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Workshop of the Master of the Rouen Échevinage

Лот 50
10.12.2025 12:00UTC +00:00
Classic
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CHRISTIE'S
AuctioneerCHRISTIE'S
Место проведенияВеликобритания, London
Комиссияsee on Website%
ID 1514482
Лот 50 | Workshop of the Master of the Rouen Échevinage
Оценочная стоимость
£ 15 000 – 20 000
Workshop of the Master of the Rouen Échevinage
Book of Hours, use of Rouen, in Latin and French, illuminated manuscript on vellum [Rouen, c.1475]
The signs of the zodiac in Biblical guise: a rare sequence in a generously illuminated Hours from the workshop of the Master of the Rouen Échevinage.

171 x 122mm. i + 128 + i leaves, modern foliation: 112, 28, 36, 48, 57(of 8, lacking ii), 68, 77(of 8, lacking v), 89(of 8 + vi), 9-118, 127(of 8, lacking i), 13-168, 16 lines, ruled space: 99 x 58mm, one-line initials and line-endings in gold, two- to four-line initials on gold grounds, a border in the outer side margin of every written page, a border to the inner margin of rectos with two-line initials, marginal scenes of the occupations and zodiac signs in the calendar, twelve large miniatures with full borders some with marginal scenes or birds, beasts and grotesques (lacking three leaves with miniatures after ff.35, 53 and 89, some miniature pages slightly trimmed at top into borders and miniatures, lower border slightly smudged f.122). ?17th-century binding of green figured velvet over wooden boards (textile worn, joints cracked).

Provenance:
(1) Text and style of illumination indicate that the book was made in Rouen for the lady shown in prayer before the Virgin and Child, f.122; her headdress is appropriate for a wealthy townswoman not a noblewoman. Prayers are in the masculine: possibly texts may have been written on spec and illumination begun once a client had agreed to this level of expense. The calendar has Sts Gervais (19 June), Martial (3 July) and Romain (23 Oct.) in gold and Sts Ausbert (9 Feb.), Austreberta (10 Feb.), Ouen (7 May), Mellon (22 Oct.); except for Austreberta, they are all invoked in the litany along with St Lo (Laudus), who also comes before not only Romain but John the Baptist in the suffrages, perhaps suggesting a connection with Coutances where Lo was bishop. The Office of the Virgin follows the use of Rouen but the Office of the Dead has one variant from Rouen use: the sixth response is Peccantem, giving a sequence not known to Ottosen (The Responsories and Versicles of the Latin Office of the Dead, 1993).

(2) Cheverny is written in a ?17th-century hand on the verso of the first fly leaf: possibly a refence to the Hurault de Cheverny family or to the château de Cheverny, south-east of Blois, which was out of the family’s hands between 1755 and 1825. Philippe Hurault de Cheverny (1579-1620), bishop of Chartres, was a noted bibliophile, adding to the remarkable collection inherited from his cousins, Jean Hurault de Boistaillé and André Hurault de Maisse.

(3) There is an (inaccurate) description in English in a 20th-century hand on the verso of the final fly leaf; old shelfmark inked on spine.

Content: Calendar with Rouen saints, ff.1-12; Gospel extracts and prayers ff.13-18v; Obsecro te ff.18v-22; O intemerata ff.22-25v; ruled blank f.26; Office of the Virgin, use of Rouen, lacking the end of matins and beginning of lauds and the end of prime and beginning of terce, with suffrages after lauds, ff.27-72; ruled blank f.73; Penitential Psalms and litany ff.74-89; Hours of the Cross, lacking opening ff.90-92; Hours of the Holy Spirit ff.92v-95; ruled blank f.95v; Office of the Dead, uncertain use, ff.96-121v, Fifteen Joys of the Virgin, Doulce dame, ff.122-125v; Seven Requests, Doulx Dieu, ff.126-128v.

Illumination:
The Master of The Rouen Échevinage (also known as the Master of the Geneva Latini), apparently the head of a large workshop or team of collaborators, dominated the flourishing Rouen market for illuminated books from c.1460 to the 1480s. Named from a manuscript illuminated for the town council of Rouen (BnF, ms Fr. 2685), the Master is known for his lively figures and delight in surface pattern, exemplified by textiles detailed in gold. His evidently much admired compositions continued to be used well into the 16th century, helped by his style of clear outlines that were easily copied and replicated, for some comparable compositions see lot 49.

The miniature designs of this manuscript can also be compared with the Master’s own work, for instance in an earlier Rouen Book of Hours of c.1470 in the Cleveland Museum of Art (1952.227.64.a), The hand of the main miniatures in this slightly later Hours employs aspects of the Master’s painting technique but with less subtlety, making his methods more apparent: for example, the characteristic facial modelling for men with a curving swirl of grey to define the cheeks. A similar exaggeration is found in some of the miniatures in the Playfair Hours in the Victoria and Albert Museum (MSL/1918/475), for which see Rowan Watson, The Playfair Hours, 1984, with a discussion of the intricate interconnections between the Rouen illuminators influenced by the Rouen Échevinage Master.

