Three Illuminated Books of Hours from a Private Collection

AUCTION

BASEL 23 MARCH 2022 INTERNATIONAL ART BEFORE 1900 Three Illuminated Books of Hours from a Private Collection

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AUCTION

INTERNATIONAL ART BEFORE 1900

AUCTION

BASEL 23 MARCH 2022

Lot 1–3

THREE ILLUMINATED BOOKS OF HOURS FROM A PRIVATE COLLECTION:

Rediscovery of Three Fine Codices

AUCTION TIME

PREVIEW

INTERNATIONAL ART BEFORE 1900 lot 1–3 11 am

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Vous trouverez une notice sur les livres d’heures en français p. 49.

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Exquisite Horae Attributed to the Mature Master of the Ghent Privileges with Fabulous Borders

1 BOOK OF HOURS

(Use of Rome; Calendar for the Use of Mons) In Latin and French, illuminated manuscript on parchment Belgium, Tournai and Mons, mid to late 1450s (before 1460) With 18 large half-page miniatures by the ­ Master of the Ghent Privileges (Jean Ramont the ­Younger) and illuminated border decoration attributed to Jacquemart Pilavaine.

Dimensions of leaves: 232 ×155 mm Dimensions of binding: 250 ×165 mm

CHF 400 000–600 000

Die Zusammenfassung in ­Deutsch finden Sie ab S. 43.

Vous trouverez une notice en français p. 49.

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original size

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BOOK OF HOURS THE MASTER OF THE GHENT PRIVILEGES; JACQUEMART PILAVAINE Painted in brilliant hues, the miniatures in these Horae are attributable to the Master of the Ghent ­Privileges (identified as Jean Ramont the Younger, “alumineur de livres”), active in Ghent and Tournai, who definitely had a true sense of color. This codex displays the identifiable figural traits of the mature Ghent Privileges Master and the striking miniatures are all set in richly decorated borders attributed to the talented Jacquemart Pilavaine, scribe, decorator and book-binder, active in Mons.

203 numbered folios (modern pencil foliation in the lower lefthand inner corner), preceded by two former pastedowns (reused written parchment) and IV ruled blank leaves, followed by III leaves (including one a former pastedown pasted together) [in all 212 ff.], missing five leaves: four leaves between ff.12–13 and one leaf ­between ff. 58–59 which had a miniature (introducing Lauds of the Hours of the Virgin), mostly regular quires of 8 [collation: i5 (2 pastedowns and 3 ruled blank leaves), ii5 (of 6, with i likely a canceled blank), iii8, iv4 (of 8, missing i-iv, leaves between ff.12–13), v8, vi8, vii8, viii8, ix8, x7 (of 8, missing iii, one leaf between ff. 58–59), xi-xxvi8, ­x xvii12, xxviii3], written in an elegant littera textualis by at least two different hands depending on the quires, the first a more angular script in darker brown ink, the second a more rounded script in lighter brown ink, parchment ruled in light red ink, text pages with up to 17 lines per page, some original alphabetic quire signature-marks, a few guide words in French (see Calendar, with guide words as follow: Jenvier / Fevrier / March / Avril / May / Juing / Juillet / Aoust / Septembre / Octembre / Nov (cropped short) / Desembre), a word in pale brown ink on fol. 33 perceptible in the lower margin below the Crucifixion that one was tempted to read: “Remont” (?) (it should be noted that Jean Ramont the Elder appears in the archives as ­ “Johannes Remon”) but more likely reads “-fiement” for “crucifement” (we thank here D. Vanwijnsberghe and G. Clark for their comments), text copied in a single column (justification: 101 × 67 mm), some catchwords, some

prickings still visible, rubrics in red and some Calendar entries in burnished gold and blue ink, rubrics in Latin and French, line-fillers in dark pink, blue and burnished gold highlighted in white tracery, numerous one-line high initials in burnished gold on dark pink and blue grounds with white tracery, two-line high initials in pink or blue highlighted in white tracery on burnished gold grounds with colored ivyleaf infill, larger 4-line high initials introducing the major textual divisions in blue or pink ­highlighted in white tracery on burnished gold grounds with colored ivyleaf infill, these larger initials on leaves with miniatures are prolonged by broad burnished-gold ­baguettes with floral and interlace patterns enclosing and framing the miniatures and textblocks, decorated ­illuminated borders (sometimes continuous on each text leaf, sometime on every second leaf) composed of swirling rinceaux, burnished gold ivyleaves, flowers and colored acanthus leaves, with 18 large miniatures (half-page miniatures), set in full illuminated borders, margins with ivy-rinceaux, floral and ivyleaf ornament, inhabited by a varied bestiary (especially birds) and fantastic creatures.

Manuscript boasting very wide and uncropped margins; parchment restoration in lower righthand corner of f.11; a few leaves presenting pale or slightly faded ink, never hindering legibility (e.g. ff. 68v, 78v, 79, 133); a few stains to parchment, apparently mostly due to painted foredges (ff.101–103, 107v), and slight smudging to f.104.

Overall in fine and fresh condition.

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BINDING

PUBLISHED IN

Bound in a French (Parisian) seventeenth-century b ­ inding, gold-tooled olive-brown morocco over original wooden boards, sides with floral border rolls and double fillets composed of small tools, at center a double fillet quadrilobular compartment from which emerge filigree and arabesque sprays (“décors à la gerbe”), cornerpieces of similar arabesque and pointillé tools, central ornament set in a rectangular and arch-topped frame traced in double fillet, arabesque, pointillé and floral vase o ­ rnament in the exterior outer angles of the central frame, spine in five gold-tooled compartments, gilt and painted foredges with patterns of vases, flowers and birds in tones of red and green, pastedowns of reused 17 th c. written parchment (no longer glued to the boards, wooden boards revealed), traces of fore-edge clasps (now wanting), traces of bosses on the lower board (now wanting).

Madrid, Exhibition, Casa de Cisneros del Ayuntamiento (1955), p. 37, no. 45. – Kraus [1967/1968], Catalog 117, no. 10. – Avril (1975), p. 41, fig. 2. – Pächt and Thoss (1983), p. 33. – H ­ amburger (1988), p. 15. – Pächt and Thoss (1990), fig. 43. – Jezler (dir.), Himmel, Hölle, Fegefeuer …(1994), no. 84 [exhibited in Köln at the Wallraf-Richartz-Museums]. – Clark (2000), “Kraus Hours”, Europe, Private Collection, pp. 176–179, pp. 212–214, pl. 151–165; see also pp. 27–36. – Cardon et alia (dir), Esch (2002), pp. 649 and 652.

The present binding is close in style and luxury to the bindings attributable to the famous Parisian binding ­ workshops of the 1640s. The characteristic quadrilobular central motif with the gilt-tooled sprays (“gerbes”, in French) recalls c ­ ertain works by Florimond Badier, whereas the floral vase in the outer angles of the central frame are closer to a tool found in bindings associated with Macé Ruette.

The binding boasts splendid gold-tooled boards and delicate ornamental fore-edge painting. In addition, the original wooden boards of the codex are preserved, which is uncommon, u ­sually replaced by pasteboards when bound in the later centuries. This is a subtle choice adopted by an attentive ­bibliophile yet to be identified. There are certainly similar b ­ indings to be found and perhaps this binding can be tied to a specific workshop. In his time, H.P. Kraus, book-dealer and collector, tied the present binding to the one that covered a printed Book of Hours (Antwerp, 1609) (Kraus refers to “­Walters Art Gallery, n° 8932”; see The History of Bookbinding 525–1950: An Exhibition held at the Baltimore Museum of Art, Baltimore, 1957, p. 158). Other identifications and comparisons will certainly be possible.

PROVENANCE

1. This manuscript follows the universal liturgical use of Rome, as per the Office of the Virgin and the Office of the Dead.

However, the manuscript was copied and illuminated in Tournai and Mons (the latter was included in the diocese of Cambrai), and likely made for use in Mons proper. Among the saints inscribed in gold in the calendar, there are two for the diocese of Cambrai, particularly honored in Mons: Saint Waudru or Waldetrudis, patron saint of the city of Mons (in gold, Feb. 3, Apr. 9, in red, Aug. 12; also included in the Litany and Suffrages); Saint Vincent ­[Vincent Madelgarus, husband of Waldetrudis of Mons and abbot-founder of Hautmont and Soignies in the diocese of Cambrai, also included in the Suffrages] (in gold, July 14; in blue, Jan. 22).

Other feasts inscribed in gold include: Giselnus (Oct. 9), honored in the diocese of Tournai; ­ Nicasius (Dec. 14), honored in the diocese of Reims, to which both Tournai and Cambrai were suffragan bishoprics. There are an additional eight feasts celebrated in the diocese of Cambrai: Aubert (Jan. 24, Feb. 9 and Mar. 20); Saint ­Altegunde or Aldegonde of Maubeuge (Jan. 30); Veronus (Jan 31; March 30); Saint Aldetrudis, abbess of Maubeuge (Feb. 25); ­Landericus (April 17); Humbert (Sept. 6); Aichardus of Jumièges (Sept. 15); Amatus (Oct. 19). Other feasts are tied to neighboring ­dioceses. Honored in the diocese of Liège are Domitian (May 7); Begga (July 7); Madalberta (Sept. 7); Theodard (Sept. 10) and in the Litany, Servatus, Bishop of Tongren.

Honored in the diocese of Amiens, ­Silvinus (May 4), in the diocese of Tournai, Bertin (July 16), in the diocese of Reims, Benedicta (Oct. 8).

A Mons origin for this Book of Hours is also suggested by the style of the ornamental illumination and script (see ­below). Luxury illuminated manuscripts made in Mons, the capital city of Hainaut, were greatly promoted by patrons such as Philip the Good (1396–1467), Duke of Burgundy, and a number of local noble families.

2. Stylistic and liturgical research conducted by G. Clark (University of ­Sewanee) in the late 1990s and early 2000 led to the ­publication and scholarly commentary of the miniatures i­llustrating this codex attributed to the Master of the Ghent Privileges, an artist active in Ghent and Tournai from circa 1440 to the early 1460s (see Illustration, below). According to Clark, the present Horae is datable to

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the second half of the 1450s, after 1453 (post quem date of Vienna Privileges) and before 1460 (ante quem date of the Lille Missal of Jean III de Lannoy, made for use near Tournai (see Clark (2000), p. 130). Recent studies by Vanwijnsberghe and Verroken have uncovered the name of Jean Ramont the Elder (born circa 1385–1390 and died after 1442, a member of the guild of Ghent illuminators who worked for Michelle de France, wife of Philippe le Bon) and Jean Ramont the Younger (born circa 1415 (?), registered in the “maîtrise” of Tournai in 1452), respectively possible identifications for one of the Masters of Guillebert de Mets and for the Master of the Ghent Privileges (Vanwijnsberghe and Verroken (2017)). A note in pale brown ink is noticeable in the lower margin of the first leaf introducing the Hours of the Cross: one was tempted to read “Remont” (One finds in the archives the name referred to as “Johannes Remon”, see Vanwijnsberghe and Verroken (2017), p. 133) but as confirmed by Vanwijnsberghe and Clark, it is more likely “-fiement” for “[cruci]fiement, an indicaction to the illuminator that he must paint here a crucifixion.

