Leaves from a Book of Hours, in Latin, illuminated manuscript on vellum

9 leaves, 130mm. by 85mm., four leaves with three-quarter page arch-topped miniatures (70mm. by 51mm.), above 3-line initials in blue with white penwork with coloured floral infill on burnished gold grounds (some slight damage to three of four), and three lines of text in dark brown ink in a tall and thin late Gothic hand showing clear influence of lettre batârde, elaborate text borders of blue, pink and liquid gold touched with white penwork surrounding miniatures on three sides, all enclosed by full decorated borders including acanthus-leaf sprays, other foliage, flowers and fruit, versos with 14 lines of text and some decorative calligraphic letters touched in yellow, numerous 1- or 2-line initials in blue or liquid gold with penwork in blue or red to contrast, line-fillers in same; one leaf with 5-line miniature of martyrdom of St. Sebastian with simple ivy-leaf  and floral decorated border on three sides; four text leaves (2 bifolia) with a number of 1- and 2-line initials as above; cropped to edge of miniature at top of page, else in excellent condition

Condition is described in the main body of the cataloguing where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

illumination

The miniatures are charming and with a wealth of detail, but appear somewhat rustic. The borders clearly emulate the work of the craftsmen of Paris in the second decade of the fifteenth-century, with acanthus-leaves projecting either side of a central stem, and 'bushes' of flowers in the centre of the bas-de-page.  As so many artists fled Paris upon the invasion by the English in 1420, perhaps we might see these miniatures as the product of a workshop in northern France under the general direction of an artist who had worked in Paris in his youth. The subjects are:

1. Crucifixion, Christ on the Cross with Mary Magdalene and Joseph of Arimathea and two attendants (all with liquid gold haloes) to the left, and Jewish leaders and soldiers to the left, set before a rocky, tree-covered hills.

2. Pentecost, the Virgin sits reading from a book in her lap among a crowd of kneeling followers (all with liquid gold haloes), as a dove radiating red lines appears in the window, set in a detailed Gothic interior scene.

3. Judgement Day, Christ in a mandorla, sits between Mary and St. Peter who kneel in prayer, below them two angels blow the last trump, as St. Michael in armour and with a sword leads naked sinners to the hellmouth.

4. Funery scene, a priest in blue robes trimmed with gold, stands before a number of attendants, and reads the Office of the Dead as three pall-bearers carry a coffin covered in a black and white cloth to an open grave, in which a labourer still toils to dig with a pick-axe his spade lying at the side of the hole, set within a detailed stone-walled courtyard and before a church with an ornamental circular window, while God set on a liquid gold background looks on from the sky.

5. Small 5-line miniature of the martyrdom of St. Sebastian, with the saint, with a  liquid gold halo and wearing only a loincloth, stands tied to a stake and is pierced by numerous arrows shot by two men.