FROM A BOOK OF HOURS IN LATIN, WITH A FULL-PAGE HAND-COLORED MINIATURE OF THE ADORATION OF THE MAGI

Paris, 1514(?). 198 x 130 mm. (7 3/4 x 5 1/8"). Single column, recto with 30 ruled lines in a gothic typeface.
Several one-line initials, one two-line initial, and three three-line initials, all hand-painted in liquid gold on a red or blue ground, with A FULL-PAGE METALCUT MINIATURE OF THE ADORATION OF THE MAGI, COLORED AND ILLUMINATED BY HAND, and with A FULL TROMPE-L'OEIL BORDER ENTIRELY PAINTED BY HAND, decorated with large flowers and a butterfly on a painted gold ground. ◆IN VERY FINE CONDITION, with only the most negligible imperfections, the paint quite fresh and the gold very bright.

Printed on vellum, colored by a contemporary hand, and with an original trompe-l'oeil border, this leaf is a pleasing marriage of two Medieval art forms: that of the printer, and of the illuminator. Although the most famous examples of Books of Hours are manuscript versions commissioned by persons of great wealth, mostly during the 15th century, the popularity of what has been called the "Medieval bestseller" did not wane after the invention of printing. In fact, the advent of movable type made Books of Hours more affordable and more widely available than ever, and artists continued to find ways to tailor these new products to the tastes (and wallets) of their clients. The present leaf most likely comes from a Book of Hours published in 1514 by Jean de la Roche for Guillaume Eustace (cf. Davies, "Early French Books" 275), which originally contained 18 large metalcuts like this one. The present miniature of the Adoration of the Magi is attributed to the workshop of Jean Pichore (fl. 1490-1521). Although he is primarily known as an illuminator of manuscripts, Pichore also had a hand in the growing market for printed material, designing a series of metalcut images that appeared in several Books of Hours published in the early 16th century. In the present example, the printed image is almost entirely hidden by the work of the painter and illuminator; the rich, saturated colors and profuse liquid gold create the illusion that the scene has been entirely painted by hand. The work was clearly executed by a talented painter who was careful to preserve details such as the deep creases of the Virgin's robes, tresses of hair, and even blades of grass. The leaf was originally printed without borders, so the addition of the trompe-l'oeil flowers and small butterfly would have been done entirely by hand. Not only is the border a delightfully unique touch that sets this leaf apart from other examples, but it is also an indication of the wealth and fine tastes of its first owner..