3. Paleographical and ornamental research conducted by A. Esch (University of Leuven) has concluded that this ­codex was decorated by Jacquemart Pilavaine, a scribe and manuscript decorator active in Mons circa 1445–1464, at the service of Philip the Good, Duke of Burgundy and responsible for a number of manuscripts made for Philippe de Croÿ, comte de Chimay and grand-bailli de Mons from 1457 to 1463. In a letter to the former owner of this codex, Esch confirms this attribution: “We know of four books now in which Pilavaine cooperated with the Master of the Ghent Privileges: your book of hours, a Livre du gouvernement des Princes made for Philippe the Good, Duke of Burgundy (Brussels, KBR, MS 9043) and two books of hours (one in New York, PML, M. 82, and the other in Warshau, B.N., ms.

II 8004)”. The last codex quoted, Warsaw, B.N., ms. II 8004, is a Book of Hours painted in a transitional style from the Ghent Privileges style to the Ghent Gradual style (Tournai and Mons, circa 1460; see Clark (2000), p. 271 and p. 273).

4. Princes de Ligne, their collection at Beloeil (Wallonie, province de Hainaut), property of the Maison de Ligne, an illustrious family of Belgian nobility. The town of Ligne is located between Ath and Tournai. A considerable library was housed in Beloeil, boasting a number of important manuscripts. See Félicien Leuridant, La Bibliothèque du château de Beloeil, Bruxelles, Bureau des Annales Prince de Ligne, 1923; see also C. A . Voisin, Souvenirs de la bibliothèque des princes de Ligne à Beloeil, Gand, 1839.

5. H.P. Kraus, celebrated bookdealer established in New York, his Catalog 117. Medieval and Renaissance Manuscripts, s.d. [circa 1967/1968], pp. 31–37, no. 10. According to the entry in Clark (2000), Kraus purchased the codex from the Prince de Ligne in 1967.

6. European Continental Collection. Purchased by the p ­ resent owner in 1970 from H.P. Kraus.

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TEXT

– ff. 1–12v, Calendar, in French, in burnished gold, red and blue ink, with the following noteworthy saints: Saint ­Waudru or Waldetrudis, patron saint of the city of Mons (in gold, Feb. 3, Apr. 9; in red, Aug. 12); Saint Vincent Madelgarus, husband of Waldetrudis of Mons (in gold, July 14; in blue, Jan 22); Saint Altegunde or Aldegonde of Maubeuge (Jan. 30); Saint Aldetrudis, Abbess of Maubeuge (Feb. 25); Saint Aubert (Jan. 24, Feb. 9 and Mar. 20). Other feasts inscribed in gold include: Giselnus (in gold, Oct. 9), honored in the diocese of Tournai; Nicasius (Dec. 14), honored in the diocese of Reims, of which both Tournai and Cambrai were suffragan bishoprics. There are an additional eight feasts celebrated in the diocese of Cambrai: Aubert (Jan. 24, Feb. 9 and Mar. 20); Veronus (Jan 31; March 30); Landericus (April 17); Humbert (Sept. 6); Aichardus of Jumièges (Sept. 15); Amatus (Oct. 19). Other feasts are tied to neighboring dioceses. Honored in the diocese of Liège are Domitian (May 7); Begga (July 7); Madalberta (Sept. 7); Theodard (Sept. 10). Honored in the diocese of Amiens, Silvinus (May 4), in the diocese of Tournai, Bertin (July 16), in the diocese of Reims, Benedicta (Oct. 8).

– ff. 13–21v, Prayer, Stabat Mater; followed by another prayer, rubric, Oratio super Ave Maria; incipit, “Cogitanti michi O sanctissima Virgo Mater …” [first four leaves of this quire missing]; – ff. 22–27, Mass of the Holy Virgin, rubric (fol. 21v), Sequitur missa sancte marie; – ff. 27v–31v, Gospel Pericopes; – ff. 31v–32v, Passion sequence according to Saint John; – ff. 33–40v, Hours of the Cross; – ff. 41–48v, Hours of the Holy Spirit; – ff. 49–103, Hours of the Virgin (use of Rome), with Matins (ff. 49–58v); Lauds (ff. 59–68v, missing the beginning of Lauds, miniature removed); Prime (ff.69–73v); Terce (ff. 74– 78v); Sext (ff. 79–83v), with rubric in French “Midy” (fol. 78v); None [erroneous rubric “A tierce”)] (ff. 84–88v); Vespers (ff. 89–97v); Compline (ff. 98–103); – f. 103v, blank ruled leaf; – ff. 104–124v, Penitential Psalms and Litany (ff. 115v–121), including Vincent [Madelgarus]; Quintin; Servatus [Bishop of Tongren]; Fursy; Guillaume; Leonard; Waldetrudis (of Mons); Agnes; Ursule; followed by prayers;

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– ff. 125–125v, Hymn of the Holy Spirit, incipit, “Veni creator spiritus …”; other prayer, “Deus qui corda fidelium …”; – ff. 125v–127, Eight Verses of Saint Bernard; followed by prayer, “Omnipotens sempiterne deus …”; Prayers, Ad bonum angelum; “Perpetuum nobis domine tue …”; – f. 127v, blank ruled leaf; – ff. 128–172, Office of the Dead (Use of Rome), with the following responses: (1) Credo quod; (2) Qui Lazarum; (3) Domine quando; (4) Memento mei; (5) Heu michi; (6) Ne recorderis; (7) Peccantem me; (8) Domine secundum; (9) Libera me (See Leroquais Notebook, Office des morts Répons des matines …, Paris, BnF, NAL 3163, fol. 97).

Noteworthy: the first quire of this section bearing signature mark “q” is bound in disorder: q1 / q4 / q3 / q2 and then q5 to q8 (ff. 128–135); – f. 172v, blank ruled leaf; – ff. 173–177, Prayer in honor of Corpus Christi, incipit, “In presencia corporis et sanguinis tui domine ihesu christe ….”; followed by indulgences, rubric (in French), Il y a mille quarantaines de pardons; – ff. 175–178, Prayers, including first rubric, in French, O ­ rison au saint sacrament; incipit, “Domine Ihesu Christe qui hanc sacratissimam …”; other rubrics, Orison; Oratio magistri Petri Baelart [Prayer of Peter Abelard]; Oratio ad dominum nostrum Ihesum Christum; – ff. 178–180, Seven Verses of Our Lord, rubric, Oratio de septem verbis Ihesu Christi [sayings in red]; – ff. 180–183v, Psalms, rubric in French, Le psalme de le foy; – ff. 184–198, Suffrages of which five are introduced by large miniatures, including: Holy Trinity [with miniature]; Michael Archangel; John the Baptist; John the Evangelist; Peter; Twelve Apostles; Christopher; Quentin (rubric, De sancto Quintino martire); Adrian; Gregory; Jerome; Nicholas [with miniature]; Anthony; Vincent [Madelgarus, husband of Waldetrudis of Mons]; Germanus; Christopher [with miniature]; Georges [with miniature]; Catherine [with miniature]; Waldetrude (rubric, De sancta Waldedrude); Margaret; Barbara [with miniature]; Mary Magdalena; last prayer ­apparently incomplete, begins, “Largire nobis clementissime pater …”; ends, “[ …] apud tuam misericordiam sempiternam impetiet beati …” [likely unfinished with last words missing as the complete collect should be: “Largire nobis, clementissime pater: ut sicut beata Maria Magdalena Dominum nostrum Iesum Christum super omnia diligendo, suorum obtinuit véniam peccatorum; ita nobis apud misericordiam tuam, sempiternam impetret beatitudinem: per Christum Dominum nostrum. Amen”] – ff. 198v–203, ruled blank leaves.

ILLUSTRATION

There are 18 large (half-page) miniatures in this manuscript set in full illuminated borders. The subjects of the miniatures are as follow: – f. 33, Crucifixion; – f. 41, Pentecost; – f. 49, Annunciation; – [Missing here the miniature for Hours of the Virgin, Lauds].

– f. 69, Nativity, with Healing of a Midwife’s Hand; This miniature shows a rare scene, the healing of the midwife’s hand (see Clark (2000), pp. 78–79: “Five Privileges Nativities are distinguished by the inclusion of the midwives Zelomi and Salome.” Clark underscores the influence of Flemish p ­ anel-painting that includes this rare scene of the apocryphal midwives, in works by the Master of Flémalle or the circle of Robert Campin. See Jacobus de Voragine, The Golden Legend, chapter dedicated to the Nativity: “We have five ­witnesses to prove that she was a virgin [ …] There is a fourth proof, for Bartholomew tells us that when the hour had come in which Mary was to be delivered, Joseph called two midwives, the one being called Zebel and the other Salome; not that he doubted that the Virgin would bear the Son of God, for he was only following the custom of the country. When Zebel saw that Mary was a virgin, she cried out: “Truly, she is a virgin and she has given birth!” But Salome did not believe this and wished to examine her; thereupon her hand withered and died. Then an angel appeared and bade her touch the child; and immediately she was cured”; – f. 74, Annunciation to the Shepherds; – f. 79, Adoration of the Magi; – f. 84, Circumcision; – f. 89, Flight into Egypt; – f. 98, Massacre of the Innocent; – f. 104, David in Prayer; – f. 128, Funeral Mass; – f. 173, Corpus Christi Procession [Procession of the Sacrament]. Clark (2000, p. 42) underscores the elegance of the cope worn by the bishop made of gold brocade patterned with trifoliate leaves.

– f. 184, Holy Trinity; – f. 190, Saint Nicholas; – f. 193, Saint Christopher carrying Jesus across the River; – f. 194, Saint Georges slaying the Dragon; – f. 195, Saint Catherine holding her Sword; – f. 197, Saint Barbara reading by her Tower.

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THE MASTER OF THE GHENT PRIVILEGES (JEAN R ­ AMONT THE YOUNGER) AT THE HEIGHT OF HIS ART This manuscript is certainly one of the most elegant ­codices with miniatures by the Master of the Ghent ­Privileges. The artist was first studied by F. Winkler (1915) who named him after a richly decorated copy of the Statutes and Privileges of Ghent and Flanders made for none other than Philip the Good, Duke of Burgundy ­(Vienna, ÖNB, Cod. 2583). In his study, Clark argues that the Privileges Master was at the head of two allied workshops, one in Ghent, the other in Tournai which flourished from circa 1440 to circa 1460. The artist was indebted to an earlier group of artists named “Masters of Guillebert de Mets” (active circa 1415–1445) after a Boccaccio written by the recorded scribe named ­Guillebert de Mets (Paris, Bibliothèque de l’Arsenal, MS. 5070) who subcontracted the miniatures and decoration of his codices. Following its activity from circa 1440 to the 1460s, the workshop and style of the Master of the Ghent Privileges was perpetuated by another younger artist identified as the Ghent Gradual Master, active throughout the 1470s (see Clark (2000), “The Master of the Ghent Gradual, Successor to the Master of the Ghent Privileges”, pp. 39–52). Stylistically, the Master the Ghent Privileges is quite archaic and his compositions, palette and understanding of perspective is still solidly grounded in the earlier production of the first half of the fifteenth century.

In their 2017 study on the Masters of Guillebert de Mets, Vanwijnsberghe and Verroken suggest that archival ­testimony secures the existence of a Johannes Ramont the Elder, established in Ghent, perhaps identifiable as one of the “Master of Guillebert de Mets” and his son, Johannes Ramont the Younger, from Ghent who is ­recorded as an illuminator in Tournai. The Master of the Ghent Privileges could very well be the individual named Johannes Ramont the Younger and recorded in the ­archives (Vanwijnsberghe in Bousmanne and Delcourt (2012), p. 151; Vanwijnsberghe and Verroken (2017), pp.119–136).

