This refined miniature shows the stylistic characteristics of Veronese illumination from the late 15th century and is similar to the works of Liberale da Verona, whom the author of our illumination certainly knew. Liberale da Verona is an important artist of the second half of the 15th century. He was the son of Jacopo, a baker from Monzo, and Jacoba, daughter of Veronese painter Zeno Solimani and sister of painter Nicolò Solimani. It remains unclear whether it was Nicolò or Vincenzo di Stefano, a painter from Verona, who trained Liberale da Verona: in his Vite, Giorgio Vasari confuses Liberale da Verona's uncle with Vincenzo di Stefano. Strongly influenced by Andrea Mantegna and Jacopo Bellini, Liberale da Verona quickly became a leading artist and opened his own workshop in Verona. Our Figure of a Prophet is painted with a fine and refined brushstroke, vivid and saturated colors, and a great attention to detail, particularly in the treatment of the prophet's beard and his gaze, which despite its tiny size is deep and full of expression.

This Striking figure of a prophet is extracted from an unidentified liturgical book, from which two other miniatures (also depicting figures of prophets) are known (see Sister leaves and Published in, below). Like these two miniatures, the present illumination was most certainly part of the ornaments of a border of a large and richly illuminated page; one can imagine it taking place among vegetal or floral interlacing, as indicated by the remains of green and pink that define the miniature's contours.

We thank prof. Gaudenz Freuler for his expertise.

SISTER LEAVES
Figure of a prophet (Maggs Bros, 1995)
Figure of a prophet (important private collection of Italian miniatures, mostly established in the 1920s-1940s).

Ferdinand Hodler (1853-1918) is one of Switzerland's most significant artists. He is recognized as the founder of Swiss modernity as well as one of the most important artists for European modernity. His artistic journey began in Bern, honing his skills in painting. He later studied in Geneva, which became a significant base for his artistic development. His work is characterized by a bold use of vibrant colors, a strong expressive brushstroke, and rhythmic compositions, often exploring themes of nature, human style, Ferdinand Hodler succedded in gaining international recognition for his art.

From 1914 to 1915, during the illness of his companion Valentine Godé-Darel (1873-1915), Ferdinand Hodler created a poignant series of oil paintings capturing her phyiscal decline, and most of these paintings are now preserved in museums in Switzerland. In addition, at the beginning of 1914, Ferdinand Hodler created three plaster sculptures representing the bust of his companion. Like the paintings, these sculptures reflect Ferdinand Hodler's deep emotion connection with his companion, but they also reveal the lesser-known side of Ferdinand Hodler as a sculptor. Despite having won a first prize in sculpture at the age of twenty, the Swiss artist's sculptural production is extremely sparse and rare. At the beginning of the 20th century, it was believed that only one sculpture by the Swiss artist was known: an unsigned plaster Bust of Valentine Godé-Darel (now in the collection of the Musée Jenisch in Vevey). Subsequently, an unsigned plaster medal project representing William Tell (now at the Museum of Art and History in Geneva) was discovered, along with two other plaster busts of Valentine. One, also unsigned, is in private hands, while the other, recently rediscovered and which is signed, is the bust we present here.

The present plaster is the third and last Bust of Valentine Godé-Darel known. It is the only one signed by Ferdinand Hodler. Our bust is mentioned in the exhibition catalogue of the Musée Jenish, where it was exhibited alongside the three other busts, even though it is not included int he list of artworks presented at the exhibition, as its rediscovery happened too shorty before the publishing of the catalogue. Ferdinand Hodler's expert Niklaus Manuel Güdel suggests that the Swiss artist might have created the present bust after the first two, and signed it to facilitate the commercialization of the bronzes, cast after the artist's death at the request of the dealer Max Moos (1880-1976), from whom our plaster comes. The present plaster is the only signed Bust of Valentine Godé-Darel sculpted by Ferdinand Hodler and constitutes a magnificent witness to Ferdinand Hodler's art as a sculptor, as well as to the intimate relationship between the artist and his beloved Valentine Godé-Darel, who passed away on January 25, 1915.

Flemish painter Juan de Flandes (c. 1460-1519) worked for Isabelle I of Castilla from 1496 until the Queen's death in 1504. After that date, bishop of Palencia, Juan Rodriguez de Fonseca (1451-1524) undertook important works in the Cathedral and decided to move the cathedral's main chapel (from what is now the tabernacle chapel to its present location, previously the retrochoir). This new and bigger space allowed the bishop to extend the main altarpiece and complete the ensemble of carvings (realized by sculptor Felipe Bigarny) and architectural decorations (realized by Pedro de Guadalupe) commissioned by the previous bishop, Diego de Deza (1443-1524). With the decision to extend the altarpiece came the idea of adding paintings: on December 9, 1509, Juan Rodriguez de Fonseca and Juan de Flandes signed a contract to make eleven paintings of the followings depictions and in the following order: Crucifixion, Road to Calvary, Burial of Christ, Resurrection, Noli me Tangere, Agony in the Garden, Christ before Pilate, Ecco Homo, Road to Emmaus, Brith of Christ, and Annunciation. Ten out of the eleven paintings are still today in the Cathedral of Palencia. The Crucifixion is now in the Museo del Prado, Madrid.

The present painting is executed by an anonymous Spanish painter and depicts the Noli me Tangere. It is faithfully based on the painting realized by Juan de Flandes for the Cathedral of Palencia between 1509 and his death in 1519. It is therefore most certain that the painter of the present Noli me Tangere was working during the first half of the 16th century, in Palencia, where he could admire Juan de Flandes' work. Some elements have been closely copied, such as the position of Christ and Mary Magdalene, or the presence of the city in the background. Other details have been simplified, such as the sky and the decoration on the clothes of the two figures. The painter of the present Noli Me Tangere has also taken a few liberties, such as adding a few trees on the right, or modifying the colors of Mary Magdalene's drapery.

