![ST JOHN ON PATMOS, large arch-topped miniature on a leaf from a Book of Hours, ILLUMINATED MANUSCRIPT ON VELLUM, [Paris, c.1455-60]](https://www.christies.com/img/LotImages/2012/CSK/2012_CSK_06237_0002_000(st_john_on_patmos_large_arch-topped_miniature_on_a_leaf_from_a_book_of085631).jpg?w=1)
細節
ST JOHN ON PATMOS, large arch-topped miniature on a leaf from a Book of Hours, ILLUMINATED MANUSCRIPT ON VELLUM, [Paris, c.1455-60]
143 x 98mm. The miniature on the recto with full border, verso with 15 lines in a neat gothic bookhand (cropped on three sides affecting margins and top of miniature, damage to miniature with loss of pigment).
This peaceful scene would have marked the opening of the Gospel Extracts in a Book of Hours illuminated by a skilled artist working in the style of the Coëtivy Master. Despite its condition, the expressive painterly technique, elegant figure and atmospheric landscape typical of the Master's style is still evident. Described as the third great figure in the visual arts around the French court with Jean Fouquet and Barthélemy d'Eyck, the Master has most recently been identified with Colin d'Amiens, recorded in Paris 1461-88.
143 x 98mm. The miniature on the recto with full border, verso with 15 lines in a neat gothic bookhand (cropped on three sides affecting margins and top of miniature, damage to miniature with loss of pigment).
This peaceful scene would have marked the opening of the Gospel Extracts in a Book of Hours illuminated by a skilled artist working in the style of the Coëtivy Master. Despite its condition, the expressive painterly technique, elegant figure and atmospheric landscape typical of the Master's style is still evident. Described as the third great figure in the visual arts around the French court with Jean Fouquet and Barthélemy d'Eyck, the Master has most recently been identified with Colin d'Amiens, recorded in Paris 1461-88.
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