To quote G. Clark: “This Horae, the Brussels City of God, the Vienna Privileges, the Lille Missal, Walters 719, a leaf sold at Sotheby’s in 1983 (13 June, lot 27), and the Paris Valerius Maximus contain the most fully mature ­miniatures of the Privileges Master and were most likely

painted between around 1453, the post quem for the Vienna codex, and about 1460 the ante quem for the Lille manuscript” (Clark, 2000, p. 214; see also the ­section entitled: “The Mature Miniatures of the Ghent Privileges Master” (Clark, 2000, pp. 29–37). Following Clark’s study, the manuscripts closest in style to the present ex-Kraus Horae are: Brussels, BR, MS. 9016, Augustine, City of God; Vienna, ÖNB, Cod. 2583, Privileges and Statutes of Ghent and Flanders; Lille, ­ Médiathèque Jean Lévy, MS. 626, Missal of Jean de Lannoy; Baltimore, Walters Art Gallery, MS. 719; Paris, BnF, fr. 6185, Valerius Maximus, Facta et dicta memorabilia (frontispiece miniature). Clark remarks on the superior quality of this group of codices: “In the first chapter of this study, I observed that the most spatially ambitious and refined miniatures are found in the Vienna ­Privileges itself, in the Brussels Aegidius Romanus and City of God, Lille Missal, Kraus Hours, and Walters 719; and on the cutting with Saints Francis and Bernardinus sold as part of lot 27 at Sotheby’s on 13 June 1983 [ …]

However, the miniatures in the five Privileges manuscripts with Montois characteristics do not stand alone as a coherent oeuvre, but instead are integral parts of the stylistic continuum that I traced in the first chapter of this study within the body of codices by the Privileges Master, the overwhelming majority of which seem to have been made in the diocese of Tournai. In light of this, it seems more likely that the five manuscripts with Montois characteristics were written an decorated in Mons and then illustrated by the Privileges Master in the ­diocese of Tournai” (Clark (2000), p.135 and p.139).

A plethora of common features with the present Horae can be found in the above-mentioned codices ­attributed to the mature style of Ghent Privileges Master, well ­detailed by Clark (2000). For instance, a reduced historiated initial version of the large half-page miniature ­depicting a Procession for the Feast of Corpus Christi (Procession of the Sacrament) (fol.173) is found in ­ ­another manuscript (Lille, Médiathèque Jean Lévy, MS 626, fol. 137v, Missal of Jean de Lannoy, between 1458 and 1462; see Clark 2000, p. 34 and fig.129). One finds the same, almost mirror, composition with a mitred bishop holding the host in a monstrance, protected under a canopy upheld by four clerics, with other clerics watching in the back. Clark reproduces a possible ­ source for this composition found in an earlier c.1440 Book of Hours painted by Amiens illuminators (Brussels, BR, MS IV.264; see Clark (2000), p. 69 and p. 75, fig. 33).

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Another example of the common features within this group of codices, in which the Ghent Privileges Master reproduces compositional arrangements, can be found for instance in Walters Art Museum 719 (painted for a member of the Egmont family of Guelders) which presents the same composition for the Adoration of the Magi (fol. 79 in the present Horae and fol. 45v in Walters 719) and includes the additional figures of spear-bearing equestrians. Although the ex-Kraus Book of Hours is generally very homogeneous, it appears that the five miniatures that illustrate the Suffrages in the present Horae display perhaps greater figural monumentality than the other miniatures, whose figures appear more squat and rounded.

JACQUEMART PILAVAINE: A TALENTED SCRIBE AND BORDER DECORATOR IN MONS Recent studies have confirmed that the decorator ­responsible for the script of these Horae is identifiable with Jacquemart Pilavaine of Mons and the lavish ­border decoration was certainly made in Mons whereas the miniatures were painted in Tournai, one of the mainstays of the Master of the Ghent Privileges. Identifiable scribes and decorators are of great rarity and the fact that one can ascribe this codex to the talented ­Jacquemart Pilavaine is of importance. Jacquemart ­Pilavaine signed the colophons of three manuscripts commissioned by Philip de Croÿ. One colophon reads: “Expliciunt les histoires martiniennes escriptes par ­Jacquemart Pilavaine escripvain et enlumineur demourant a Mons en Haynaut, natif de Peronne en Vermandois” (Brussels, BR, ms. 9069, fol. 274). Esch has also compiled and published archives in which Pilavaine’s trade is described with precision and he is effectively paid as a scribe, decorator of codices (“vignetteur” or “historieur”) and binder (pour l’escripture …, pour avoir enluminé …, pour relier, dorer et armoier …) (see Esch, 2002, pp. 642–643). Clark discusses in his “Excursus” the borders of manuscripts which contain miniatures attributed to the Master of Ghent Privileges and in ­ ­particular the present “Kraus” Hours.

codices (see Esch, 2002, p. 649) and two other Book of Hours, including Arras, Médiathèque, MS 1030 and Warsaw, BN, MS II. 8005. Also close in style are the borders of a Book of Hours in New York (PML, MS. M. 82), which also contains miniatures by the Master of the Ghent Privileges but is datable slightly earlier (in the 1440s): the borders are surprisingly close. The borders are very recognizable, presenting a number of ornamental idiosyncrasies, such as the characteristic treatment of acanthus leaves with colored drop-like fillings at the base of the acanthus before it splits into swirls or such as the varied bestiary and birds (storks, cranes, parrots, peacocks, waterfowls, owls etc) their heads turned over and beaks tucked in their feathers. Texts are framed in thick decorated and patterned baguettes that add to the general impression of lavishness and luxury. ­Clusters of flowers are set on little “islands” of green earth. A vast menagerie of naturalistic and imaginary animals or grotesques pepper the borders (noteworthy the beautiful dragonfly in the lower border on fol. 33), some perhaps related to models found in engraved works attributed to the Master of the Playing Cards, Germany, c. 1450–1455 (see for example the waterfowl that grasps a knotted snake in its beak, found in the present manuscript on fol.197) (Clark (2000), pp.179–180).

Clark remarks that the former “Kraus Hours” presented here stand out amongst the known codices of this group attributable to the Privileges Master and his workshop, with a page layout that offers very wide margins and ample marginal ornamentation: “In contrast, all but two of the eighteen half-page illuminations in the Kraus Hours are almost perfectly square and have modestly curved apices. The consequences of those reductions are generous bands of flora in the upper margins and horizontally compressed compositions that sometimes burst the confines of their narrow gold frames” (Clark, 2000, p. 35). A fine example of this overflow of the image outside of the miniature frames is for instance the image of Saint Barbara, interestingly depicted in profile, with the tower extending in the margin (fol. 197).

A striking and luminous codex by all standards.

In the study dedicated to Pilavaine, Esch signals that the refined border decoration in the present Horae (referred to as the “H.P. Kraus Book of Hours”, sold in 1970) can be compared to other known codices, including Gilles de Rome, Le livre du gouvernement des princes (Mons, circa 1450–1452; Brussels, BR, MS 9043), other listed

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LITERATURE

Bousmanne, Bernard and Thierry Delcourt (eds.). Miniatures flamandes 1404–1482, Paris and Brussels, 2012, see pp. 182– 187. – Clark, Gregory. Made in Flanders: The Master of the Ghent Privileges and Manuscript Painting in the Southern Netherlands in the Time of Philip the Good, Turnhout, Brepols, 2000. – Clark, Gregory. “Made In Flanders and the Master of the Ghent Privileges: A Second Coda”, in Jeffrey F. Hamburger & Anne S. Korteweg (eds.), Tributes in Honor of James H. ­Marrow. Studies in Painting and Manuscript Illumination of the Late Middle Ages and Northern Renaissance, Turnhout 2006, pp. 155–161 and pp. 614–615. – Clark, Gregory.

“Beyond ­ Jacquemart Pilavaine, Simon Marmion, and the Master of ­Antoine Rolin. Book painting in the Hainaut in the penultimate decade of the fifteenth century”, in Manuscripts in Transition. Recycling Manuscripts, Texts and Images, Leuven, Peeters, 2005 (Corpus of illuminated manuscripts, 15), pp. 391–398. – Esch, A. “La Production de Livres de Jacquemart Pilavaine à Mons Nouvelles Perspectives” in Bert Cardon, Jan Van der Stock & Dominique Vanwijnsberghe (eds.), Als ich can. Liber Amicorum in Memory of Professor Dr. Maurits S ­ meyers (Corpus of Illuminated Manuscripts, 11– 12), Leuven 2002, pp. 641–668. – Jezler, Peter (dir.). Himmel, Hölle, Fegefeuer. Das Jenseits im Mittelalter, Münich, 1994, no. 84 [entry written by Bodo Brinkmann]. Catalog for the exhibition held in Köln at the Wallraf-Richartz-Museums. – Kren, T. and S. McKendrick, eds., Illuminating the Renaissance:

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The Triumph of Flemish Manuscript Painting in Europe, Los Angeles, Getty Museum / Royal Academy of Arts, 2003. On the Master of the Ghent Privileges, see pp. 258–261. – Pächt, Otto, Ulrike Jenni and Dagmar Thoss, Flämische Schule I (Tafelband und Textband), Vienna 1983. – Pächt, Otto, Ulrike Jenni and Dagmar Thoss, Flämische Schule II (Tafelband und Textband), Vienna 1990. – Vanwijnsberghe, Dominique. De fin or et d’azur, Les commanditaires de livres et le métier de l’enluminure à Tournai à la fin du Moyen Age (XIV e -XV e siècles), Leuven, Peeters, 2001 (Corpus of illuminated manuscripts, 10).

– Vanwijnsberghe, Dominique and Eric Verroken. A l’escu de France. Guillebert de Mets et la peinture de livres à Gand à l’époque de Jan van Eyck (1410–1450), Bruxelles, Institut royal du Patrimoine artistique, 2017 (Scientia artis, 13). – Winkler, F. Die Flämische Buchmalerie des XV. und XVI. Jahrhunderts, Leipzig, 1925.

ONLINE RESOURCES

Manuscript recorded in the following database “Luxury Bound”: http://telma.irht.cnrs.fr/outils/luxury-bound/manuscrit35/ On the Church of Saint-Waudru, in Mons: http://ducassedemons.info/pedagogie/Chapitre_de_ Sainte-Waudru_Mons.pdf

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“Et non sans cause” Rediscovery of a Lyonnais Book of Hours With Coat of Arms, Perhaps Identifiable as that of the Le Saulnier Family

2 BOOK OF HOURS (Use of Rome)

In Latin and French, illuminated manuscript on parchment France, Lyon, c. 1490–1500 With 16 large miniatures and 15 small miniatures by the Lambert Master (or Master of Guillaume Lambert, active in Lyon, 1475–1500) and the Master of the Alarmes de Mars (active in Lyon, circa 1485–1510); 24 small Calendar miniatures Dimensions of leaves: 152 × 90 mm Dimensions of binding: 160 ×100 mm

CHF 130 000–160 000

Die Zusammenfassung in ­Deutsch finden Sie ab S. 45.

Vous trouverez une notice en français p. 51.

