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Auktionsarchiv: Los-Nr. 36

HOURS AND FERIAL PSALTER, use of Langres, in Latin, ILLUMINA...

Schätzpreis
200.000 £ - 300.000 £
ca. 305.635 $ - 458.453 $
Zuschlagspreis:
241.250 £
ca. 368.672 $
Auktionsarchiv: Los-Nr. 36

HOURS AND FERIAL PSALTER, use of Langres, in Latin, ILLUMINA...

Schätzpreis
200.000 £ - 300.000 £
ca. 305.635 $ - 458.453 $
Zuschlagspreis:
241.250 £
ca. 368.672 $
Beschreibung:

HOURS AND FERIAL PSALTER, use of Langres, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM
HOURS AND FERIAL PSALTER, use of Langres, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM [Langres or Troyes] 1463, with later additions 185 x 135mm. 261 leaves, including 1 blank, COMPLETE: 1 1 2 , 2-3 8 , 4 1 2, 5 9 (8 + iv), 6 1 0, 7 8 , 8 9 (8 + i), 9-30 8 , 31 6 , 32 3 (of 4, iv cancelled blank), 33 2 , original foliation in red ink arabic numerals 1-201 starting at the Hours of the Virgin and skipping from 109-120 without loss of leaves, the first 20 leaves here referred to as ff.[i]-[xx] and the final leaves as ff.[202]-[251], vertical catchwords survive in most quires, written in an elegant bâtarde script in brown ink at least partly by the documented scribe Pierre Rouche, between two verticals and 25 horizontals ruled in pink ink, justification: 110 x 75mm, rubrics in red, paragraph marks and line-endings in gold, red, and blue with white ornament, one- and two-line initials throughout in gold on a ground of red and blue with white ornament, occasional three-line initials with partial borders, TWELVE SMALL HISTORIATED INITIALS, four or five lines high, EACH ACCOMPANIED BY A THREE-SIDED BORDER of stylised and semi-naturalistic foliage and flowers in colours and gold, SEVEN LARGE HISTORIATED INITIALS, seven or eight lines high, EACH ACCOMPANIED BY A FULL BORDER, TWENTY-FOUR SMALL MINIATURES in the calendar, THIRTEEN LARGE MINIATURES ACCOMPANIED BY FULL BORDERS of various designs, including flowers and foliage, naturalistic animals (bat, monkey, donkey, cat, dog, frog, etc.), birds (peacock, stork, etc.), and insects (dragonfly, beetle, snail, etc.), as well as dragons, fantastic fighting beasts, and little scenes, the added sections in a variety of gothic and humanistic-influenced scripts, decorated mostly with plain blue or red initials (general signs of thumbing and wear throughout, some losses of pigment in miniatures, and occasional offsets from facing pages, the upper margin of the blank f.232 excised). Late 16th-century olive morocco with gilt panels, flat spine with gilt panel, the centre of each cover with a foliate lozenge enclosing the letters 'CHAR/LOTTE' and 'DE./CARRV/EL.', head- and tail-bands with green and blue silk and gilt metal threads, the leaves with gilt edges, two later clasps, small leather thumb-tabs at the fore-edge of leaves with major decoration (corners expertly repaired, the joints splitting). Red cloth box with gilt morocco spine. THE LITTLE-KNOWN MASTERPIECE OF A 'VISIONARY TALENT', 'ONE OF THE MOST FASCINATING AND MYSTERIOUS PERSONALITIES OF FRENCH FIFTEENTH-CENTURY MANUSCRIPT ILLUMINATION' PROVENANCE: 1. Written and illuminated in 1463, apparently for a canon of Langres cathedral, perhaps a member of the Jouvenal des Ursins family. The text is dated 1463 on the final page, and signed 'P. Ro.' by the scribe Pierre Rouche (f.144v), who also wrote and signed in the same way a superb copy of Nicholas of Lyra's Postilla in seven volumes from c.1464 to c.1472 for Guy Bernard, bishop of Langres (1454-81) (Avril and Reynaud, pp.52, 183-4). All the variable textual parts of the original text including the Hours of the Virgin and Office of the Dead are for the use of Langres; the calendar includes Gregory of Langres and his translation (4 January, 6 November), Didier of Langres and his translation (23 May, 19 January), the feast of the relics at Langres cathedral (30 July), Mammes of Langres and his translation (17 August, 10 October and octave), the dedication of the cathedral of Langres (26 August and octave). The litany includes Mammes and Didier among the martyrs. A large proportion of the text, including the ferial psalter and the common of saints are texts that would not be used by a lay person, suggesting that the volume was made for a canon of the cathedral. The scribe is known to have worked for the bishop of Langres, and the artist for various patrons in Troyes, including the important Jouvenal des Ursins family, one of whose members, Jean, was Archbishop of Rheims from 1449 to 1473 (cf. b

