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Book of Hours, use of Rouen, in Latin and French, illuminated manuscript on vellum [France, Rouen, c.1470s]
細節
Master of the Rouen Échevinage
Book of Hours, use of Rouen, in Latin and French, illuminated manuscript on vellum [France, Rouen, c.1470s]
The highest-quality work of the Master of the Rouen Échevinage: a complete Book of Hours in pristine condition with sparkling borders and inventive miniatures.
185 x 130mm. iii (paper) + ii + 179 + iii (paper) leaves, complete, collation: 1-26, 3-78, 86, 9-118, 126, 13-148, 154, 168, 174, 18-248, 253(of 4, iv a cancelled blank), 15 lines, ruled space: 95 x 59mm, rubrics in red, illuminated initials and line-fillers throughout, every text page (with the exception of ff.177v-178) with an illuminated panel border of scrolling acanthus, flowers and fruits, three large illuminated initials on ff.19, 23 and 174v within full or three-sided borders of the same, 14 miniatures within full borders, sometimes incorporating panel miniatures or roundels (a few marginal stains, else in pristine condition). Bound in early 19th-century black English (or perhaps Irish) morocco, sides and spine elaborately tooled in gilt 'cathedral-style', edges gilt, green silk endpapers tooled in gilt, silver clasps engraved with armorial crests of Matthew Weld Hartstonge. Fitted morocco solander case.
Provenance:
(1) The liturgical use and the style of illumination indicate that the manuscript was made in Rouen, doubtless for the woman pictured kneeling before the Virgin and the body of Christ on f.169. The calendar is full, with St Romain, patron Saint of Rouen (23 October), Martial (3 July), Sauveur (6 August) appearing in gold as well as other Rouen saints Mellon, Aubert and Austreberta.
(2) Françoise Laisné and her husband Etienne Rabet, 'conseiller au baillage' in Chartres: ownership inscription in a 16th-century hand on ff.i-ii: 'Ces presentes heures ont appartenu a deffuncte Mme Francoise Laisne veuve du deffunct noble homme M. Estienne Rabet [...] Conseiller du Roy au bailler et siege presidial de Chartres' (on whom see L. Moréri, Le Grand Dictionnaire Historique, VII, 1759, p.1029). By descent to their daughter:
(3) Marie Rabet (c.1582-1633), daughter of Etienne Rabet and Françoise Laisné, and her husband, Nicolas Nicole (b.1576), City Receiver in Chartres: their ownership inscriptions on ff.i-ii verso and on ff.178v and 179v. By descent to their daughter:
(4) Françoise Nicole (b.1606?): her ownership inscription on f.179v: 'Ses presente eures apartient a present a Francoise Nicolle / Francoise Nicolle', with a mention of the birth of Françoise on the 16 November 1606 on f.ii.
(5) Erased ownership inscription on f.i verso dated 6 May 1769: 'Ce livre appartient actuellement a [...] Louis [...] honoraire [...] Ad[?voc]at Imperial.
(6) 'Ce livre appartient à Moreau': 18th-century ownership inscription salvaged from previous binding and pasted in on final paper endleaf. This is possibly Jean Victor Marie Moreau (1763-1813), a French general who helped Napoleon Bonaparte rise to power, but who later became his chief military rival and was banished to the United States.
(7) Matthew Weld Hartstonge (1772-1835), of Brackenstown House, Dublin, Irish poet, author and antiquarian and friend of Walter Scott: the Hartstonge coat of arms, per chevron engrailed or and sable, in chief 3 pellets, in base a stag trippant of the first, on one of the silver clasps; the armorial crest of Matthew Weld, a demi savage wearing a cap and holding in his dexter hand a sword hilt upwards and in his sinister a battleaxe, on the other silver clasp. Matthew Weld took the name and arms of Hartstonge in lieu of Weld by Royal Licence on 2 February 1811, in compliance with the will of John Hartstonge of Brackenstown, County Dublin. Tipped into the front of the manuscript is a long annotation by Hartstonge initialed 'M.W.H.' at the end in which he says that he purchased the manuscript in Paris in 1812 at a 'Museum or repository of Curiosities, on the Quay Malaquai (opposite the Louvre) from Madame Duval, who speaking of the death of Moreau said that "France deplored his death deeply, from the extremity of one frontier to the other the most distant". By descent, and sold as:
(8) 'Property of a Lady', Christie's, 9 December 1981, lot 232.
Contents:
Calendar ff.1-12v; Gospel sequences ff.13-19; Obsecro te and O intemerata ff.19-27; blank f.28; Hours of the Virgin, use of Rouen ff.29-87: matins f.29, lauds f.41, prime f.59, terce f.64v, sext f.68, none f.71v, vespers f.75, compline f.82; blank f.88; Seven Penitential Psalms and Litany ff.89-108; Hours of the Cross ff.109-115; Hours of the Holy Spirit ff.115v-120; Office of the Dead, use of Rouen, ff.121-168; Doulce Dame and Doulx Dieu, in French, ff.169-178; blank f.179.