The presence, on the back, of a second painting (by another Spanish artist, c. 1550?) depicting the Crucifixion suggests that the panel was used in a workshop where two painters used the same panel. During the 19th or 20th century, the present panel was mounted in a wooden and sculpted frame that imitates the Renaissance style and with two (probably invented) coat of arms.

This large and richly illuminated initial letter H comes from a gigantic Bible, a so-called 'Bibbie Atlantiche' (in reference to the mythical creature that supported the sky) or 'Atlantic Bible' (in reference to the size of the Atlantic Ocean). This type of Bibles began to spread in Rome at the end of the 11th century and then expanded throughout Italy, especially Florence, during the 12th century. Through their enormous size, they meant to represent the extreme importance of the text as well as of the donor. Only a few Atlantic Bibles have survived to this day, and the pages or initials from this type of manuscript are extremely rare. The Bible from which our initial comes from is unidentified, but two other initials from the same Bible are known. Moreover, the present initial H comes from three major collections: the Arnold J. Mettler collection, whose manuscript and rare books collection was one of the most impressive, the Cornelius J. Hauck collection, whose sale is still to this day one of the most important in the history of bibliophilia, and the Robert McCarthy collection, which still constitutes an extremely important collection of medieval art, especially miniatures.

This initial H opens the text of the Book of Deuteronomy (from the Greek word Deuteronomion, meaning

Coming from the renowned collection of Robert McCarthy and originating from a special type of Bible called 'Bibbie Atlantiche' (in reference to the mythical creature that supported the sky) or 'Atlantic Bible' (in reference to the size of the Atlantic Ocean) because of its enormous size, the three present initials "E", "H" and "N" are richly illuminated. Decorated with complex and intricate geometric patterns, their design is based on the later Geometric style, a style that refers to the ancient Greek art, particularly in pottery. Each initial is adorned with several segments of various shapes, which are themselves decorated with geometric patterns in red, blue or green. The empty space is filled with vine stems or vine stems combined with acanthus leaves that intertwine and blend with the geometric shapes that from the initial.

As developed by Prof. Gaudenz Freuler, these stylistic elements indicate that the Bible from which these three initials originate was probably created in Tuscany, Italy, during the last quarter of the 12th century. A relevant comparison can be made with the decorated initials of an Atlantic Bible now preserved in Siena (Biblioteca Comunale degli Intronati, MS. F.I.5). Moreover, it is possible that our three initials come from an Atlantic Bible that was realized in a scriptorium that is also responsible for another Atlantic Bible, today known though two illuminated leaves and one cutting (Robert McCarthy collection, MS BM 1329, 1330 & 1446). However, these fragments may actually be extracted from the same Bible as our initials. In this case, the scriptorium is only known through the fragments of one Atlantic Bible, the Bible from which our the initials come.

SISTER LEAVES
Six initials "N", "S", "V", "O", "I" and "V": London, Robert McCarthy collection.
Probably, several fragments from the McCarthy collection (The McCarthy Collection. Vol. 1: Italian and Byzantine Miniatures, London, 2018, n° 12 [two leaves and one cutting], 15 [four initials], maybe 16 [five initials]) come from the same Atlantic Bible.
It is possible that seven decorated initials sold c. 1985 (London, Maggs Bros LTD, catalogue 1059: Papyrus to Paper: Papyri, illuminated initials and leaves, paleographical specimens, Books of Hours and other manuscripts [undated, c. 1985]) come from the same Atlantic Bible.

We thank Peter Kidd for suggesting that n°12, 15 and maybe 16 from the McCarthy collection could be sister leaves.

This beautiful Portrait of a man can be attributed to the Master of 1561, most certainly identifiable to the French painter Jean Brotin (active circa 1528-1561). The corpus of the Master of 1561 has recently been reconstructed by the specialist Camille Larraz, who attributes to the Master seven portraits on panel whose invention is owned to Corneille de Lyon (1500-1575) but whose touch is characterized by a more meticulous and velvety texture.

The identification of the Master of 1561 with Jean Brotin is based on an inscription on the back of a panel that appeared on the art market in 2015 as a work by Corneille de Lyon. Although probably retouched, one can read:

Book of Hours (use of Besançon); illuminated manuscript on vellum; in Latin and French. 217 ff., preceded and followed by one paper leaf, incomplete; Gothic Bastarda, brown, red and blue ink, liquid gold; one column, ruled for 14 lines; 13 illuminations all by the Master of the Troyes Missal; 12 4-lines decorated initials, 10 3-lines decorated initials; 108 small 1-line decorated initials; 2 illuminated leaves with richly decorated borders on four sides; 11 leaves with small floral ornaments. Leather binding on wood, 16th century.

This charming Book of Hours was made circa 1460 in Troyes or Besançon by the Master of the Troyes Missal, an illuminator that François Avril describes as "la personnalité la plus marquante de l'enluminure troyenne à partir de la moitié du XVe siècle" (i. e., the most striking personality of Troyes illumination from the mid-15th century). This illuminator is named after the magnificent Missal made for a private chapel in Troyes, today preserved in the national library of France, in Paris (ms. lat. 865A). His recognizable style is characterized by a graphic touch and effective compositions, as well as relatively expressive figures with stout bodies. The Master of the Troyes Missal is the only illuminator active in Troyes in the mid-15th century to have succeeded in establishing a local tradition: before his arrival, the art of illumination in Troyes was conditioned by the artists and the libraries in Paris.

Studied mainly by experts John Plummer and François Avril, the Master of the Troyes Missal is today recognized as an important artist responsible for several manuscripts, especially books of hours for the use of Troyes. Notable examples of the Master of the Troyes Missal manuscripts include the Hours of Louis XVIII (Paris, Bibliothèque nationale de France, ms. lat. 10539), the Book of Hours for the use of Langres (Cambridge, Harvard University, Houghton Library, ms. typ. 21), and the charming Book of Hours for the use of Troyes (Philadelphia Free Library, Lewis E 133).

