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The Morgan 183 Group

Лот 46
10.12.2025 12:00UTC +00:00
Classic
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CHRISTIE'S
AuctioneerCHRISTIE'S
Место проведенияВеликобритания, London
Комиссияsee on Website%
ID 1514378
Лот 46 | The Morgan 183 Group
Оценочная стоимость
£ 15 000 – 20 000
The Morgan 183 Group
Psalter-Hours, in Latin, illuminated manuscript on vellum [Southern Netherlands, Brabant or Hainault, c.1280]
Parisian style in the Southern Netherlands: a significant addition to the work of the Morgan 183 Group, important conveyors of French High Gothic to Liège.

109 x 84mm. i paper + 148 + i paper leaves, lacking leaves and misbound, too tightly for collation,19 lines, ruled space: 75 x 50mm, one-line initials and line-endings alternately in red or blue, two-line initials in gold on grounds of pink and blue extending into a bar border for the height of the ruled space, eleven six- to nine-line historiated initials in blue or pink on gold grounds extending into bar borders to two or three sides, mostly with leaf terminals, a few with figural elements (lacking probably a calendar and certainly many leaves including at least three with historiated initials for Ps.1 and 109 and the opening of the canticles, early alterations to text leaving erasures with some additions, trimmed into upper or lower bar border ff.37v, 51v, 102, small strips of transparent paper reinforcements on ff.132, 144v, wear to some initials). Modern red velvet binding over wooden boards, leather tabs at major divisions (joints cracked).

Provenance:
(1) The Office of the Dead follows a use that originated in Germany and was adopted by a few German and southern Netherlandish Benedictine abbeys, including St-Amand (Elnon) and Marchiennes in Hainault and Lobbes, just into the Bishopric of Liège to the east (K. Ottosen, The Responsories and Versicles of the Latin Office of the Dead, 1993, p.352-3). The monks in the initial to Ps.97, now f.1, appear to be Benedictines. It seems that a different use was originally envisaged, with the response to the first lesson Ottosen’s no 14, perhaps the most common opening response, f.132; subsequently response no 79 was written in the lower margin to open the changed sequence. which then continues in the main body of the text. It was later partially erased, along with other texts that were no longer appropriate, with the response to the sixth lesson reinstated by a later cursive hand, f.137. Throughout there are additions, alterations and erasures at intervals, including antiphons added in the lower margin.

The texts and the omission of St Benedict from the litany indicate that the book was not originally intended for monastic use. Some of the saints in the litany support an origin in Hainault: Vedast, Bavo, Amand, Autbert, possibly Oda, depending on identity, Waldetrudis of Mons and Amalberga of Maubeuge. Others had cults centred in neighbouring Brabant: Rombout, Gummar, Wibert (Guibert), Dympna and Odrada, a rare inclusion. Remigius (Rémy) is fourth of the confessors: the bishopric of Cambrai, which covered Hainault and western Brabant, was under the archdiocese of Rheims, whereas Liège, the diocese of eastern Brabant, was under Cologne. If the saints accurately reflect the patron’s devotions, he or she may have been Brabantine, possibly with some connection with a Benedictine Abbey, although the changed use might reflect a change of patron. The less usual ruling pattern, with paired horizontals extending into the margin at centre as well as top and bottom, has been noted in Brabant manuscripts, although not exclusively.

(2) Erased inscription on upper pastedown and Ecole de Liège in a modern hand.

Content:
Psalter, lacking Ps. 1-9, 13 v.4 – 16 v.5, 93 v.1-11 and 103 v.29 – 150, misbound, ff.1-99v: Ps. 97-103 v.28, ff.1-7v; Ps. 93 v.12 – 94 v.5, f.8r; Ps 10 – 13 v.3, ff.9-10v; Ps.16 v.6 – 92, ff.11-97v; Ps 95 v.11 – 96, f.98r; Ps. 94 v.5 - 95 v.10, f.99; Canticles, lacking opening with probably four canticles, ff.100-106v: Domine audite, final verse only (Habbakuk 3 v.19) f.100, Audite celum f.100, Benedicite f.103v, Te deum f.104v, Benedictus f.105v, Magnificat f.106, Nunc dimittis f.106v; Athanasian Creed, Quicumque vult, ff.107-109; Litany f.109-111v; Hours of the Passion, ff.112-119; Penitential Psalms ff.119v-126; Office of the Dead, infrequent Benedictine use (see above), ff.126v-148v; Hours of the Passion, ff.112-119;

The contents of 13th-century Psalter-Hours vary greatly in the nature and number of the Hours, which did not necessarily include the Office of the Virgin but could be focused on a particular aspect of her cult or be devoted elsewhere, as here to the Passion. This makes it impossible to deduce whether further texts once formed part of the volume.

