HOURS FOR THE USE OF PARIS. Manuscript on vellum skin in Lat - Lot 88

Lot 88
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30000 - 30000 EUR
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Result : 40 102EUR
HOURS FOR THE USE OF PARIS. Manuscript on vellum skin in Lat - Lot 88
HOURS FOR THE USE OF PARIS. Manuscript on vellum skin in Latin and French. Paris, ca. 1470-1480; small in-8 (143 x 110 mm; justification: text, 70 x 45 mm; calendar, 72 x 49 mm) of 197 leaves (1 to 4 blank), textura writing in red and black inks with 14 long lines (calendar), 17 long lines (text), binding ca. 1560 brown morocco fully decorated with gilt decoration "à la fanfare", spine with 4 nerves, edges gilt. BEAUTIFUL ILLUMINATED MANUSCRIPT FROM PARIS BY TWO HANDS, ONE IDENTIFIED. TEXT Parisian daily calendar (leaves 5-16). Pericopes of the Gospels (ff. 17-23). Obsecro te followed by O intemerata, written in the masculine form (ff. 23-32). Hours of the Virgin for the use of Paris (ff. 33-96). Psalms of penitence and litanies of the saints: Denis, Eustace, Séverin, Germain, Gendoulphe and saints: Ursula, Genevieve, Gertrude (ff. 97-119). Hours of the Cross, Hours of the Holy Spirit (ff. 120-131). A prayer in French: "Doulce Dame de miséricorde mère de pitié, fontaine de tous biens" (ff. 132-145). Office of the dead: matins with three lessons (ff. 146-182). Prayer in French : " Aide moy saincte Trinité, une gloire, une majesté, une unité, une excellence " (ff. 183-186) (Cf. J. Sonet, K. Val Sinclair, Répertoire d'incipit de prières en français, Genève, 1956, n° 47, Hamden, 1978, n° 47, 49 et 639) ; the 7 verses of s. Bernard: " Illumina oculos meos ", long rubric with indulgence of pope John XII, recommendations for the mass and suffrage of saint Apolline (leaves 187-196). DECORATION: 8 miniatures (3 by hand A, 5 by hand B) 1. SAINT JOHN IN PATMOS, castle in the background. Hand A (f. 17). 2. THE ANNOUNCEMENT: angel and Virgin on either side of a blue column. Hand A (f. 33). 3. DAVID IN PRAYER in an interior, crown on the ground, red canopy with golden decoration. An open book and harp on a chest. David's face of great finesse shows wrinkles on the forehead. Frame of white columns. Hand B (f. 97). 4. THE CRUCIFIXION: the Virgin is supported by s. John and Mary Magdalene; centurion and soldiers on the right. Hand A (f. 120). 5. THE PENECT. In a church; hanging with golden motifs, night effect in the background. Hand B (f. 126). 6. ANGEL OFFERING A DISH OF RED FRUITS TO THE CHILD JESUS seated on the Virgin's lap in a church, gilded frame. Hand B (f. 132). 7. THE TRINITY: God, holding globe, and Christ; between them dove of Holy Spirit and open Bible. Carved throne painted brown. Chrorists (?) in the background. Hand B (f. 140). 8. INHUMATION IN A CHURCH with two monks and four priests. Hand B (f. 146). All eight paintings have complete frames. Nine pages have wide borders on three sides with initial four lines high (except one with 3 lines) (leaves 23, 27 V, 47, 61, 68 V, 73 v, 77 v, 82, 90 v. On 3 sides on folio 23 and at the beginning of the main texts; on 4 sides around the paintings, blue and gold acanthus with gold foliate scrolls, flowers and birds. Band with gold background with cut flowers on folio 17. Pine cones and hybrids in border, folio 97, fielded band on folios 120, 132; hawk ready to snatch rabbit, f. 126; vignetted band on f. 140; centaur ready to cut acanthus on f. 120, centaurs fighting, f. 146; compartmentalized borders on parchment and gold background, f. 33. Vignetted initials and champies. Flowered initials in the field with gold area, body of the pink letter with daisies, pansies and strawberries (leaves 47 laudes; 61, prime; 68 tierce). The decoration of the manuscript is shared between two Parisian hands, A and B, the former unidentified. The latter illuminator can be recognized by the disheveled hair of St. John and the characters of the Crucifixion. The second hand, B, of better workmanship, can be attributed to the Master of John Henry. The artist owes this name to the illustration of two manuscripts composed for Jean Henry, cantor of Notre-Dame: "L'Enfantement Notre-Dame" (1482) and, at the same date, the "Vie active et contemplative" (Cf. M. Candille, Étude du " Livre de vie active de l'Hôtel-Dieu de Paris ", Paris, 1964; Is. Delaunay, Échanges artistiques entre livres d'heures manuscrits et imprimés, Paris, 1480-1500, t. II, catalog, Paris IV Sorbonne, 2000, p. 248-252. One can recognize his characters with distorted noses (priests on f. 146 v), and red hangings with brocade decoration (f. 140). Another characteristic of this artist is the pine cone in the border of f. 97 (compare with Latin 10540, ff. 63, 90 v, 97, and also with the Recueil d'astrologie, BNF. Latin 7432, f. 74 v, and the Histoire du monde, fr. 328, f. 8). In 1990, François Avril situated the place of this miniaturist in the workshop of Master François, describing however his art as depending as much on the latter
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