Hours h (25 Ergebnisse)
Histoire du diocèse de Lyon.
GADILLE Jacques (sous la direction de) / FEDOU R. / HOURS H. / DE VREGILLE B.
- Softcover
Anbieter: Librairie Diogène SARL, Lyon, FrankreichLibrairie Diogène SARL
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Beauchesne, Coll. Histoire des Diocèses de France, 1983, 350 p., broché, coins des plats un peu cornés, bon état pour le reste et intérieur bien propre.
- Softcover
- Erstausgabe
Anbieter: ISD LLC, Bristol, CT, USAISD LLC
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EUR 65,77
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paperback. Zustand: New. 1st.
Arts et traditions populaires. Revue trimestrielle de la Société d'ethnographie française. n°4 octobre-décembre 1954.
Métraux (A.) - Paques (V.) - Lecotté (R.) - Mazenot (R.) et Perraut (P.) - Hours (H.)
Verlag: Puf, 1954
- Softcover
- Erstausgabe
Anbieter: Rometti Vincent, Nice, FrankreichRometti Vincent
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Couverture souple. Zustand: Bon. Edition originale. Paris, Puf, 1954. In-8 broché, non coupé, pp.289-384. 6 planches hors texte. Deuxième année n°4. Couverture légèrement défraichie. Bon exemplaire.
Verlag: IMPRIMERIE NOUVELLE LYONNAISE, LYON, 1959
Anbieter: Biblioteca di Babele, Tarquinia, VT, ItalienBiblioteca di Babele
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EUR 9,60
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Zustand: BUONO USATO. Francese Coperta morbida, con lievi segni di usura ed ingiallita, traccioa di umidtà lungo i bordi, dorso ingiallito ed usurato, volume intonso, pagine brunite ai bordi e, lungo il taglio superiore, leggeri segni di vecchia umidità, fioritura ai tagli Numero Pagine 328.
- Softcover
Anbieter: Kennys Bookstore, Olney, MD, USAKennys Bookstore
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EUR 170,17
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Zustand: New. 2021. 1st Edition. paperback. . . . . . Books ship from the US and Ireland.
Weitere BilderVerlag: ca. 1500, Paris, 1500
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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165 x 115 mm. (6 1/2 x 4 1/2"). Single column, verso with 18 lines, in a gothic book hand. Rubrics in red, one three-line initial in blue filled with foliage on burnished gold ground, verso with panel border of colorful flowers, a vase, and acanthus, recto with A MINIATURE OF THE VIRGIN AND CHILD flanked by two angels, framed by… gold and painted bars on three sides and A FULL BORDER of acanthus, flowers, a vase, and gold bezants. Minor soiling to vellum, but in excellent condition, the miniature especially well preserved. This especially intimate and tender scene shows the so-called Virgo Lactans (or Nursing Madonna), the Virgin suckling the infant Christ; it accompanies the text for "Obsecro te," a popular Marian prayer appealing to the Virgin for protection and intercession. The prayer is not always accompanied by a miniature, and the present illustration, being rather large and skillfully done, is a particularly appealing example. The Virgin's facial features are especially excellent, with beautiful molding and shading that give her visage deep complexity and emotional resonance. The use of gold in this miniature adds to its richness; delicately highlighted garments, tresses, and angel wings catch the light and seem to shimmer as one moves the page. The high-quality illumination, liberal use of gold, and robust borders all suggest that the original manuscript must have been the product of an accomplished workshop.
Weitere BilderVerlag: ca. 1500, Paris, 1500
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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163 x 115 mm. (6 1/2 x 4 1/2"). Single column, 18 lines in a gothic book hand. Rubrics in red, line fillers in blue and pink with gold bezant, six one-line initials in burnished gold on pink and blue ground, two two-line initials in blue on gold ground with a flower in the center, one three-line initial in blue filled with ivy o…n gold ground, verso with panel border of colorful flowers and acanthus, recto with A LARGE ARCH-TOPPED MINIATURE OF THE CORONATION OF THE VIRGIN with an "L" shaped frame of burnished gold and painted flowers, and A FULL BORDER of acanthus, flowers, a man playing a bagpipe, and a hybrid creature wearing a hat, all on a painted gold ground. Very minor wrinkling to vellum, but the leaf IN LOVELY CONDITION, with the gold everywhere gleaming brightly. From a luxuriously appointed Book of Hours, this leaf features a handsome miniature of the Coronation of the Virgin attributed to the workshop of Jean Pichore (fl. ca. 1502-20), a major figure among illuminators of the period and one of the most sought-after artists in France at the turn of the 16th century. Executed with imagination and delicacy, the miniature features the traditional subject associated with the hour of Compline, showing the Virgin being crowned Queen of Heaven, following her Death and Assumption. The composition here is quite intimate, with the Virgin kneeling before her son as she accepts, with humility, the crown he lays upon her head. Christ is depicted barefoot and slightly bowed toward his mother in a gentle display of respect. The artist creates a wonderful backdrop for this scene, composed entirely of seraphim painted gold, blue, light pink, and green, closely packed together. Two of the seraphim hold up light pink draperies behind the central figures, as if to shield this tender moment from prying eyes. The borders here are a source of delight, featuring a figure wearing a jester-like cap and playing the bagpipe as well as a creature with the body of a bird and the face of a human, donning a rather fashionable bycocket cap. The illumination here is of high quality, features a liberal use of gold, and contains unique marginal details, suggesting that the original manuscript must have been a costly commission for a wealthy patron.