TEXT
ff. 1-12v: calendar
ff. 13-17v: Obsecro te (masculine)
ff. 17v-22: O intemerata (masculine)
ff. 22-25v: Prayer to the Virgin Te matrem Dei laudamus
ff. 26-90: Hours of the Virgin, for the use of Besançon, incomplete (Matines fol. 26; Laudes fol. 38; Prime fol. 52; Tierce fol. 57v; Sexte fol. 62; None fol. 67; Vespres fol. 72; Complies fol. 82v)
ff. 90-102: Hours of the cross and Hours of the holy spirit, incomplete
ff. 102v-106: Prayer to the Virgin Missa de beata Virgine Marie
ff. 106-114v: gospels sequences (Luke fol. 106; John fol. 109v; Mathew fol. 111; Complies fol. 82v);
ff. 115-142; penitential psalms (with litanies ff. 129-134v)
ff. 142v-144: prayer for the dead Avete omnes fideles
ff. 144v-176: seven prayers of St. Gregory
ff. 176v-193v: suffrages
ff. 194-205: prayer to Jesus Christ and oratio Gracia ago tibi
ff. 205v-207v: protest of faith Mon benoit Dieu, je croy de coeur, added, in French
ff. 207v-209v: prayer Anima Christi sanctifica me, added, in Latin
ff. 210-217v: oration Missus est gabriel angelus.

ILLUMINATIONS
fol. 115: King David praying (full-page miniature with illuminated border)
fol. 179: Saint Michael (large miniature)
fol. 180: Saint John the Baptist (large miniature)
fol. 181: Saints Peter and Paul (large miniature)
fol. 182: Saint James (large miniature)
fol. 183: Saint Andrew (large miniature)
fol. 184: Saint Christopher (large miniature)
fol. 186v: Saint Adrian (large miniature)
fol. 188: Saint Sebastian (large miniature)
fol. 189v: Saint Claudio (large miniature)
fol. 191v: Saint Anatole (large miniature)
fol. 192v: Saint Bernardin of Siena (large miniature)
fol. 200: Last Judgment (full-page miniature with illuminated borders)

This large, decorated leaf comes from the fifth volume (out of nine) of an antiphonary made for the church of San Domenico in Perugia circa 1320 by the workshop of Marino da Perugia alongside a four-volumes gradual and a sequentiary. Thirteen (out of fourteen) of these volumes are today preserved in the Bibliotheca Comunal Augusta in Perugia while the fifth volume, which was still in the church of San Domenico in Perugia during the 15th century, was dismembered at an unknown date. From this volume, four leaves are currently known (see sister leaves below). Our leave, unknown to date, comes from this same manuscript. The large initial "D" (measuring 170 x 115 mm) is richly decorated with beautiful floral ornaments, bursting with colors, on a deep blue background with delicate white rinceaux. The verso shows the initial "H" painted with deep blue and decorated with red and dark blue Gothic ornaments.

Parent manuscripts & sister leaves:
All the thirteen volumes from this large series made for the Dominicans in Perugia are preserved in Perugia (Biblioteca Comunale Augusta di Perugia, ms. 2781-2789; ms. 2796; ms. 2799-2801).
From the fifth volume, four leaves are known:
The three Marys at the tomb [ex-fol. 4] (Venice, Fondazione Giorgio Cini, inv. 22073).
The Ascension of Christ [ex-fol. 87] (Venice, Fondazione Giorgio Cini, inv. 22072).
The Killing of saint Peter the Martyr [ex-fol. 133] (Venice, Fondazione Giorgio Cini, inv. 22075).
Funeral of saint Dominic (Montreal, Musée des Beaux-Arts du Canada, Fund F. Cleveland Morgan, 1962.1360).
Text leaf [ex-fol. 75] (Stockholm, National museum, NMB 1855).

We wish to thank Peter Kidd for having recognized the original provenance of this leaf.

The Master of Rohan is recognized as one of the most remarkable French illuminators of his time. He owes his name to his masterpiece, the Grandes Heures de Rohan, an exceptional Book of Hours probably commissioned by Yolande of Anjou around 1430 (Paris, Bibliothèque nationale de France, ms. lat. 9471). His unique style and talent have sparked numerous debates among specialists, who have been fascinated by this "eccentric Frenchman with a personal vision" (Sandra Hindman 1988, p. 49). At the dawn of the 15th century, the Master of Rohan is active in Troyes, probably his birthplace. He then moved to Paris, as early as 1415-1420, where he collaborated with leading illuminators such as the Master of Boucicaut. From 1425, onwards, the Master of Rohan worked for the famous René d'Anjou and the House of Anjou.

Our two illuminations come from a well-known Book of Hours named the ex-Boerner manuscript after its presence in a Boerner sale in Leipzig. This Book of Hours was recently renamed Thouroulde Hours, in reference to the Thouroulde family, for whom the Book of Hours appears to have been made. Extensive research into the provenance of the manuscript has allowed us to trace its history precisely. In 1937, the Book of Hours' seventeen illuminations were dispersed, and some of them are now located, including the Visitation which is preserved at the Museum of Fine Arts of Stockholm. The rediscovery of these two illuminations is significant for the history of French illuminations and testifies to the expressive and inventive style of the Master of Rohan. Our illuminations show great stylistic similarities with other works attributed to this artist, notably the Book of Hours preserved in Cambridge (Harvard University, Houghton Library, ms. Richardson 42), a magnificent Book of Hours attributed to the Master of Rohan and his workshop.

We thank Peter Kidd, Christian Etheridge, and Natale Roman for their help regarding the provenance research.

