers lacking ties. Rubrics in deep pink line fillers in red and blue with gilt embellishments numerous one-line initials in gold on red or blue ground many two-line initials in mauve or blue with white embellishment most enclosing a flower or two on painted gold ground EACH PAGE WITH A FULL BORDER consisting of a plain gold bar on three sides and a painted gold panel containing colorful flowers acanthus and the occasional banner WITH 21 SMALL MINIATURES each measuring between 30-50 mm. tall and 18 FULL-PAGE MINIATURES framed by a gilt and painted architectural border and accompanied by a three- or four-line initial with opening text on a banner the initial painted mauve or blue with white embellishment enclosing colorful flowers on painted gold ground the subjects of the large miniatures being: St. John on Patmos f. 13r; Agony in the Garden f. 17r; The Temptation of Adam and Eve f. 27v; Annunciation f. 28r; Visitation f. 34v; Nativity 41v; Annunciation to the Shepherds f. 44v; Adoration of the Magi f. 47v; Presentation in the Temple f. 50r; Flight into Egypt f. 52v; Coronation of the Virgin f. 57r; Christ Carrying the Cross f. 68v; Crucifixion f. 69r; Pentecost f. 71v; Bathsheba Bathing f. 74v; David and Uriah f. 75r; Job on the Dung Heap f. 88r; Trinity f. 114r. Front pastedown with book label of W. H. Corfield armorial label of "H C M" or perhaps "F C M" and a pasted-in piece of paper with early 19th century notes about the manuscript written in French. Joints with a little wear and flaking minor rubbing to edges and corners but the binding entirely sound and in a remarkable state of preservation glistening with gilt. A few small marginal holes where the vellum has thinned a couple miniatures with light flaking or rubbing to the architectural border a handful of trivial smudges to borders but the contents in fine condition being extraordinarily clean and fresh and the miniatures extremely well preserved. IN EXCEPTIONALLY FINE AND PLEASING CONDITION INSIDE AND OUT. Complete in a memorable 16th century binding and boasting a large and particularly appealing program of miniatures this splendid Parisian Book of Hours was produced by a highly skilled workshop for a patron of means and comes down to us in extraordinarily fine condition. The style of the miniatures closely resembles that of Jean Coene IV active ca. 1490-1520 an artist who hailed from a long line of manuscript illuminators originally from Bruges but active in Paris from the early 15th century. Identified by Isabelle Delaunay and Eberhard König and dubbed the "Master of the Paris Entries" Coene was a prolific artist who according to Peter Kidd "was perhaps particularly known to contemporary patrons for his ability to create new compositions." His versatility as an artist is demonstrated by the variety of volumes to which he contributed including histories voyages and Royal Entry books the latter earning him his sobriquet in addition to devotional works such as the Book of Hours seen here. Although the artist is known to have collaborated with famed Parisian illuminator Jean Pichore on several occasions see for example British Library MS Sloane 2418 Coene had his own style readily identifiable through his unique use of rich colors; sharp black outlines; modeled faces with half-closed eyes; thin eyebrows; pert mouths that turn slightly downward; and the generous application of liquid gold highlights particularly on garments and hair. Like most professional workshops of the period the Coene atelier was capable of producing work of varying quality which often depended on the wealth and needs of the patron; this work clearly a premium production shows none of the shortcuts one might expect in a more hurried execution. The consistently accomplished level of painterly skill as well as the harmony of the compositions here indicate a highly practiced hand. We can see the painter's proficiency for example in considerable delicacy and detail showing up in various places: the lace-like angel's wings in the Annunciation the carefully delineated sheep in the Annunciation to the Shepherds the various headdresses of earthly and heavenly rulers and particularly in the meticulously defined and intricately realized architectural frames. Additional pleasing features include the liquid gold application highlighting tresses and garments throughout the manuscript