THE HOURS OF MAMETZ-MAILLY: A BOOK OF HOURS ACCORDING TO THE

objekte/the hours of mametz mailly a book of hours according to the lot 4 Wkq2ntU 633150285 / Zum Verkauf

objekte/the hours of mametz mailly a book of hours according to the lot 4 Wkq2ntU 633150285

Zum VerkaufPreishistorie

objekte/the hours of mametz mailly a book of hours according to the lot 4 Wkq2ntU 633150285

Zum VerkaufPreishistorie

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THE HOURS OF MAMETZ-MAILLY: A BOOK OF HOURS ACCORDING TO THE - Lot 4

THE HOURS OF MAMETZ-MAILLY: A BOOK OF HOURS ACCORDING TO THE ROMAN RITE In Latin and French, an illuminated manuscript on parchment France, Paris, circa 1500–1510 With 14 large miniatures; 33 small miniatures; 2 heraldic compositions; richly illuminated borders. Miniatures attributable to three Parisian painters: Master of Etienne Poncher (small miniatures and the Annunciation, fol. 28); Jean Pichore (large and small miniatures from fol. 44 onward); Master of the Scandalous Chronicle (?), The Betrayal of Judas (fol. 18). 159 ff., preceded by 6 parchment endpapers and followed by 7 parchment endpapers, complete manuscript [collation: i6, ii6, iii6, iv8, v8, vi8, vii8, viii8, ix8, x8, xi4, xii8, xiii8, xiv8, xv8, xvi8, xvii8, xviii8, xix8, xx8, xxi8, xxii1 (of 2, mounted on a tab, no text missing)], bastard script in brown ink, 20 lines per page, ruled in pale red ink (dimensions: 132 x 75 mm), headings in blue, line endings in red or blue with gilded ornamental decoration, in gold with ornamental decoration in grisaille, in gold with floral decoration, in blue and pink with white highlights and burnished gold bezants, trunked trees, small initials in burnished gold on pink and blue backgrounds with white highlights, large KL initials in the calendar in blue with white highlights on a gold background with colored vine leaves, small blue or pink initials with white highlights on gold or red backgrounds with floral or ornamental motifs (1 to 2 lines high), large initials in blue with white highlights on a gold background with colored vine leaves or small colored discs marking the major textual divisions (3 lines high), an abundance of illuminated borders on every page, on all four sides, on reserved backgrounds in gold, red, brown, blue, green, some with geometric or ornamental partitions, featuring decorations of acanthus leaves, flowers, foliage, large branches or trunks, fruits, grapes, borders populated with zoomorphic, grotesque, and hybrid creatures, bestiary figures, birds, butterflies, snails, with 14 large miniatures and 33 small miniatures (several illuminations with serpents caught in the binding); a color engraving depicting Saint Peter pasted onto the upper endpaper (17th century?); a red wax seal bearing a coat of arms that is unidentified [cross, rose? coat of arms surmounted by a figure in profile wearing a cap] (18th century?) affixed to the lower half-cover. Red velvet binding on wooden boards (contemporary binding), spine smooth but decorated with a diamond-patterned grid featuring small discs in the center of the diamonds, a series of repeating discs at the top and bottom of the spine, Duseuil-style decoration on the covers outlined with black lines (double frame outlined in black), gilded fleurons at the outer corners of the central frame, gilded roulette border around the covers, central motif in the center of the central frame consisting of two gilded irons (arabesques and fleurons), chiseled and painted edges, small tabs attached to the parchment at the major divisions of the text, chiseled bronze spandrels and clasps attached to the corners and along the outer edge of both covers (fasteners missing). Dimensions of the binding: 235 x 157 mm; dimensions of the leaves: 222 x 145 mm. A stunning manuscript, a true aesthetic feat, the quintessence of early 16th-century taste. The manuscript bears witness to the close collaboration between two Parisian painters—the master of Etienne Poncher and Jean Pichore—with the participation of a third painter for one miniature. Unpainted coats of arms (fol. 131v) suggest that this manuscript was commissioned for a member of the Mametz-Mailly family. The mottos and invocations painted with great pomp in the borders may help to better identify the original patron. TEXT Guard page preceding f. 1, table of contents in English: “159 leaves of vellum, every page (except 3) variously illuminated with historical paintings,” followed by a list of the miniatures and their subjects. ff. 1–12, Calendar, in French, red, blue, and gold ink; Parisian calendar: note, however, the absence of Saint Geneviève, replaced by the Octave of Saint John, which Drigsdhal indicates as: “for use outside of Paris.” ff. 13–17v, Gospel pericopes. ff. 18–27v, Passion according to Saint John. ff. 28–79, Hours of the Virgin, for use in Rome. ff. 81–95v, Psalms of Penance, followed by the litanies. ff. 96–131, Office of the Dead, for use in Rome; with the following responses: (1) Credo quod; (2) Qui Lazarum; (3) *Domine quando*; (4) *Memento mei*; (5) *Heu michi*; (6) *Ne recorderis*; (7) *Peccantem me*; (8) *Domine secundum*; (9) *Libera me*. ff. 132–134v, Hours of the Cross. ff. 135–137v, Hours of the Holy Spirit. ff. 138–144v, “Obsecro te,” “O intemerata,” “Stabat Mater.” ff. 145–159v, Prayers to: the Trinity, God the Father, God the Son, the Holy Spirit, Michael, John the Baptist, John the Evangelist

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