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FROM A PSALTER-HOURS IN LATIN.
(Southern Netherlands: ca. 1280). 110 x 83 mm. (4 3/8 x 3 1/4"). Single column, 19 lines, in a gothic hand.
Rubrics in red, simple line fillers in red or blue, each leaf with multiple one-line initials in red or blue, one leaf also with a two-line gilt initial on blue and pink ground, and with bar border extensions in gold, blue, and pink, EACH LEAF WITH A LARGE HISTORIATED INITIAL measuring seven to nine lines long (28-34 mm.), the initial in pink or blue, inhabited by figures painted on a gilt ground, all this on a blue or pink ground framed in gilt, with spiky pink and blue marginal extensions studded with gilt bezants and painted leaves. Small corrections to text, one leaf with marginal notation in a later hand; each leaf with a small stub mounted on fore edge. One leaf with marginal embellishment slightly trimmed away, just a hint of use, but in very fine condition, with the initials beautifully preserved, right down to their hair-line detail.
Featuring large historiated initials with some unusual iconography, these leaves come from a charming Psalter-Hours attributed to the Morgan 183 Group. Active in the late 13th and early 14th centuries, and so-named for a highly decorative manuscript once owned by J. Pierpont Morgan, the artists of this group are considered important purveyors of the gothic style from Paris into Liege and the Southern Netherlands. Our parent manuscript was probably executed in Brabant or Hainault, based on the presence of certain saints associated with these cities that appear in the Litany (for example, Sts. Waldetrudis of Mons and Amalberga of Maubeuge). Clues from other extant leaves containing additions and alterations to the text suggest that it was initially made for non-monastic use, but later may have been adapted for a Benedictine community. The present leaves each contain a large historiated initial to punctuate the beginning of a Psalm or major section, and each provides a narrative for contemplation. The subjects include: (a) Crucifixion, opening the Hours of the Passion, with the Virgin Mary and John the Evangelist on either side of the Crucified Christ. Above them, on either side of the Cross, is the sun and moon--an allusion to the three hours of darkness enveloping the land during the Crucifixion. (b) The fool riding a goat, opening Psalm 52 ("Dixit insipiens"). This is a particularly unusual (though very apt) piece of iconography for the Psalm that famously begins, "The fool has said in his heart: 'There is no God.'" Pictured astride a goat, the fool holds onto a horn with one hand and brandishes a club with the other, as his steed charges ahead. Although historiated initials with fools can occasionally be found in Psalters and Bibles of this same period, they are usually shown only with a club and, often, a piece of bread; the addition of the goat is quite extraordinary. (c) David in the water praying to God, opening Psalm 68 ("Salvum me fac Deus"). This initial makes excellent use of the compositional space provided by the curving "S" shape, placing God the father in the compartment above, and King David, up to his belly in flowing water, in the compartment below. Both figures raise their arms upward, with the Lord holding a globus cruciger and making the sign of benediction, while David, naked except for his crown, extends his prayerful arms so wide they nearly reach from one side of the initial to the other. The latter is clearly referencing Christ's eventual sacrifice on the Cross, as well as highlighting the familial connection between the two. These leaves are exceptional examples of the French high gothic style outside of Paris, and offer multiple avenues for further research and comparison. (ST20846G)
Price: $15,000.00