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Book of Hours, Use of Angers, in Latin and French, illuminated manuscript on vellum
Description
Provenance
provenance
Illuminated for Jean de Hangest (d.1490) and his wife, Marie d'Amboise, sister of Cardinal Georges d'Amboise (d.1510, the greatest ecclesiastical art patron of the French renaissance). The arms of Hengest occur on many principal openings (fols.25r, 27r, 27v, 125r and 165r, etc.), argent a cross gules charged with 5 cockles or, for which see Anselme, Histoire Généalogique, VI, 1730, p.737, and recently A. Stones in The Illustrated Psalter, ed. F. O. Büttner, 2004, p.291. Most margins throughout the manuscript include a monogram apparently formed of 'I' and 'M'. Jean de Hangest was counsellor and chamberlain to Charles VI in 1446-59. He accompanied the king on his successful campaign to regain Normandy in 1449, and remained there, paid homage to the king in Normandy in 1452, was appointed bailly of Évreux and capitaine de Rouen (by 1479), and was eventually buried in the Celestine church of Rouen in 1490 (Anselme, p.746). Jean de Hangest married Marie d'Amboise, of Chaumont and Bourges, in the mid-1450s, probably the occasion for commissioning the present manuscript. Her name is inscribed, probably by her, on fol.123v, "votre bonne cousyne marie damboyse".
The text includes a prayer for the king, "famulus tuus karolus rex noster" and "regina eorum" (fols.161v-2r), which must be the troubled king Charles VII, 1422-61, and his queen Marie d'Anjou (it cannot be Charles VIII, king 1483-98, who did not marry until 1491). This dates the core of the manuscript to before 1461, and places it credibly in the royal household. Jean de Hangest's career is precisely reflected in the stages of the manuscript's formation. The Hours of the Virgin, the Litany and the Office of the Dead are all for the Use of Angers, in the Loire valley, in the family region of the Amboise family of Chaumont-sur-Loire and a centre of royal patronage. Quires 2-3, fols.13r-36v, were illuminated there, by a major artist in the circle of René d'Anjou (see below). When Jean de Hangest moved to Rouen the manuscript was unfinished. The Calendar was re-written for Rouen Use. The residue of the miniatures and borders were painted in Rouen by a painter in the circle of the Master of the Geneva Latini, or Master of the Échevinage de Rouen.
It was a practice in late medieval aristocratic circles to inscribe each other's Books of Hours as a kind of devotional Album Amicorum. The signature of Marie d'Amboise as "votre cousine" resembles just such an inscription. Perhaps Marie gave the book away after her husband's death (she was recorded as a widow in 1491), or possibly another Marie in her own family inscribed the book for her and her husband, perhaps her aunt, Marie d'Amboise (d.1462), nun at the royal abbey of Poissy. Another similar inscription is "votre segret Breze" on fol.147v. This must be Pierre de Brezé, grand-senechal of Angers, who was also in the army of Charles VII in the occupation of Rouen in 1449. In 1457 he crossed to England with 4000 men and took the town of Sandwich. His son married the illegitimate sister of Charles VII. Brezé was killed at the Battle of Montlhery between Louis XI and Charles the Bold in 1465. The third inscription is even more tantalising. It simply says "votre souverain", fol.119v. That can only mean exactly that, and this is almost certainly the autograph of Charles VII, patron and employer of Jean de Hangest and Marie d'Amboise.
The manuscript was bought by the present owner on 29 March 1985.
Condition
"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."
Catalogue Note
text
A Calendar (fol.1r), in French, including Saint Romanus of Rouen in gold (23 October); the Hours of the Virgin [Use of Angers], of 'mixed' use incorporating the Hours of the Cross and of the Holy Ghost, with Matins (fol.13r), Lauds (fol.28r, with a suffrage to Saint Michael), Prime (fol.46v), Terce (fol.57r), Sext (fol.66r), None (fol.74v), Vespers (fol.82v) and Compline (fol.93v); the Gospel Sequences (fol.104r); the O intemerata (fol.111r) and other prayers to the Virgin, in male form; the Penitential Psalms (fol.125r) and a full Litany (fol.148r), including SS. Renatus, Albinus, Licinius, Magnobodus, and others, all of Angers; the Office of the Dead [Use of Angers], ending with a prayer to Saint Michael; and the Stabat mater (fol.227v).