Sister leaves:
Virgin and Child (ex-fol. 21; current location unknown).
Saint John (ex-fol. 26; current location unknown).
Saint Matthew (ex-fol. 28; New York, collection Florence Gould; New York, Sotheby's, April 25, 1985, part of lot 90; private collection, 1988).
Saint Luke (ex-fol. 29; current location unknown).
Saint Marc (ex-fol. 31; New York, collection Florence Gould; New York, Sotheby's, April 25, 1985, part of lot 90; New Haven, private collection, in 1988).
Annunciation (ex-fol. 33; current location unknown).
Visitation (ex-fol. 44; Stockholm, National museum, NMB 1906).
Crucifixion (ex-fol. 55; Akron, Bruce Ferrini, in 1988)
Pentecost (ex-fol. 56v; current location unknown).
Nativity (ex-fol. 57v; current location unknown).
Annunciation to the Shepherds (ex-fol. 63v; current location unknown).
Adoration of the Magi (ex-fol. 69v; current location unknown).
Presentation to the Temple (ex-fol. 75; New York, collection Florence Gould; New York, Sotheby's, April 25, 1985, part of lot 90; New Haven, private collection, in 1988).
Coronation of the Virgin (ex-fol. 88v; current location unknown).
David (ex-fol. 95; New York, collection Florence Gould; New York, Sotheby's, April 25, 1985, part of lot 90; New Haven, private collection, in 1988).
Death chasing a man (ex-fol. 113; current location unknown).

This impressive and exquisite illuminated leaf depicting Saint Luke at his desk is painted by an intriguing and rare illuminator called the Master of Foljambe. He is named after a lavish Book of Hours made c. 1455-1460 and once owned by the nobleman Francis Ferrand Foljambe (Aldwark, North Yorkshire, 1749-Osberton Hall, 1814) now in private hands. Only a few artworks have been attributed to this master, who remains mysterious: besides the Book of Hours previously in the Foljambe collection, the anonymous master is only responsible for a Book of Hours (Paris, Bibliothèque nationale de France, ms. nouv. acq. lat. 28877), an exemplar of the Fiore di Vertu (New York, Pierpont Morgan Library, ms. M. 771) and exemplar of the Vie de notre Seigneur (Oxford, Bodleian Library, ms. Douce 134), an exemplar of the Histoire ancienne jusqu'à César (Oxford, Bodleian Library, ms. Douce 353) and a miniature of Saint Mark (Philadelphia Free Library, ms. E M 10:6). Based on stylistic analysis, the Master of Foljambe was mainly active in Dauphiné (France), probably in Grenoble. However, the artist shows stylistic similarities with manuscripts made in Lyons or Geneva.

According to the impressive size of the present cutting, it was once part of a very large and richly illuminated Book of Hours made for an unknown patron who was certainly established in Dauphiné, probably Grenoble (France) as the region's coat of arms appear on the desk. To date, this miniature is the only known witness of what was a very precious Book of Hours by the Master of Foljambe.

We thank Dr. Mireia Castaño and Alix Buisseret for their expertise.

The Master of Jean Charpentier is an important illuminator active in Tours, France, during the second half of the 15th century and who was most certainly trained in the workshop of the famous Jean Fouquet. He takes his name after the Book of Hours he painted c. 1480-1485 for Jean Charpentier, notary and secretary to King Louis XII and later mayor of Angers. This Book of Hours is now preserved in the Bibliothèque municipale d'Angers (ms. 2048).

Early in his career, the Master of Jean Charpentier's style is closer to Jean Fouquet, evident in his more sophisticated brushstroke and elongated figures. During this period, he illuminated a remarkable copy of the Lamentation de Saint Bernard for the Duke of Nemours, Jacques d'Armagnac (now held in Paris, Bibliothèque nationale de France, ms. fr. 916). Toward the end of his career, the Master of Jean Charpentier's style evolved and became closer to that of Jean Bourdichon. In the 1480s and 1490s, he painted the Book of hours of Philippe de Commynes, a counselor and chamberlain to King Louis XI, which is now in the British Library in London (Harley 2863). According to scientific literature, the Breviary of Saint-Julien de Tours, from which our two illuminated leaves originate, dates back to around 1470-1475 and is considered the earliest known work of the Master of Jean Charpentier. The camaïeu technique for the painting of Saint Catherine is reminiscent of the historiated initials in the renowned Hours of Etienne de Chevalier by Jean Fouquet (most leaves are now at the Musée Condé in Chantilly). It is no surprise that our present Saint Catherine, whose quality nearly exceeds other works by the Master of Jean Charpentier, was initially thought to be by a follower of Jean Fouquet.

Commissioned by the Abbey of Saint-Julien of Tours c. 1470-1475, the breviary remained in their possession for two centuries, as evidenced by a 17th-century handwritten note on the Lund fragment. The exact time the manuscript left the Abbey is unknown, but a 17th-century inscription on the fragment of the psalter may provide a clue: "faict par moy Christophe G[er]ault (?) / commendement fait à Monsieur le lieutenant sivil [et] criminel / Iacque". By the late 18th or early 19th century, two fragments of the breviary surfaced in Sweden. The psalter became part of Baron Carl Göran Bonde's collection, possibly acquired during one of his diplomatic trips to France in 1801-1802. In the early 19th-century, the calendar and temporal fragments belonged to mathematician Christian Gissel Berlin. Currently, six illuminated leaves from the Breviary of Saint-Julien of Tours, including the present two, are known and preserved in various collections worldwide.

Parent fragments and sister leaves:
Calendar and temporal (Lund, Universitetsbiblioteket, Med. Hand. 38).
Psalter (Örebro, Brevens bruk, private collection).
Meeting at the Golden Gate (Williamstown, Williams College Museum, 79.10).
Christ resurrected (Keio, Keio University, Matsuda collection, ms. 130).
Annunciation (London, Sotheby's, June 6, 2000, lot 20).
Presentation to the Temple (collection Sion Segre Amar, 1910-2003, deposited in Basel, Universitätsbibliothek, Comites Latentes, Depositum des Historischen Museums Basel, CL 236).

