TWO LEAVES FROM A BOOK OF HOURS, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM [Paris, c.1500] 157 x 108mm. 25 lines written in brown ink in a lettre bâtarde between two verticals and 26 horizontals ruled in red, justification: 109 x 62mm, rubrics in red, text capitals touched yellow, one- and two-line initials in liquid gold on grounds alternately of red and blue patterned with liquid gold, THREE BORDERS, two three-quarter-page, with sprays of acanthus in blue and liquid gold, on grounds of red, black or blue, and sprays of naturalistic flower and fruit on liquid gold grounds, THREE SMALL MINIATURES OF THE TRINITY WITH THE CRUCIFIED CHRIST, THE ARCHANGEL MICHAEL AND ST JOHN THE BAPTIST with three-quarter-length figures, framed in pink and liquid gold, ONE LARGE ARCH-TOPPED MINIATURE OF ST JOHN ON PATMOS, extending the full height of the page in an architectural frame of liquid gold, brown and pink, enclosing six lines of text with a four-line initial in blue on a ground of liquid gold with naturalistic flowers (top and framing of large miniature rubbed, wear to margins, some edges trimmed to borders or framing). The large miniature of St John the Evangelist, accompanied by his eagle on an idyllic Patmos of green hills and calm blue waters, introduces the extract from his Gospel, which continues on the verso. The second leaf opened the Memorials, since the recto begins with a prayer to the Trinity, depicted in the form of the Dove resting on Christ's Cross, which is supported by the enthroned Father. St Michael, shown in armour battling with the devil, appears on the verso with the third small miniature, of St John the Baptist, holding the Lamb of God, both in landscape settings. Although the figure types derive from Jean Bourdichon of Tours, the carefully modelled faces with red lips and sharply defined eyelids are characteristic of the Master of the Chronique scandaleuse , as is the lavish use of liquid gold. The Master, active in Paris c.1490-1510, was named from a secular manuscript in Paris (BnF, Ms Clair. 481). He also illuminated Books of Hours, in which he often collaborated with imitators of his style: F. Avril and N. Reynaud, Les manuscrits à peintures en France , 1993, pp.274-277. The miniatures on these leaves have the delicacy of execution and flexibility of figure-drawing of the best works associated with the artist. (2)
TWO LEAVES FROM A BOOK OF HOURS, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM [Paris, c.1500] 157 x 108mm. 25 lines written in brown ink in a lettre bâtarde between two verticals and 26 horizontals ruled in red, justification: 109 x 62mm, rubrics in red, text capitals touched yellow, one- and two-line initials in liquid gold on grounds alternately of red and blue patterned with liquid gold, THREE BORDERS, two three-quarter-page, with sprays of acanthus in blue and liquid gold, on grounds of red, black or blue, and sprays of naturalistic flower and fruit on liquid gold grounds, THREE SMALL MINIATURES OF THE TRINITY WITH THE CRUCIFIED CHRIST, THE ARCHANGEL MICHAEL AND ST JOHN THE BAPTIST with three-quarter-length figures, framed in pink and liquid gold, ONE LARGE ARCH-TOPPED MINIATURE OF ST JOHN ON PATMOS, extending the full height of the page in an architectural frame of liquid gold, brown and pink, enclosing six lines of text with a four-line initial in blue on a ground of liquid gold with naturalistic flowers (top and framing of large miniature rubbed, wear to margins, some edges trimmed to borders or framing). The large miniature of St John the Evangelist, accompanied by his eagle on an idyllic Patmos of green hills and calm blue waters, introduces the extract from his Gospel, which continues on the verso. The second leaf opened the Memorials, since the recto begins with a prayer to the Trinity, depicted in the form of the Dove resting on Christ's Cross, which is supported by the enthroned Father. St Michael, shown in armour battling with the devil, appears on the verso with the third small miniature, of St John the Baptist, holding the Lamb of God, both in landscape settings. Although the figure types derive from Jean Bourdichon of Tours, the carefully modelled faces with red lips and sharply defined eyelids are characteristic of the Master of the Chronique scandaleuse , as is the lavish use of liquid gold. The Master, active in Paris c.1490-1510, was named from a secular manuscript in Paris (BnF, Ms Clair. 481). He also illuminated Books of Hours, in which he often collaborated with imitators of his style: F. Avril and N. Reynaud, Les manuscrits à peintures en France , 1993, pp.274-277. The miniatures on these leaves have the delicacy of execution and flexibility of figure-drawing of the best works associated with the artist. (2)
.jpg?w=400 "Source: Christie's")
.jpg "Source: Christie's")
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.jpg "Source: Christie's")
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