Weitere BilderVerlag: ca. 1500, Paris, 1500
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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165 x 117 mm. (6 1/2 x 4 5/8"). Single column, 18 lines in a gothic book hand. Rubrics in red, line fillers in blue and pink with gold bezant, five one-line initials in burnished gold on pink and blue ground, one two-line initial in blue on gold ground with a flower in the center, one three-line initial in blue filled with ivy o…n gold ground, recto with panel border of colorful flowers, vase, and acanthus, verso with A LARGE ARCH-TOPPED MINIATURE OF THE ANNUNCIATION TO THE SHEPHERDS, surrounded by A FULL BORDER of acanthus, flowers, and two birds, all on a painted gold ground. Slight soiling to vellum, but a very well-preserved leaf in fine condition. From what was surely a costly Book of Hours, this leaf features a charming and skillfully painted miniature of the Annunciation to the Shepherds, attributable to the workshop of Jean Pichore (fl. ca. 1502-20), a major figure among illuminators of the period and one of the most sought-after artists in France at the turn of the 16th century. Depicting the traditional subject associated with the hour of Terce, our miniature portrays, as usual, an angel appearing to shepherds tending their flock, bringing news of the birth of Christ. Although the biblical narrative suggests that the shepherds were startled by the angel's appearance, the three figures in this miniature appear remarkably unmoved--in fact, only one of them seems to take any notice at all. The first shepherd sits on the ground, looking straight ahead; the second holds his hands in prayer but looks little more than, well, prayerful at the angel in the sky; and a third figure maintains a slightly aloof expression, taking no particular interest in the unfolding miraculous event. What may seem to be indifference can be explained easily enough by the artist's successful portrayal of nighttime cold! All three shepherds are thickly dressed, one with his arms pressed tightly against his chest, another with a hood partly covering his face, and the sheep are tightly huddled together into one woolly white cluster. Another manifestation of the artist's success here is seen in the particularly well done molding of the faces, with subtle shading, attractively rendered features, and clear individuation. Moreover, although the shepherds seem essentially unmoved, their garments are dusted with a glistening gold radiance from above, a further subtle touch revealing a high level of achievement on the part of the painter. Finally, the borders are one last source of delight, with a small bird shown in mid-flight, and a second one investigating a single strawberry that seems to have been placed there just for him. All of these indications of sophistication suggest that the original manuscript must have been commissioned by a patron able to pay a premium for the work of a highly skilled atelier.
Weitere BilderVerlag: ca. 1450, Flanders, 1450
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 65.585,88
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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); bla…nk (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 Enthron.
Weitere BilderVerlag: ca. 1470-80, Low Countries [probably Bruges], 1470
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 79.640,00
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186 x 135 mm. (7 3/8 x 5 1/4"). Single column, 20 lines in a gothic book hand. i (blank), 108, i (blank) leaves (bound too tightly for a close collation, but APPARENTLY COMPLETE). Contents: Calendar (f. 1r); Gospel Lessons (f. 7r); Hours of the Holy Cross (f. 11r); Hours of the Holy Spirit (f. 15r); Mass of the Virgin (18r); "Ob…secro te" (f. 21r); "O Intemerata" (f. 23r); Suffrages (f. 24r); Hours of the Virgin (f. 33r); Office of the Virgin as said throughout Advent (f. 71r); Penitential Psalms (f. 76r); Litany and petitions (f. 81v); Office of the Dead (f. 87r). HANDSOME RENAISSANCE ENTRELAC BINDING (upper joint and parts of spine very skillfully repaired), covers with a gilt floral border surrounding a central panel of gilt strapwork design with traces of original polychrome painting, raised bands, spine gilt in compartments, original bosses and catchplates (clasps renewed), all edges gilt. Rubrics in red, numerous one-line initials in blue with red penwork, or gold with dark purple penwork, many two-line initials in burnished gold on pink and blue ground with white highlights, most of these with floral sprays extending into the margins, 22 SMALL MINIATURES (measuring approximately 45 x 37 mm.), each with panel borders of colorful acanthus and flowers at the top and bottom of the page, connected by a strand of gilt bezants, and 14 FULL-PAGE MINIATURES, each surrounded by a full border of acanthus, flowers, and bezants, the facing pages also with full borders and a large six-line initial painted pink or blue, filled with swirling vines and flowers, on gilt and painted ground. Subjects of the large miniatures being: Crucifixion (f. 10v); Pentecost (f. 14v); Virgin and Child (f. 17v); Annunciation (f. 32v); Visitation (f. 42v); Nativity (f. 49v); Annunciation to the Shepherds (f. 52v); Adoration of the Magi (f. 55v); Presentation in the Temple (f. 58v); Massacre of the Innocents (f. 61v); Flight into Egypt (f. 66v); Coronation of the Virgin (f. 70v); David in Prayer (f. 75v); Raising of Lazarus (f. 86v). Front pastedown with a 16th century inscription (see below); rear pastedown with a 17th century ownership inscription in ink, signed François le Paige. Lower joint a bit rubbed, margins with a little soiling and occasional wrinkle, fore-edge border rule just grazed by binder in a few places (the other borders quite ample), miniatures with tiny chips, light fading or rubbing in a couple places, etc., but IN EXCELLENT CONDITION, the attractive period binding very well preserved, with boards showing virtually no signs of wear, the vellum generally clean and bright, and the miniatures fresh and richly colored. This is an extensively illustrated Book of Hours preserved in an especially attractive early binding, with richly colored miniatures attributed to the Master of Philip of Cleves' "Book of the Hunt." Active in the Low Countries from approximately 1470-90, this artist was patronized by some of the area's wealthiest elite, and is known to have collaborated with another important illuminator called the Bruges Master of 1482. Some trademarks of our painter include faces with subtle blue shading; high, arched eyebrows; thin golden halos; and women with very straight, shoulder-length hair highlighted with strands of gold. Outdoor scenes often contain narrative elements in the distance, such as the figures of a young David and Goliath in the miniature of King David at Prayer, or pagan idols dropping from a column in the Flight into Egypt, recalling a popular apocryphal tale of pagan relics miraculously falling to pieces as the Holy Family passes by. Some miniatures of note (in addition to these two) are the Raising of Lazarus for the Office of the Dead--a popular alternative to funeral images, particularly among Flemish illuminators--and the Massacre of the Innocents for the hour of Vespers, a particularly violent episode in which King Herod commands his soldiers to slaughter the male infants of Bethlehem. Like other miniatures in this work, the action in these scenes is spread out between the fore, middle, and background, creating a multi-layered narrative that invites the eye to explore and meditate. The artist's color palette in this manuscript is quite memorable, and includes a bright mustard yellow, pale green, and cherry blossom pink. The Coronation of the Virgin makes particularly strong use of color, with a sunset-like gradient giving way to billowy blue clouds. The Annunciation miniature also demonstrates the Master's facility with color; here, the Angel Gabriel's red and green wings are fully extended, while the Virgin is radiant against a golden yellow wall covering. In addition to the large compositions, we are treated to 22 smaller miniatures depicting the Evangelists and saints, each of which is charming in its more confined presentation. Although the saints found in the Suffrages are quite typical for a Book of Hours, the Calendar is another story. Despite being rather sparsely filled out, the calendar here includes several feast days, some of them unusual enough to provide additional insight into the manuscript's localization and use. For example, there is St. Landoaldi (19 March), a missionary to Northern France and Belgium, and St. Winnoc (6 November), the son of a Breton king with a former abbey in the far north of France. The calendar is idiosyncratic in other ways as well, with saints' names that are repeated, and others that are either extremely obscure or whose dates seem to be wrong. Whatever the case, additional research into the calendar would undoubtedly prove revealing. We are fortunate to have some early provenance information written into this Book of Hours. The inscription on the front pastedown reads: "This last day of September 1590 we [name erased, but Claude le Paige] lieutenant of the guards of his highness of Bar le Duc on the one hand and Alix de la Taxe on the other hand have married in front of the holy Catholic church at the place of Mir[e]court." Below.
