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MARY OF THE EARS OF WHEAT, historiated initial ‘S’ on a leaf...

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Auktionsarchiv: Los-Nr. 4

MARY OF THE EARS OF WHEAT, historiated initial ‘S’ on a leaf...

Schätzpreis
4.000 £ - 6.000 £
ca. 4.994 $ - 7.491 $
Zuschlagspreis:
6.000 £
ca. 7.491 $
Beschreibung:

MARY OF THE EARS OF WHEAT, historiated initial ‘S’ on a leaf from a gradual, illuminated manuscript on vellum [Vienna, c.1450s-1460s
MARY OF THE EARS OF WHEAT, historiated initial ‘S’ on a leaf from a gradual, illuminated manuscript on vellum [Vienna, c.1450s-1460s] An intriguing unification of an unusual historiated initial depicting the ‘Maria im Ährenkleid’ – a popular Austrian depiction of the Virgin – and gradual leaf, both seemingly produced by the same Viennese circle of illuminators and scribes in the 1450s-1460s but not originally intended to be placed together. Leaf: c.520 x c.370mm, initial: 119 x 118mm (the initial ‘S’ cut from another choirbook and pasted onto the present leaf, the first two lines of text on the verso apparently overwritten at a later date). Framed. An initial ‘S’ has been pasted onto a leaf from a gradual, giving the introit for the mass of the Nativity of the Virgin, ‘Salve sancta parens’, and opening the text in splendour. Mary of the Ears of Wheat, clad in a robe of blue with the ears of wheat in gold, stands before an altar bearing the tabernacle: this depiction of the Virgin, favoured mostly in Austria and southern Germany, is perfectly selected for the leaf onto which it was pasted, suggesting that the unification occurred soon after their production. Intriguingly, although the leaf and the initial were not originally intended to sit together, they appear to come from the same period and place of manufacture. The simplicity of the border decoration of the leaf – with a single vine unfurling through the border – and the palette of cool pastels is typical of manuscripts produced in Austria, especially Vienna, in the mid-15th century. Similarly, the palette and illumination of the initial and, indeed, the style of the letter ‘S’ itself, with its foliate infilling of the minims, also suggests a production in Vienna at this time. Both the leaf and the initial bear resemblance to the group of antiphonal and gradual leaves painted in Vienna c.1458-65 studied by Jeffrey Hamburger (exhibition catalogue, Beyond Words , 2016, no 75, pp.98-99): the elongated figure of the Virgin, with a high, round forehead, small rosebud lips and thick curtain of wavy hair, standing in an interior modelled in pink and green, is closely comparable to the work one of the artists responsible for certain leaves within the group (the leaves discussed by Hamburger are held at Boston Public Library, MSS f Med.205-207 and Harvard University, Houghton Library, MSS Typ 704.1 [12] & [13]).

Auktionsarchiv: Los-Nr. 4
Auktion:
Datum:
01.12.2016
Auktionshaus:
Christie's
London
Beschreibung:

MARY OF THE EARS OF WHEAT, historiated initial ‘S’ on a leaf from a gradual, illuminated manuscript on vellum [Vienna, c.1450s-1460s
MARY OF THE EARS OF WHEAT, historiated initial ‘S’ on a leaf from a gradual, illuminated manuscript on vellum [Vienna, c.1450s-1460s] An intriguing unification of an unusual historiated initial depicting the ‘Maria im Ährenkleid’ – a popular Austrian depiction of the Virgin – and gradual leaf, both seemingly produced by the same Viennese circle of illuminators and scribes in the 1450s-1460s but not originally intended to be placed together. Leaf: c.520 x c.370mm, initial: 119 x 118mm (the initial ‘S’ cut from another choirbook and pasted onto the present leaf, the first two lines of text on the verso apparently overwritten at a later date). Framed. An initial ‘S’ has been pasted onto a leaf from a gradual, giving the introit for the mass of the Nativity of the Virgin, ‘Salve sancta parens’, and opening the text in splendour. Mary of the Ears of Wheat, clad in a robe of blue with the ears of wheat in gold, stands before an altar bearing the tabernacle: this depiction of the Virgin, favoured mostly in Austria and southern Germany, is perfectly selected for the leaf onto which it was pasted, suggesting that the unification occurred soon after their production. Intriguingly, although the leaf and the initial were not originally intended to sit together, they appear to come from the same period and place of manufacture. The simplicity of the border decoration of the leaf – with a single vine unfurling through the border – and the palette of cool pastels is typical of manuscripts produced in Austria, especially Vienna, in the mid-15th century. Similarly, the palette and illumination of the initial and, indeed, the style of the letter ‘S’ itself, with its foliate infilling of the minims, also suggests a production in Vienna at this time. Both the leaf and the initial bear resemblance to the group of antiphonal and gradual leaves painted in Vienna c.1458-65 studied by Jeffrey Hamburger (exhibition catalogue, Beyond Words , 2016, no 75, pp.98-99): the elongated figure of the Virgin, with a high, round forehead, small rosebud lips and thick curtain of wavy hair, standing in an interior modelled in pink and green, is closely comparable to the work one of the artists responsible for certain leaves within the group (the leaves discussed by Hamburger are held at Boston Public Library, MSS f Med.205-207 and Harvard University, Houghton Library, MSS Typ 704.1 [12] & [13]).

Auktionsarchiv: Los-Nr. 4
Auktion:
Datum:
01.12.2016
Auktionshaus:
Christie's
London
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