as well as the frequent and immensely agreeable appearance of an intensely rich red-orange. Of special note are the three openings in which miniatures face each other in logical pairs: Adam and Eve about to fall from grace facing the Annunciation where birth of mankind's savior is announced Carrying the Cross facing the Crucifixion and the bathing Bathsheba facing the lustful David who is apparently plotting the death of Bathsheba's luckless husband Uriah in battle. Pairings such as these are rarely encountered they make quite a grand statement they provide a reinforcing element to the biblical narrative and they highlight both the artist's talents and the patron's deep pockets. While many of the miniatures contain traditional subject matter we are also treated to some less frequently encountered scenes including the Garden of Gethsemane and the aforementioned Temptation of Adam and Eve. In addition the miniatures feature some noteworthy visual moments that demonstrate the artist's willingness to push beyond traditional iconography. In John on Patmos for example the Virgin and child unexpectedly appear in the sky bathed in brilliance; in the Nativity the ox and ass are front and center their heads bent nearly to the ground their mouths half open and within inches of the Christ Child a combination of curiosity and menace; and in the Flight into Egypt the Virgin whose central emotion is surely fear for her child has a sunhat almost rakishly tied around her neck. This last detail seems surely to derive from the Dürer engraving of the same subject done in 1503/04--a connection that is useful in more precisely dating the manuscript. What sets this manuscript apart even more than the nature and accomplishment of its decoration is its exceptionally fine condition with next to no signs of use internally and with an entirely unrestored period binding with its antique appeal undimmed by time. Probably dating to around 1550 the Lyonnaise binding is of very special interest brimming with gold and featuring an elaborate design incorporating unusual glowering faces. The earliest indication of ownership of this manuscript is seen in its 19th century armorial bookplate with the motto "Audentes Fortuna Juvat" "Fortune Favors the Brave" and the monogram "H C M" or "F C M". A Breviary at the Huntington mssHM 1077 with the same bookplate they say "H C M" is attributed to the Mackinnon family. A more certain provenance comes from the bookplate of W. H. Corfield 1843-1903 the first professor of hygiene and public health at University College London. Given his ownership of the present manuscript it is unsurprising that as a bibliophile he was recognized especially as a connoisseur of early bindings. Quaritch purchased our manuscript for the handsome sum of £126 at the auction of Corfield's library on 21 November 1904 lot 257 and we have been able to trace subsequent ownership to Thomas Fechnay Harvey 1879-1970 of Pennsylvania who gave the manuscript to his daughter Margaret J. Harvey 1910-84 of Philadelphia who in turn gave it as a wedding gift in 1972 to the person who sold it to us. We have found no record after 1904 or in fact before that date of the manuscript's being offered for public sale suggesting that it has been in private hands for well over a century. 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 books
1450réf. ST20835Flanders ca. 1450. 109 x 81 mm. 4 1/4 x 3 1/8". Single column 14 lines in a gothic book hand. 161 leaves. COMPLETE. Contents: Calendar f. 1r; Mass of the Holy Spirit f. 14r; Mass of the Holy Cross f. 23r; Requiem Mass f. 30r; Prayer on the Seven Last Words of Christ by the Venerable Bede f. 36v; Passion according to John f. 40v; blank f. 53; Hours of the Holy Cross f. 55r; Mass of the Virgin Mary f. 60r; Gospel Lessons f. 66v; Hours of the Virgin f. 73r; Penitential Psalms f. 126r; Litany f. 138r; Office of the Dead f. 144r. PLEASING NEAR-CONTEMPORARY BLIND-ROLLED CALF apparently with some old skilled restoration to joints spine and corners covers with rolled vine border surrounding a panel of three columns bearing a roll with parts of the inscription "AVE MARIA GRACIA PLENA" each word separated by one of four small motifs a flower a human profile the lamb of god and a sitting animal--perhaps a lion raised bands compartments with part of the same inscription roll. Lacking the original