PROPERTY OF THE EVANGELICAL LUTHERAN CHURCH IN AMERICA
2. Alfred Edward Newton (1864-1940), American author, publisher and book collector: his printed bookplate on front pastedown.
3. Florence Foerderer Tonner (1883-1972) of Torresdale, Philadelphia, avid collector of prints and William Blake paintings for her private museum built within the mid-nineteenth-century family home (Glen Foerd house, listed on the American National Register of Historic Places). She bequeathed the collections and estate to the Lutheran Church of America, and the present volume is sold here on their behalf.
The book comprises: a Calendar (fol.1r); the Gospel Readings (fol.13r); the Hours of the Virgin, with Matins (fol.21r), Lauds (fol.33r), Prime, erroneously announced as ‘Lauds’ (fol.44v), Terce (fol.50v), Sext (fol.54r), None (fol.57v), Vespers (fol.61v), Compline (fol.69r); a prayer in French to the Virgin with a lengthy red rubric ascribing it to Pope Innocent (fol.76r); the O intemerata, written in the female form ‘michi peccatrici’ (fol.79r); the Penitential Psalms (fol.82r) followed by a Litany; the Doulce Dame (fol.99v); the Office of the Dead (fol.109r); prayers in French verse to St. Margaret of Antioch: “Dune vierge lit on. Qui Marguerite ot nom … ” (fol.157r) and to the Virgin: “Au temps quen crois le fils pendoit …” (fol.161r).
This sumptuously decorated manuscript was illuminated by the prolific Master of the Munich Golden Legend (fl. in Paris, c.1420-1460), one of the great commercial illuminators of Paris in the period following that of the Bedford Master, with whom he collaborated on the sublime Sobieski Hours (Windsor, Royal Library). He is named after a copy of the text now in Munich, dating to c.1420 (Munich, Bayerische Staatsbibl., Cod.gall.3). A manuscript in private hands shows St. Mark writing “domi(nu)s con(radu)s tolien(sis)” and it has been suggested that the artist’s name might be Conrad of Toul (E. König, Das Pariser Stundenbuch an der Schwelle zum 15. Jahrhundert, 2011, pp.139-48). His work can be easily distinguished by his habit of outlining areas of colour and indicating facial features in black. The fine modelling of faces in this manuscript is remarkable, as are the softly cascading draperies and dramatic skies with golden clouds.
The miniatures comprise: (1) fol.13r, St. John on Patmos, writing in gold on a scroll, between his attribute the eagle and a hairy naked devil; (2) fol.15r, St. Luke writing at a desk, as his attribute the ox looks on; (3) fol.17r, St. Matthew seated in a gothic interior, writing while his attribute, an angel holds his scroll; (4) fol.19r, St. Mark seated at a desk writing, as his attribute, a smiling lion, looks in through the window; (5) fol.21r, the Annunciation to the Virgin within a rich gothic interior; (6) fol.33r, the Visitation of the Virgin and St. Elizabeth before a rocky landscape; (7) fol.44v, the Nativity; (8) fol.50v, the Annunciation to the Shepherds, one playing a bagpipe; (9) fol.57v, the Presentation in the Temple; (10) fol.61v, the Flight into Egypt; (11) fol.69r, the Coronation of the Virgin, with her and God the father with large burnished gold haloes; (12) fol.82r, King David kneeling in prayer; (13) fol.99v, the pregnant Virgin visiting Elisabeth; (14) fol.109r, a burial with tonsured monks and mourners in a courtyard as a workman lowers the body in a simple shroud into the grave; (15) fol.157r, St. Margaret of Antioch being devoured by the dragon, and emerging from its side, before the original owner kneeling in prayer; (16) fol.161r, The Crucifixion, before the original owner in prayer.
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