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original size

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BOOK OF HOURS MASTER OF GUILLAUME LAMBERT AND MASTER OF THE ALARMES DE MARS This manuscript, of great elegance, contains large and personalized donor portraits. The couple was named Jean (or Baptiste?) and Catherine, if one accepts they bear the same name as the patron saints depicted behind them (John the Baptist and Catherine). Saint Etienne (Stephen), an important saint for the city of Lyon, is painted in a full-page miniature facing the female donor. These Horae were painted in Lyon by two major artists active in the last quarter of the fifteenth century. The arms, ­reproduced three times in the codex, are perhaps those of Le Saunier, a Lyonnais family (Steyert, 1860).

154 ff., preceded and followed by 6 paper flyleaves, missing one leaf between ff. 61–62 which contained a miniature for Vespers of the Hours of the Virgin [collation: i6, ii6, iii12, iv8, v8, vi8, vii8, viii7 (of 8, missing viii), ix8, x4, xi4, xii3 (of 4, with iv likely a cancelled blank), xiii8, xiv8, xv8, xvi8, xvii8, xviii8, xix8, xx8, xxi6, xxii6], written in a very regular lettre bâtarde, in brown ink, on up to 21 lines, a few calligraphic flourishing to text extending in the upper margin, parchment ruled in pale red ink (45 × 85 mm), vertical catchwords, added later inscrip­ tions in ink in a cursive 17th century script (?) above the miniatures identifying the text or the painted scene, ­rubrics in dark red, line-fillers in red and blue highlighted in liquid gold, numerous 1- to 3-line initials in red or blue with liquid gold ornamentation, one 5-line high initial in blue introducing the prayer “O intemerata” (f.141), with 24 calendar miniatures set in illuminated borders placed in the outer margins, borders on reserved grounds with flowers, birds, strawberries and small burnished gold discs, with 15 small miniatures framed

with illuminated bracket borders on reserved, dark red or gold grounds with colored acanthus leaves, flowers or birds, a few borders with heraldry (f.15) or scrolls with motto “Et non sans cause” (f.135v), with 16 large fullpage miniatures set in characteristic architectural gold frames, some with Roman display capitals (beginning of text that follows on verso of leaves), some frames with added compartments with painted or camaieu d’or columns, figures, putti, cornucopiae and busts (see for instance lower frame on fol. 23 and fol. 76 with a sequence of busts treated in grisaille on dark red grounds).

A few cases of smudging or thumbing (f.1v, 82, 143v–144) and some loss to paint surface in a few places (e.g. f.1, 6, 7, 22v, 39, 53, 59); some leaves a bit stained or warped (towards the end of the codex); some leaves cropped a bit short in a few cases with slight loss to the architectural borders (f. 23, 49, 76, 79, 143v–144); small loss to parchment in upper righthand corner of f. 53 and to lower righthand corner of f.157.

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BINDING

Bound in modern red velvet over pasteboards, spine sewn on three raised thongs, brass claps, monogram on the clasp still present (one clasp wanting; the clasp present apparently mounted upside down), with cipher letters “M / E / U / S / L”, engraved “fermesses” on the catchplates, gilt edges, paper pastedowns (velvet a bit worn in certain places, lower clasp wanting, else good condition). Paper label with initials (R and P ?) traced in brown ink, pasted on upper pastedown.

described as follows: D’azur à la fasce d’or accompagnée en chef de deux étoiles d’or à six raies et un besant d’argent et en pointe d’un besant d’argent. There is a family motto, repeated a number of times, once above the donor’s portrait: “Et non sans cause”; the motto is repeated again on two scrolls in the border of the Suffrage to Saint Anne (f. 135v).

PUBLISHED IN

Jezler (dir.), Himmel, Hölle, Fegefeuer …(1994), no. 30 [exhibited in Köln at the Wallraf-Richartz-Museums]. – Avril and Reynaud (1993), p. 361, in the entry dedicated to Paris, BnF, fr. 5089, Les Alarmes de Mars sur le voyage de Milan … (circa 1500): “L’auteur de cette belle composition est un nouveau venu dans le monde de l’enluminure lyonnaise, où il apparaît dans les dernières années du siècle. Son beau coloris franc, ses compositions harmonieuses, et équilibrées et ses personnages aux traits sculpturaux se retrouvent dans plusieurs livres d’heures lyonnais de l’époque (New Haven, Yale University, Beinecke Library, MS 435; New York, H. P. Kraus, cat. 95, no. 24; cat.

Tenschert, XXX, 1993, no. 29 [ …]”. Noteworthy that the present codex is none other than the former H.P. Kraus reference. – Burin, E. (2001), no. 17, pp. 84–85.

ORIGIN

1. This manuscript is made for the universal liturgical use of Rome (Office of the Virgin and Office of the Dead) and its Calendar is for the general “universal” composite use with no specifically local Lyonnais saints. However one should underscore that in the Litany both Saint John the Baptist and Saint Stephen are present, and both were patron saints of the Cathedral of Lyon. The donors are presented by these same saints, Saint John the Baptist for the male donor and Saint Catherine for the female donor, but the latter is depicted facing a large full-page miniature of Saint Stephen.

Stylistically, these Horae are clearly painted in Lyon at the turn of the sixteenth century, and contain miniatures by two important Lyonnais artists, respectively the “Lambert Master” and the “Master of the Alarmes de Mars.”

2. Manuscript made for the donors depicted in prayer. The male donor is painted on fol. 22v: his Christian name might well be Jean or Baptiste as the male donor is presented

by Saint John the Baptist. Noteworthy, John the Baptist figures in high position in the Litany (f. 92)). The female donor, likely the male donor’s wife, is represented on fol. 143v: her Christian name might have been Catherine as the female donor is presented by Saint Catherine.

There are three painted heraldic shields (f. 15v [shield in the border of the small miniature depicting Saint Luke]; f. 22v [large shield beneath the male donor’s portrait]; f. 143v [large shield beneath the female donor’s portrait]). These arms are

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In his Armorial général du Lyonnais, Forez et Beaujolais (1860), A. Steyert records the following shield in the alphabetical plates under “Le Saunier”: D’azur à la fasce d’argent à deux besants du même l’un en chef entre deux étoiles d’or l’autre en pointe and lists “Saunier (Le), G [reference to Goussancourt. Armoiries lyonnaises.

Manuscrit]. Jourdan S. était conseiller de ville en 1386” (Steyert, 1860, p. 83). The heraldry is very close, with perhaps a variant in the color of the “fasce”, described

by Steyert as “fasce d’argent” whereas in the present manuscript we have apparently a “fasce d’or”. According to Steyert, one records an earlier “Jourdan Saunier” who was “conseiller de ville” in Lyon in 1386 (see Monfalcon, J. B. Histoire de la ville de Lyon depuis son origine jusqu’en 1846, Lyon, 1847, tome II, p. 1396).

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PROVENANCE

1. Sir Thomas Phillipps (1792–1872), English antiquary and book-collector, famous “vello-maniac”, owner of the largest collection of manuscript material in the nineteenth century, his shelfmark no. 4798, acquired circa 1831. See The Phillipps Manuscripts. Catalogus librorum manuscriptorum in bibliotheca D. Thomae Phillipps, 1837–1871 (with an introduction by A.N.L. Munby) [reprinted London, 1968], p. 80. See also, Munby (A.N.L.), The Formation of the Phillipps Library up to the Year 1840, Phillipps Studies, 3, Cambridge, 1954, p. 159.

2. Otis T. Bradley (1895–1950), New York, attorney, collector and bibliophile. He was President of the New York State Bar Association. He is known for his interest in William Blake and was an important donor to Yale University as he was a Yale Alumnus. The manuscript was sold in 1959, in the following sale Sotheby’s, Catalogue of Valuable Printed Books, Medieval Manuscripts and Autograph Letters, the Property of Lt-col. C.G. Darley ..., of George Brudenell ... of the ... Lord Kenyon ... of the Late Otis T. Bradley, London, 23 February 1959, lot 232, p. 50. In this sale, the manuscript fetched 2 900 £.

3. H.P. Kraus (1907–1988), celebrated bookdealer established in New York, described as “without doubt the most successful and dominant rare book dealer in the world in the second half of the 20th century”, his Catalogue 95, no. 24. Burin indicates: “Sold by H.P. Kraus in 1968 to Hellmut Schumann, A.G. of Zurich and resold in the same year”. Burin adds: “Present whereabouts unknown” (Burin, 2001, cat. 17).

4. European Private Collection.

TEXT

– ff. 76–78v, Short Hours of the Cross; – ff. 79–81v, Short Hours of the Holy Spirit; – ff. 82–95, Penitential Psalms, followed by Litany (ff. 91v– 93), including saint John the Baptist; Stephen, Lawrence, Vincent, Catherine, Elizabeth; followed by Prayers; – ff. 95v–124, Office of the Dead (use of Rome), with the following readings: (1) Credo quod; (2) Qui Lazarum; (3) Domine quando; (4) Memento mei; (5) Heu michi; (6) Ne recorderis; (7) Peccantem me; (8) Domine secundum; (9) Libera me (See Leroquais, Office des Morts, BnF ms. NAL 3163, fol. 97); – ff. 124v–129, Passion according to Saint John; followed by Prayers in Latin; – ff. 129–131v, Prayers in French, incipits, “Ihesucrist filz de la divinité …”; “Glorieuse Vierge Marie a toy me rens et si te prie …”: – ff. 132–133, Seven Verses of Saint Bernard; – ff. 133v–141, Suffrages to the Saints, with Sebastian; Anthony Abbott; Claude; Anne; Catherine; Barbara; Oratio ante ymaginem corporis Christi (ff. 138–141); – ff. 141–143, O intemerata; – ff. 143v–144v, Suffrage to Saint Stephen [it will be underscored that the Cathedral of Lyon (or “Primatiale Saint-Jean-Baptiste-et-Saint-Étienne”) is dedicated to both Saint John the Baptist and Saint Stephen];

– ff. 1–12v, Calendar, in French, in red, blue and brown ink, universal Paris composite use, including the following noteworthy saints: Vincent (in blue, 22 Jan.); Estienne (Stephen), twice in August (2 Aug; in blue, 4 Aug.); Lawrence (in blue, 10 Aug.); Baldomer (2 Sept.), honored in Lyon;

– ff. 145–150v, Prayers in Latin, including, “Missus est Gabriel …”; “Te deprecor ergo …”;

– ff. 13–13v, ruled blank leaves;

– ff. 152v–157, Prayers relative to the Seven Verses of Our Lord, in French, long rubric (fol. 152v), Qui ceste oraison dira / Ce jour desconfes ne morra / Ne deable ne luy porra nuyre / Ne nul mal …faire iniure / Et trois jours devant sa mort / Verra la mere de confort; incipit, “La premiere parolle.

Ihesus en qui tout bien habunde / Qui au partir du mortel monde …”;

– ff. 14–19, Gospel pericopes; – ff. 19–22, Obsecro te, masculine use: “Et michi famulo tuo …” (ff. 20v–21) – ff. 22v–66v, Hours of the Virgin, use of Rome, interspersed with Hours for the Days of the Week at Matins; with Matins (ff. 23v–38v); Lauds (ff. 39–48v); Prime (ff. 49–52v), antiphon, “Assumpta es”; capitulum, “Que est ista”; Terce (ff. 53–55v); Sext (ff. 56–58v); None (ff. 59–61v), antiphon, “Pulcra es”; capitulum, “In plateis”; missing the beginning of Vespers, miniature wanting (ff. 62–65v); Compline (ff. 66–69v);

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– ff. 67–75v, Prayers, including “Nunc dimittis …”; “Beate et gloriose …”; “Salve Regina …”; “Omnipotens sempiterne …”; rubric, Ad vesperas primi sabbati de adventu usque ad vigiliam nativitatis domini … [Prayers and Mass for Advent];

– ff. 150v–152v, Prayer to Jesus Christ, in French, rubric, Oratio ad dominum nostrum ihesum christum; incipit, “Mon benoist dieu je croy de cueur …”;

– ff. 157–157v, Added prayer in a different yet near contemporary hand, starting, “Exellentissima domina et glorissima semper virgo maria …”.

