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Demo Page
"Illuminations" |
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Item 1 Composite Mass Book, 1400 - 1480
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Item 2 Southern Netherlands Book of Hours, ca. 1420
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Item 3 Bruges Hours, mid 15th century
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 Book of Hours, use of Paris, in Latin and French, illuminated manuscript on vellum. Paris, ca. 1400–10, and Anjou or Poitou (perhaps Poitiers), ca. 1480]
§ A remarkably interesting composite Book of Hours comprising four parts, with 239 leaves and 34 full-page miniatures, including 8 miniatures in the style of the Luçon Master, a group of very unusual miniatures more like colored drawings than finished pictures, and a final section of 11 imaginative and dramatic miniatures |
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 [Book of Hours, use of Rome, in Latin, illuminated manuscript on vellum. Southern Netherlands, ca. 1420]
§ A well-preserved manuscript of the period of the van Eycks, illuminated by two artists in the early style of the so-called Master of the Gold Scrolls with 17 very large illuminated initials with full borders, and 14 full-page miniatures in arched compartments within full borders. |
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 [Book of Hours, in Latin with sections in Flemish and French, illuminated manuscript on vellum. Southern Netherlands (Bruges), ca. 1450–70]
§ Four large initials (3-line) with thick ivy-leaf borders in all margins, 28 large initials with half or three-quarter borders, 13 very large initials with full borders, the initials 5-line or 6-line and the borders often including grotesque animals and birds, etc., 5 full-page miniatures in arched compartments within full borders. |
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Item 4 Vrelant-style Hours, ca. 1460
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Item 5 Martin Hours, Paris, ca. 1495
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Item 6 Auvergne Hours in fanfare binding
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 [Book of Hours, use of Rome, in Latin, illuminated manuscript on vellum. Southern Netherlands (Bruges), ca. 1460]
§ A charming little book in the early style of Willem Vrelant with 14 very large initials with full illuminated borders, the initials in gothic ivy-leaf designs in colors on burnished gold grounds, the borders with blue and liquid gold acanthus leaves and small colored flowers and strawberries infilled with black dots and gold bezants, 14 full-page miniatures in arched compartments. |
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 [Book of Hours, use of Rome, in Latin and French, illuminated manuscript on vellum. Atelier of Jean Coene in Paris, ca. 1495–1500]
§ The Martin Hours, with 14 large miniatures within Renaissance borders, and 23 small miniatures, in astonishingly good condition: still in its original binding, with clasps the manuscript’s binding ingeniously designed to include all the letters of the Martin name. |
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 [Book of Hours, use of Rome, in Latin, illuminated manuscript on vellum. Southern France (probably Auvergne), ca. 1500]
§ With 13 small miniatures with panel borders, 17 large miniatures with full borders, the miniatures in arched compartments in full color and liquid gold with initial and 3 lines below each miniature and full borders on parti-colored grounds, 16th-century Parisian olive-brown morocco gilt, ca. 1575, tooled “à la fanfare” and stamped Marie on the upper cover and Demonsoy on the lower cover. |
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Item 7 Northern France Hours
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Item 8 Lady Carnaby’s prayer book
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Item 9 Piazzetta Hours
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 [Book of Hours, use of Rome, in Latin, illuminated manuscript on vellum. Northern France, 1500–1510]
§ With 13 large miniatures and 16 small miniatures within decorated borders that include leaves and flowers, birds, butterflies, imaginary beasts, frogs, and snails, all elaborately painted on a rich gold base, bound in 18th-century French red morocco. The illustration and decoration of this exceptionally richly embellished manuscript show the influence of the artist known as the Master of Petrarch’s Triumphs. |
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 [Book of Hours, use of Sarum, in Latin and English, illuminated and printed on vellum. Paris: Germain Hardouin, ca. 1533]
§ With 14 half-page metalcuts and 3 small metalcuts illuminated in gold and colors by a contemporary hand, contemporary English velvet binding of morello velvet over wooden boards, silver Tudor rose at center, cornerpieces with floral motif and clasp with fleur-de-lis, vellum endleaves, gilt edges, a rare survival of a 16th-century velvet binding, strictly contemporary with the book. |
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 [Beatæ Mariæ Virginis Officium. Venice: Giovanni Battista Pasquali, 1740]
§ Engraved text throughout. With 16 full-page vignettes including frontispiece, 20 smaller vignettes and historiated end-pieces within text, half-page vignette on title, historiated initial letters. Original full red morocco extra, covers richly gilt, initials “CMM” on upper cover, original clasps. A fine copy. |
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