At the end of the 15th century and the beginning of the 16th century, Lyon became a major center for book production in France, rivaling Paris and Tours. This prominence was due to the growing interest of an aristocratic and merchant clientele, attracted by the city's advantageous geographical location and the importance of its fairs. To meet this increased demand, several illuminator workshops were established in Lyon, including those of the Master of Guillaume Lambert, Guillaume Leroy and the Master of the Entry of Francis the 1st, now identified as Jean Pingault. The Master of the Entry of Francis the 1st, named after a sumptuous manuscript depicting the Royal Entry of Francis the 1st in Lyon in 1515, preserved in Wolfenbüttel (Herzog August Bibliothek, Cod. Extr. 86, 4), has been identified with Jean Pingault by manuscripts expert Elizabeth Burin. Jean Pingault, who is documented in the archives regarding the entry of Francis the 1st in Lyon, is an important scribe and illuminator in the history of Lyon illumination and particularly prolific. His works include the Missal of Charles Alaman de La Roche Echinard in London (Library of the Order of Saint John), the Pontifical of Louis Guillart d'Epichelière at the Bibliothèque nationale de France (ms. lat. 955), and a Book of Hours for the use of Geneva made for Philibert de Viry (now in the Bibliothèque de Genève, ms. lat. 367). Expert Titana Levy has suggested identifying the Master of the Entry of Francis the 1st with Jean Ramel, a painter of Lyon, but this hypothesis has not gained wide acceptance. Jean Pingault is recognized for his rapid and lively style, using a diluted application of paint with a vivid palette dominated by cool tones, and his figures display calm expressions. The three small illuminations of our two leaves faithfully reflect this artist's style, including amusing elements like the domesticated pig alongside Saint Anthony, echoing his nickname "Saint Anthony of the Pigs", and an atypical depiction of Saint Nicholas as a bishop rather than a pope. Our two illuminated leaves come from a Book of Hours, from which we have been able to locate other leaves: one is held at the University of Florida, and three others are in private hands in the United States. We have identified the six calendar pages from the same Book of Hours, formerly in the collection of Ernst Boehlen (Switzerland). These leaves, recently put on the market, reveal a stamped coat of arms on the January folio, thus indicating a previous owner of our leaves, and of the Book of Hours still complete.

Sister leaves:
Six calendar leaves (Switzerland, collection Ernst Boehlen, MS 1425; his sale, London, Sotheby's, July 2, 2024, lot 56; three leaves with Maggs Bros. LTD., London).
Saint John, the Christ Blessing (Florida, University of South Florida).
The Christ Blessing (New York, the Manhattan Rare Book Company).
Job on the dunghill with his friends (New York, Bloomsbury Auction, April 4, 2009, lot 62).
Saint Barbara, saint Marguerite (McMinnville, Phillip J. Pirages, private collection).

Book of Hours (use of Rome and Franciscan use), complete; illuminated manuscript on parchment; in Latin and Italian. 142 ff., preceded by two parchment leaves, added, preceded and followed by two paper leaves; calligraphy Littera rotunda, black, brown, blue and red ink, liquid gold; one column, ruled for 15 lines; 8 illuminations, 5 folios with small marginal decorations. Italian binding in green morocco à la dentelle , 19th century.

Complete, in remarkable condition, and bound in a superb binding à la dentelle, this Book of Hours is a true treasure for several reasons. First, and this is exceptionally rare, it contains the signature of its scribe: "per fr[atr]em Joh[an]em Francigen[is] ordi[ni]s mi[n]or[um]" (by brother John of France, of the Order of Friars Minor), as well as the date of completion, March 5, 1494 ("anno do[mini] M° CCCC° LXXXXIIIJ°. Die Va Martij"). Furthermore, this beautiful Book of Hours contains a unique series of prayers written in Italian, revealing a highly personalized character, likely intended of a patron.ess attached to the Franciscan movement. This trend in late 15th century Italy reflects the growing role of Franciscans as spiritual advisors for laypeople. Finally, the Book of Hours is characterized by a simple yet richly abundant decoration in liquid gold. The work of the scribe, extremely delicate, seems almost to surpass that of the illuminator, highlighting the spiritual rather than material importance of this manuscript.

The scribe, John of France, is only known through this Book of Hours. Although his first name, Johannes, is common, and his surname, Francigena, indicates his origin, it is difficult to definitively identify him with another documented Johannes Francigena. A printer of the same name, recorded in Rome in 1481, could be the same person, but this remains hypothetical, especially since it would be unusual to transition from printer to scribe at the end of the 15th century. The French origin of the scribe is intriguing concerning the original patron of the Book of Hours. Although the partially erased coat of arms appears on fol. 13, the exact identity of the first owner remains unknown. One hypothesis suggests that it might belong to the Orsini family, lords of Nola and Pitigliano, whose coat of arms resembles those faintly discerned on fol. 13. This family is connected to the Ursins, known in France, which could explain the connection between the scribe and this family. In the 19th century, the Book of Hours passed to an unidentified Italian cardinal, who added his coat of arms in the frontispiece and had the manuscript embellished with a beautiful floral illumination and a Portrait of the Virgin in a medallion. The Book of Hours features several exquisite illuminations, painted by an Italian artist, likely Roman. The manuscript contains three large historiated initials and four decorated ones, all with vivid colors and a thick application of liquid gold.

TEXT
ff. I-II: two parchment leaves, added (I: blank, II: 19th century frontispiece with illuminations and title "Officium parvum Beata Mariae Virginis juxta ritu, sancte Romanae ecclesiae).
ff. 1-12v: Calendar, complete, for the Franciscan use of Rome
ff. 13-61v: Hours of the Virgin, complete, for the use of Rome (matines, f. 13; laudes, f. 21; prime, f. 29; tierce, f. 32; sexte, f. 34v; none, f. 37; vespres, f. 39v; compline, f. 44v)
ff. 62-80: Penitential psalms (including litanies, ff. 71v-74v
ff. 80v-81v: Gospel sequences, according to saint John
ff. 82-82v: Blank
ff. 83-114v: Office of the dead
ff. 115-117v: Hours of the Cross
ff. 118-120v: Hours of the Holy Spirit
ff. 120v-133v: Prayers and office, in Italian
ff. 133v-140v: Prayer, in Latin
ff. 140v: Explicit, signed and dated by the scribe, Johannes Francigena