Weitere BilderVerlag: third quarter of 15th century, Southern Netherlands (Bruges?)
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 7.964,00
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Matted leaf: 150 x 150 mm. (5 7/8 x 4 3/8"). Frame: 307 x 258 mm. (12 x 10 1/4"). Single column, with four lines below the miniature (and the obverse with 17 lines) in a batarde hand. Attractively matted and framed (the leaf slightly shifted in the mat, revealing top and side edges, but in no danger of damage). Rubrics in red, f…our one-line initials and three three-line initials all but one in burnished gold on blue and red ground with white tracery, the initial beneath the miniature painted pink on a burnished gold ground and filled with painted ivy vines, AN ARCH-TOPPED LARGE MINIATURE DEPICTING THE ENTOMBMENT, the body of Christ surrounded by seven other people, depicted in an outdoor setting with the turrets of a walled city in the background, the miniature in a double frame of gold and pink, surrounded by A FULL BORDER composed of hairline vines, acanthus, colorful flowers, and gilt bezants, and inhabited by a small bird. Minor soiling and a faint thumb print to borders, but IN VERY FINE CONDITION, THE MINIATURE BEAUTIFULLY PRESERVED. This is a beautifully rendered and deeply touching scene depicting the entombment of the crucified Christ and the pathos experienced by those at his side. Holding the sheet on which the body is lowered into the sarcophagus are (on the far left) the richly clothed Joseph of Arimathea and (on the far right) Nicodemus, who dons an especially lovely yellow garment with delicate embroidery. Between the two men in the foreground but behind the body are the Virgin Mary, who presses the hand of her deceased son to her lips; John the Evangelist, whose body is turned toward the Virgin in a gesture of support, but whose gaze is focused on the Savior; and Mary Magdalene, who holds a small ointment jar. Two other women with halos stand closely behind them, consoling one another. The artist has done a masterful job at creating a composition that captures the emotional gravity of the scene: Christ's body, gently cradled in a white sheet, is on full display, with blood still trickling from the wounds on his head and side. Despite there being seven people crowded around him, our attention is drawn to the action between Christ and the Virgin, who gently grasps his hand with motherly affection, and bids him a final farewell. Flickers of different emotions appear on the faces of his followers, including pity, sorrow, stoicism, and disbelief--echoing, perhaps, the viewer's own range of feelings upon viewing this image. The level of detail, excellence of composition, care seen in the molded bodies and faces, and the convincing setting suggest that the artist was quite practiced, and that the original manuscript from which the leaf comes was of very high quality.
Verlag: ca. 1440, Metz, 1440
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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Leaf: 162 x 124 mm. (6 3/8 x 4 7/8"). Frame: 308 x 258 mm. (12 1/8 x 10 1/8"). Single column, three lines of text under the miniature (obverse with 18 ruled lines, five of which contain text), in a gothic book hand. Attractively matted and framed. Recto with one three-line initial in gold on pink and blue ground, WITH A LARGE MI…NIATURE OF THE CRUCIFIXION WASHED IN BLUE, Christ on a painted gold cross, flanked by two thieves on painted gold crosses, surrounded by throngs of people including the Virgin, St. John, Mary Magdalene, and numerous soldiers, all in an arched gold frame inside a three-sided painted and gilt baguette and a FULL BORDER of colorful vine sprays and flowers inhabited by a peacock. See: "The Jeanne Miles Blacburn Collection of Manuscript Illuminations" nos. 29-38; Avril & Reynaud, pp. 182 & 190. Minor soiling/browning right at inner edge (away from border and image), otherwise IN VERY FINE CONDITION, THE MINIATURE REMARKABLY WELL PRESERVED, WITHOUT ANY LOSS OF PAINT. This stunning miniature with its memorable nocturnal scene comes from a very fine Book of Hours probably executed by Henri d'Orquevaulz (or d'Orquevaulx) or a member of his workshop. D'Oquevaulz was active during the second quarter of the 15th century in Metz, the cultural and commercial capital of Lorraine during the period, and the center of a growing book trade. According to the catalogue of the Jeanne Miles Blackburn Collection in the Cleveland Museum of Art, which owns 10 leaves from the original manuscript, the parent Book of Hours can be localized based on the Lorraine dialect found in the French text on some of the leaves (including the present example), and because the calendar singled out two bishop-saints of Metz (Clement and Arnoul). Although little is known about d'Orquevaulz, his dated signature in the colophon of a Livy manuscript that he illuminated for an alderman of Metz indicates that he was active in that city in 1440. Artistic affinities with northern European styles make it possible that d'Orquevaulz had emigrated from the Netherlands or Germany to Lorraine; another possibility, one that Avril and Renaud suggest, is that the master himself was from Metz, but that he had German associates, perhaps from the Rhineland area. According to these two scholars, the painter's use of large flat areas of colors is more typical of the Rhineland, the Netherlands, or Bohemia than of France; in any case, they praise his "exquisite color harmonies." The artist has outdone himself in the present miniature, rising to the height of pathos and making it one of the most extraordinary leaves we have ever offered for sale. In contrast to the bright colors used in Books of Hours even to depict the most serious scenes, the present leaf presents a remarkable visual nocturne, with the figures and buildings painted in the same shades of blue as the sky, suggesting that heaven itself is darkening at the death of Christ. Mary Magdalen kneels at the foot of the cross, while St. John supports the devastated Virgin as a soldier pierces the Savior's side with a lance. The miniature is crowded with figures (we see well-defined faces of no fewer than 18 persons and two horses), but the artist has not lost his dramatic focus, as Christ on his cross of brushed gold dominates the scene. In choosing to make this a darkened composition, the artist has risked obscuring detail, but his skill has been equal to his concept here, as he has used a diluted blue paint that allows for a very successful delineation in various shades, almost like grisaille (this technique, not incidentally, has prevented the cracking and erosion so commonly seen with the normal thick applications of typical cobalt blue). The result of the decision to show the world in eclipse at Christ's death is to heighten and universalize the drama here to such an extent that the scene leaves a powerful and lasting impression. The text on this leaf is entirely in French in rhyming verse. Roughly it transla.
