Book of hours. Use of Rome

8vo (209 x 128mm.), PRINTED ON VELLUM, 80 leaves, A-K⁸, 30 lines, gothic type, RICHLY ILLUMINATED THROUGHOUT, some leaves within painted gold frames, others with L-shaped decoration in the borders containing pastoral scenes, seventeenth-century brown morocco gilt, spine gilt in compartments, two clasps with later straps, gilt edges, occasional light finger soiling to vellum, binding repaired around edges, joints and at head and foot of spine, modern vellum endleaves

Bohatta 1049; Lacombe 302

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."

A FINELY ILLUMINATED PARISIAN BOOK OF HOURS. Most remarkable are the illuminated borders that are freely painted on the blank vellum. They include a large variety of animals and hunting scenes depicted in wide landscapes which occupy mostly the lower borders. Another printed Hardouin Book of Hours (1524) includes similar borders that are close in style (C. Zöhl in Les Enluminures du Louvre, exh.cat., 2011, no.126). The illumination can be linked to Jean Coene (also known as the Master of the Paris Entries), a prolific artist who was active in Paris for the French court under Louis XII (1498-1515) and François I (1515-47). He was originally named after the manuscripts he painted recording the royal entries into Paris of Mary Tudor in 1514 (London, British Library, Cotton MS.Vespasian B II) and Claude de France in 1517 (Paris, BnF., fr.5750), until his name was discovered in the painted frame on a leaf with the Crucifixion from a Missal, inscribed with "De Jos Coene" (Leuchtendes Mittelalter, Neue Folge 1, 1997, ill. on p.320). His quick painting technique and the careful finish of his miniatures led him to be one of the most successful artists for a high-ranking clientele in early sixteenth-century Paris.