In the calendar, the conventional visualisations of the zodiac are replaced by Biblical scenes that relate either visually or verbally: Eve emerging from Adam’s side, for instance, stands for Gemini, often shown as a conjoined couple, f.5v, while Job’s sore is equated with Latin cancer or French chancre, which can have the same meaning as the Vulgate Bible’s Latin ulcer, f.6v. It is likely that the exceptional cycle originated with the Rouen Échevinage Master, since versions of it have been noted in only three other Books of Hours, all for the use of Rouen and illuminated in his ambit: New York, Morgan Library and Art Museum, M.32 of c.1480; Philadelphia, University of Pennsylvania Libraries Ms Codex 1056 (sold Christie’s , 20 November 2002, lot 31) of the late 1480s; ex-Vershbow Collection, Christie’s New York, 10 April 2013, lot 127, also of the late 1480s.

The sequence in the Morgan Hours is almost identical apart from Taurus, there represented by Jacob wresting with the angel. Helpfully the Morgan cycle includes some labels which identify, for instance, Jonah for Pisces and Judas for Libra, suggesting the scenes were felt to need some explanation. The Hours in Philadelphia has St Catherine by her feast day in November instead of Sagittarius, perhaps from bewilderment at the scene of the centaur joining the archers who shoot Absalom; a conventional occupation of baking appears for, or instead of, Capricorn. The illuminator of the Vershbow Hours also had trouble with Sagittarius, who became the centaur Nessus abducting Deianeira beside Absalom hanging from the tree, perhaps from confusion with a scene of Hercules taking aim at Nessus that was current in Rouen, e.g. in the Morgan Hours, f.26v.

This Hours from the Rouen Échevinage workshop presents a full version of the exceptional zodiac cycle, within a handsomely illuminated volume exemplifying the qualities that secured Rouen its leading place in book production.

The subjects of the miniatures are: the Four Evangelists f.13; the Annunciation with border roundels of the Virgin weaving in the Temple and the Marriage of the Virgin f.27; the Nativity f.50; the Adoration of the Magi f.56v; the Presentation f.59v; the Flight into Egypt with the Miracle of the Corn in the background f.63; Coronation of the Virgin f.68v; David in penitence with the youthful David with his slingshot in the side border felling Goliath in the lower border f.74; Pentecost f.92v; clerics and mourners reciting the Office of the Dead beside a coffin in a church f.96; the female owner kneeling to the enthroned Virgin with Child with two music making angels in the border f.122; Trinity of the Broken Body f.126.

The occupations of the months are: a man dining before a fire f.1; man warming his feet at a fire f.2; man and a woman tending vines f.3; a seated lady and a gentleman with leafy branches in a garden f.4; lady riding pillion behind a gentleman f.5; man and a woman hay making f.6; two men harvesting grain f.7; men threshing and winnowing f.8; man treading grapes for wine f.9; man and a woman sowing seed f.10; man and a woman collecting acorns for pigs f.11; man and a woman bleeding a pig f.12.
The signs of the zodiac are: Aquarius represented by John the Baptist baptizing Christ with a pot of water f.1v; Pisces by the whale from which Jonah emerges, his crown a confusion with another conventional illustration for Psalm 68 (Vulgate), of King David in the waters, f.2v; Aries by the (unseen) ram provided to replace Isaac as the victim of Abraham's sacrifice,f.3v; Taurus by the (unseen) cattle specified as aboard Noah's ark, f.4v; Gemini by Adam and Eve, still joined (as in many representations of Gemini whether both male or male and female) while God forms Eve from Adam's rib, f.5v; Cancer by the (unseen) canker or ulcer which afflicted Job from head to foot and which he sat on the dung heap to scape with a potsherd, f.6v; Leo by the lions surrounding Daniel in their den, f.7v; Virgo by the Virgin of the Assumption (the feast for August 15), f.8v; Libra by the (unseen) weighing of coins as Judas Iscariot attempts to return the thirty pieces of silver, f.9v; Scorpio by the (unseen) scorpions in the wilderness through which Moses leads his people (as in Deut. 8: 15), though the drowning of Pharaoh's troops predominates, f.10v; Sagittarius by a centaur who becomes one of the archers responsible for the death of Absalom, caught by his hair in a tree, f.11v; Capricorn by the roasted kid brought by Jacob to the dying Isaac as part of Rachel's successful plot to disinherit Esau, f.12v.
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