Weitere BilderVerlag: second half of 15th century, France (probably Rouen)
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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162 x 117 mm. (6 3/8 x 4 5/8"). Single column, 17 ruled lines, text in a bâtarde hand. Text in gold, blue, and red, "KL" in scrolling white letters on a gold ground with small blue and red blossoms, both sides with panel border of acanthus, flowers, small ink dots, and gold bezants, WITH TWO SMALL MINIATURES showing the labor of… the month (Threshing) on recto, and the zodiac sign (Virgo) on verso. âSmall wrinkle in lower margin just touching the lower edge of the miniatures, trivial smudging, but IN VERY FINE CONDITION, the vellum especially clean and bright, the paint quite rich, and the miniatures extremely well preserved. With clean, white vellum, small but appealing miniatures, and attractive lettering and decoration, this is a desirable example of a calendar leaf from a high-quality Book of Hours likely made in Rouen. According to Roger Wieck, far fewer than half the Books of Hours of the period contain illustrated calendars, "even in manuscripts with otherwise lavish cycles of miniatures"; when they do appear, they are invariably charming, as is the case here. In the lower margin of the recto is a small miniature depicting the typical labor for August, "Threshing," in which a young layman brings down his grain flail (two hinged pieces of wood, the longer one called a helve, and the other a beater, joined by a thong) in an effort to separate the grain, while neatly stacked unprocessed clumps of straw appear just behind it. On the verso we see a representation of Virgo as a young woman holding, appropriately, a long sheaf of grain in her hand. While most of the feast days that appear in the calendar are typical for the period, the inclusion of St. Sauveur (i.e. Transfiguratio Domini) on 6 August is characteristic of a calendar for the use of Rouen, suggesting that the parent manuscript may have been produced in that place or the region around it.
Verlag: ca. 1470, Delft, 1470
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 16.864,94
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Leaf: 172 x 115 mm. (6 3/4 x 4 1/2"). Frame: 242 x 190 mm. (9 1/2 x 7 1/2"). In an attractive wooden frame. A FINELY PAINTED MINIATURE OF THE NATIVITY within an arch-topped compartment, the parents of the Christ Child kneeling before him as he lies on the ground outside the stable, Joseph (uncharacteristically) supporting himsel…f with a cane in his left hand and holding a long burning candle in his right, two diminutive angels in attendance, the head of an ass sticking out of the stable window in the background to the left, AND, IN THE RIGHT BACKGROUND, A CHARMING DEPICTION OF THE ANNUNCIATION TO THE SHEPHERDS, ALL OF THIS BENEATH A VERY DETAILED ARCHITECTURAL CANOPY suspended in the sky, AND THE WHOLE WITHIN A FULL BORDER of acanthus leaves and other foliage and flowers in reds, blues, greens, yellows, and brushed gold, along with very many small burnished gold ivy leaves and buds on hairline stems, a small stag in the bottom border and a large delicately shaded angel, who mirrors the Virgin's pose, in the left border (verso blank). âA hint of soiling to edges of vellum, but IN VERY FINE CONDITION, without any paint erosion, with the colors rich and true, and with the burnished gold still shimmering. Notable for its attractive color scheme, fine craftsmanship, and unusual composition, this vibrant leaf was produced by a talented artist belonging to the stylistic group known as the Masters of the Delft Half-Length Figures. The lack of text and blank back of this leaf clearly suggest that it was produced as a singleton intended for insertion in a Book of Hours, and its subject matter indicates that it would have faced the opening for the third hour of the day, Prime. The present depiction of the Nativity is out of the ordinary in that it is combined with another scene, the Annunciation to the Shepherds, a subject that usually begins Terce in the Hours of the Virgin. It is a testament to the artist's ingenuity and compositional skills that he has managed to incorporate these two scenes so seamlessly; in fact, rather than pulling focus from the main subject celebrating the birth of Christ, this secondary scene adds additional interest to the picture and amplifies the storyline. Though the Annunciation to the Shepherds takes place at a distance from the Nativity, we immediately grasp their connection and can see how arrival of humanity's savior was felt far beyond the manger. It is also interesting to note how much the artist has emphasized the figure of Joseph. Not only does he take up as much space as the Virgin, but the candle and cane he holds frame the Christ child and communicate a strong suggestion of a protective parent (the Virgin is doing her part by praying hard, but she is more passive). In addition to its engaging subject matter, there is a high level of artistic achievement here, including delicately molded figures, impressively detailed architectural elements, and a lovely color palette. The elegant hand seen in this miniature manifests a quiet sophistication that distinguishes this artist as a particularly talented member of his circle. Active from about 1450-80, the Masters of the Delft Half-Length Figures were named by James Marrow after the angels and other figures whose upper bodies are typically found emerging from a cloud within the borders. Although the present leaf uncharacteristically contains a full-length angel in the border, it shares other stylistic similarities, such as the elaborate architectural canopy hovering over the main composition; and it particularly resembles the work of the artist of Keble College MS 77, an illuminator described in "The Golden Age of Dutch Manuscript Illumination" as "one of the more articulate of the group" whose "figures are more fully modelled and his palette . . . deeper and brighter" than that of his contemporaries. Because of the complexity of the subject matter and the high level of artistic accomplishment seen here, this leaf was probably part of an elaborate Book.