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ILLUSTRATION

There are 24 Calendar miniatures, with Labors of the Months and Signs of the Zodiac, as follows: – f. 1, Calendar, month of January, Feasting; – f. 1v, Calendar, month of January, Aquarius; – f. 2, Calendar, month of February, Sitting by the fire

– f. 22v, Male donor in Prayer, presented by Saint John the Baptist (the Primatiale de Lyon is dedicated to Saint John the Baptist and Saint Stephen); [large miniature, Lambert Master]; – f. 23, Annunciation [large miniature];

– f. 2v, Calendar, month of February, Pisces;

– f. 39, Visitation (noteworthy, the presence of Saint Joseph) [large miniature];

– f. 3, Calendar, month of March, Pruning trees

– f. 49, Nativity [large miniature];

– f. 3v, Calendar, month of March, Aries;

– f. 53, Annunciation to the Shepherds [large miniature] ;

– f. 4, Calendar, month of April, Man in the garden;

– f. 55, Adoration of the Magi [large miniature] ;

– f. 4v, Calendar, month of April, Taurus;

– f. 59, Circumcision [large miniature];

– f. 5, Calendar, month of May, Man with a falcon in the garden;

– Missing miniature at Vespers (between ff. 60v–61).

– f. 5v, Calendar, month of May, Gemini (portrayed as a naked couple); – f. 6, Calendar, month of June, Hay Harvest; – f. 6v, Calendar, month of June, Cancer; – f. 7v, Calendar, month of July, Wheat Harvest – f. 7, Calendar, month of July, Leo; – f. 8v, Calendar, month of August, Wheat threshing;

– f. 66, Assumption of the Virgin [large miniature]; – f. 76, Crucifixion [large miniature]; – f. 79, Pentecost [large miniature]; – f. 82, David and Bathsheba [large miniature]; – f. 95v, Job on his Dungheap mocked by his sons and friends [large miniature]; – f. 124v, Arrest of Christ and Kiss of Judas [small miniature];

– f. 8, Calendar, month of August, Virgin;

– f. 132, Saint Bernard, holding a book, and the Devil [small miniature];

– f. 9v, Calendar, month of September, Grape Harvest;

– f. 133v, Martyrdom of Saint Sebastian [small miniature];

– f. 9, Calendar, month of September, Libra;

– f. 134v, Saint Anthony Abbott [small miniature];

– f. 10v, Calendar, month of October, Sowing;

– f. 135, Saint Claude [small miniature];

– f. 10, Calendar, month of October, Scorpio;

– f. 135v, Saint Anne teaching Mary to read [small miniature];

– f. 11v, Calendar, month of November, Gathering acorns for pigs;

– f. 136v, Saint Margaret [small miniature];

– f. 11, Calendar, month of November, Sagittarius; – f. 12v, Calendar, month of December, Killing the pig; – f. 12, Calendar, month of December, Capricorn.

THERE ARE 16 LARGE MINIATURES AND 15 SMALL MINIATURES, AS FOLLOWS:

– f. 137, Saint Barbara [small miniature]; – f. 138, God in Majesty [small miniature]; – f. 143v, Female Donor in prayer, presented by Saint Catherine of Alexandria; the scene is set in a room with a marbled-panelled apse and frieze that reads: “catherinae greciae gemmae” [large miniature; Master of the Alarmes de Mars];

– f. 15v, Saint Luke [small miniature];

– f. 144, Saint Stephen, holding the stones of his martyrdom and an open book; there was also an important Church in Lyon dedicated to Saint Etienne, destroyed at the Revolution); [large miniature; Master of the Alarmes de Mars];

– f. 16v, Saint Matthew [small miniature];

– f. 145, Pietà [small miniature];

– f. 18, Saint Mark [small miniature];

– f. 151, Christ of Sorrows standing by his Cross [small miniature];

– f. 14v, Saint John the Evangelist on the Island of Patmos, with his attribute the eagle [large miniature];

– f. 19, Virgin and Child [small miniature];

– f. 153, Ecce Homo, between Mary and John, with arms of the Passion [large miniature].

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A COLLABORATION OF TWO LYONNAIS ARTISTS In her important study, E. Burin, Manuscript Illumination in Lyons 1473–1530 (2001) retraces the development of a school of painting in Lyon, parallel to the local flourishing printing press with the first book printed in the city in 1473. The author maps out manuscript production in Lyon according to different workshops, sometimes collaborating in a same manuscript, as is the case here. This manuscript was known to Burin (see her cat.17) and was indexed as “H.P. Kraus, catalogue no. 24”. However, at the time of her study Burin did not have access to the codex and hence the resurfacing of these Horae constitutes something of a rediscovery.

The manuscript boasts paintings by two important artists and workshops from Lyon. With the exception of the two large miniatures painted on ff.143v–144, the majority of the miniatures in these Horae are painted by the Master of Guillaume Lambert, an artist and workshop active in Lyon circa 1475–1490 (see Burin, 2001, pp.14–17, “The Lambert Master”; Lévy, 2017, p. 79). Burin underscores the modernity of this artist, announcing the dramatic close-ups of the early sixteenth century miniatures: “The Master of Guillaume Lambert (hereafter the Lambert Master) takes a new, more modern approach to his compositions. Using a narrow format, he crowds the picture with large figures, sometimes cutting the foremost off at the knee and half-concealing subsidiary characters at the sides [ …] It gives the viewer a feeling of intimacy with the main characters in the scene while heightening the sense of drama” (Burin, 2001, p.14). Initially coined by John Plummer (1982), the artist and his workshop are named after a Book of Hours copied by an “escrivain de lettre de forme” who was a scribe named Guillaume Lambert.

In these Horae, the miniatures are attributable to the artist now referred to as “Master of Guillaume Lambert” (Hours of Guillaume Lambert (dated 1484), formerly Quaritch (1931); Heribert Tenschert / Antiquariat Bibermühle, Ramsen, Leuchten-des Mittelalter VI (1993), no. 74, now New York, PML, MS 1162; Burin, 2001, no. 42). Within the “Lambert group”, Burin finally distinguishes at least five different hands.

The majority of the miniatures in the present ex-Kraus Horae are attributable to the “Lambert Master” properly speaking. The grand half-figure portrait of the donor in prayer with his pale carnation and dark robes, presented

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by John the Baptist and facing the Annunciation (ff. 22v– 23), is close in style to the donor portrait in another Book of Hours painted by the Lambert Master. This is the final miniature representing the original male owner with arms of the Troyes Molé family in the manuscript kept in Rodez, Bibliothèque de la Société des Lettres, Sciences et Arts de l’Aveyron, MS 1 (Burin, 2001, cat. 37, reproduced pl. 86).

A second artist comes into play towards the end of the codex with the striking diptych found on ff.143v–144 showing the female patron clad in fashionable bright red with an elegant white collar and a gold crochet hairnet, kneeling before a small open book. The female patron is presented by a haloed Saint Catherine with her sword symbol, whose identity is confirmed by the frieze in the marble-panelled apse (note the wonderful architectural frame, catering to the emerging Renaissance taste, with two naked women and perhaps David and Goliath-related figures). Saint Catherine and the female donor (apparently the “Le Saunier” family arms in the architectural frame, the same found below the male donor) both gaze steadily towards the facing full-page miniature that portrays Saint Stephen with an open book and the stones of his lapidation hidden in the folds of his dalmatic, identified also by lettering at the base of the architectural gold frame. Both these fullpage miniatures are attributable to another Lyonnais artist, of great talent, named “Master of the Alarmes de Mars”, active circa 1485–1510 (see Burin, 2001, pp. 25–27: “The Alarmes Master”). This artist was named after a manuscript made during the launching of King Louis XII’s campaign and conquest of Milan, entitled Les Alarmes de Mars sur le voyage de Milan avec la conqueste et entrée d’icelle (Paris, BnF, MS fr. 5089; Burin, 2001, cat. 61). This artist epitomizes the emergence of a new aesthetic in Lyonnais art after the beginnings of the Italian Wars. Although clearly distinct in style, Burin states that the Master of the Alarmes de Mars owes a lot to the Lambert Master and there are a few codices in which the two artists collaborate, for example Lyon, BM, MS 583 (Burin, 2001, cat. 51). Both artists share the choice of close-up compositions and in some cases greyish flesh tones. The Master of the Alarmes de Mars is however recognizable by the large, almost globular and piercing, blue eyes of his figures, their pointy chins and generally the striking chromatic effects of robes and scenery. Burin suggests that the Master of the Alarmes de Mars was perhaps first a

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collaborator in the workshop of the Lambert Master which would account for two Books of Hours in which both artists contribute miniatures, the above-mentioned Lyon, BM, MS. 583 and the present rediscovered ExKraus Horae, with its smashing donor portraits set in fine architectural gold borders.

Although further heraldic research is necessary, we are tempted to call the present Hours tentatively the “Le Saunier Hours”, with hope that one might find in the genealogy of that family the unidentified but certainly proud Lyonnais donors of this manuscript.

LITERATURE

Avril, F. et N. Reynaud, Les manuscrits à peintures en France, 1440–1520, Paris, Flammarion, 1993.

Burin, E. Manuscript Illumination in Lyons, Turnhout, Brepols, 2001.

Jacobs, Lynn. “The Master of Getty MS 10 and Fifteenth-­ Century Manuscript Illumination in Lyons”, in J. Paul Getty ­Museum Journal, 21 (1993), pp. 55–83.

Jezler, Peter (dir.). Himmel, Hölle, Fegefeuer. Das Jenseits im Mittelalter, Munich, 1994, no. 30 [entry written by Bodo Brinkmann]. Catalog for the exhibition held in Köln at the Wallraf-Richartz-Museums.

Lévy, Tania. Les peintres de Lyon autour de 1500, Rennes, 2017.

Plummer, John and Gregory Clark. The Last Flowering: French Painting in Manuscripts, 1420–1530, from American Collections. New York, Pierpont Morgan Library, 1982.

Steyert, André. Armorial général du Lyonnais, Forez et Beaujolais..., Lyon, Librairie A. Brun, 1860.

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Charming (earlier!) “Spinola Hours” Painted in Bruges, Perhaps for Paolo Battista Spinola

3 BOOK OF HOURS (Use of Rome)

In Latin, illuminated manuscript on parchment Belgium, Bruges, circa 1470–1475 With 14 full-page miniatures attributable to a ­Bruges painter, in the style of Willem Vrelant (­active in Bruges, 1454–1481) Dimensions of leaves: 112 × 75 mm Dimensions of binding: 118 × 85 mm

CHF 90 000–120 000

Die Zusammenfassung in ­Deutsch finden Sie ab S. 47.

Vous trouverez une notice en français p. 53.

