USE OF ROME.
(Northern France (probably Paris): ca. 1505-10). 213 x 137 mm. (8 3/8 x 5 3/8"). Single column, 25 lines, in a gothic hand. i, 123 leaves. COMPLETE. Contents: blank (f. i); Calendar (f. 1r); Gospel Lessons (f. 13r); Passion according to John (f. 17r); "Obsecro te" and "O Intemerata" (f. 23v); Hours of the Virgin (f. 28r); Hours of the Cross (f. 69r); Hours of the Holy Spirit (71v); Seven Penitential Psalms (f. 75r); Litanies (f. 82r); Office of the Dead (f. 88r); Suffrages (114r); ruled blank (f. 123).
SPECTACULAR NEAR-CONTEMPORARY LYONNAISE BINDING OF POLISHED CALF, VERY DENSELY GILT, covers with a central oval filled with diamond-shaped tools, surrounded by an intricate strapwork pattern incorporating acanthus and three heads at the top and bottom (two with helmets, looking sideways, one, more prominent, staring ferociously straight on), the negative space densely azured (appearing from a distance as if entirely filled with gold), raised bands, spine compartments gilt with door-handle tools, floral motifs, and sawtooth borders, edges gauffered and gilt, later (17th century?) endpapers, lacking ties. Rubrics in deep pink, line fillers in red and blue with gilt embellishments, numerous one-line initials in gold on red or blue ground, many two-line initials in mauve or blue with white embellishment, most enclosing a flower or two, on painted gold ground, EACH PAGE WITH A FULL BORDER consisting of a plain gold bar on three sides and a painted gold panel containing colorful flowers, acanthus, and the occasional banner, WITH 21 SMALL MINIATURES (each measuring between 30-50 mm. tall), and 18 FULL-PAGE MINIATURES framed by a gilt and painted architectural border and accompanied by a three- or four-line initial with opening text on a banner, the initial painted mauve or blue with white embellishment, enclosing colorful flowers on painted gold ground, the subjects of the large miniatures being: St. John on Patmos (f. 13r); Agony in the Garden (f. 17r); The Temptation of Adam and Eve (f. 27v); Annunciation (f. 28r); Visitation (f. 34v); Nativity (41v); Annunciation to the Shepherds (f. 44v); Adoration of the Magi (f. 47v); Presentation in the Temple (f. 50r); Flight into Egypt (f. 52v); Coronation of the Virgin (f. 57r); Christ Carrying the Cross (f. 68v); Crucifixion (f. 69r); Pentecost (f. 71v); Bathsheba Bathing (f. 74v); David and Uriah (f. 75r); Job on the Dung Heap (f. 88r); Trinity (f. 114r). Front pastedown with book label of W. H. Corfield, armorial label of "H C M" (or perhaps "F C M") and a pasted-in piece of paper with early 19th century(?) notes about the manuscript written in French. Joints with a little wear and flaking, minor rubbing to edges and corners, but the binding entirely sound and in a remarkable state of preservation, glistening with gilt. A few small marginal holes where the vellum has thinned, a couple miniatures with light flaking or rubbing to the architectural border, a handful of trivial smudges to borders, but the contents in fine condition, being extraordinarily clean and fresh, and the miniatures extremely well preserved. IN EXCEPTIONALLY FINE AND PLEASING CONDITION INSIDE AND OUT.