Verlag: ca. 1415-20, Paris, 1415
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 16.864,94
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Leaf: 160 x 110 mm. (6 1/4 x 3/8"); Frame: 232 x 185 mm. (9 1/8 x 7 1/4"). Recto with three lines, single column, in a gothic book hand (verso not inspected due to frame). Mounted in a wooden frame. Recto with a three-line initial in blue on gold ground embellished with ivy leaves, A HALF-PAGE MINIATURE DEPICTING THE MASS OF ST.… GREGORY, the recently crucified Christ depicted emerging from a tomb supported by an angel and surrounded by the Arma Christi, St. Gregory kneeling at the corner of the image, the text and miniature framed by thick bar borders of pink, blue, and gold on three sides, all SURROUNDED BY A FULL BORDER of hairline vines, gilt ivy leaves and bezants, and a few colorful flowers and acanthus. A little faint smudging in top and bottom borders, very small (scarcely noticeable) area of blue background retouched (not affecting the figures), but A BEAUTIFUL LEAF, the colors bright and the detail in the miniature very well preserved. Featuring carefully realized detail, intriguing iconography, and artistry that shows a very high degree of skill, this is an important and early example of the work of the Master of the Harvard Hannibal. The subject of the present work is a well-known story about the sixth century Pope Gregory (ca. 540-604), commonly known as St. Gregory the Great. According to legend, Gregory was saying Mass when one of his deacons expressed a doubt in the doctrine of Transubstantiation, whereby the communion bread actually becomes the body of Christ. Gregory prayed to God for a verifying sign, whereupon Christ appeared in the guise of the Man of Sorrows, clad in a loincloth and displaying the bloody wounds he incurred during the Crucifixion. Most Medieval miniatures depict Gregory kneeling before an altar as he says Mass, accompanied by one or more deacons or assistants who bear witness to the miraculous event. In a notable departure from this norm, the present miniature depicts the saint alone at the edge of the picture plane; in place of the chalice, host, and altar that would normally occupy the center of the scene is a considerable, open tomb from which a larger-than-life-size Christ emerges. With blood still rushing from his wounds, he places one hand on the edge of the tomb to steady himself while an angel supports him from behind. Christ's expression conveys both physical and mental pain as he struggles to support his own bodyweight; the angel who assists him spreads his wings protectively around the body of Christ, while looking down at Gregory with a sorrowful expression knitted into his brow. The fine detail work seen in the figures' faces, the angel's wings, and the careful delineation of each slender finger is also carried over into more than a dozen objects crammed into the spaces in and around the tomb (the rope is especially remarkable in the representation of its detail). Known as the "Arma Christi," or "Instruments of the Passion," these objects are meant to symbolize Christ's suffering. Seen here are: the cross, nails, and hammer that were used to crucify Christ, the ladder used in the Deposition, the disembodied hand symbolizing the one which slapped Christ's face, the dice used by soldiers to see who would claim his seamless robe, a lantern used by the soldiers who arrested Christ, the 30 pieces of silver from Judas' betrayal, a purple robe used in the mockery of Christ, and other items that appear as part of the Passion narrative. It is also interesting to note that although a St. Gregory miniature usually appears at the beginning of the Hours of the Cross, the Penitential Psalms, or before the Seven Prayers of St. Gregory, here, rather unusually, it opens a reading from John chapter 19 (beginning "In illo tempore adprehendit Pilatus Iesum et flagellavit"), describing the events of the Passion. This miniature can be attributed to an artist known as the Master of the Harvard Hannibal, so-named for a splendid miniature painting of the "Coronation of Hannibal" prefacing a Livy in the.
Weitere BilderVerlag: ca. 1465, Bruges, 1465
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 6.090,12
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193 x 145 mm. (7 5/8 x 5 3/4"). Single column, 21 lines in a gothic book hand. Rubrics in red, one two-line initial in gold filled with blue on pink ground, WITH THREE LARGE HISTORIATED INITIALS: ONE FEATURING AN OVAL-SHAPED PIECE OF FLESH WITH A GASH IN THE CENTER, AND TWO WITH CHRIST'S DISEMBODIED FOOT, SHOWING THE PUNCTURE WO…UND FROM THE CRUCIFIXION, each initial in pink or blue with white tracery, filled with dark pink and thin gilt lines and dots, four wavy blue rays radiating from behind each appendage, all within a thin gilt frame, both sides with a three-quarter border consisting of hairline vines, gold bezants, and a few colorful flowers. âVellum a shade less than bright, faint marginal rumpling, trivial paint transfer on one initial, BUT IN FINE CONDITION, the initials richly painted and extremely well preserved. From a manuscript probably produced in Bruges for the English market, this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck, Passion Cycle images enjoyed a particular vogue in 15th century Dutch, Flemish, and English Books of Hours, including those that were exported to England. In the present example, the strikingly unusual imagery includes the wounds of the left and right foot, as well as the spear injury to Christ's side, depicted as an oval piece of flesh with a laceration across the center. A sister leaf to the present item features three additional initials showing a portrait of Christ wearing the Crown of Thorns, his gaze fixed directly at the viewer, and in separate initials his left and right hands appear disembodied and displaying the stigmata. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 (lot 16), the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum, included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester (with their names crossed out, indicating that it was in England through at least the time of the Reformation), and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant, with miniatures possibly by his chief assistant, the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century, and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library (MS Widener 3) and the Huntington (HM 1086)--both of which were produced in Flanders or the Netherlands around the same time as the present work. The present leaf surpasses both of these examples in terms of excellence of the artistic hand and attention to detail.