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original size

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3

BOOK OF HOURS CIRCLE OF GUILLAUME VRELANT; PATRON: PAOLO BATTISTA SPINOLA Originating in Bruges and illuminated by a follower of the syle of Willem Vrelant, these Horae were commissioned for the donor painted in the margin of the leaf which figures the Virgin and Child with Musician Angels. Above the kneeling donor is his family crest: the first owner of these Horae was a member of the prestigious Spinola family from Genoa. The rounded Italianate script of the present Horae often denotes a manuscript made in Bruges for export to a South-European destination and would have fitted the donor’s taste as he was Italian. The elegant borders are of the Vrelant acanthus-floral type, inhabited by a varied figures and bestiary, some reminiscent of models tied to the Master of the Playing Cards and generally in keeping with the style of borders in Vrelant and Vrelant-followers manuscripts.

186 ff., preceded by two ruled parchment flyleaves and followed by two ruled parchment flyleaves, complete [collation: i6, ii6, iii8+1, iv8+2, v8, vi4, vii8+1, viii8, ix8+1, x6, xi8+2, xii6+1, xiii8+1, xiv8+1, xv8+2, xvi8, xvii6, xviii2, xix8+1, xx8, xxi8, xxii8+1, xxiii8, xxiv6], miniatures all on inserted singletons, written in a rounded Italianate liturgical script, on up to 16 lines, parchment ruled in light red ink (justification: 58 × 40 mm), rubrics in red, capitals touched in yellow, some capitals with calligraphic pen flourishing, small versal initials in blue or burnished gold with opposing red or dark blue filigree penwork, 2-line initials in burnished gold on dark pink and blue grounds highlighted with white tracery, five larger initials from 2- to 5-line initials in pink or blue on burnished gold grounds with infill of colored floral rinceaux with extending gold baguettes and bracket illuminated borders on reserved grounds with colored acanthus leaves, hair-line rinceaux

and gold besants, flowers and strawberries, 14 large initials of the same type, introducing the major textual divisions, with text and decorated initial set in full illuminated borders of the same type as bracket borders but also inhabited with bestiary, birds and painted figures, 14 large full-page miniatures facing text and illuminated borders, also set in full illuminated borders of the same type.

A few stains to parchment; some loss to paint surface (f. 13v, face of spear-bearer; f. 29v, robe of kneeling donor; blue robe of the Virgin a bit rubbed; face of one of the musician angels; f. 86v, face of the angel; f. 92v, small loss to the carnations of the Magi); some faces perhaps a bit retouched or painted by auxiliary workshop artists, such as one of the Magi in the Adoration of the Magi (fol. 92v) and two figures in the background of the Circumcision (fol. 98v).

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BINDING

Bound in a ninetheenth-century binding of purple velvet over wooden boards, with silver catchplates, missing clasp, silver cornerpieces and centerpieces on upper and lower covers, smooth spine, gilt and gauffered edges (velvet very worn). The binding was likely added when the manuscript was in the collection of John Boykett Jarman and it is characteristic of the type of bindings commissioned by Jarman (see Backhouse, ‘A Victorian Connoisseur’ (1968), ill. XXX).

Holy Land at the end of the eleventh century and was appointed several times Consul of Genoa between 1102 and 1121. Allied with the Doria, the Spinola ruled the Ghibelline party, supporting the German Emperor, while the two other main families of Genoa, the Fieschi and the Grimaldi, ruled the Guelph party, supporting the Pope. Genoa was initially a Guelph stronghold but the power of the Spinola increased after the set-up of the Republic of Genoa: the lineage gave 10 doges and 127 senators to the Republic.

PUBLISHED IN

Jezler (dir.), Himmel, Hölle, Fegefeuer …(1994), no. 28 [exhibited in Köln at the Wallraf-Richartz-Museums].

ORIGIN

1. Liturgical use for this Book of Hours is for the general use of Rome. There is no Office of the Dead in this codex.

However the Calendar and style of miniatures denote a Flemish origin, with Belgian-related saints including Milburga (23 Feb); Gertrude (17 March); Bonifatius, in red (5 June); Basil (in red, 14 June); Eloi, in red, twice (26 June and 1 Dec); Amelberga of Maubeuge (13 July); Donat (7 Aug); Bertin, abbot (5 Sept); Lambert (17 Sept); Donatian of R ­ eims, whose relics are housed in Bruges (in red, 14 October); Machut (15 Nov.); Nicaise, in red (14 Dec).

2. Stylistically, the miniatures and decoration of these Horae are tied to Bruges and its production of illuminated manuscripts for the foreign market, including patrons from England, France, Spain and here Italy. The rounded Italianate script of the present “Spinola Hours” might suggest the participation of a southern-European scribe, much like the Hours of the Cañavate de la Cueva Family, painted by Willem Vrelant, and copied in the same rounded script with similar borders and lay-out as well. Anne Dubois suggested that these types of Horae were copied in Bruges and destined for southern European destinations (see Bousmanne and Delcourt (ed), Miniatures flamandes, 2011, no. 48, p. 249).

PROVENANCE

1. Manuscript commissioned for the kneeling donor clad in black depicted in the illuminated margin on fol. 29v.

The manteled arms of the Spinola Family are found on fol. 29v, above the portrait of the praying donor. These are: D’or, à la fasce échiquetée d’argent et de gueules de trois tires, accompagnée en chef d’une espile de gueules (spina di botte), fichée dans la fasce (Rietstap).

Spinola was a famous Italian lineage, with members playing a significant part in the history of the Low Countries in the service of the King of Spain later in the 17th century. The family is historically tied to the city of Genoa. The name of Spinola was mentioned for the first time in 952, while the oldest known member of the lineage, Guido Spinola, fought in the

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Although we do not know for sure for which member of the Spinola family this manuscript was made, the leading candidate appears to be Paolo Battista Spinola who was at the service of Edward IV, King of England, an important patron of Bruges artists. It is likely, much like the prince he served, that Paolo Battista Spinola would have turned to Flemish artists for his Horae. In this, this earlier fifteenth century patron paved the way for another Spinola ownership of prestigious Flemish artistic commissions, for example the famous “Spinola Hours” (Los Angeles, J. Paul Getty Museum, Ludwig XI 18; five artists, datable Bruges and Ghent, c. 1510–1520). It is not known precisely for whom the later Getty Spinola Hours were initially commissioned (T. Kren and E. Morisson suggest Margaret of Austria, in Kren and McKendrick, Illuminating the Renaissance, 2003, p. 417, entry on the Spinola Hours).

2. John Boykett Jarman (1782–1864), London jeweler and collector (“Victorian connoisseur”). His collection was damaged by the London flooding in 1846 that inundated Jarman’s house, but there is no sign of damage to the present manuscript. See J. Backhouse, “A Victorian Connaisseur and His Manuscripts: The Tale of Mr. Jarman and Mr. Wing”, in The British Museum Quartely, vol. 32, no. 3/4 (Spring 1968), pp. 76–92. His collection was sold upon his passing at Sotheby’s, 13 June 1864: Catalogue of

the Beautiful Collection of Illuminated Missals and Books of Hours... Formed by the Late John Boykett Jarman. These Horae would fit well no. 149 in this sale, described as follows: “Horae beatae Mariae Virginis secundum Usum Romanum cum Calendario. Manuscript on vellum, finely written in a very small size, and ornamented with numerous capitals, 14 bordered miniatures, and 14 borders, all illuminated in gold and colours, in an artistic style, purple velvet, gilt gauffré edges, with chased silver clasps”.

3. An annotated copy of the Jarman Sale (bequeathed by Seymour de Ricci) indicates the names of purchasers: lot 149 is said to have been acquired by “Lilly”. This is most likely Joseph Lilly (1804–1870), book-seller in London and whose stock was sold by Sotheby’s in a series of sales in 1871 and in 1873. Joseph Lilly was the leading buyer of medieval manuscripts in the Jarman Sale.

4. Sold at Sotheby’s, London, Western Manuscripts and Miniatures, 24 June 1986, lot 104: the manuscript fetched the high price of 66 000 £. This catalogue suggested the following for the first ownership: “The miniature here may

provide a clue. It is the first evidence that a member of the Spinola family was in Flanders at the end of the Middle Ages, buying manuscripts. It may even be possible to identify the man shown here. Paolo Battista Spinola was in south Flanders when he was captured by the armies of Edward IV of England, under the mistaken impression that he was French, and was taken to London. Here he helped overthrow a plot to assassinate the King and he was richly rewarded by Edward IV who made him a knight of the Garter and allowed him to add the white rose to the arms of Spinola (see M. Deza, Istoria della Famiglia Spinola, Piacenza, 1694, pp. 273–274). At least this places him in the cultural circle of Edward IV, the first foreign prince to patronize the bookshops of Bruges” (Sotheby’s, London, 24 June 1986, lot. 104, p. 138). At the time, the Sotheby’s catalogue attributed the miniatures to Loyset Liédet, active in Hesdin and in Bruges in the 1450s–1470s.

5. Exhibited and discussed in P. Jezler. Himmel, Hölle, Fege­ feuer. Das Jenseits im Mittelalter, Münich, 1994, cat. 28.

6. European Continental Collection.

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TEXT

– ff. 1–12v, Calendar, in Latin, in red and brown ink, including the following noteworthy saints, many honored in the diocese of Bruges: Agnes (28 janvier); Amandus (or Amand) (in red, 6 Feb.); Milburga (23 Feb.); Adrian (4 March); Gertrude (17 March); Valery (1 April); George (in red, 22 April); Brandan (17 May); Boniface (in red, 5 June); Basil (in red, 14 June); Eloi (in red, 26 June); Amelberga of Maubeuge (13 July); Donatus (7 August); Bertin (5 Sept.); Lambert (17 Sept.); Donatian, patron saint of the Cathedral in Bruges (14 Oct.); Machut (15 Nov.); Eloi (in red, 1 Dec); Thomas Beckett (29 Dec); – f. 13, blank recto of inserted singleton; – ff. 13v–21v, Hours of the Cross; – f. 22, blank recto of inserted singleton; – ff. 22v–28v, Hours of the Holy Spirit; – f. 29, blank recto of inserted singleton; – ff. 29v–36v, Mass of the Virgin; – ff. 37–42v, Gospel Pericopes; – ff. 42v–43v, Salve Regina; – f. 44, blank recto of inserted singleton; – ff. 44v–119v, Hours of the Virgin, use of Rome, with rubric, Incipiunt hore beate marie virginis secundum usum romanum, with Matins (ff. 45–65v); Lauds (ff. 67–79v); Prime (ff. 81–85v); Terce (ff. 87–91v); Sext (ff. 93–97v); None (ff. 99–103v); Vespers (ff. 105–113); Compline (ff. 115–119v); – Blank rectos of inserted singletons are found on: ff. 66, 80, 86, 92, 98, 104, 114.

The present manuscript contains 14 full-page miniatures painted on inserted singletons.

– f. 13v, Crucifixion (Hours of the Cross); – f. 22v, Pentecost (Hours of the Holy Spirit); – f. 29v, Virgin and Child with Musician Angels. – Donor in Prayer in the illuminated border, with his arms (Mass for the Virgin Mary).

The portrayal of the donor in this position and painted in the outer margin recalls a number of donor portraits found in Flemish manuscripts, including those painted by William Vrelant, such as the donor in the margin of fol. 25v of the Montfort Hours (Vienna, ÖNB, MS s.n. 12878) depicted in the same marginal and kneeling position as the present Spinola donor in the present codex. Another donor, clad in similar black, with a suspended hat, much like the donor in the Spinola Hours, can be found in a miniature of the Traité sur la salutation évangélique (Brussels, KBR, MS 9270, fol. 2v; reproduced in Bousmanne and Delcourt (ed), Miniatures flamandes, 2011, p. 255). Finally, a donor portrayed in the margin of a Book of Hours (New York, Pierpont Morgan Library, M. 387) is also clad in black and kneels on a small rounded plot of grass (see Bousmanne, 1997, pl. 87).