Illumination:
The illumination is the highest-quality work of the Master of the Geneva Latini (named after a manuscript of Brunetto Latini's Le trésor in Geneva, Bibliothèque de Genève, Ms. fr. 160), but more appropriately known as the Master of the Rouen Échevinage from his work in manuscripts made for the public library assembled by the aldermen (échevins) of Rouen. His career in the Norman capital began c.1460 and continued into the 1480s: he led a thriving and extremely efficient workshop of artists who produced a large number of stylistically consistent high-quality manuscripts. The intense pinks, greens and blues and the lively figures that are such hallmarks of the artist's style are present in this manuscript but the miniatures and borders are much finer than many ordinarily associated with the Master and his workshop. The compositions, though based on models often used by the Master and his workshop, are more refined, more detailed and full of incident: the Flight into Egypt on f.75, for example, includes a background with the Massacre of the Innocents, while the Burial scene on f.121 has St Michael battling the devil for a soul in the distance. The borders are particularly splendid: the carefully shaded deep blue, red, burnished gold and lilac scrolling acanthus; the unusual red, blue and gold bar border on f.59; and the small marginal miniatures make this manuscript a particularly fine example of the Master's work. For the artist, see F. Avril and N. Reynaud, Les manuscrits à peintures en France, 1993, pp.168-73.
The subjects of the miniatures are as follows: the four Evangelists with their symbols, a quadripartite miniature f.13; the Annunciation, the borders incorporating three small miniatures with scenes from the life of the Virgin, f.29; the Visitation f.41; the Nativity f.59; the Annunciation to the Shepherds f.64v; Adoration of the Magi f.68; Presentation in the Temple f.71v; Flight into Egypt, with the Massacre of the Innocents in the background f.75; Coronation of the Virgin f.82; David in prayer, with David as a young shepherd-boy and Goliath in the background, the borders incorporating three roundels with a mermaid, the Last Judgement, and David playing his psaltery to Bathsheba f.89; Crucifixion, the border incorporating a miniature with quarrelling soldiers gambling over Jesus' tunic f.109; Pentecost f.115v; Burial scene, with St Michael battling the devil for a soul in the background f.121; the Pietà, with kneeling female patron, f.169.
Book of Hours, use of Rouen, in Latin and French, illuminated manuscript on vellum [France, Rouen, c.1470s]
The highest-quality work of the Master of the Rouen Échevinage: a complete Book of Hours in pristine condition with sparkling borders and inventive miniatures.
185 x 130mm. iii (paper) + ii + 179 + iii (paper) leaves, complete, collation: 1-26, 3-78, 86, 9-118, 126, 13-148, 154, 168, 174, 18-248, 253(of 4, iv a cancelled blank), 15 lines, ruled space: 95 x 59mm, rubrics in red, illuminated initials and line-fillers throughout, every text page (with the exception of ff.177v-178) with an illuminated panel border of scrolling acanthus, flowers and fruits, three large illuminated initials on ff.19, 23 and 174v within full or three-sided borders of the same, 14 miniatures within full borders, sometimes incorporating panel miniatures or roundels (a few marginal stains, else in pristine condition). Bound in early 19th-century black English (or perhaps Irish) morocco, sides and spine elaborately tooled in gilt 'cathedral-style', edges gilt, green silk endpapers tooled in gilt, silver clasps engraved with armorial crests of Matthew Weld Hartstonge. Fitted morocco solander case.
Provenance:
(1) The liturgical use and the style of illumination indicate that the manuscript was made in Rouen, doubtless for the woman pictured kneeling before the Virgin and the body of Christ on f.169. The calendar is full, with St Romain, patron Saint of Rouen (23 October), Martial (3 July), Sauveur (6 August) appearing in gold as well as other Rouen saints Mellon, Aubert and Austreberta.
(2) Françoise Laisné and her husband Etienne Rabet, 'conseiller au baillage' in Chartres: ownership inscription in a 16th-century hand on ff.i-ii: 'Ces presentes heures ont appartenu a deffuncte Mme Francoise Laisne veuve du deffunct noble homme M. Estienne Rabet [...] Conseiller du Roy au bailler et siege presidial de Chartres' (on whom see L. Moréri, Le Grand Dictionnaire Historique, VII, 1759, p.1029). By descent to their daughter:
(3) Marie Rabet (c.1582-1633), daughter of Etienne Rabet and Françoise Laisné, and her husband, Nicolas Nicole (b.1576), City Receiver in Chartres: their ownership inscriptions on ff.i-ii verso and on ff.178v and 179v. By descent to their daughter:
(4) Françoise Nicole (b.1606?): her ownership inscription on f.179v: 'Ses presente eures apartient a present a Francoise Nicolle / Francoise Nicolle', with a mention of the birth of Françoise on the 16 November 1606 on f.ii.
