HEURES. Lot n° 22

Hours for the use of Coutances. [Paris, ca. 1510]. Manuscript on parchment of [III + 108 ff. (107 + 84bis)], calendar justification: 69 x 52 mm, 16 long lines; text justification: 73 x 54 mm, 16 long lines, bastard script. Collation: I-II6, III4+1, IV 4+1, V-VI8, VII 8-1, VII8, IX8-1, X-XII8, XIII4+1, XIV8; ff. 13, 45v, 95v blank; claims to ff. 15v, 19v, 28v, 36v, 43v, 51v, 66v, 74v, 82v, 89v. Unbound manuscript. Text ff. 1-12v : Calendar in Latin (7 July : translation of St. Benedict, 22 September : St. Lô bishop, 22 September : St. Melon bishop of Rouen and confessor, 23 September : St. Romain and St. Maclou bishops of Rouen, 15 November : St. Maclou). ff. 13v-17v : Pericopes of the four gospels ff. 16-20v : Prayers : Ave domina sancta Maria and O bone et dulcissime Jhesu ff. 21-58v : Hours according to the use of Coutances with hours of the Cross and of the Holy Spirit interspersed from lauds, gaps at the beginning of prime between 38v-39 and the beginning of vespers between 51v-52. ff. 59-72v : Psalms of penitence followed by litanies with Saint Ouen and Saint Romain of Rouen, and Saint Taurin of Évreux. ff. 73-95 : Office of the dead according to the usage of Rouen ff. 96-98v : Suffrages of saints Michael, John the Baptist, Peter and Paul, and of saints Mary Magdalene, Catherine, and Margaret. Decoration Ten large miniatures in gilded or pilastered frames f. 21 : Annunciation f. 29 : Visitation : Elisabeth wears a hat on her head (note the numerous golden stripes on the clothes ; frame with pilasters) f. 37 : Crucifixion : summary landscape f. 38: Pentecost. The face of Saint John is damaged. One can see a large red hanging with golden tears behind the Virgin. f. 42 : Announcement to the shepherds (4) f. 46: Adoration of the Magi, frame with pilaster and cupola f. 49: Presentation in the Temple: the high priest wears an orange robe and extends his arms to welcome the Child Jesus, frame with pilasters f. 54: Coronation of the Virgin, frame with pilasters and garlands f. 59: David in prayer before his palace. His harp is on the ground in front of him. God appears to him in the sky f. 73 : Job on the dunghill visited by three friends, schematic landscape, frame with pilasters. Missing are the Nativity (ff. 38v-39) and the Flight into Egypt (ff. 51v-52). Seven small miniatures in the suffrages, sheltered under golden pinnacles f. 96: St. Michael and, below him, St. John the Baptist f. 96v : Saint Peter and, below, Saint Paul f. 97 : Saint Mary Magdalene f. 97v: St. Catherine f. 98: St. Margaret Compartmentalized borders on a parchment background around the gilded frame paintings. Large initials on half blue and pink background under the large paintings. Small pink and blue initials with gold lettering in the text. This book of hours can be attributed to the "Master of the Parisian Entrances" aka Jacques Coene IV. The paintings in this manuscript follow a repertoire implemented between 1490-1495 and shared by several miniaturists. The Master of the Parisian Entrances was thus named in 1993, following M. Orth, by E. König after the two manuscripts of the Entrance of Claude de France, in a note devoted to the Hours of Philippe de Gueldres (Leuchtendes Mittelalter V. Psalter und Studenbuch in Frankreich vom 13. bis zum 16. Jahrhundert, H. Tenschert, cat. XXX, Passau, 1993, pp. 530-544, no. 32). Later, the author expanded his corpus and renamed the artist Jacques Coene IV after a visible (?) inscription on a miniature of the Crucifixion in a book of hours of the bookseller H. Tenschert (König, Leuchtendes Mittelalter, Neue Folge I, Passau, 1997, pp. 306-309, 320). Jacques Coene IV specialized in the production of serial manuscripts, such as the books on the funeral of Anne of Brittany and on the Coronation and Entrance of Claude of France, of which there are at least five copies. Among his books of hours are the Hours of Louis de Roncherolles (Paris, Arsenal, Ms. 1191) and Paris, BnF, Ms. lat. 13284 and 13293. He participated in the impressive Gradual of Saint-Dié, produced between 1504 (date of the nomination of Gauthier Lud as Master and general officer of the mines) and 1516 (date of the death of Jean Monachis). The canons of Saint-Dié must have called upon this prolific artist because of his ability to respond quickly to large orders (Nicolas Hatot and Marie Jacob (dir.), Trésors enluminés de Normandie. Une (re)découverte, cat. d'exposition déc. 2016-mars 2017, n°58 et n°64). We recognize here his palette composed of white, gray, blue, red and orange. The schematic landscapes are also characteristic of Parisian illumination (I. Delaunay, "Le Maître des entrées parisiennes", Art de l'enluminure, Sept.-Oct 2008, pp. 52-61). Provenance : the reason book of the Camprond family, lords of Gorges and Blehou. According to its use, the manuscript must have belonged to the family as early as 1510. Family notes from the 17th century on ff. I-IIIv : Franç