illumination
As outlined above, the manuscript was begun in Anjou and completed in Rouen. Folios 13r-36v are of the highest quality and represent the earliest stage of the manufacture. They are almost certainly illuminated by the Master of Jeanne de Laval, the illuminator working in Angers c.1430-c.1480, in the circle of Barthélemy van Eyck. He is named after as Psalter illuminated for Jeanne, second wife of King René d'Anjou, now in Poitiers, reproduced, for exampled, in Leroquais, Psautiers, III, 1940-41, pls.CXXXII-III: compare the faces gestures of the latter with fol.29r here. Other manuscripts by him include a copy of King René's Mortifiement de vaine plaisance and another Book of Hours of the Use of Angers, both in the Morgan Library and Museum, New York (cf. R. S. Wieck, Painted Prayers, 1997, p.127, no.101). This section of the Hangest Hours is notable for its wonderfully inventive borders, filled with people and other creatures going about lives of great complexity and whimsy. The broadly spaced and almost three-dimensional leaves and flowers in the borders, in pale green or liquid gold, are characteristic of manuscripts of the Loire valley in the circle of Jean Fouquet. Illuminators who use such borders, peopled as here, include the Jouvenel Master and the Master of Poitiers 30 (cf. E. König, Französiche Buchmalerei um 1450, 1982, figs.64, 70, 84, etc.; and König, Der Meister von Poitiers 30, Ein unbekanntes Gegenstück zum Studenbuch der Adelaide von Savoyen, Tenschert, 2006, passim). The complex miniature of the Annunciation on fol.13r here derives ultimately from a narrative composition invented in Paris by the Bedford Master, which by the mid-century had worked its way to western France (cf. F. Avril, 'Les copies à répétition', Tributes to Jonathan G. Alexander, 2006, esp. pp.129-31; and E. König, The Bedford Hours, 2007, pp.45-6).
The residue of this richly illustrated manuscript is by one or more of the painters in the workshop of the Master of the Geneva Latini, or Master of the Échevinage de Rouen. Scenes such as the quadripartite Evangelists and the Nativity and Shepherds are used in many Rouen Books of Hours, including the Hours of Saint-Lô (Ortiz-Patiño sale in our New York rooms, 21 April 1998, lot 37, $3,300,000); the Nativity on fol.46v here can be paralleled in the four pictures in C. de Hamel, History of Illuminated Manuscripts, 2 ed., 1994, figs.177-80. When the artist came to painting the full sequences for the Hours of the Cross and the Holy Ghost, however, which were features of Loire manuscripts but not those of Rouen, he was on territory unfamiliar to him.
The miniatures show:
1. Folio 13r, The Annunciation, in an arch-topped architectural compartment, 60mm.by 40mm., the Virgin in a chair beside an altar, Gabriel on the left in jewelled robes; full border with ten smaller miniatures showing (a) Saint Anne and Joachim praying in the Temple; (b) an angel appearing to Joachim as he tends his sheep; (c) an angel appearing to Saint Anne; (d) the Meeting at the Golden Gate; (e) the Nativity of the Virgin; (f) the presentation of the young Virgin in the Temple; (g) the Virgin in prayer, watched by her parents; (h) the Virgin weaving, helped by angels; (i) the betrothal of the Virgin and Joseph, with the unsuccessful suitors breaking their staves which did not sprout leaves; and (j) God among cherubim in Heaven with three angels holding a scroll.
2. Folio 25r, The Trinity, a rare illustration for the Te Deum, in an arch-topped compartment, 60mm. by 42mm., the Father and Son holding a book together with the Holy Dove above, set among stars in a blaze of celestial glory, six angels in prayer below, further angels in the border including two holding the arms of Hangest.
3. Folio 28r, The Agony in the Garden, in an arch-topped compartment, 60mm. by 39mm., Christ in prayer looking up towards a tiny cross in a chalice on a hilltop, the apostles asleep, hazy background with trees and a distant city; border includes eight soldiers and others creeping up through the foliage and pointing to Gethsemane.
4. Folio 42v, The Crucifixion, in an arch-topped compartment, 59mm. by 40mm., the Virgin and Saint John on the left, a crowd of soldiers including the centurion on the right; starry sky with the sun being eclipsed.
5. Folio 44v, Pentecost, in an arch-topped compartment, 59mm. by 38mm., set in a room with lattice windows, the Virgin beside a book on a lectern, the other apostles kneeling too, the Holy Dove above; the border includes a jester.
6. Folio 46v, The Nativity of Christ, in an arch-topped compartment, 60mm. by 39mm., the Virgin kneeling at the foot of her bed below a thatched shelter, the Child on the ground, the ox and ass nuzzling him, a shepherd looking over a wall.
7. Folio 54r, Christ before Pilate, in an arch-topped compartment, 60mm. by 39mm., Christ being led forward by soldiers, Pilate enthroned and washing his hands in a dish held by a servant, and Pilate's wife watching through a high window.
