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Details
MINIATURE, HISTORIATED BORDERS AND INITIALS on seven leaves from Books of Hours, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM
188 x 133mm. A leaf with TWO BORDERS of hairline tendrils with painted flower and burnished gold leaf terminals surrounding a NEAR-NAKED MAN kneeling over red and blue acanthus leaves and holding a branch of pink flowers, [France, mid-15th century], 14 lines written in black ink in a gothic bookhand, four two-line foliate initials on grounds of burnished gold, two line-endings and four one-line initials in burnished gold on grounds of blue, pink and white. The leaf comes from the Hours of the Cross, with the text from the end of matins to the opening of terce. The border has been traced through from the verso to the recto so that the nude would seem to have no specific relevance to the text.
105 x 77mm. Five leaves with ST CATHERINE, full-page miniature with the saint standing on a tiled floor against a background of gold diaper, in a burnished gold frame with a full border of acanthus and plant sprays interspersed with penwork and gold disks (some rubbing), two large illuminated foliate initials with full-page borders and numerous flourished initials of burnished gold or blue [southern Netherlands, c.1460], 15 lines written in black ink in a lettre bâtarde. The text pages come from the opening of none in the Hours of the Virgin and the Suffrage to St Mary Magdalen and from the Litany, where the emphasis is on saints from the south-western Netherlands. The clearly defined shapes and volumes in the miniature, which would have prefaced the suffrage to St Catherine, contrast with the delicate plant forms interwoven in the borders.
122 x 112mm. A leaf with an HISTORIATED INITIAL with a bust-length figure on a ground of burnished gold, and two borders with panels of acanthus and flower sprays on divided grounds in the outer margin, and bars of red, blue and white foliage on burnished gold on the other three sides [France, c.1480], 14 lines written in a gothic bookhand in brown ink, five line-endings and nine two-line initials in blue and pink patterned with liquid gold on grounds of burnished gold. The initial opens the last of the Seven Penitential Psalms.
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188 x 133mm. A leaf with TWO BORDERS of hairline tendrils with painted flower and burnished gold leaf terminals surrounding a NEAR-NAKED MAN kneeling over red and blue acanthus leaves and holding a branch of pink flowers, [France, mid-15th century], 14 lines written in black ink in a gothic bookhand, four two-line foliate initials on grounds of burnished gold, two line-endings and four one-line initials in burnished gold on grounds of blue, pink and white. The leaf comes from the Hours of the Cross, with the text from the end of matins to the opening of terce. The border has been traced through from the verso to the recto so that the nude would seem to have no specific relevance to the text.
105 x 77mm. Five leaves with ST CATHERINE, full-page miniature with the saint standing on a tiled floor against a background of gold diaper, in a burnished gold frame with a full border of acanthus and plant sprays interspersed with penwork and gold disks (some rubbing), two large illuminated foliate initials with full-page borders and numerous flourished initials of burnished gold or blue [southern Netherlands, c.1460], 15 lines written in black ink in a lettre bâtarde. The text pages come from the opening of none in the Hours of the Virgin and the Suffrage to St Mary Magdalen and from the Litany, where the emphasis is on saints from the south-western Netherlands. The clearly defined shapes and volumes in the miniature, which would have prefaced the suffrage to St Catherine, contrast with the delicate plant forms interwoven in the borders.
122 x 112mm. A leaf with an HISTORIATED INITIAL with a bust-length figure on a ground of burnished gold, and two borders with panels of acanthus and flower sprays on divided grounds in the outer margin, and bars of red, blue and white foliage on burnished gold on the other three sides [France, c.1480], 14 lines written in a gothic bookhand in brown ink, five line-endings and nine two-line initials in blue and pink patterned with liquid gold on grounds of burnished gold. The initial opens the last of the Seven Penitential Psalms.
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