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Auction archive: Lot number 14

span class="H"illuminated manuscript on vellum.

Estimate
£60,000 - £80,000
ca. US$88,178 - US$117,571
Price realised:
n. a.
Auction archive: Lot number 14

span class="H"illuminated manuscript on vellum.

Estimate
£60,000 - £80,000
ca. US$88,178 - US$117,571
Price realised:
n. a.
Beschreibung:

illuminated manuscript on vellum. (370 x 260 mm). 220 leaves in gatherings of 10, except 1 (in 6s); 11 (in 8s); 23 (in 6s); complete. The gatherings, except for the Calendar (1) and the inserted noted Prefaces (11) are numbered 1-21 at the foot of the first recto and have catchwords in the inner, lower corners of the final versos. The leaves of each gathering were numbered 1-10 in informal arabic numerals at the outer, lower and pairs of gatherings, lettered from a-k and numbered i-xx, have a formal foliation in red roman numerals at the center top of each recto, modern pencil foliation in upper right corner. Double columns of 34 lines written in black ink in a tall gothic bookhand between 35 horizontals and 4 verticals, ruled in brown ink (except for ff. 107-112, the Canon of the Mass written in a larger script in 18 lines), rubrics in red, text capitals touched red, contemporary leather tabs to fore-edges. Numerous one-line initials alternating red and blue and numerous two- or three-line initials of red and blue have flourishing of lilac and red that often extends the height of the margin. two large illuminated and sixteen large historiated initials have staves mostly of a rich pink, containing monochrome acanthus and set against a ground of burnished gold within a bright green frame, accompanied by eighteen illuminated borders of fine foliage in light, clear hues of pink, green, blue and ochre and have terminals of flowers and fruit. a large full-page miniature of the crucifixion introduces the Canon of the Mass and there is a small marginal vera icon , miniature of the holy face. Likely the original 15th-century binding of brown leather over thick wooden boards, four brass bosses survive on the front and two on the back cover. Condition: some dampstaining mainly in margins and in some in the front and end text, some vellum leaves darkened and slightly thumbsoiled, evidence of minimal sewn repairs to holes in outer margins; front board free, replacement wooden board on back cover. Provenance: Calendar includes, in red, the feasts of St. Adalbert (April 23), St. Stanislav (May 8), St. Wenceslas (Sept. 29), St. Hedwig (Oct. 15) and St. Elizabeth (Nov. 19). These are all major feasts of the diocese of Wroclaw (formally Breslau) in Silesia, Poland. The Missal is most likely produced here for the church diocese of Wroclaw. Until the last war it was part of Germany, but it is now in Poland. Contents: ff.1-6r, Calendar; ff.7-106r, Temporal from Advent to Easter; ff.107-112r, Canon of the Mass; ff.112v-141v, Temporal from Trinity Sunday to the dedication of a church; ff.141v-183r, Sanctoral from the Vigil of St. Andrew to St. Catherine; ff.183v-198v, Common of the Saints; ff.198v-220, Votive Masses. A contemporary gathering of 8, ff.97-104, with noted prefaces is inserted in the Temporal. Illumination: The manuscript was illuminated by the same artist as a Missal in the University Library of Wroclaw (Ms. IF 359), see E. Klos, Die Schlesische Buchmalerei (Berlin, 1942), pp. 154-155, 194-195 and plates 232 and 236. This artist holds an important position in the history of Silesian illumination at this date. In the early part of the 15th century, the style of Silesian painting was very much under the influence of Bohemian models. Mid-century, this developed into a more independent, expressive style based to a large extent on woodcuts. The painter of our manuscript and the Missal in Wroclaw was active in Wroclaw (Breslau) from around 1450 to 1470. Kloss has characterized his work as moving away from the woodcut ctyle and evolving into a more autonomous, purely Silesian style. The Crucifixion miniature is composed on a monumental scale, comparable more to panel painting than manuscript illumination. It repeats the composition of the canon miniature in the Wroclaw Missal almost exactly, and both works are close in date. Kloss considered the Wroclaw Missal to be the latest extant work of this illuminator with the least trace of ‘Holzschn