– f. 44v, Annunciation (Hours of the Virgin, at Matins); – f. 66v, Visitation (Hours of the Virgin, at Lauds); – f. 80v, Nativity (Hours of the Virgin, at Prime); – f. 86v, Annunciation to the Shepherds (Hours of the Virgin, at Terce); – f. 92v, Adoration of the Magi (Hours of the Virgin, at Sext);

– f. 120v, blank recto of inserted singleton;

– f. 98v, Circumcision (Hours of the Virgin, at None);

– ff. 121–130, Office of the Virgin for Advent, rubric, Incipit officium beate marie virginis quod dicitur per totum adventum ad vesperas;

– f. 104v, Massacre of the Innocent (Hours of the Virgin, at Vespers);

– f. 130v–135, Obsecro te, in the masculine form, “ …michi famulo tuo …”; – ff. 135–138, O intemerata; – ff. 138v–139, blank leaves; – ff. 139v–163v, Penitential Psalms, with Litany (ff. 153–163v); – f. 164, blank recto of inserted singleton; – ff. 164v–186v, Psalter of Saint Jerome.

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ILLUSTRATION

– f. 114v, Flight into Egypt (Hours of the Virgin, at Compline); – f. 120v, Coronation of the Virgin (Office of the Virgin, for Advent); – f. 139v, Last Judgment (Penitential Psalms); – f. 164v, Saint Jerome in his study, with a lion at his feet (Psalter of Saint Jerome).

The style of the miniatures in these Horae suggests they were painted in Bruges, the centre of the export trade in fifteenth-century Flanders, with manuscripts made for export to England, Spain, France and Italy. Willem Vrelant (active 1454–1481), his workshop on which he relied given the significant number of his commissions, as well as his followers, all specialized in the production of small Books of Hours such as this one. Vrelant’s widely-emulated style can be best identified here in the strong palette, setting blue against yellow, orange and red, and emphatic black lines to detail and outline: this distinctive style of illumination was conservative for the time and was favored by a large number of illuminators active in Bruges sensitive to the Vrelant style. The delightful creatures, people and bestiary, enlivening the acanthus and floral borders in the present “Spinola Hours”, are typical of a “Vrelantesque” repertory: a sponge-bearer (fol. 13v), a facing couple (fol. 81), musician angels (fol. 45 and fol. 92v), a bird eating a worm (fol. 98v), a grotesque face (fol.104v), a masculine “lunar” round face (fol.105), facing heads of a couple linked by an acanthus leaf (fol.165) and a number of birds and grotesques.

These Hours appear to have emanated from an artist familiar with the production of Willem Vrelant who had settled in Bruges by 1454 and rapidly attained

commercial success, benefiting from the patronage of the Dukes of Burgundy and other Burgundian courtiers and functionaries. The present Hours were made for one of these high ranking courtiers, a member of the Spinola family from Genoa, a family which, over the centuries, provided ten doges of Genoa and twelve cardinals in Rome. In the recent exhibit, Illuminating the Renaissance, T. Kren underscores the following: “His ambitious commissions from foreign patrons epitomize the growing international character of the book trade in Bruges. Prominent foreign patrons include Juana Enriquez, consort of King Juan II of Aragon, the powerful Breton noble and bibliophile Jean de Malestroit, lord of Derval, and the Genoese noble Paolo Battista Spinola” (Kren and McKendrick, 2003, p.117).

Paolo Battista Spinola was a high-ranking soldier, at the service of a number of princes, including Edward IV of England whose interests he defended, especially in battles against the French in Northern France (Picardie): “But, whilst Italy was filled with eminent characters of the House of Spinola, their name extended to distant parts of Europe, from the prowess of Paolo Battista Spinola, who, in France as well as England, added to the glory of his ancestors by two celebrated actions” (The Gentleman’s Magazine, vol. 145, Jan. to June, 1829, p. 302, based on the work by Deza, 1694).

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LITERATURE

Backhouse, Janet. “A Victorian Connaisseur and His Manuscripts: The Tale of Mr. Jarman and Mr. Wing”, in The British Museum Quartely, vol. 32, no. 3/4 (Spring 1968), pp. 76–92 Bousmanne, Bernard, “Item à Guillaume Wyelant aussi enlumineur”. Willem Vrelant, un aspect de l’enluminure dans les Pays-Bas méridionaux, sous le mécénat des ducs de Bourgogne Philippe le Bon et Charles le Téméraire, Brussels, 1997.

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Kren, T. and S. McKendrick, eds., Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe, Getty Museum / Royal Academy of Arts, 2003. On Willem Vrelant, see pp. 117–119.

Pelligrini, S. I magnifici Spinola. Una famiglia che ha segnato la storia di Genova, De Ferrari, 2010, in particular the chapter relative to “Gli Spinola fuori Genova”, pp. 115–126.

Bousmanne, Bernard and Thierry Delcourt (eds). Miniatures flamandes 1404–1482, Bibliothèque nationale de France and Bibliothèque royale de Belgique, 2011; see on Willem Vrelant, pp. 238–255.

Van Buren, Anne H. “Willem Vrelant: Questions and Issues”, in Revue belge d’archéologie et d’histoire de l’art, LXVIII, 1999, pp. 3–30.

Deza, M. Istoria della famiglia Spinola, Piacenza, 1694.

ONLINE RESOURCES

Jezler, Peter (dir.). Himmel, Hölle, Fegefeuer. Das Jenseits im Mittelalter, Münich, 1994, no. 28 [entry written by Bodo Brinkmann]. Catalog for the exhibition held in Köln at the Wallraf-Richartz-Museums.

Manuscript recorded in the following database “Luxury Bound”: http://telma.irht.cnrs.fr/outils/luxury-bound/manuscrit3674/

Seite 43

ZUSAMMENFASSUNGEN IN DEUTSCH Lose 1–3

Page 49

RÉSUMÉS EN FRANÇAIS Lots 1–3

Originalgrösse

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DEUTSCH Los 1

Exquisites Stundenbuch aus der Reifezeit des Meisters der Genter Privilegien mit fabelhaften Bordüren, die Jacquemart Pilavaine zugeschrieben werden.

MEISTERS DER GENTER PRIVILEGIEN; JACQUEMART PILAVAINE Das in leuchtenden Farben gemalte Stundenbuch wird dem Meister der Genter Privilegien zugeschrieben, benannt nach einem reich verzierten Manuskript der Statuten und Privilegien von Gent und Flandern, das für Philipp den Guten, Herzog von Burgund, angefertigt wurde (Wien, ÖNB, Cod. 2583). Der Künstler wurde inzwischen als Jean Ramont der Jüngere, «alumineur de livres», identifiziert (siehe D. Vanwijnsberghe und E. Verroken in ihrer Studie über die ältere Künstler­ gruppierung namens Meister von Guillebert de Mets). Der in Gent und Tournai tätige Meister der ­Genter Privilegien verfügte über ein ausgeprägtes Gespür für Farben, und seine Kompositionen verdanken der vorangegangenen Kunst des 15. Jahrhunderts und Pariser Vorbildern viel.

Diese Handschrift zeigt speziell die identifizierbaren figürlichen Charakteristika des reifen Meisters der Genter Privilegien. Die eleganten Miniaturen sind von reichen Bordüren eingefasst, die dem talentierten Jacquemart Pilavaine, einem in Mons tätigen Schreiber, Illuminator und Buchbinder, zugeschrieben werden (siehe A. Esch, 2002). Auch einige liturgische Elemente spiegeln die Herkunft aus Mons wider, so etwa das Kalendarium mit einer Reihe von Heiligen, die vor Ort verehrt werden, darunter die Heilige Waudru oder Waldetrudis, Schutzpatronin der Stadt Mons, sowie ihr Ehemann, der Heilige Vinzenz Madelgarus, Abt und Gründer von Hautmont und Soignies in der Diözese von Cambrai. Das Manuskript gehörte zuvor den Prinzen von Ligne, deren grosse Bibliothek in Belœil (Belgien) untergebracht war. Sie wurde von dem Buchhändler H. P. Kraus erworben und war bisher als Kraus Horae in der herausragenden Studie über das Werk des Genter Privilegienmeisters von G. Clark (2000, S. 214) bekannt.

1 STUNDENBUCH

Mitte bis Ende der 1450er-Jahre (vor 1460) für den Gebrauch von Rom, Kalendarium für den Gebrauch von Mons illuminierte Handschrift auf Pergament in Latein und Französisch mit 18 grossen halbseitigen Miniaturen des Meisters der Genter Privilegien (Jean Ramont d. J., aktiv 1440–1460) illuminierter Randschmuck (Jacquemart Pilavaine zugeschrieben) Belgien, Tournai und Mons 232 ×155 mm (Blattmass) 250 ×165 mm (Einband)

CHF 400 000–600 000

203 ff., es fehlen fünf Blätter (vier Blätter zwischen 12–13 ff. und ein Blatt zwischen 58–59 ff. mit einer Miniatur, welche die Laudes des Marien-Offiziums einleitete), gebunden in einem französischen (Pariser) Einband des 17. Jh., goldgeprägtes, olivbraunes Maroquin-Leder über originalen Holzdeckeln, der in Stil und Üppigkeit den Einbänden ähnelt, die den berühmten Pariser Einbandwerkstätten der 1640er-Jahre wie Florimond Badier oder Macé Ruette zugeschrieben werden.

43

Originalgrösse

44

DEUTSCH Los 2

«Et non sans cause» – Wiederentdeckung eines Lyoner Stundenbuchs mit Wappen, die sich vermutlich mit der Familie Le Saulnier identifizieren lassen.

MEISTER DES GUILLAUME LAMBERT UND MEISTER DER ALARMES DE MARS Dieses äusserst elegante Manuskript enthält grosse, sehr individuell gestaltete Porträts der Stifter.

Das Paar dürfte Jean (oder Baptiste?) und Catherine geheissen haben, wenn man davon ausgeht, dass sie dieselben Namen tragen wie die hinter ihnen dargestellten Schutzheiligen (Johannes der Täufer und Catherine). Der Heilige Etienne (Stephan), ein in der Stadt Lyon sehr verehrter Heiliger, ist in einer ganzseitigen Miniatur gegenüber der Stifterin dargestellt. Dieses Stundenbuch wurde in Lyon gemalt und ist das Ergebnis der Zusammenarbeit zweier bedeutender Künstler, die im letzten Viertel des 15. Jahrhunderts in Lyon tätig waren.

Das Wappen (D’azur à la fasce d‘or accompagnée en chef de deux étoiles d’or à six raies et un besant d’argent et en pointe d’un besant d’argent) der Stifter, das dreimal wiederholt wird, könnte dem der Lyoner Familie Le Saulnier entsprechen (Steyert, 1860). Das Wappen ist mit dem Wahlspruch «Et non sans cause» versehen. Dieses Stundenbuch weist eine prestigeträchtige Herkunft auf: Es gehörte bedeutenden Sammlern und Händlern wie Sir Thomas Phillipps (1792–1872) und Otis T. Bradley (1895–1950) und wurde von dem Buchhändler H. P. Kraus (1907–1988) beschrieben, der es 1968 an Hellmut Schumann verkaufte. Das Manuskript ist in der Studie von E. Burin über die Lyoner Bilderhandschriften (2001, Kat.17) enthalten, obwohl es damals noch nicht zugänglich war und daher eine erneute stilistische und historische Untersuchung erfordert.

