Lot n° 16
Estimation :
60000 - 80000
EUR
Result with fees
Result
: 67 600EUR
Book of Hours (Paris usage).
In Latin and... - Lot 16 - Giquello
Book of Hours (Paris usage).
In Latin and French, illuminated manuscript on parchment.
France, Paris, ca. 1500.
With 60 miniatures (19 large miniatures, 17 small miniatures and 24 calendar miniatures): 6 large miniatures, 15 small miniatures by the Master of Philippe de Gueldre (active in Paris from 1495 to 1510); 13 large miniatures and 2 small miniatures by the Master of Etienne Poncher (active in Paris from 1490 to 1510) and 24 small miniatures in the Calendar by the Master of Jeanne Hervez (named after a book of hours preserved in the Bibliothèque Mazarine, MS 508). 154 ff, preceded and followed by two endpapers, complete [collation: i6, ii6, iii 8+1, iv 8+1, v-x8, xi6 (not missing), xii 8+1, xiii8, xiv 8+1, xv-xix8, xx 4; nota bene: the quires of 9 ff. correspond to quires with "diptychs", i.e. a miniature has been inserted in a quire of 8], bastard script in brown ink, text on 20 lines per page, justification: 55 x 95 mm, gothic script in brown ink, calendar in red, blue or gold letters, parchment ruled in pale red ink, 20 lines to the page, pale red headings, initials ornamented with liquid gold on blue or pink backgrounds enhanced with white, line ends in the same way, 2-line high initials in blue with white highlights with decoration of coloured vine leaves or petals, larger initials with the same decoration marking the major liturgical divisions, illuminated borders on all pages (straight borders for the text leaves) with coloured acanthus leaves on liquid gold backgrounds or reserved backgrounds with flowers, fruits, hybrid animals and grotesques (compare with the borders of Paris, BnF, Latin 13294 illuminated by the Master of Etienne Poncher as well as a book of hours Catalogue H. Tenschert, Leuchtendes Mittelalter VI, 2009, cat. 27), with 60 MINIATURES of which 19 LARGE MINIATURES, 17 SMALL MINIATURES and 24 SMALL MINIATURES (calendar).
Bound in full red morocco (XIXth ?), spine with 5 ribbed bands, framed with a simple cold fillet, lace on the edges and inside lace, gilt edges, combed marbled paper endpapers and backpapers. Binding in good condition, some scuffing, notably on upper board.
Some paint chipping and rubbing (face of St. John the Evangelist (fol. 14); small loss of paint to the Three Dead and Three Alive (fol. 102v) and to the background of Job (fol. 103), some rubbing to the miniatures of the suffrages (Mary Magdalene, Anne, and Genevieve); small repainting (?) to the face in one small miniature (fol. 152).
Dimensions: 110 x 162 mm.
The result of a collaboration between three Parisian artists, this manuscript contains four very fine diptychs that once belonged to the important Burgundian bibliophile Jean-Bénigne Lucotte du Tilliot (1668-1750).
The Master of Jeanne Hervez is responsible for the miniatures illustrating the calendar. Two other artists, namely the Master of Etienne Poncher and the Master of Philippe de Gueldre, share the authorship of the large and small miniatures that illustrate the body of the manuscript. The composition of this manuscript is part of what Isabelle Delaunay has called the "new Parisian repertoire", a style that presents a sort of schematic and free fusion of compositions by Loire artists - from Jean Fouquet to Jean Bourdichon - practised by a group of illuminators active in Paris.
Note the very elegant layout in diptychs presenting complementary scenes. In some cases the inserted leaf which forms a diptych is blank on the front (e.g. ff. 13, 25, 85, 102), showing that the quire is enriched by a series of complementary miniatures. While in some cases of books of hours with diptychs, stylistic differences between the facing leaves may arise, in this case the great homogeneity of the facing leaves is a sign of genuine collaboration between the artists.
The Master of Étienne Poncher is conventionally referred to as an illuminator active in Paris between 1490 and 1510. He worked in the entourage of the Master of Jacques de Besançon and then joined forces with a number of other Parisian artists such as the Master of Robert Gaguin, the Master of Liénart Baronnat, the Master of the Chronique scandaleuse or, as in this case, the Master of Philippe de Gueldre. He is named after a Parisian Pontifical for Etienne Poncher, Bishop of Paris, in two volumes (Paris, BnF, Latin 956-957) and a manuscript of the Emperors of Rome and Germany (Mensing sale, Amsterdam, 1929, cat. 45). This master was first identified by Isabelle Delaunay in 2000 in her thesis on the book trade in Paris at the end of the 15th century (Isabelle Delaunay, Echanges artistiques entre livres d'heures manuscrits et imprime?s produits a? P
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