8. Folio 55v, The Descent of the Holy Ghost on the Apostles, in an arch-topped compartment, 60mm. by 39mm., tongues of fire descending onto the heads of the apostles in a room, so that they will be able to speak all languages.
9. Folio 57r, The Annunciation to the Shepherds, in an arch-topped compartment, 60mm. by 39mm., two shepherds in a field, one with bagpipes, sheep on the left, a lake beyond with boats and a castle in the water.
10. Folio 62v, Christ carrying the Cross, in an arch-topped compartment, 59mm. by 38mm., Christ (rather unusually with a grey beard) leaving the city on the left accompanied by the Virgin and Saint John, led on by jeering soldiers.
11. Folio 64v, The Apostles and the Virgin in prayer, in an arch-topped compartment, 60mm. by 38mm., the Virgin seated with an open book on her lap, the apostles on either side.
12. Folio 66r, The Adoration of the Magi, in an arch-topped compartment, 60mm. by 39mm., the Virgin seated on the foot of her bed below a thatched canopy with the Child on her lap, the three kings standing and kneeling.
13. Folio 71r, The Nailing to the Cross, in an arch-topped compartment, 58mm. by 39mm., workmen hammering in the nails under the direction of Pilate, the Virgin and Saint John on the right, one thief already crucified, the third cross still empty.
14. Folio 73r, The Holy Ghost above the Virgin Mary, in an arch-topped compartment, 59mm. by 39mm., the Virgin still at Pentecost with the Holy Dove above her head and the apostles gathered round.
15. Folio 74v, The Presentation in the Temple, in an arch-topped compartment, 58mm. by 38mm., the Virgin passing the Child across an altar towards the high priest, attended by Joseph with a candle and a maid with a basket of doves.
16. Folio 79v, The Crucifixion, in an arch-topped compartment, 61mm. by 40mm., between the crosses of the two thieves, the Virgin swooning on the left, noblemen disputing on the right.
17. Folio 81r, The Division of the Apostles, in a rectangular compartment, 45mm. by 39mm., the apostles gathering outside the porch of a building deciding which will go in what direction to preach Christianity.
18. Folio 82v, The Flight into Egypt, in an arch-topped compartment, 62mm. by 38mm., Joseph leading the donkey off to the left through a hilly landscape.
19. Folio 92r, The Apostles preaching, in an arch-topped compartment, 63mm. by 40mm., set in the courtyard of a building where Saint Peter and others are addressing groups of seated laity.
20. Folio 93v, The Coronation of the Virgin, in an arch-topped compartment, 62mm. by 40mm., the Virgin kneeling before the canopied throne of God as an angel flies down over her head.
21. Folio 100r, The Entombment, in an arch-topped compartment, 63mm. by 39mm., Christ's body being placed in the sepulchre by a large group of sorrowful saints.
22. Folio 102r, Pentecost again, in an arch-topped compartment, 61mm. by 39mm., the Virgin and the apostles once more gathered in a room as the Holy Dove descends upon them.
23. Folio 104r, The four Evangelists, in an arch-topped compartment, 58mm. by 40mm., divided into four compartments, showing Saints John on Patmos, Mark with a lion, Matthew with an angel, and Luke with an ox.
24. Folio 111r, The Virgin and Child enthroned, in an arch-topped compartment, 60mm. by 40mm., seated on a gothic bench below a tapestry canopy in a gothic room.
25. Folio 119v, The Virgin and Child as the Ara Coeli, in a rectangular compartment, 40mm. by 39mm., standing on a crescent moon in a blaze of light but in a gothic room rather than in the sky.
26. Folio 125r, David in Prayer, in an arch-topped compartment, 60mm. by 39mm., David kneeling in front of his throne in a gothic room, a lectern before him and his harp on the ground, glimpse of a landscape through a window with God blessing him from the sky.
27. Folio 148r, All Saints, in an arch-topped compartment, 61mm. by 39mm., three rows of saints gathered in adoration around Christ who stands in the sky showing his wounds below the benediction of the Father.
28. Folio 165r, A burial scene, in an arch-topped compartment, 58mm. by 39mm., two grave-diggers lowing a shrouded body into a grave in a churchyard, attended by two priests and a group of hooded mourners.
29. Folio 174v, A funeral service, in an arch-topped compartment, 55mm. by 39mm., set in a gothic chapel with mourners to the left of a bier and priests to the right.
30. Folio 227v, The Pietà, in a rectangular compartment, 49mm. by 39mm., the Virgin seated at the foot of the Cross with the Body of Christ on her lap, attended by Saints John and Mary Magdalene.