(5) Erased ownership inscription on f.i verso dated 6 May 1769: 'Ce livre appartient actuellement a [...] Louis [...] honoraire [...] Ad[?voc]at Imperial.
(6) 'Ce livre appartient à Moreau': 18th-century ownership inscription salvaged from previous binding and pasted in on final paper endleaf. This is possibly Jean Victor Marie Moreau (1763-1813), a French general who helped Napoleon Bonaparte rise to power, but who later became his chief military rival and was banished to the United States.
(7) Matthew Weld Hartstonge (1772-1835), of Brackenstown House, Dublin, Irish poet, author and antiquarian and friend of Walter Scott: the Hartstonge coat of arms, per chevron engrailed or and sable, in chief 3 pellets, in base a stag trippant of the first, on one of the silver clasps; the armorial crest of Matthew Weld, a demi savage wearing a cap and holding in his dexter hand a sword hilt upwards and in his sinister a battleaxe, on the other silver clasp. Matthew Weld took the name and arms of Hartstonge in lieu of Weld by Royal Licence on 2 February 1811, in compliance with the will of John Hartstonge of Brackenstown, County Dublin. Tipped into the front of the manuscript is a long annotation by Hartstonge initialed 'M.W.H.' at the end in which he says that he purchased the manuscript in Paris in 1812 at a 'Museum or repository of Curiosities, on the Quay Malaquai (opposite the Louvre) from Madame Duval, who speaking of the death of Moreau said that "France deplored his death deeply, from the extremity of one frontier to the other the most distant". By descent, and sold as:
(8) 'Property of a Lady', Christie's, 9 December 1981, lot 232.
Contents:
Calendar ff.1-12v; Gospel sequences ff.13-19; Obsecro te and O intemerata ff.19-27; blank f.28; Hours of the Virgin, use of Rouen ff.29-87: matins f.29, lauds f.41, prime f.59, terce f.64v, sext f.68, none f.71v, vespers f.75, compline f.82; blank f.88; Seven Penitential Psalms and Litany ff.89-108; Hours of the Cross ff.109-115; Hours of the Holy Spirit ff.115v-120; Office of the Dead, use of Rouen, ff.121-168; Doulce Dame and Doulx Dieu, in French, ff.169-178; blank f.179.
Illumination:
The illumination is the highest-quality work of the Master of the Geneva Latini (named after a manuscript of Brunetto Latini's Le trésor in Geneva, Bibliothèque de Genève, Ms. fr. 160), but more appropriately known as the Master of the Rouen Échevinage from his work in manuscripts made for the public library assembled by the aldermen (échevins) of Rouen. His career in the Norman capital began c.1460 and continued into the 1480s: he led a thriving and extremely efficient workshop of artists who produced a large number of stylistically consistent high-quality manuscripts. The intense pinks, greens and blues and the lively figures that are such hallmarks of the artist's style are present in this manuscript but the miniatures and borders are much finer than many ordinarily associated with the Master and his workshop. The compositions, though based on models often used by the Master and his workshop, are more refined, more detailed and full of incident: the Flight into Egypt on f.75, for example, includes a background with the Massacre of the Innocents, while the Burial scene on f.121 has St Michael battling the devil for a soul in the distance. The borders are particularly splendid: the carefully shaded deep blue, red, burnished gold and lilac scrolling acanthus; the unusual red, blue and gold bar border on f.59; and the small marginal miniatures make this manuscript a particularly fine example of the Master's work. For the artist, see F. Avril and N. Reynaud, Les manuscrits à peintures en France, 1993, pp.168-73.
The subjects of the miniatures are as follows: the four Evangelists with their symbols, a quadripartite miniature f.13; the Annunciation, the borders incorporating three small miniatures with scenes from the life of the Virgin, f.29; the Visitation f.41; the Nativity f.59; the Annunciation to the Shepherds f.64v; Adoration of the Magi f.68; Presentation in the Temple f.71v; Flight into Egypt, with the Massacre of the Innocents in the background f.75; Coronation of the Virgin f.82; David in prayer, with David as a young shepherd-boy and Goliath in the background, the borders incorporating three roundels with a mermaid, the Last Judgement, and David playing his psaltery to Bathsheba f.89; Crucifixion, the border incorporating a miniature with quarrelling soldiers gambling over Jesus' tunic f.109; Pentecost f.115v; Burial scene, with St Michael battling the devil for a soul in the background f.121; the Pietà, with kneeling female patron, f.169.
榮譽呈獻
Eugenio Donadoni
Senior Specialist, Medieval & Renaissance Manuscripts