ILLUMINATIONS
fol. II: 19th century frontispiece with unidentified coat of arms belonging to an Italian cardinal, illuminated borders on four sides and the Portrait of the Virgin in a medallion
f. 13: large 8-lines historiated initial "D" with the Annunciation and a putto holding the initial, and two putti holding the large coat of arms (partially erased), perhaps of a member of the Orsini family
f. 39v: large 7-lines decorated initial "D" with floral ornaments
f. 62: large 8-lines historiated initial "D" with King David praying to God
fol. 71v: large 7-lines decorated initial "K" with floral ornaments
fol. 83: large 8-lines historiated initial "D" with a Hermit holding a rosary and praying to a skull (maybe of Saint Jerome?)
fol. 115: 4-lines decorated initial "D" with a Cross in a landscape
fol. 118: 4-lines decorated initial "D" with the Dove of the Holy Spirit

At the turn of the 15th to the 16th century, manuscripts began to disappear, supplanted by the printed books, which had been gaining popularity ever since the invention of the printing press, generally attributed to Gutenberg with the printing of the first Bible in Mainz in 1454. In France, starting 1490s-1500s, printed books became increasingly common, gradually eroding the tradition of (illuminated) manuscripts, which were more time-consuming and more expensive to produce. The present illuminated leaf, depicting the Pentecost, is a beautiful example of a French illumination dating from the time when illuminated manuscripts were gradually being replaced by printed books. Originating from a Book of Hours, this charming illuminated leaf shows all the characteristics of Parisian illumination from the early 16th century: the brushwork is quick, the contours are marked, the palette is diluted, the colors are particularly vivid and the profusion of decoration in the four borders is notable. This richness of colors and decorative elements in manuscripts from the early 16th century is often seen as the swan song of the illuminators, certainly aware that they were witnessing the last moments of their art. The artist responsible for this miniature is aligned with the style of the famous and prolific illuminator Étienne Colaud (active in Paris, first half of the 16th century), known thanks to his signature which appears in a Book of Hours (France, private collection). Several manuscripts, marked by Étienne Colaud's style, are work of collaborators, associates, or followers. Among these, we can mention the illuminator that expert Marie-Blanche Cousseau named "L'exécutant principal des Statuts" who illuminated several copies of the Statutes of the Order of Saint Michael produced during the reign of Francis the 1st. Our illuminator seems particularly close to this anonymous artist, but is probably another illuminator working in the same atelier. More specifically, we believe we recognize the hand of our artist in three other manuscripts, all indebted to the style developed by Étienne Colaud's workshop: a copy of the Institution du Prince (Paris, Bibliothèque de l'Arsenal, ms. 5103), a copy of Petrarch's Triumphs (Paris, Bibliothèque nationale de France, ms. fr. 12423) and a pontifical bearing the arms of Philippe de Lévis (Poitiers, Bibliothèque municipale, ms. 822).

We thank Marie Mazzone for her expertise.

This leaf, large and richly decorated, comes from a choirbook made (or completed) in 1550, a late date for a manuscript given the rise of printed books since the end of the 15th century. The fact that one asked for an illuminated manuscript at this time indicates the original patron's pronounced taste for the meticulous work of scribes and illuminators. This manuscript was likely produced in a monastic environment, as religious communities continued to value illuminated manuscripts well after the advent of printing.

This illuminated leaf contains both text and a musical score, allowing us to place this folio at the beginning of the Commune Sanctorum, in the Temporale section. It features a sumptuous historiated initial "B" introducing the chant Benedicat nos Deus (psalm 66:7-8) recited on the first Sunday after Pentecost to celebrate the Trinity, which is depicted in the initial.

The depiction of the Trinity in the initial "B" follows the traditional Throne of Grace (Gnadenstuhl) motif, showing God the Father crowned on a heavenly throne, supporting the Cross with the crucified Christ, while the Holy Spirit is represented by the radiant dove. The leaf is also decorated with elaborate floral motifs in the margins, with putti playing among the foliage. The lower margin, two naked putti playing, while in the left side margin, one putto climbing, another supports a cartouche with the date 1550, and a third, dressed, supports the initial.

The stylistic study of this illumination, with its saturated colors, free and lively brushwork, and exuberant forms, suggests that the leaf originated from Southern Germany, likely from Nuremberg, Augsburg or Constance. Certain stylistic elements recall the work of the illuminator Nikolaus Glockendon, one of the leading German artists of the first half of the 16th century and who had a prominent clientele, including Cardinal Albert of Brandeburg (1490-1545), for whom he painted, in collaboration with the famous Simon Bening, his Prayerbook (Kassel, Universität Kassel, 4° Ms. math. 50).

As our illuminated leaf is realized after Nikolaus Glockendon's death, it is safe to attribute it to a talented follower of the great German artist. Since that this leaf originated from a choirbook likely intended for a monastery in Southern Germany, it is relevant to mention the monastery of Salem, near Constance. It is possible that the choirbook from which our page comes was made for this monastery.