Illumination:
Stylistically, the accomplished illumination belongs to the group assembled by Judith Oliver around a Psalter-Hours in the Morgan Library and Museum, New York, M.183, localised to Liège in the 1280s, see J.H. Oliver, Gothic manuscript illumination in the diocese of Liège (c.1230-c.1330), 1988, I, p.173-9. Compare, for instance, the very similar compositions for the Requiem Mass on f.126v and on f.252v of M.183. Oliver identifies the same hand in a Psalter in Brussels, KBR IV 1013, also localised to Liège in the 1280s, where the bar borders are more fluid but close versions of those in this manuscript, even down to the small uncoloured heads linking bars to initials, f.87 and KBR IV 1013, f.153v; the heads also occur with the more elaborate borders of M.183, e.g. f.24v. A date for this Psalter before the two Liège manuscripts, which do not share its ruling pattern, is suggested by its restrained borders, with few curves and no incipient ‘windmills’, and from its very limited use of penwork. In the Morgan and Brussels manuscripts, all coloured initials were flourished, whereas here penwork was apparently only employed to correct mistakes, to elevate two-line coloured initials that should have been gilded, often extending to replace the missing border. e.g. f.2.

Elements of the decoration and the style, neat figures with finely defined features, eyes animated by large black dots and ‘caved in’ profiles with indented noses, are rooted in Parisian developments: Oliver sees the style spreading with one or more illuminators moving from Paris to Liège, where manuscript production was already a fusion of Mosan traditions, Brabantine conventions and French currents transmitted principally through Hainault.

The Psalm initials remaining in this Psalter follow the pattern of marking the eight groups of psalms to be said on each day of the week and at Sunday vespers, as well as the earlier tripartite division of the Psalter. Their focus on David is shared by the Morgan manuscript, following a Parisian convention that the Morgan 183 illuminators helped to popularise in Liège. The subject of the initial for Ps.38 in this manuscript, a travelling figure, f.37v, is clarified by the fuller narrative of the Morgan initial, f.54v, where a similar figure is unmistakably David, expelled by a soldier at Saul’s command while Michal weeps. A similar, solitary, fleeing David appears in the Brussels Psalter, where the sequence of David scenes, with the enthroned figure for Ps.51, is close to that in this manuscript.

Even closer are the initials in two Psalters now in Baltimore, Walters Art Museum, MSS W.41 and W.111, a relationship which extends for W.41 beyond the Psalter to the scene of Mary Magdalen and the Risen Christ, f.119v, and W.41, f.226v. Neither manuscript, however, repeats the fool for Ps. 52, f.52, exceptionally riding on a goat, an animal with appropriately negative connotations. The image may borrow from illustrations of Marcolf, the wise fool of current fable, who rode on a goat half-clad to fulfil the conditions of a riddle. The Walters manuscripts are stylistically dependent on the Morgan 183 group, although they lack the refinement evident in the name manuscript, the Brussels Psalter and this volume. From their texts, both were made in a Franciscan house in Cologne and their illuminator(s), presumably formerly associated with the Morgan 183 group in Liège, have been credited with an important role in the transmission of French High Gothic style to Cologne, see J. H. Oliver, ‘The Mosan Origins of Johannes von Valke’, Wallraf-Richartz-Jahrbuch, vol. 40, 1978, pp. 23–37. Oliver, noting their similarities with, yet differences from, the cycle of psalm illustration in the Brussels manuscript, posited the existence of another model from the Morgan 183 group. Whether or not this Psalter is that hypothetical model, it provides important evidence for the spread of artistic innovation, as its illuminator(s) moved from Paris to Hainault or Brabant, before settling in Liège.

The subjects of the historiated initials are: two monks singing at a lectern (Ps. 97) f.1, kneeling David praying to the Lord (Ps.101) f.3, David pointing to his eyes (Ps. 26) f.22, David fleeing from Saul his clothes on a staff over his shoulder (Ps. 38) f.37v, enthroned king with sword and orb, probably Saul ordering the slaughter of the priests of the house of Abimelech (Ps. 51) f.51v; the fool, brandishing a club and riding on a goat (Ps 52) f.52; David in the waters praying to the Lord above (Ps. 68) f.67, David playing the bells (Ps.80) f.85, Christ on the Cross between the Virgin and John the Evangelist f.112, Mary Magdalen and the resurrected Christ, Noli me tangere, f.119v, funeral mass: the priest elevating the host watched by five men and one woman behind a pall draped coffin f.127.
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