2 STUNDENBUCH

für den Gebrauch von Rom, um 1490/1500 illuminierte Handschrift auf Pergament in Latein und Französisch mit 16 grossen Miniaturen und 15 kleinen ­Miniaturen des Meisters des Guillaume Lambert (aktiv 1475–1500) und des Meisters der Alarmes de Mars (aktiv 1485–1510) 24 kleine Kalenderminiaturen Frankreich, Lyon 152 × 90 mm (Blattmass) 160 ×100 mm (Einband)

CHF 130 000–160 000

154 ff., es fehlt ein Blatt zwischen 61–62 ff., das eine Miniatur für die Vesper des Marien-­Offiziums enthielt. Gebunden in rotem Samt (modernes Imitat), Messingverschlüsse (einer fehlend) ­graviert mit Monogramm M / E / U / S / L und fermesses.

45

Originalgrösse

46

DEUTSCH Los 3

Elegantes «Spinola- Stundenbuch», gemalt in Brügge, eventuell für Paolo Battista Spinola.

UMKREIS GUILLAUME VRELANT; STIFTER: PAOLO BATTISTA SPINOLA Dieses Stundenbuch stammt aus Brügge und wurde im Stil von Willem Vrelant von Brügge illuminiert. Es wurde vom schwarz gekleideten Stifter in Auftrag gegeben, der am Rand des Blattes, das die Jungfrau mit dem Kind und musizierenden Engeln zeigt, dargestellt ist. Über dem knienden Stifter befindet sich sein Familienwappen: Der erste Besitzer dieses Stundenbuchs war ein Mitglied der angesehenen Familie Spinola aus Genua, vielleicht Paolo Battista Spinola, ein Waffenknecht im Dienst von Edward IV. von England.

Die gotische Schrift des vorliegenden Horariums deutet durch ihre italianisierenden Rundungen auf ein Manuskript hin, das in Brügge für den Export nach Südeuropa hergestellt wurde, und hätte zweifellos dem Geschmack des Stifters entsprochen, der Italiener war. Die eleganten Bordüren, die von verschiedenen Figuren und Tieren bevölkert werden, entsprechen dem Stil der Bordüren in Vrelant- und Vrelant-NachfolgeHandschriften. Das Manuskript befand sich später im Besitz von John Boykett Jarman (1782–1864), einem Londoner Juwelier und bedeutenden Bibliophilen, und wurde 1986 bei Sotheby‘s versteigert, wo es den Höchstpreis von 66 000 £ erbrachte.

3 STUNDENBUCH

für den Gebrauch von Rom, um 1470/75 illuminierte Handschrift auf Pergament in Latein mit 14 ganzseitigen Miniaturen im Stil von Willem Vrelant (Brügge, aktiv 1454–1481), die einem Brügger Maler zugeschrieben werden Belgien, Brügge 112 × 75 mm (Blattmass) 118 × 85 mm (Einband)

CHF 90 000–120 000

186 ff., vollständig, gebunden in einem Einband des 19. Jh. aus purpurnem Samt über Holzflügeln, mit silbernen Verschlüssen, silbernen Eck- und Mittelstücken (neu gebunden vom englischen Sammler John Boykett Jarman, der andere ähnliche Einbände besass).

47

taille réelle

48

FRANÇAIS Lot 1

Superbe Heures renfermant des miniatures du Maître des Privilèges de Gand et des bordures richement enluminées peintes par Jacquemart Pilavaine actif à Mons

MAÎTRE DES PRIVILÈGES DE GAND; JACQUEMART PILAVAINE Avec ses couleurs vives et chatoyantes, ce livre d’heures est attribuable au peintre connu sous l’appellation « Maître des Privilèges de Gand », nommé d’après un manuscrit enluminé des Statuts et Privilèges de Gand et de Flandres peint pour Philippe le Bon, duc de Bourgogne (Vienne, ÖNB, Cod. 2583). L’artiste a depuis été identifié comme Jean Ramont le Jeune, « alumineur de livres » (voir D. Vanwijnsberghe et E. Verroken dans leur étude du groupe d’artistes appelés Maîtres de Guillebert de Mets). Actif à Gand et à Tournai, le Maître des Privilèges de Gand avait un vrai sens de la couleur et ses compositions doivent beaucoup à l’art antérieur du XV e siècle, notamment des modèles parisiens.

Dans ces Heures, l’artiste est au faîte de son art et le style des miniatures reflète sa main la plus aboutie. Ces dernières sont toutes inscrites dans des bordures richement enluminées, attribuables par A. Esch (2002) au scribe, décorateur et relieur Jacquemart Pilavaine, actif à Mons. De nombreux éléments liturgiques témoignent également de cette origine montoise, avec un calendrier qui comprend un certain nombre de saints honorés localement, dont Sainte Waudru ou Waldetrudis, patronne de la ville de Mons ainsi que son époux Saint Vincent Madelgarus, abbé-fondateur d’Hautmont. et Soignies dans le diocèse de Cambrai. Le manuscrit appartenait auparavant aux Princes de Ligne dont la grande bibliothèque se trouvait à Beloeil (Belgique). Il fut acquis par le libraire H. P. Kraus et connu jusqu’à présent sous le nom de « Kraus Horae » dans l’étude magistrale de l’œuvre du Maître des Privilèges de Gand que l’on doit à G. Clark (2000, manuscrit décrit p. 214).

1 LIVRE D’HEURES

(à l’usage de Rome; calendrier à l’usage de Mons) En latin et en français, manuscrit enluminé sur parchemin Belgique, Tournai et Mons, vers 1455–1460 (certainement avant 1460) Avec 18 grandes miniatures à mi-page par le Maître des Privilèges de Gand (Jean Ramont le Jeune); bordures enluminées attribuables à Jacquemart Pilavaine.

Dimensions des feuillets : 232 ×155 mm Dimensions de la reliure : 250 ×165 mm

CHF 400 000–600 000

203 ff., lacune de cinq feuillets (quatre feuillets entre ff.12–13 ; un feuillet entre ff. 58–59 avec la miniature qui introduisait laudes des Heures de la Vierge), reliure française du XVIIe siècle (reliure Parisienne), maroquin olive sur les ais d’origine, grand décor aux fers filigranés, vocabulaire décoratif rattachant cette reliure par son luxe aux créations des plus célèbres ateliers parisiens des années 1640 dont Florimond Badier ou Macé Ruette.

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taille réelle

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FRANÇAIS Lot 2

« Et non sans cause » Redécouverte d’un livre d’heures lyonnais avec des armoiries sans doute à relier à une famille Le Saulnier de Lyon

MAÎTRE DE GUILLAUME LAMBERT ET MAÎTRE DES ALARMES DE MARS Ce manuscrit, fort élégant, contient de grands portraits des donateurs, hautement personnalisés. Le couple devait s’appeler Jean (ou Baptiste ?) et Catherine si l’on accepte que ceux-ci portaient le nom des saints patrons qui les présentent (saint Jean-Baptiste et sainte Catherine). Saint Etienne, un saint vénéré à Lyon (la cathédrale de Lyon était dédiée à Saint Etienne et à Saint-Jean-Baptiste), est représenté de plein pied sur le feuillet face à la donatrice. Ces Heures furent peintes à Lyon, fruit de la collaboration de deux artistes identifiés et actifs dans la cité rhodanienne dans le dernier quart du XV e siècle.

Les armoiries (D’azur à la fasce d’or accompagnée en chef de deux étoiles d’or à six raies et un besant d’argent et en pointe d’un besant d’argent) des donateurs sont figurées à trois reprises et pourraient correspondre à celles de la famille « Le Saulnier » établie à Lyon (Steyert, 1860). Ces armoiries sont complétées par la devise « Et non sans cause ». Ces Heures ont appartenu à de grands collectionneurs puis marchands, à savoir Sir Thomas Phillipps (1792–1872), Otis T. Bradley (1895–1950) et enfin H. P. Kraus (1907–1988) qui le céda à Hellmut Schumann en 1968. Le codex fut recensé dans l’étude de E. Burin portant sur les manuscrits enluminés à Lyon (2001, cat. 17) mais il ne fut pas examiné par Burin et donc mérite une étude stylistique et historique plus développée et renouvelée.

2 LIVRE D’HEURES

(à l’usage de Rome) En latin et en français, manuscrit enluminé sur parchemin France, Lyon, vers 1490–1500 Avec 16 grandes miniatures et 15 petites ­miniatures par le Maître de Guillaume Lambert (actif à Lyon, 1475–1500) et le Maître des Alarmes de Mars (actif à Lyon, vers 1485–1510) 24 petites miniatures au calendrier Dimensions des feuillets : 152 × 90 mm Dimensions de la reliure : 160 ×100 mm

CHF 130 000–160 000

154 ff., avec un feuillet manquant entre les ff. 61–62 qui contenait une miniature pour vêpres des Heures de la Vierge. Reliure de velours rouge moderne (pastiche), fermoirs de laiton (un fermoir lacunaire), fermoirs avec monogramme M / E / U / S / L et fermesses gravés.

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taille réelle

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FRANÇAIS Lot 3

Elégantes Heures dites « Spinola », celles-ci peintes à Bruges, sans doute pour le génois Paolo Battista Spinola

PAOLO BATTISTA SPINOLA : PREMIER COMMANDITAIRE Réalisées et enluminées à Bruges par un artiste sensible au style de Willem Vrelant et son entourage, ces Heures ont été commanditées par le donateur tout de noir vêtu, figuré dans la bordure enluminée qui entoure l’enluminure représentant la Vierge à l’Enfant entourée d’anges musiciens. Au-dessus du donateur se trouvent ses armoiries : le premier commanditaire de ces Heures fut un membre de l’illustre famille Spinola de Gênes, peut-être Paolo Battista Spinola, homme d’armes un temps au service d’Edward IV d’Angleterre.

Le choix d’une écriture gothique arrondie italianisante suggère que ce manuscrit, certes peint à Bruges, était destiné à l’export et copié au goût d’un commanditaire d’origine italienne. Les bordures fort soignées sont du type que l’on trouve dans les manuscrits attribués à Vrelant et ses émules, avec des bordures peuplées d’un bestiaire et de figures variés. Ce manuscrit fut un temps dans la collection de John Boykett Jarman (1782–1864), joaillier londonien et important bibliophile. En 1986, en vente chez Sotheby’s, ce manuscrit fut vendu pour le prix fort de 66 000 £.

3 LIVRE D’HEURES

(à l’usage de Rome) En latin, manuscrit enluminé sur parchemin Belgique, Bruges, vers 1470–1475 Avec 14 grandes miniatures à pleine page, attribuables à un peintre de Bruges, dans le style de Willem Vrelant (actif à Bruges, 1454–1481) Dimensions des feuillets : 112 × 75 mm Dimensions de la reliure : 118 × 85 mm

CHF 90 000–120 000

186 ff., complet, reliure du XIXe siècle de velours violet sur ais de bois, avec des écoinçons et ­motifs centraux en argent, fermoirs en argent (reliure commandée par le collectionneur anglais John Boykett Jarman, semblable à plusieurs reliures de sa collection).

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