Auction archive: Lot number 14
Auction:
Datum:
4 Apr 2009
Auction house:
Dreweatts & Bloomsbury Auctions
16-17 Pall Mall
St James’s
London, SW1Y 5LU
United Kingdom
info@dreweatts.com
+44 (0)20 78398880
Beschreibung:

illuminated manuscript on vellum. (370 x 260 mm). 220 leaves in gatherings of 10, except 1 (in 6s); 11 (in 8s); 23 (in 6s); complete. The gatherings, except for the Calendar (1) and the inserted noted Prefaces (11) are numbered 1-21 at the foot of the first recto and have catchwords in the inner, lower corners of the final versos. The leaves of each gathering were numbered 1-10 in informal arabic numerals at the outer, lower and pairs of gatherings, lettered from a-k and numbered i-xx, have a formal foliation in red roman numerals at the center top of each recto, modern pencil foliation in upper right corner. Double columns of 34 lines written in black ink in a tall gothic bookhand between 35 horizontals and 4 verticals, ruled in brown ink (except for ff. 107-112, the Canon of the Mass written in a larger script in 18 lines), rubrics in red, text capitals touched red, contemporary leather tabs to fore-edges. Numerous one-line initials alternating red and blue and numerous two- or three-line initials of red and blue have flourishing of lilac and red that often extends the height of the margin. two large illuminated and sixteen large historiated initials have staves mostly of a rich pink, containing monochrome acanthus and set against a ground of burnished gold within a bright green frame, accompanied by eighteen illuminated borders of fine foliage in light, clear hues of pink, green, blue and ochre and have terminals of flowers and fruit. a large full-page miniature of the crucifixion introduces the Canon of the Mass and there is a small marginal vera icon , miniature of the holy face. Likely the original 15th-century binding of brown leather over thick wooden boards, four brass bosses survive on the front and two on the back cover. Condition: some dampstaining mainly in margins and in some in the front and end text, some vellum leaves darkened and slightly thumbsoiled, evidence of minimal sewn repairs to holes in outer margins; front board free, replacement wooden board on back cover. Provenance: Calendar includes, in red, the feasts of St. Adalbert (April 23), St. Stanislav (May 8), St. Wenceslas (Sept. 29), St. Hedwig (Oct. 15) and St. Elizabeth (Nov. 19). These are all major feasts of the diocese of Wroclaw (formally Breslau) in Silesia, Poland. The Missal is most likely produced here for the church diocese of Wroclaw. Until the last war it was part of Germany, but it is now in Poland. Contents: ff.1-6r, Calendar; ff.7-106r, Temporal from Advent to Easter; ff.107-112r, Canon of the Mass; ff.112v-141v, Temporal from Trinity Sunday to the dedication of a church; ff.141v-183r, Sanctoral from the Vigil of St. Andrew to St. Catherine; ff.183v-198v, Common of the Saints; ff.198v-220, Votive Masses. A contemporary gathering of 8, ff.97-104, with noted prefaces is inserted in the Temporal. Illumination: The manuscript was illuminated by the same artist as a Missal in the University Library of Wroclaw (Ms. IF 359), see E. Klos, Die Schlesische Buchmalerei (Berlin, 1942), pp. 154-155, 194-195 and plates 232 and 236. This artist holds an important position in the history of Silesian illumination at this date. In the early part of the 15th century, the style of Silesian painting was very much under the influence of Bohemian models. Mid-century, this developed into a more independent, expressive style based to a large extent on woodcuts. The painter of our manuscript and the Missal in Wroclaw was active in Wroclaw (Breslau) from around 1450 to 1470. Kloss has characterized his work as moving away from the woodcut ctyle and evolving into a more autonomous, purely Silesian style. The Crucifixion miniature is composed on a monumental scale, comparable more to panel painting than manuscript illumination. It repeats the composition of the canon miniature in the Wroclaw Missal almost exactly, and both works are close in date. Kloss considered the Wroclaw Missal to be the latest extant work of this illuminator with the least trace of ‘Holzschn

Auction archive: Lot number 14
Auction:
Datum:
4 Apr 2009
Auction house:
Dreweatts & Bloomsbury Auctions
16-17 Pall Mall
St James’s
London, SW1Y 5LU
United Kingdom
info@dreweatts.com
+44 (0)20 78398880
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