This delicate penknife (a small knife used to pierce food) features a remarkable handle adorned with champlevé enamel and topped with a beautiful Bust of Bacchus, identifiable by his attributes. Amusing details, such as the half-naked body, the grapes wrapping around his belly, or the clusters placed in front of his sex, convey the erotic character of Bacchus. As the god of pleasure, Bacchus is a popular motif in the iconography of the Dutch Golden Age, and the choice to crown the penknife with a Bust of Bacchus symbolizes joy and pleasure as well as prosperity and education, as mythological motifs were considered a sign of cultural refinement among the bourgeois and noble families of the 17th-century Netherlands. The artist who crafted the handle did not choose the representation by chance: the high society used such figurative cutlery during festivities. Moreover, the wear marks on the present penknife indicate an actual use, unlike the grand ceremonial cutlery. Stylistic study and the most convincing comparisons place the creation of the knife in the Netherlands during the second quarter of the 17th century. Comparable enameling is found on a few examples only, all of Dutch origin. Notably, the two enameled cutlery handles from the Jacques Hollander (1940-2004) collection: one is topped with a Drummer Girl and the other one features a Bust of a Bagpiper. It can therefore be assumed that this type of knife handles originates from a workshop in the Netherlands, especially since another knife handle (now in the V&A, London) and classified as Dutch c. 1630, is practically identical to ours. The presence of this handle seems to signal the existence of a model with a Bust of Bacchus then circulating in the Netherlands. On the blade of the present penknife, two valuable pieces information appear: the monogram "C" and the old inventory number "197". The monogram refers to the origin of the work and is generally a signature of a workshop, a family of blacksmiths or an individual blacksmith. The presence of this monogram is a quality criterion: only the guild members were entitled to their own monogram. The inventory number refers to the provenance of the present penknife and the historical cutlery collection of Achille Jubinal (1810-1875), important French medievalist and knight of the Legion of Honor who assembled an impressive eclectic collection. In 1873, Achille Jubinal's knife collection was lent and exhibited at the South Kensington Museum (predecessor of the V&A, London). The following year, the museum published a catalogue in which the present penknife was erroneously classified as Italian. The cutlery collection of Achille Jubinal was then privately kept in the same family for several generations before reappearing on the auction market, without having been identified as the former collection of Achille Jubinal.

We thank Flavio De Corso for his expertise.

Anthony van Dyck is one of the most influential Flemish painter of the 17th century, following in the footsteps of his mentor Peter Paul Rubens. While Peter Paul Rubens' style deeply shaped Anthony van Dyck's early works, the influence of Italian masters, particularly of Titian, played a crucial role in Anthony van Dyck's stylistic evolution. Extremely successful portraitist and painter of religious and mythological pictures, Anthony van Dyck was also a renowned draughtsman and etcher. Around 1630, either in Brussels or Antwerp, Anthony van Dyck realized a series of twenty-four portraits, all in grisaille or brunaille and all destined to be reproduced in engravings by Pieter de Jode to illustrate the famous Icones Principum Virorum, an album of portraits of several Antwerp personalities contemporary with Anthony van Dyck, first published in Antwerp in 1635.

The present grisaille depicts the Flemish sculptor Andries Colijns de Nole (Antwerp, 1598-Antwerp, 1638) showing the Bust of the Laocoon. Realized by an anonymous artist, this painting is based on the portrait of the same man realized by Anthony van Dyck for the illustration of the Icones Principum Virorum (the painting is today in the collection of the dukes of Buccleuch, Northamptonshire). The present portrait of Andries Colijns de Nole (Andreas Colyn de Nole) can be dated around 1630-1635 as is it based on the painting by Anthony van Dyck himself and not the engraving (the engraved portrait is reversed). 

A few copies of Anthony van Dyck's Portrait of Andries Colijns de Nole are known: the catalogue raisonné (see Literature) lists three copies including one previously in the collection of the dukes of Bedford which was confused, first by Sotheby's, then by Christie's (see Provenance), with the present panel. The delicate brushstroke, the clever interplay of tones, between grisaille and brunaille, as well as some details of the sculptor's face seem to be especially close to the Portrait of Andries Colijns de Nole housed in the Mauritshuis (The Hague), a copy that is not listed in the catalogue raisonné.

Leonaert Bramer stands out as a remarkable and intriguing figure among the painters and draughtsmen of the Dutch Golden Age. Early in his life, he traveled extensively to France and Rome, earning the nickname "Leonardo della Notte" for his night-themed paintings. Upon returning to Delft in 1628, he joined the Guild of Saint Luke and formed a close relationship with the renowned Johannes Vermeer. An archival document from April 4, 1653, reveals that Leonaert Bramer visited the mother of Johannes Vermeer's future wife, Catharina Thins, advocating for their marriage. This has led to speculation that Leonaert Bramer may have been Johannes Vermeer's teacher, though no concrete evidence supports this claim. The current collection of twelve watercolors embodies the distinctive style of Leonaert Bramer. His brushstroke is energetic, his palette is vibrant and his use of light and shadow expressive, creating dynamic compositions. Additionally, the watercolors have a notable provenance. Mounted on laid papers featuring the Hollandia watermark from the 18th century, each piece bears the artist's name, "Leonaert Bramer", and annotations identifying the subjects and corresponding gospel chapters and verses. Originally, these twelve pieces were part of a larger set that included at least three other known watercolors (see Watercolors from the same set, below). In the 19th century, René della Faille de Waerloos likely owned fourteen of these watercolors, which were sold in 1904 after his death. In 1968, the collection passed through C. G. Boerner in Düsseldorf before being acquired by David Carter, former director of the Montreal Museum of Fine Arts, and his wife Louise. The Carters, who owned a significant art collection, lent these watercolors for two exhibitions.

Watercolors from the same set:
Adoration of the Shepherds (Montreal, Montreal Museum of Fine Arts collection, 1969.1619).
Adoration of the Magi (Montreal, Montreal Museum of Fine Arts collection, 1969.1620).
Christ's Entry into Jerusalem (Milwaukee, private collection; on loan to the Haggerty Museum of Art, Marquette University, XL 1989.4.2).
Circumcision of Christ (Gouda, White Rosen Fine Art; private collection).

An emblematic figure in the history of art, Jean-Étienne Liotard was one of the most important artists of his time. After training briefly with Daniel Gardelle in Geneva, Jean-Étienne Liotard entered the studio of Jean-Baptiste Massé in Paris in 1723, where he began his apprenticeship. In the spring of 1736, he travelled to Rome, then, in 1738, to Constantinople, where he stayed until 1742, before moving on to Jassy and, in 1743, to Vienna, where he was noticed by the Empress, who hired him as court painter. After brief stays in Venice and Frankfurt, Jean-Étienne Liotard returned to Paris in 1746, where he remained until 1753. He then worked in London, The Hague and Amsterdam. In 1757, the painter returned to his native city with great renown, while continuing to exhibit his works abroad. After a final trip to Vienna in 1777 and a year in Lyon in 1781, Jean-Étienne Liotard settled in the Geneva countryside in 1782. The present portrait is one of the few works by Jean-Étienne Liotard that can be precisely dated to 1721, i.e. before his first trip, thanks to the autograph inscription on the reverse. This Portrait of Jean-Pierre du Maine (1685?-1748), pastor of Lausanne and Daillens, is one of the artist's earliest work, which gives it a remarkable documentary value, all the more so as it is the first documented signed and dated portrait produced in Geneva by Jean-Étienne Liotard.