Weitere BilderVerlag: ca. 1465, Bruges, 1465
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 7.027,06
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193 x 145 mm. (7 5/8 x 5 3/4"). Single column, 21 lines in a gothic book hand. Rubrics in red, WITH THREE LARGE HISTORIATED INITIALS: ONE WITH A PORTRAIT OF CHRIST WEARING THE CROWN OF THORNS, AND TWO WITH DISEMBODIED HANDS SHOWING THE STIGMATA, each initial in pink or blue with white tracery, filled with dark pink or blue with…thin gilt lines and dots, hands with wavy blue rays radiating from behind the appendage, all within a thin gilt frame, both sides with a three-quarter border consisting of hairline vines, gold bezants, and a few colorful flowers. âMargins with a little light soiling, BUT IN FINE CONDITION, THE PAINT OF THE INITIALS ESPECIALLY RICH AND WELL PRESERVED. From a manuscript probably produced in Bruges for the English market, this leaf contains arresting initials that direct the viewer's attention to the wounds endured by Christ during the Passion. According to Roger Wieck, Passion Cycle images enjoyed a particular vogue in 15th century Dutch, Flemish, and English Books of Hours, including those that were exported to England. In the present example, the strikingly unusual imagery includes a portrait of Christ wearing the Crown of Thorns, his gaze fixed directly at the viewer, and in separate initials, his left and right hands appear disembodied and displaying the stigmata. A sister leaf to the present item features three additional initials showing the wounds of the left and right foot, as well as the spear injury to Christ's side, depicted as an oval piece of flesh with a laceration across the center. The parent manuscript containing the present leaf sold at Christie's on 15 November 2006 (lot 16), the description for which gives us additional information about the book's contents and provenance: it was made for the Use of Sarum, included a calendar with the English saint Thomas Becket and Popes Gregory and Silvester (with their names crossed out, indicating that it was in England through at least the time of the Reformation), and contained an early ownership inscription of a woman named Bridget Lowe with a Middle English inscription on the pastedown. Christie's also attributed the parent manuscript to the workshop of William Vrelant, with miniatures possibly by his chief assistant, the Master of the "Vraie Cronique Descoce." They note that this work is "of higher quality than many of the works that satisfied the English demand for Netherlandish illumination" and that it "demonstrates why Vrelant appealed to the great bibliophiles of the Burgundian Netherlands." Vrelant was the leading purveyor of books of private devotion in Bruges during the third quarter of the 15th century, and his prominent position among Flemish illuminators of the time is indicated by the considerable number of manuscripts illustrated in his manner by other miniaturists both in Bruges and in nearby cities in Flanders. Similar examples to the present leaf can be found in intact Books of Hours at the Philadelphia Free Library (MS Widener 3) and the Huntington (HM 1086)--both of which were produced in Flanders or the Netherlands around the same time as the present work--but the present leaf surpasses both of these examples in terms of excellence of the artistic hand and level of detail depicted.
Weitere BilderVerlag: ca. 1470, Northern France (probably Rouen), 1470
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 2.576,59
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180 x 117 mm. (7 x 4 5/8"). Single column, 18 lines, text in a bâtarde hand. Text in red, blue, and gold, two-line "KL" in shell gold on blue and red ground, both sides with panel border composed of flowers and ink dots, WITH TWO SMALL MINIATURES, each centered in the middle of the panel borders, featuring the labor of the month… (Threshing) and the zodiac sign (a young woman for Virgo). Vellum a bit soiled and slight wrinkling in margins, small area of rubbing at bottom of the Virgo miniature, but in excellent condition overall, the fine details in the miniatures well preserved. Situated among the flowers of the panel borders here are two small but charming miniatures depicting the labor of the month, "Threshing," and the zodiac sign for August. According to Roger Wieck, far fewer than half the Books of Hours of the period contain illustrated calendars, "even in manuscripts with otherwise lavish cycles of miniatures"; when they do appear, they are invariably charming, as is the case here. In the threshing scene, a young layman brings down his grain flail (two hinged pieces of wood, the longer one called a helve, and the other a beater, joined by a thong) in an effort to separate the grain, while neatly gathered bushels of straw appear just behind him. On the verso we see a representation of Virgo as a young woman holding, appropriately, two long stalks of grain in her hands. The rich palette used in these miniatures allows the delicate gold highlighting on the harvested crop and garments to shine through, adding a fine sense of detail to each image.
Weitere BilderVerlag: mid-15th century, France (possibly Rouen)
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 2.717,13
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173 x 130 mm. (6 3/4 x 5 1/8"). Single column, 16 ruled lines, text in a gothic book hand. Text in gold, blue, and dark pink, "KL" in blue with white tracery on a gold ground decorated with dark pink baubles and leaves and with a floral spray extension, both sides with panel border composed of densely packed acanthus, flowers, a…nd hairline vines with gold bezants, WITH A SMALL ROUNDEL MINIATURE at the bottom depicting the labor of the month (Pruning) set on a panel of flowers, hairline vines, and gold bezants. With numbering to the left of the golden numbers and a few calendar entries in a later hand. âLight soiling to vellum, a few small smudges in the borders, a little paint transfer affecting a couple lines of text and margins of the verso, but these issues all very minor, and on the whole in fine condition with a particularly well-preserved miniature with rich, uneroded paint. With lovely panel borders and a particularly charming roundel miniature showing the labor of the month, this leaf likely comes from a high-quality manuscript made for a person of means. Though miniatures depicting the labors of the month are often illustrated with just a single person performing the task, here we are treated to two laypeople--a man and a woman--working together to prune and break ground in their field. The man appears to be carrying an axe for trimming branches, while the woman carries a long stick to loosen dirt for spring plantings. The names of several saints have been added to the calendar by a later hand, though it would appear that they were erroneously placed in March: St. Hugh belongs on 9 April, Pope Leo on 11 April, and St. Tiburtius on 14 April. While almost all of these feast days are commonly found in Books of Hours of this period, Hugh (Bishop of Rouen) is slightly unusual, suggesting that the manuscript may have been made in, or at least ended up in, Rouen.