ties. Housed in a very attractive custom-made brown calf folding case with blind-stamped lettering on the spine interior lined in suede the whole within a calf-lipped suede-lined matching slipcase. Rubrics in red numerous one-line initials in blue with red penwork or gold with dark blue penwork many two-line initials in burnished gold on pink and blue ground with white embellishments several larger "I" initials between four and 11 lines in burnished gold on pink and blue ground with white embellishments 12 six- to seven-line initials some painted pink or blue with white embellishments and filled with flowers and tendrils on a gold ground or the initial in burnished gold on pink and blue ground with white embellishments EIGHT LARGE MINIATURES each inside a thin gold frame and with a three-quarter border of gilt leaves hairline vines and floral spays each facing page with a similar three-quarter border the subjects of the miniatures being: the Holy Spirit in the form of a dove f. 13v; St. Helena and the True Cross f. 22v; Raising of Lazarus f. 29v; Crucifixion f. 54v; Virgin and Child Enthroned f. 59v; Annunciation f. 72v; Last Judgment f. 125v; Funeral Mass f. 143v. Prickings visible in fore margins. See: Defoer et. al "The Golden Age of Dutch Manuscript Illumination" pp. 75-86. Just minor wear to the solid very pleasing early binding. A little chipping almost always mild to four of the miniatures with square frames the fifth the Annunciation somewhat rubbed and faded the three domed miniatures perfectly intact vellum with minor soiling and thumbing in places especially in lower corners of leaves in second half other trivial imperfections but overall a very well-preserved manuscript with no major issues. This enchanting little prayer book features eight attractive miniatures large gleaming burnished gold initials and a pleasing period binding--all in an excellent state of preservation. The miniature program here can be attributed to the so-called Masters of Otto van Moerdrecht the name given to a variety of Dutch artists active in the 1430s and '40s all working in a similar mode rather than to a specific master or workshop. According to Defoer et al. the work of these miniaturists "exhibit varied compositional formulas and bright highly contrasting colors . . . . The small somewhat doll-like figures appear rather wooden but their expressive gestures give the scenes a varied and vivid character." Two artistic hands are responsible for the present miniatures. The artist behind the first three miniatures all set within domed gilt frames the Holy Spirit St. Helena and Raising of Lazarus shows particular skill with a very smooth application of color figures with long eloquent hands and faces with subtle white highlighting. A second artist was responsible for the remaining five miniatures set within square golden frames Crucifixion Virgin and Child Enthroned Annunciation Last Judgment and Funeral Mass. Though this hand is less polished and the miniatures slightly smaller in size the scenes are all quite charming and attractively colored with vivid splashes of bright orange bubblegum pink sky blue and pale green. It is worth noting that the miniatures differ not only because of the artists' degree of success but also because of their condition: whereas the five are generally well preserved the other three are in a virtually perfect state. In addition to the central text of the Hours of the Virgin this manuscript contains several Masses each of which is preceded by a miniature. Perhaps the most interesting of these is the Mass of the Holy Cross which is paired with a miniature of St. Helena mother of Constantine the Great. According to Christian tradition Helena found the wooden cross used in the Crucifixion while she was travelling in Jerusalem in the fourth century. Constantine built the Basilica of the Holy Sepulchre in its honor and installed the relic there to be venerated. Britannica says that the adoration of the True Cross led to wide-spread sale of its fragments sought after as objects of devotion. It is unusual to find St. Helena depicted in a Book of Hours and this image is especially appealing with Helena in a beautiful red robe crown and halo embracing a large wooden cross in the center of the composition. The background is reminiscent of the work of the Gold Scrolls group with small swirls of