Horae, Use of Rome, in Latin. c. 1470-1480 Illuminated manuscript on vellum (c. 16,5 x 12 cm), [109] ff., incl. 12 (of 13?) full-page miniatures on inserted sheets, 17 ll., ruled in pale red ink (written space c. 10,2 x 6,5 cm), written in brown...
Estimation :
40000 / 50000
Adjudication :
Invendu
Description
ink in a gothic liturgical hand. Well preserved (some marginal soiling).
Text: Calendar, with some early additions; Hours of the cross; Hours of the Holy Ghost; Gospel Sequences; Hours of the Virgin, Use of Rome; Penitential Psalms; Office of the Dead; "Obescro te". Origin: written in the Southern Netherlands, probably Bruges (St. Donatus in both Calendar and Litany), but with Northern Dutch saints added to the Calendar (Pontian, Pancras, Odulph, Lebuinus, Willibrord, Geronus etc.). Binding: cont. blindstamped calf over wood (sl. rubbed, sm. def. to joints, clasp and catch gone), covers panelled with treble lines and stamped with sm. rosettes and tiny stamps (some resembling a mason’s mark between 4 stars), both covers overstamped with a large medieval ecclesiastical seal showing the Trinity above a shield with the crossed keys of St. Peter inscribed in gothic around the edge (“S. indulgenciarum ordinis sci trinitatis & redemptionis captivorum”), spine on 4 raised bands, stub of clasp strap on lower cover. Provenance: 1. Trinitarian Friars. 2. J.I. Doedes (1817-1897), Dutch theologian: name on f. 1r and sm. armorial bookplate. 3. Six van van Hillegom: armorial bookplate. Decoration: rubricated in red; capitals touched in yellow; versal initials in blue or burnished gold with penwork in red and black; 2-line initials in burnished gold on pink and blue grounds with white tracery; 13 very large initials with full borders, 4 or 5 lines high, the borders formed of grey and blue acanthus leaves with coloured flowers, most of the borders including birds. Illumination: the 12 full-page miniatures in full borders (by a different illuminator). Subjects: Crucifixion (f. 7v); Annunciation, set in a high gothic room (f. 23v); Visitation (f. 32v); Nativity (f. 42v); Annunciation to the Shepherds (f. 46v); Adoration of the Magi (f. 50v); Presentation in the Temple (f. 54v); Massacre of the Innocents (f. 58v); Flight into Egypt (f. 64v); David in prayer in a landscape (f. 69v); a burial scene in a churchyard (f. 84v); the Virgin and Child in a landscape (f. 106v). The miniatures are in the style of the Bruges painter of the Master of the Vienna Chronicle of England, one of the followers of Loyset Liédet and of the Master of Anthony of Burgundy (cp. Winkler, Flämische Buchmalerei, 1925, p. 78, pl. 39).
Text: Calendar, with some early additions; Hours of the cross; Hours of the Holy Ghost; Gospel Sequences; Hours of the Virgin, Use of Rome; Penitential Psalms; Office of the Dead; "Obescro te". Origin: written in the Southern Netherlands, probably Bruges (St. Donatus in both Calendar and Litany), but with Northern Dutch saints added to the Calendar (Pontian, Pancras, Odulph, Lebuinus, Willibrord, Geronus etc.). Binding: cont. blindstamped calf over wood (sl. rubbed, sm. def. to joints, clasp and catch gone), covers panelled with treble lines and stamped with sm. rosettes and tiny stamps (some resembling a mason’s mark between 4 stars), both covers overstamped with a large medieval ecclesiastical seal showing the Trinity above a shield with the crossed keys of St. Peter inscribed in gothic around the edge (“S. indulgenciarum ordinis sci trinitatis & redemptionis captivorum”), spine on 4 raised bands, stub of clasp strap on lower cover. Provenance: 1. Trinitarian Friars. 2. J.I. Doedes (1817-1897), Dutch theologian: name on f. 1r and sm. armorial bookplate. 3. Six van van Hillegom: armorial bookplate. Decoration: rubricated in red; capitals touched in yellow; versal initials in blue or burnished gold with penwork in red and black; 2-line initials in burnished gold on pink and blue grounds with white tracery; 13 very large initials with full borders, 4 or 5 lines high, the borders formed of grey and blue acanthus leaves with coloured flowers, most of the borders including birds. Illumination: the 12 full-page miniatures in full borders (by a different illuminator). Subjects: Crucifixion (f. 7v); Annunciation, set in a high gothic room (f. 23v); Visitation (f. 32v); Nativity (f. 42v); Annunciation to the Shepherds (f. 46v); Adoration of the Magi (f. 50v); Presentation in the Temple (f. 54v); Massacre of the Innocents (f. 58v); Flight into Egypt (f. 64v); David in prayer in a landscape (f. 69v); a burial scene in a churchyard (f. 84v); the Virgin and Child in a landscape (f. 106v). The miniatures are in the style of the Bruges painter of the Master of the Vienna Chronicle of England, one of the followers of Loyset Liédet and of the Master of Anthony of Burgundy (cp. Winkler, Flämische Buchmalerei, 1925, p. 78, pl. 39).
