PRESENTATION IN THE TEMPLE, DIVES IN HELL, MASSACRE OF THE INNOCENTS, three miniatures on leaves from a Book of Hours, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM [Paris, c.1495] 86 x 60mm overall (miniatures). Each arch-topped miniature is framed by a three-sided baguette with flowers on a gold ground, and a full-page border with sprays of swirling blue and gold acanthus, the flowers and fruit inhabited by partridges, playing children, insects or a grotesque, beneath the miniature four lines of text in a gothic bookhand in brown ink open the Hour with a three-line initial with blue staves against a ground of burnished gold with ivy-leaf sprays in the infill (slight darkening, Dives in Hell some repaint). Mounted and framed. The miniatures, which would have illustrated None and Vespers in the Office of the Virgin and the opening of the Office of the Dead, are painted in the polished and attractive style identified as that of the Master of the Chronique Scandaleuse. This illuminator, whose career can be traced in Paris from 1493 to 1510, was particularly favoured by Antoine Vrard for furnishing the illumination in his luxury printed editions. (3)
PRESENTATION IN THE TEMPLE, DIVES IN HELL, MASSACRE OF THE INNOCENTS, three miniatures on leaves from a Book of Hours, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM [Paris, c.1495] 86 x 60mm overall (miniatures). Each arch-topped miniature is framed by a three-sided baguette with flowers on a gold ground, and a full-page border with sprays of swirling blue and gold acanthus, the flowers and fruit inhabited by partridges, playing children, insects or a grotesque, beneath the miniature four lines of text in a gothic bookhand in brown ink open the Hour with a three-line initial with blue staves against a ground of burnished gold with ivy-leaf sprays in the infill (slight darkening, Dives in Hell some repaint). Mounted and framed. The miniatures, which would have illustrated None and Vespers in the Office of the Virgin and the opening of the Office of the Dead, are painted in the polished and attractive style identified as that of the Master of the Chronique Scandaleuse. This illuminator, whose career can be traced in Paris from 1493 to 1510, was particularly favoured by Antoine Vrard for furnishing the illumination in his luxury printed editions. (3)
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