liquid gold swimming in a scarlet sky the same scrolling motif graces the Holy Dove miniature. There is no indication of former ownership in this manuscript although the Calendar presents a few unusual saints that confirm a Flanders connection. These include St. Amandus in red known as the "Apostle of Flanders" on 2 February; St. Guido known as the "Poor Man of Anderlecht" on 9 September; St. Bavo in red patron saint of Ghent where a Cathedral is named in his honor on 10 October; and St. Eligius patron saint of goldsmiths and metalworkers on 1 December. The binding here is very close to contemporary and probably dates to the late 15th century. Neither the floral roll nor the "Ave Maria" roll seems to appear in EBDB. Similar rolls include r001954 r000623 and r000670 but ours is the only one with four different and charming tools one of each used between every "Ave" and "Maria." For a manuscript only slightly bigger than the palm of one’s hand this Book of Hours has a great deal to offer. In addition to its early binding and lovely illumination by an influential group of artists great care has been put into its preservation so that it resolutely endures for our pleasure and for owners in the centuries to come. unknown books
1505réf. ST21080Northern France probably Paris ca. 1505-10. 213 x 137 mm. 8 3/8 x 5 3/8". Single column 25 lines in a gothic hand. i 123 leaves. COMPLETE. Contents: blank f. i; Calendar f. 1r; Gospel Lessons f. 13r; Passion according to John f. 17r; "Obsecro te" and "O Intemerata" f. 23v; Hours of the Virgin f. 28r; Hours of the Cross f. 69r; Hours of the Holy Spirit 71v; Seven Penitential Psalms f. 75r; Litanies f. 82r; Office of the Dead f. 88r; Suffrages 114r; ruled blank f. 123. SPECTACULAR NEAR-CONTEMPORARY LYONNAISE BINDING OF POLISHED CALF VERY DENSELY GILT covers with a central oval filled with diamond-shaped tools surrounded by an intricate strapwork pattern incorporating acanthus and three heads at the top and bottom two with helmets looking sideways one more prominent staring ferociously straight on the negative space densely azured appearing from a distance as if entirely filled with gold raised bands spine compartments gilt with door-handle tools floral motifs and sawtooth borders edges gauffered and gilt later 17th century endpapers lacking ties. Rubrics in deep pink line fillers in red and blue with gilt embellishments numerous one-line initials in gold on red or blue ground many two-line initials in mauve or blue with white embellishment most enclosing a flower or two on painted gold ground EACH PAGE WITH A FULL BORDER consisting of a plain gold bar on three sides and a painted gold panel containing colorful flowers acanthus and the occasional banner WITH 21 SMALL MINIATURES each measuring between 30-50 mm. tall and 18 FULL-PAGE MINIATURES framed by a gilt and painted architectural border and accompanied by a three- or four-line initial with opening text on a banner the initial painted mauve or blue with white embellishment enclosing colorful flowers on painted gold ground the subjects of the large miniatures being: St. John on Patmos f. 13r; Agony in the Garden f. 17r; The Temptation of Adam and Eve f. 27v; Annunciation f. 28r; Visitation f. 34v; Nativity 41v; Annunciation to the Shepherds f. 44v; Adoration of the Magi f. 47v; Presentation in the Temple f. 50r; Flight into Egypt f. 52v; Coronation of the Virgin f. 57r; Christ Carrying the Cross f. 68v; Crucifixion f. 69r; Pentecost f. 71v; Bathsheba Bathing f. 74v; David and Uriah f. 75r; Job on the Dung Heap f. 88r; Trinity f. 114r. Front pastedown with book label of W. H. Corfield armorial label of "H C M" or perhaps "F C M" and a pasted-in piece of paper with early 19th century notes about the manuscript written in French. Joints with a little wear and flaking minor rubbing to edges and corners but the binding entirely sound and in a remarkable state of preservation glistening with gilt. A few small marginal holes where the vellum has thinned a couple miniatures with light flaking or rubbing to the architectural border a handful of trivial smudges to borders but the contents in fine condition being extraordinarily clean and fresh and the miniatures extremely well preserved. IN EXCEPTIONALLY FINE AND PLEASING CONDITION INSIDE AND OUT. Complete in a memorable 16th century binding and boasting a large and particularly