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ELEGANT REMAINS of an ILLUMINATED BREVIARY from PARIS Portable Breviary (Augustinian Use) in Latin, Manuscript on Parchment Northern France, Paris?, C

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ELEGANT REMAINS of an ILLUMINATED BREVIARY from PARIS Portable Breviary (Augustinian Use) in Latin, Manuscript on Parchment Northern France, Paris?, C BOOK OF HOURS 1. BY ONE OF THE MOST SKILLFUL PAINTERS OF HIS GENERATION Book of Hours (Use of Paris) In Latin and French, illuminated manuscript on parchment France, Paris, c. 1460-1470 15 large miniatures and 6 historiated initials by an artist in the circle of the Coëtivy Master This is an undoubtedly Parisian Book of Hours, and it is attributed to an artist in the circle of the Coëtivy Master, deemed “the most important artist practicing in Paris in the third quarter of the century.” The inclusion of French prayers (or poems) and historiated initials for the virgin Saints Genevieve and Avia before the Hours of the Virgin and the richness of the bor- ders hint that it could have been made to order as a commission. The borders are richly decorated with sprays and knots of acanthus and abundant flowers, fruits, and birds, with clusters of strawberries throughout. BOH 168 • $100,000 2. EVERYDAY PIETY PRACTICED IN A FLEMISH HOUSEHOLD Book of Hours (Use of Rome?) In Latin, illuminated manuscript on parchment Southern Netherlands, Ghent or Bruges, c. 1480 4 full-page miniatures; 8 historiated initials Homespun realism characterizes this Book of Hours from the southern Netherlands. Painted by three artists, the manu- script is in fine condition with full-page pictures with generous margins and full-page pictures introducing the main textual sections. A Dutch-influenced artist painted one miniature and a historiated initial. A Flemish artist contributed the other full- page pictures. And, the animated and charming historiated initials are by a third hand. BOH 159 • $80,000 3. PAINTED BY ONE OF THE LEADING RENAISSANCE ARTISTS IN LYONS Book of Hours (Use of Rome) In Latin, calendar and some rubrics in French, illuminated manuscript on parchment France (Lyons), c. 1510 5 large and 5 small miniatures by the workshop of the Master of the Entry of Francis I A hitherto unknown manuscript by one of the leading Renaissance artists in Lyons in the first third of the sixteenth century. In fresh, clean condition, with attractive miniatures painted in a soft palette under Renaissance architectural frames, and housed in a lovely armorial binding, the manuscript is also notable for its eminent provenance, for it belonged to the great southern French bibliophile, Charles de Baschi, Marquis d’Aubaïs. BOH 156 • $60,000 www.lesenluminures.com 4. UNRECORDED EDITION BY THE FAMOUS BOOKSELLER AND PUBLISHER, ANTHOINE VERARD Book of Hours (Use of Rome) In Latin and French, imprint on parchment Paris, Anthoine Verard, August 22,1506 17 large wood- and metalcuts, 2 smaller metalcuts, 28 small wood- and metalcuts within the text, and wood- and metalcut borders by the Master of the Très Petites Heures of Anne de Bretagne Extremely rare imprint, known only in this copy, of an unrecorded Book of Hours printed for the famed Parisian bookseller and publisher, Anthoine Verard. Verard was known for his luxurious illuminated printed volumes, produced for illustrious patrons including Kings Charles VIII and Louis XII of France, and King Henry VII of England. This copy is uncolored, allowing the details of the illustrations to be observed. BOH 152 • $30,000 5. CLASSIC UNCOLORED PRINTED BOOK OF HOURS BY AN IMPORTANT EARLY PRINTER Printed Book of Hours (Use of Rome) In Latin and French, printed on parchment Paris, Simon Vostre [c. 1515; with an earlier tipped-in almanac of 1507-1527] 21 large metalcuts, 28 small metalcuts and hundreds of border metalcuts, after designs by the Master of the Très Petites Heures of Anne of Brittany, Jean Pichore, and an anonymous Master working in the style of Dürer Printed Books of Hours were a mainstay of the Paris book trade in the decades before and after 1500. Choosing from among the more than 2,000 editions can be bewildering. This edition is by one of the earliest and most important of Parisian printers, Simon Vostre, whose shop was on the street leading to the Cathedral of Notre Dame. Ensuring his success, he used woodcuts based on designs by two of the leading illuminators of the period, the Master of the Très Petites Heures of Anne of Brittany and Jean Pichore. Parisian printers often promoted new border sequences found in their editions; included here are those from the biblical books of Judith and Tobit. BOH 75 • $25,000 6. PRINT AND CHANGING TASTE ON THE THRESHOLD OF MODERN FRANCE Printed Book of Hours (use of Rome) In Latin and French, printed on paper Paris, Thielmann Kerver, 1556 (almanac for 1556-1563) 18 large woodcuts and 1 small woodcut Printing made it easy to duplicate images and pass them down to successive generations. This attractive