Auktionsarchiv: Los-Nr. 36
Auktion:
Datum:
07.07.2010
Auktionshaus:
Christie's
7 July 2010, London, King Street
Beschreibung:

HOURS AND FERIAL PSALTER, use of Langres, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM
HOURS AND FERIAL PSALTER, use of Langres, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM [Langres or Troyes] 1463, with later additions 185 x 135mm. 261 leaves, including 1 blank, COMPLETE: 1 1 2 , 2-3 8 , 4 1 2, 5 9 (8 + iv), 6 1 0, 7 8 , 8 9 (8 + i), 9-30 8 , 31 6 , 32 3 (of 4, iv cancelled blank), 33 2 , original foliation in red ink arabic numerals 1-201 starting at the Hours of the Virgin and skipping from 109-120 without loss of leaves, the first 20 leaves here referred to as ff.[i]-[xx] and the final leaves as ff.[202]-[251], vertical catchwords survive in most quires, written in an elegant bâtarde script in brown ink at least partly by the documented scribe Pierre Rouche, between two verticals and 25 horizontals ruled in pink ink, justification: 110 x 75mm, rubrics in red, paragraph marks and line-endings in gold, red, and blue with white ornament, one- and two-line initials throughout in gold on a ground of red and blue with white ornament, occasional three-line initials with partial borders, TWELVE SMALL HISTORIATED INITIALS, four or five lines high, EACH ACCOMPANIED BY A THREE-SIDED BORDER of stylised and semi-naturalistic foliage and flowers in colours and gold, SEVEN LARGE HISTORIATED INITIALS, seven or eight lines high, EACH ACCOMPANIED BY A FULL BORDER, TWENTY-FOUR SMALL MINIATURES in the calendar, THIRTEEN LARGE MINIATURES ACCOMPANIED BY FULL BORDERS of various designs, including flowers and foliage, naturalistic animals (bat, monkey, donkey, cat, dog, frog, etc.), birds (peacock, stork, etc.), and insects (dragonfly, beetle, snail, etc.), as well as dragons, fantastic fighting beasts, and little scenes, the added sections in a variety of gothic and humanistic-influenced scripts, decorated mostly with plain blue or red initials (general signs of thumbing and wear throughout, some losses of pigment in miniatures, and occasional offsets from facing pages, the upper margin of the blank f.232 excised). Late 16th-century olive morocco with gilt panels, flat spine with gilt panel, the centre of each cover with a foliate lozenge enclosing the letters 'CHAR/LOTTE' and 'DE./CARRV/EL.', head- and tail-bands with green and blue silk and gilt metal threads, the leaves with gilt edges, two later clasps, small leather thumb-tabs at the fore-edge of leaves with major decoration (corners expertly repaired, the joints splitting). Red cloth box with gilt morocco spine. THE LITTLE-KNOWN MASTERPIECE OF A 'VISIONARY TALENT', 'ONE OF THE MOST FASCINATING AND MYSTERIOUS PERSONALITIES OF FRENCH FIFTEENTH-CENTURY MANUSCRIPT ILLUMINATION' PROVENANCE: 1. Written and illuminated in 1463, apparently for a canon of Langres cathedral, perhaps a member of the Jouvenal des Ursins family. The text is dated 1463 on the final page, and signed 'P. Ro.' by the scribe Pierre Rouche (f.144v), who also wrote and signed in the same way a superb copy of Nicholas of Lyra's Postilla in seven volumes from c.1464 to c.1472 for Guy Bernard, bishop of Langres (1454-81) (Avril and Reynaud, pp.52, 183-4). All the variable textual parts of the original text including the Hours of the Virgin and Office of the Dead are for the use of Langres; the calendar includes Gregory of Langres and his translation (4 January, 6 November), Didier of Langres and his translation (23 May, 19 January), the feast of the relics at Langres cathedral (30 July), Mammes of Langres and his translation (17 August, 10 October and octave), the dedication of the cathedral of Langres (26 August and octave). The litany includes Mammes and Didier among the martyrs. A large proportion of the text, including the ferial psalter and the common of saints are texts that would not be used by a lay person, suggesting that the volume was made for a canon of the cathedral. The scribe is known to have worked for the bishop of Langres, and the artist for various patrons in Troyes, including the important Jouvenal des Ursins family, one of whose members, Jean, was Archbishop of Rheims from 1449 to 1473 (cf. b

Auktionsarchiv: Los-Nr. 36
Auktion:
Datum:
07.07.2010
Auktionshaus:
Christie's
7 July 2010, London, King Street
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