Weitere BilderVerlag: 3rd quarter of 15th century, France (probably Besançon)
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 7.964,00
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239 x 165 mm. (9 3/8 x 6 1/2"). Single column, 15 lines in an elegant gothic book hand. Rubrics in dark pink, line-enders in dark pink and blue highlighted with a gilt bezant, several one-line initials and one two-line initial in burnished gold on dark pink and blue ground with white tracery, one three-line initial in pink with…white tracery, filled with trefoils painted red or blue, all on a gold ground, verso with panel border of delicate hairline vines terminating in gilt bezants and ivy and with acanthus and flowers, recto with A HALF-PAGE MINIATURE OF THE CRUCIFIXION in an arch-topped gilt frame, Christ in the center of the composition with the mocking inscription "I N R I" ("Iesus Nazarenus Rex Iudaeorum") on a banner above him, the Virgin standing on the left and St. John on the right, the landscape behind them filled with hills and trees under a tessellated sky, SURROUNDED BY A FULL BORDER consisting of hairline vines terminating in gold bezants and ivy, colorful acanthus, strawberries, and flowers, the text and image further framed by a "U"-shaped bar of gold, pink, and blue extending the full height of the miniature. âVirgin's robe a little mottled and chipped, minor chipping elsewhere, borders with slight smudging to some of the hairline vines, small marginal stain, but, in all, in excellent condition, with wide margins, with the colors very bright, and the miniature well preserved. Opening the Hours of the Cross (a shorter text that is sometimes found in addition to the Hours of the Virgin), this touching miniature of the Crucifixion is richly painted and features a particularly emotional depiction of Christ, his head slightly bowed with an expression of pain. Blood flows freely from his wounds, partly merging with the orange in the sky and partly forming rivulets at the base of the cross. This exsanguination stands in contrast to the more typically restrained indications in other Crucifixion scenes and serves to emphasize the cruel suffering of the execution. His mother stands to the left in a blue cloak, hands knitted together and with a look of weary resignation on her face; to the right stands St. John, whose lips are slightly parted as he looks directly at the crucified Christ as if searching his face for signs of life. Our artist has made an unusual choice for the background, with the lower two thirds devoted to a naturalistic landscape with many hills and trees, and the sky entirely tessellated with squares of red, blue and gold. While the Virgin and St. John are both firmly situated within the earthy realm, the body of Christ occupies both spaces, perhaps emphasizing his dual nature as both human and divine. Stylistically, this leaf can be localized to the Franche-Comté region in eastern France, and is closely related (if not directly attributable) to an atelier specializing in Books of Hours made for the Use of Besançon and most likely situated in that city (see Avril and Reynaud, p. 197). The similarities are especially apparent in the figures' faces, which are slightly puffy in appearance and have distinct, slit-like eyes. As noted by Avril and Reynaud, the unnamed master of this atelier was deeply indebted to the Master of Morgan 293, a talented Burgundian illuminator active in the second quarter of the 15th century, whose name derives from a particularly lovely Book of Hours made for the Use of Besançon. In fact, there are certain consonant details between this miniature and the Crucifixion in the Morgan manuscript: Christ's position and physicality are nearly identical, as is the pattern of blood as it moves down the cross, and both artists create a division in the landscape, with the Morgan artist using gold rather than tessellation for his sky. Whoever the artist responsible for the present miniature, the work here is clearly accomplished, both quietly powerful and an excellent representation of a distinct regional style.
Verlag: ca. 1470, Delft, 1470
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 16.864,94
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Leaf: 175 x 122 mm. (6 7/8 x 4 3/4"); Frame: 250 x 195 mm. (9 3/4 x 7 3/4"). No text on recto or verso. In an attractive wooden frame. A FINELY PAINTED MINIATURE OF THE HARROWING OF HELL within an arch-topped compartment, the mouth of hell depicted on the left with a fiery red interior and five people emerging from it, the figur…e of Christ on the left, holding a cross on a long staff and half-clothed in a pink and blue robe, the background with a castle in the distance, ALL OF THIS BENEATH A VERY DETAILED ARCHITECTURAL CANOPY suspended in the sky, AND THE WHOLE WITHIN A FULL BORDER of acanthus leaves and other foliage and flowers in reds, blues, greens, yellows, and brushed gold, along with very many small burnished gold ivy leaves and buds on hairline stems, a small stork in the bottom border and a large delicately shaded angel in the left border. âLeft margin trimmed very close to decoration (just escaping loss, and the other three margins ample), mild darkening right at fore and tail edge (but not reaching into borders), otherwise IN FINE CONDITION, the colors rich and true, and the burnished gold still shimmering. This extraordinary miniature, notable for its uncommon subject matter, memorable imagery, and fine workmanship, was produced by a talented artist belonging to the stylistic group known as the Masters of the Delft Half-Length Figures. The subject here is infrequently depicted in Books of Hours: the Harrowing of Hell appears as a full-page miniature in only three of the 119 prayer books described by Roger Wieck in his "Time Sanctified" (and three others contain a Harrowing depiction inside an initial). Christian theological tradition tells us that after his crucifixion, Christ went to liberate souls from Limbo--a location inhabited by those barred from entry into Heaven because they died before the Redemption. In our scene, Christ, wrapped in a regal cloak and carrying a long staff, his hands and feet still bleeding from the wounds he received on the Cross, reaches into an absolutely wonderful Hellmouth to extricate Adam and Eve and other naked souls, while the recently deceased and original saint, John the Baptist, still clad in an animal skin garment, waits patiently for his turn to emerge. The great maw of Hell as depicted here has bulging eyes, a distended snout, thickly matted hair, and a bad complexion; his gaping mouth, punctuated by sharp gray teeth, glows red hot, and one can tell from the creature's expression that he is loath to comply with this rescue of souls. In addition to its compelling subject matter, there is a high level of artistic achievement here, including delicately molded figures, impressively detailed architectural elements, and a lovely color palette. The elegance and quiet sophistication observed in this miniature distinguishes the artist responsible for this work as a particularly talented member of his circle. Active from about 1450-80, the Masters of the Delft Half-Length Figures were named by James Marrow after the angels and other figures whose upper bodies are typically found emerging from a cloud within the borders. Although the present leaf uncharacteristically contains a full-length angel in the border, it shares other stylistic similarities, such as the elaborate architectural canopy hovering over the main composition; and it particularly resembles the work of the artist of Keble College MS 77, an illuminator described in "The Golden Age of Dutch Manuscript Illumination" as "one of the more articulate of the group" whose "figures are more fully modelled and his palette . . . deeper and brighter" than that of his contemporaries. Because the subject of the present miniature goes beyond the standard image program seen in routine productions, and because of the high level of artistic accomplishment seen here, this leaf was almost certainly part of an elaborate Book of Hours produced in response to an important commission.