appealing program of miniatures this splendid Parisian Book of Hours was produced by a highly skilled workshop for a patron of means and comes down to us in extraordinarily fine condition. The style of the miniatures closely resembles that of Jean Coene IV active ca. 1490-1520 an artist who hailed from a long line of manuscript illuminators originally from Bruges but active in Paris from the early 15th century. Identified by Isabelle Delaunay and Eberhard König and dubbed the "Master of the Paris Entries" Coene was a prolific artist who according to Peter Kidd "was perhaps particularly known to contemporary patrons for his ability to create new compositions." His versatility as an artist is demonstrated by the variety of volumes to which he contributed including histories voyages and Royal Entry books the latter earning him his sobriquet in addition to devotional works such as the Book of Hours seen here. Although the artist is known to have collaborated with famed Parisian illuminator Jean Pichore on several occasions see for example British Library MS Sloane 2418 Coene had his own style readily identifiable through his unique use of rich colors; sharp black outlines; modeled faces with half-closed eyes; thin eyebrows; pert mouths that turn slightly downward; and the generous application of liquid gold highlights particularly on garments and hair. Like most professional workshops of the period the Coene atelier was capable of producing work of varying quality which often depended on the wealth and needs of the patron; this work clearly a premium production shows none of the shortcuts one might expect in a more hurried execution. The consistently accomplished level of painterly skill as well as the harmony of the compositions here indicate a highly practiced hand. We can see the painter's proficiency for example in considerable delicacy and detail showing up in various places: the lace-like angel's wings in the Annunciation the carefully delineated sheep in the Annunciation to the Shepherds the various headdresses of earthly and heavenly rulers and particularly in the meticulously defined and intricately realized architectural frames. Additional pleasing features include the liquid gold application highlighting tresses and garments throughout the manuscript as well as the frequent and immensely agreeable appearance of an intensely rich red-orange. Of special note are the three openings in which miniatures face each other in logical pairs: Adam and Eve about to fall from grace facing the Annunciation where birth of mankind's savior is announced Carrying the Cross facing the Crucifixion and the bathing Bathsheba facing the lustful David who is apparently plotting the death of Bathsheba's luckless husband Uriah in battle. Pairings such as these are rarely encountered they make quite a grand statement they provide a reinforcing element to the biblical narrative and they highlight both the artist's talents and the patron's deep pockets. While many of the miniatures contain traditional subject matter we are also treated to some less frequently encountered scenes including the Garden of Gethsemane and the aforementioned Temptation of Adam and Eve. In addition the miniatures feature some noteworthy visual moments that demonstrate the artist's willingness to push beyond traditional iconography. In John on Patmos for example the Virgin and child unexpectedly appear in the sky bathed in brilliance; in the Nativity the ox and ass are front and center their heads bent nearly to the ground their mouths half open and within inches of the Christ Child a combination of curiosity and menace; and in the Flight into Egypt the Virgin whose central emotion is surely fear for her child has a sunhat almost rakishly tied around her neck. This last detail seems surely to derive from the Dürer engraving of the same subject done in 1503/04--a connection that is useful in more precisely dating the manuscript. What sets this manuscript apart even more than the nature and accomplishment of its decoration is its exceptionally fine condition with next to no signs of use internally and with an entirely unrestored period binding with its antique appeal undimmed by time. Probably dating to around 1550 the Lyonnaise binding is of very special interest brimming with gold and featuring an elaborate design incorporating unusual glowering