Horae, printed more than a century after Gutenberg, offers a fascinating glimpse of commerce in the print industry and the evolution of artistic taste. Thielman Kerver the Younger inherited his famous father’s material. He also bought the designs (or woodblocks) from the printer Geoffroy Tory, favored by the royal court. This edition combines old-style Paris taste of the elder Kerver with Tory’s innovative Italo-Flemish designs, influenced by major French Renaissance painter- illuminators such as Noël Bellemare and Godefroy le Batave BOH 68 • $32,000 www.lesenluminures.com 7. PRIZE-WINNING WOVEN BOOK FEATURED AT THE 1889 PARIS WORLD’S FAIR, PAINTED INITIALS ‘M’ AND ‘G’ [Horae] Livre de Prières Tissé d’après les enluminures des manuscrits du XIVe au XVIe siècle [Book of Prayers woven after illuminations in manuscripts of the fourteenth and fifteenth century] In Latin and French, illustrated book on silk Lyon, R. P. J. Hervier, designer; J.A. Henry, fabricator, for A. Roux, 1886-1887 This unorthodox Prayer Book is entirely woven from silk. First exhibited at the 1889 Paris Exposition Universelle – the World's Fair best known for the official unveiling of the Eiffel Tower – the woven Prayer Book was universally hailed as a marvel and its fabricator J. A. Henry was awarded a grand prize. Bound in maroon levant morocco in the Jansenist style and signed “Kauffmann-Petit” and “Maillard,” this example of the woven Prayer Book typifies what might be called the standard presentation, here in extremely good condition. Initials are hand painted on the inside of the front cover, which also features turquoise silk doublures. BOH 164 • $55,000 8. PRIZE-WINNING WOVEN BOOK FEATURED AT THE 1889 PARIS WORLD’S FAIR WITH WO- VEN MONOGRAM ‘MM’ [Horae] Livre de Prières Tissé d’après les enluminures des manuscrits du XIVe au XVIe siècle [Book of Prayers wo- ven after illuminations in manuscripts of the fourteenth and fifteenth century] In Latin and French, illustrated book on silk Lyon, R. P. J. Hervier, designer; J.A. Henry, fabricator, for A. Roux, 1886-1887 This uncommon example is bound in beautiful and luxurious dark blue gilt morocco with maroon morocco doublures signed by the well-known Parisian bookbinder Marcelin Lortic (1852–1928). It is further distinguished from others by its rare woven monogram inside the escutcheon on the first unnumbered pages with the interlaced initials “MM,” cus- tomized for an unidentified owner. BOH 165 • $55,000 9. PRIZE-WINNING WOVEN BOOK FEATURED AT THE 1889 PARIS WORLD’S FAIR; BINDING WITH MONOGRAM ‘HM’ [Horae] Livre de Prières Tissé d’après les enluminures des manuscrits du XIVe au XVIe siècle [Book of Prayers wo- ven after illuminations in manuscripts of the fourteenth and fifteenth century] In Latin and French, illustrated book on silk Lyon, R. P. J. Hervier, designer; J.A. Henry, fabricator, for A. Roux, 1886-1887 The status of the woven Prayer Book as a luxurious gift object is very clear in this example, which retains its original presentation box. The front doublure is gilt stamped with initials and date May 1900, but there is no indication that the silk pages were woven at this relatively late date. The silver-grey hue of the silk more likely indicates that this example was woven in the late 1880s and was untouched until it was bound and customized later. The white gilt morocco binding is signed by E. & A. Lesort. This firm advertised their specialization in books for wedding gifts. BOH 166 • $55,000 www.lesenluminures.com 10. PRIZE-WINNING WOVEN BOOK FEATURED AT THE 1889 PARIS WORLD’S FAIR WITH DATED COAT OF ARMS [Horae] Livre de Prières Tissé d’après les enluminures des manuscrits du XIVe au XVIe siècle[ Book of Prayers woven after illuminations in manuscripts of the fourteenth and fifteenth century] In Latin and French, illustrated book on silk Lyon, R. P. J. Hervier, designer; J.A. Henry, fabricator, for A. Roux, 1886-1887, probably 1902 Concealed within what might be called the standard Jansenist-style morocco binding by Kauffmann-Petit, this example of the woven Prayer Book includes a specially-woven escutcheon with a pair of coats of arms representing the union of the Maingard and de Langle families of Saint-Malo, Brittany. The yellowish hue of the silk pages further shows that this exam- ple was woven late in the overall production run. BOH 154 • $55,000 11. PRIZE-WINNING WOVEN BOOK FEATURED AT THE 1889 PARIS WORLD’S FAIR WITH A WOVEN BOOK MARK [Horae] Livre de Prières Tissé d’après les enluminures des manuscrits du XIVe au XVIe siècle [Book of Prayers wo- ven after illuminations in manuscripts of the fourteenth and fifteenth century] In Latin and French, illustrated book on silk Lyon, R. P. J. Hervier, designer; J.A. Henry, fabricator, for A. Roux, 1886-1887 The reddish hue of the silk pages suggests this example was woven late in the overall production, perhaps around 1900. The escutcheon is blank but the banderole below does include the initial “H” (probably for Henry).
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