Weitere BilderVerlag: ca. 1460, Paris, 1460
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 7.027,06
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153 x 110 mm. (6 x 4 3/8"). Single column, 14 lines of text in a fine gothic book hand. One-line initial in burnished gold on a pink and blue ground with white tracery, a two-line initial and a three-line initial in pink with white tracery on a ground of burnished gold, the center filled with twining blue vines bearing pink and…scarlet flowers, verso with a rinceau panel border featuring twining hairline stems bearing burnished gold ivy leaves and fruit, blue and gold acanthus leaves, and flowers, recto WITH AN ARCH-TOPPED MINIATURE OF THE HOLY TRINITY SURROUNDED BY THE HEAVENLY HOST, this and the accompanying text enclosed by a pink, blue, and burnished gold bar border on one side, and a brushed gold bar border with pink lotus flowers on two sides, the whole surrounded by A FULL RINCEAU BORDER DENSE WITH ACANTHUS LEAVES, FOLIAGE, FRUIT, FLOWERS, AND TINY GOLD BERRIES on hairline stems. âA little paint flaked from the book held by the Trinity, a couple of small spots in the margin, otherwise in fine condition--clean and smooth, with comfortable margins, and bright gold. The Trinity is shown here seated on a canopied throne, with God the Son, his hand raised in blessing, to the left of the Father. The latter, in a towering crown, holds a gold orb, and the Father and Son together support a large book opened between them. The dove of the Holy Spirit hovers above the book, radiating golden beams. The Trinity is flanked on both sides by cherubim and seraphim in rich red and soft yellow. It is the rendering of this angelic ambiance that elevates the level of aesthetic achievement here: both red and yellow celestial beings are given a ghostly appearance, as if appearing out of a filmy yellow or a densely red fog. The artistic qualities as a whole suggest that this leaf comes from a manuscript commissioned by a person of significant means.
Weitere BilderVerlag: ca. 1460, Paris, 1460
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 6.090,12
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195 x 143 mm. (7 3/4 x 5 1/2"). Single column, 16 lines in a gothic book hand. Minor feast days in red and blue, major feasts in gold, numerous gold and painted line fillers, the five "A" initials and the "KL" highly decorative and painted pink and blue against a gold background, gold and pink bar surrounding the text on three s…ides, BOTH SIDES OF THE LEAF WITH EXTRAVAGANTLY DECORATIVE BOTANICAL FULL BORDERS with two small birds hidden within, and INCORPORATING TWO MEDALLION MINIATURES DEPICTING THE LABOR OF THE MONTH (SOWING) AND THE SIGN OF THE ZODIAC (SCORPIO) FOR OCTOBER. âIN VERY FINE, FRESH CONDITION, with gold and paint extraordinarily bright. The extraordinarily lavish and animated full borders, coupled here with extensive use of brushed and burnished gold--for major feast days, for decorative border elements, and even for the hundreds of seeds being sown(!)--suggests that this calendar folio comes from a Book of Hours that was commissioned for a person or persons of high rank, since it would have been very costly. The leaf comes from a manuscript that included numerous roundels depicting the lives of St. Catherine and the more obscure St. Alexius, and it is possible that the Book of Hours belonged to a husband and wife for whom these saints served as patrons. The style of the delicately painted figures, especially in the roundels, indicates an artist who was familiar with the early output of the Coëtivy Master, who, according to Avril and Renaud, can be identified with Colin d'Amiens, who made a great name for himself in Paris (not, as was previously thought, with Henri de Vulcop, who made a great name for himself in the Loire region). The master takes his name from the Book of Hours (now in the Austrian national library) that he painted for Olivier de Coëtivy and his wife, Marie de Valois, one of some 30 works that have been identified as his. Although there is considerable Flemish influence that can be seen in his work (he has links, for example, with Simon Marmion), Colin d'Amiens was active in Paris during the third quarter of the 15th century, and, with Barthélmy van Eyck and Jean Fouquet, was among the three great artists of this period patronized by the French court--Avril and Renaud says flatly that our master was "the most important artist practising in Paris in the third quarter of the century, from about 1450 to 1485." For more on the Coëtivy Master, see Avril and Reynaud, pp. 58-69.
Weitere BilderVerlag: ca. 1450, Paris, 1450
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
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EUR 5.153,18
EUR 8,75 VersandVersand innerhalb von USAAnzahl: 1 verfügbar
159 x 108 mm. (6 1/4 x 4 1/4"). Single column, four lines of text on the verso, 15 on the recto, in a very pleasing gothic book hand. Attractively matted. Recto with a line filler in colors and gold, verso with a one-line initial in burnished gold on a maroon and blue background with white tracery and a three-line "D" in blue an…d white enclosing a spray of violets in the same colors, the capital on a burnished gold ground, the same side WITH A FULL SWIRLING BORDER of acanthus leaves, flowers, and berries, and many burnished gold ivy leaves ENCLOSING A BLOODY ILLUMINATED MINIATURE OF THE MASSACRE OF THE INNOCENTS (measuring approximately 78 x 54 mm.). Fore and lower margins on the side with the miniature a bit rubbed and with a faint patina reflecting frequent use (also, minor fading and loss of paint and gold in the same place), otherwise in fine condition, THE MINIATURE itself REMARKABLY WELL PRESERVED, WITHOUT ANY EROSION OF PIGMENT. This leaf comes from a Book of Hours decorated by extremely skilled members of what must have been a first-class workshop. The Massacre of the Innocents cannot help but be a moving subject, and the composition here as well as the painter's considerable ability add to the emotional impact in the present miniature. The center of the scene is dominated by the gold-armored, gray-bearded soldier whose sword is raised over the head of a woman clinging to her son. The blood-spattered foreground is littered with the dismembered bodies of infants, looking like so many broken dolls. On the left, we see a row of modest cottages, providing considerable depth as they recede toward distant hills. On the right stands a crowd of grim-faced soldiers, all as elderly as their commander, and seemingly following orders that are unwelcomed; it is perhaps the acute sadness in their faces that makes this scene especially memorable. The clear sky, green fields, and serene blue mountains in the distance contrast markedly with the horrific events unfolding.
Weitere BilderVerlag: ca. 1420, France [probably Paris], 1420
Anbieter: Phillip J. Pirages Rare Books (ABAA), McMinnville, OR, USAPhillip J. Pirages Rare Books (ABAA)
Verkäufer/-in kontaktierenVerkäufer/-in mit 3 SternenZustand: Gebraucht
EUR 5.153,18
EUR 8,75 VersandVersand innerhalb von USAAnzahl: 1 verfügbar
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. âA 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.