faces. The earliest indication of ownership of this manuscript is seen in its 19th century armorial bookplate with the motto "Audentes Fortuna Juvat" "Fortune Favors the Brave" and the monogram "H C M" or "F C M". A Breviary at the Huntington mssHM 1077 with the same bookplate they say "H C M" is attributed to the Mackinnon family. A more certain provenance comes from the bookplate of W. H. Corfield 1843-1903 the first professor of hygiene and public health at University College London. Given his ownership of the present manuscript it is unsurprising that as a bibliophile he was recognized especially as a connoisseur of early bindings. Quaritch purchased our manuscript for the handsome sum of £126 at the auction of Corfield's library on 21 November 1904 lot 257 and we have been able to trace subsequent ownership to Thomas Fechnay Harvey 1879-1970 of Pennsylvania who gave the manuscript to his daughter Margaret J. Harvey 1910-84 of Philadelphia who in turn gave it as a wedding gift in 1972 to the person who sold it to us. We have found no record after 1904 or in fact before that date of the manuscript's being offered for public sale suggesting that it has been in private hands for well over a century. unknown books
1420réf. ST12005fFrance probably Paris ca. 1420. 210 x 146 mm. 8 1/4 x 5 3/4". Single column recto with five lines of text verso with 16 lines all in a very pleasing very regular gothic book hand. Attractively matted. Rubrics in red verso with a one-line and two two-line initials as well as a line filler in colors and burnished gold recto with a one-line initial and a line filler in the same style and with a quite large five-line "D" in pink and white with enclosed floral diapering all on a burnished gold ground the same side WITH A LOVELY FULL BORDER of swirling hairline stems bearing numerous leaves and berries of burnished gold and with sprays of acanthus leaves and flowers in multiple colors spilling from the corners this ENCLOSING A POIGNANT ARCH-TOPPED MINIATURE OF THE REMOVAL OF CHRIST FROM THE CROSS measuring approximately 85 x 60 mm. the miniature within a thin gold frame and enclosed in turn on three sides by bars in colors and gold the scene showing two men on ladders unfastening Christ's lifeless body from the cross while Joseph of Arimathea waits below clutching cloth to be used for a burial shroud as the Madonna at the lower left of the picture reaches up to clasp her son's bloody arm. With a small cross stitched in white thread in each upper corner. ◆A little soiling right along hinge edge a few smudges in the border a couple of tiny flakes of paint missing from the cross and the sky otherwise fine the vellum clean and fresh the colors rich and the gold lustrous. This is an especially sorrowful scene depicted with power grace and sensitivity by an artist demonstrating very considerable skill in composition and execution. The scene is well designed with the cross providing a device for focus at the center of the miniature. Nicodemus identified by his expensive attire is atop a ladder behind the cross lowering Christ's limp body onto the shoulder of another man probably a servant whose ladder is set against the front. Despite the fact that the corpse is more bones than flesh the artist has made it seem a heavy burden draped over the shoulder of the man as he walks backward down his ladder. Fully stretched out Christ's left arm is held for balance by Nicodemus at the top right while the other arm hangs down toward the Virgin. While we can only see her back her image evokes great pathos as she reaches up with both hands to grasp the mangled arm of her son his blood running from his hand onto hers. Joseph of Arimathea whose position anchors the right side of the picture looks on with concern tightly holding linen to shroud the body. St. John and Mary Magdalen conventional participants in the Deposition are not present in this miniature. While it is possible and even likely that the same artist produced this scene and the miniature of Christ Carrying the Cross this one is better as the faces are more deftly painted and the folds in the various garments are more clearly defined. unknown