Complete, in a memorable 16th century binding, and boasting a large and particularly appealing program of miniatures, this splendid Parisian Book of Hours was produced by a highly skilled workshop for a patron of means, and comes down to us in extraordinarily fine condition. The style of the miniatures closely resembles that of Jean Coene IV (active ca. 1490-1520), an artist who hailed from a long line of manuscript illuminators originally from Bruges but active in Paris from the early 15th century. Identified by Isabelle Delaunay and Eberhard König and dubbed the "Master of the Paris Entries," Coene was a prolific artist who, according to Peter Kidd, "was perhaps particularly known to contemporary patrons for his ability to create new compositions." His versatility as an artist is demonstrated by the variety of volumes to which he contributed, including histories, voyages, and Royal Entry books (the latter earning him his sobriquet), in addition to devotional works such as the Book of Hours seen here. Although the artist is known to have collaborated with famed Parisian illuminator Jean Pichore on several occasions (see, for example, British Library MS Sloane 2418), Coene had his own style, readily identifiable through his unique use of rich colors; sharp, black outlines; modeled faces with half-closed eyes; thin eyebrows; pert mouths that turn slightly downward; and the generous application of liquid gold highlights (particularly on garments and hair). Like most professional workshops of the period, the Coene atelier was capable of producing work of varying quality, which often depended on the wealth and needs of the patron; this work, clearly a premium production, shows none of the shortcuts one might expect in a more hurried execution. The consistently accomplished level of painterly skill as well as the harmony of the compositions here indicate a highly practiced hand. We can see the painter's proficiency, for example, in considerable delicacy and detail showing up in various places: the lace-like angel's wings in the Annunciation, the carefully delineated sheep in the Annunciation to the Shepherds, the various headdresses of earthly and heavenly rulers, and particularly in the meticulously defined and intricately realized architectural frames. Additional pleasing features include the liquid gold application highlighting tresses and garments throughout the manuscript, as well as the frequent and immensely agreeable appearance of an intensely rich red-orange. Of special note are the three openings in which miniatures face each other in logical pairs: Adam and Eve (about to fall from grace) facing the Annunciation (where birth of mankind's savior is announced), Carrying the Cross facing the Crucifixion, and the bathing Bathsheba facing the lustful David, who is apparently plotting the death of Bathsheba's luckless husband Uriah in battle. Pairings such as these are rarely encountered, they make quite a grand statement, they provide a reinforcing element to the biblical narrative, and they highlight both the artist's talents and the patron's deep pockets. While many of the miniatures contain traditional subject matter, we are also treated to some less frequently encountered scenes, including the Garden of Gethsemane and the aforementioned Temptation of Adam and Eve. In addition, the miniatures feature some noteworthy visual moments that demonstrate the artist's willingness to push beyond traditional iconography. In John on Patmos, for example, the Virgin and child unexpectedly appear in the sky, bathed in brilliance; in the Nativity, the ox and ass are front and center, their heads bent nearly to the ground, their mouths half open and within inches of the Christ Child, a combination of curiosity and menace; and in the Flight into Egypt, the Virgin, whose central emotion is surely fear for her child, has a sunhat almost rakishly tied around her neck. (This last detail seems surely to derive from the Dürer engraving of the same subject, done in 1503/04--a connection that is useful in more precisely dating the manuscript.) What sets this manuscript apart, even more than the nature and accomplishment of its decoration, is its exceptionally fine condition, with next to no signs of use internally, and with an entirely unrestored period binding, with its antique appeal undimmed by time. Probably dating to around 1550, the Lyonnaise binding is of very special interest, brimming with gold and featuring an elaborate design incorporating unusual glowering faces. The earliest indication of ownership of this manuscript is seen in its 19th century armorial bookplate with the motto "Audentes Fortuna Juvat" ("Fortune Favors the Brave") and the monogram "H C M" (or "F C M"). A Breviary at the Huntington (mssHM 1077) with the same bookplate (they say "H C M") is attributed to the Mackinnon family. A more certain provenance comes from the bookplate of W. H. Corfield (1843-1903), the first professor of hygiene and public health at University College London. Given his ownership of the present manuscript, it is unsurprising that, as a bibliophile, he was recognized especially as a connoisseur of early bindings. Quaritch purchased our manuscript for the handsome sum of £126 at the auction of Corfield's library on 21 November 1904 (lot 257), and we have been able to trace subsequent ownership to Thomas Fechnay Harvey (1879-1970) of Pennsylvania, who gave the manuscript to his daughter, Margaret J. Harvey (1910-84) of Philadelphia, who, in turn, gave it as a wedding gift in 1972 to the person who sold it to us. We have found no record after 1904 (or, in fact, before that date) of the manuscript's being offered for public sale, suggesting that it has been in private hands for well over a century. (ST21080)
Price: $225,000.00