1420réf. ST12005fFrance probably Paris ca. 1420. 210 x 146 mm. 8 1/4 x 5 3/4". Single column recto with five lines of text verso with 16 lines all in a very pleasing very regular gothic book hand. Attractively matted. Rubrics in red verso with a one-line and two two-line initials as well as a line filler in colors and burnished gold recto with a one-line initial and a line filler in the same style and with a quite large five-line "D" in pink and white with enclosed floral diapering all on a burnished gold ground the same side WITH A LOVELY FULL BORDER of swirling hairline stems bearing numerous leaves and berries of burnished gold and with sprays of acanthus leaves and flowers in multiple colors spilling from the corners this ENCLOSING A POIGNANT ARCH-TOPPED MINIATURE OF THE REMOVAL OF CHRIST FROM THE CROSS measuring approximately 85 x 60 mm. the miniature within a thin gold frame and enclosed in turn on three sides by bars in colors and gold the scene showing two men on ladders unfastening Christ's lifeless body from the cross while Joseph of Arimathea waits below clutching cloth to be used for a burial shroud as the Madonna at the lower left of the picture reaches up to clasp her son's bloody arm. With a small cross stitched in white thread in each upper corner. ◆A little soiling right along hinge edge a few smudges in the border a couple of tiny flakes of paint missing from the cross and the sky otherwise fine the vellum clean and fresh the colors rich and the gold lustrous. This is an especially sorrowful scene depicted with power grace and sensitivity by an artist demonstrating very considerable skill in composition and execution. The scene is well designed with the cross providing a device for focus at the center of the miniature. Nicodemus identified by his expensive attire is atop a ladder behind the cross lowering Christ's limp body onto the shoulder of another man probably a servant whose ladder is set against the front. Despite the fact that the corpse is more bones than flesh the artist has made it seem a heavy burden draped over the shoulder of the man as he walks backward down his ladder. Fully stretched out Christ's left arm is held for balance by Nicodemus at the top right while the other arm hangs down toward the Virgin. While we can only see her back her image evokes great pathos as she reaches up with both hands to grasp the mangled arm of her son his blood running from his hand onto hers. Joseph of Arimathea whose position anchors the right side of the picture looks on with concern tightly holding linen to shroud the body. St. John and Mary Magdalen conventional participants in the Deposition are not present in this miniature. While it is possible and even likely that the same artist produced this scene and the miniature of Christ Carrying the Cross this one is better as the faces are more deftly painted and the folds in the various garments are more clearly defined. unknown books
1787réf. 22935Paris Veuve Duchesne 1787 -in-8 plein-veau 10 volumes, reliure plein veau havane marbré in-octavo (binding full calfskin in-8)(20,4 x 12,8 cm), TRES BELLE RELIURE D'EPOQUE, dos long (spine without raised bands), décoré "or"(gilt decoration), titre frappé "or", pièce de titre sur fond rouge avec une fine roulette "cordelette" "or" de part et d'autre, tomaison frappée "or", pièce de tomaison sur fond maroquin vert foncé avec une fine roulette "cordelette" "or" de part et d'autre, entre-nerfs à fleuron "ovale" "or" avec une roulette "tenture de rideau de théatre" "or" de part et d'autre, 2 fines roulettes "cordelette" "or" en place des nerfs et en tête et en pied, plats décorés "or", d'une roulette fleurette "or" en encadrement, roulette "or" sur les coupes, toutes tranches lisses jaspées rouge, tampon EX-Libris de la Compagnie de Jesus de Bordeaux à l'encre violette en bas de la page de faux-titre de chaque volume ( Collegium Burdigalense Societatis Jesu), orné de 5 portraits gravés en noir par B. ROGER : 1 en frontispice du Tome 1 : portrait de Charles Pinot DUCLOS, 1 en frontispice du Tome 2 : portrait de LOUIS XI , 2 portraitS en hors-texte au Tome V : Guillaume Cardinal DUBOIS et PHILIPPE d'ORLEANS + 1 Hors-Texte au Tome 6 : portrait de la Duchesse de PHALARIS, (381) + (487) + (418) + (425) + (448) + (426) + (383) + (402) + (400) + (386) pages, 1806 A Paris chez Antoine-Augustin Renouard Editeur,
réf. 536Paris, Nouvelle Revue Critique, 1937 14 x 23, 714 pp., non coupé, broché, bon état
réf. 4118Paris, Arthème Fayard, 1950 15 x 20, 501 pp., vignettes bicolores, broché, bon état