Born into a modest family, Joseph-Marie Vien began his apprenticeship with various painters before joining the Académie royale in Paris in 1740. A pupil of Charles-Joseph Natoire and influenced by the Comte de Caylus, he won the Prix de Rome in 1743. During his early years, the artist was criticized for his overly simple, realistic style. However, he managed to make a name for himself and was finally admitted to the Académie royale in 1754. Joseph-Marie Vien acquired an honorable status, thanks in particular to commissions from Mme de Barry, and founded a school where he trained many students, including the famous Jacques-Louis David. In 1775, the painter was appointed director of the Académie de France in Rome, then, in 1789, first painter to the king. When he died in 1809, Joseph-Marie Vien was given a state funeral at the Panthéon: he is the only painter to be buried there. With an expressive pencil stroke characterized by almost nervous hatching, the present drawing is a great example of the mastery of gesture. With a simple, effective composition, the artist, who may have left his signature on the lower left (J Vien F?), shows us here a "Portrait of an old bearded man" in profile, perhaps a preparatory study for a figure that remains unidentified.

Louis-Ami Arlaud, born into a family of artists in Geneva, studied under Jean-Etienne Liotard in Geneva and Joseph-Marie Vien in Paris. He specialized in miniature painting, using the technique of watercolor mixed with gouache on ivory, which he developed successfully. In 1778, Louis-Ami Arlaud opened his own studio in Geneva, where he produced a large number of portraits for Swiss and English clients. He enjoyed considerable success in London between 1792 and 1802, where he exhibited at the Royal Academy and carried out numerous commissions for the English aristocracy. Returning to Geneva in 1802, Arlaud continued to produce portraits in addition to teaching at the Société des Arts de Genève's École de dessin, counting among his pupils artists such as Firmin Massot, Adam Töpffer and Jacques-Laurent Agasse. According to the documentation in the cabinet d'arts graphiques (Musée d'art et d'histoire de Genève), the present drawing is part of an "album Arlaud", the existence of which is unknown. It depicts, with a touch of humor, a Sleeping revolutionary, and must allude to the political climate in Geneva between 1790 and 1800, which may give us a clue as to the work's date.

Swiss artist Jean-Pierre Saint-Ours (Geneva, 1752-Geneva, 1809) realized this sketch as a preparatory painting for the Coronation of the winner (collection des Hôpitaux Universitaires de Genève, HUG). Mounted in a late 18th century or early 19th century beautiful frame that was adjusted to match the painting's size, the present panel is published in Jean-Pierre Saint-Ours' Catalogue raisonné and dated from 1807. This artwork is one of the very last paintings made by the artist, who died two years after. Thanks to a lithography of the present sketch made by Jules Hébert now in the Musée d'art et d'histoire de Genève, we know that the painting was in the collection of John Revilliod (director of the Banque du commerce, Geneva) in 1860.

A draughtsman and engraver of the Ecole genevoise, Abraham Bouvier made his mark on the art scene of his time by engraving a number of portraits of personalities from Geneva. He also enjoyed engraving copies of Old Masters and Swiss artists of his time, such as Firmin Massot. He taught drawing at the Collège de Genève and was a member of the Société des Arts de Genève, which preserves several of his works. An inscription in black ink on the lower left corner of the paper on which the drawing is fixed provides us with several pieces of information: the present drawing, made by Abraham Bouvier probably in January 1825, is a copy of a work by the Dutch master Gérard Dou (Leyde, 1613-Leyde, 1675) depicting a Hermit praying. This work, which was in the famous Duval collection at the time, has not yet be located. Moreover, the present drawing is none other than the preparatory model for the engraving made by Abraham Bouvier for the same subject, which is one of several engravings of works that belonged to François Duval (a collection of these prints is kept at the Archives d'État de la ville de Genève).

Harald Erath grew up surrounded by a Catholic environment. From an early age, he was captivated by Medieval art, its symbols, and aesthetics. His work, and especially the present painting, reflects a strong influence from Late Medieval German art, with meticulous brushwork and exaggerated features (such as the treatment of the skin) reminiscent of that era. The painting's glossy finish enhances its vibrant colors, reminiscent of Medieval altarpieces, achieved through his use of egg tempera on wood - a technique from the Middle Ages.

The mystical quality of Medieval art inspires Harald Erath, prompting him to explore the emotions it evokes, even for those unfamiliar with Catholic iconography or for those who are, like him, non-religious. He observes that, despite a loss of understanding of religious symbols, they still evoke deep emotions as they continue to influence our modern culture, resonating with viewers even when stripped of their original meanings.

Coming straight from the artist's studio, the present painting encapsulates Harald Erath's thoughts on religion and symbolism. Removed from their original context, they invite reinterpretation. Elements like the hand with bloody hole or the moon (even the signature, which evokes a golden coat of arms) are free of any meanings; the viewer is free to assign his own meaning to the symbols depicted on the painting. For Harald Erath, the viewer's emotional response is always crucial, defining his art beyond his own intentions.

Harald Erath grew up surrounded by a Catholic environment. From an early age, he was captivated by Medieval art, its symbols, and aesthetics. His work, and especially the present painting, reflects a strong influence from Late Medieval German art, with meticulous brushwork and exaggerated features (such as the treatment of the skin) reminiscent of that era. The painting's glossy finish enhances its vibrant colors, reminiscent of Medieval altarpieces, achieved through his use of tempera on wood - a technique from the Middle Ages. 

The mystical quality of Medieval art inspires Harald Erath, prompting him to explore the emotions it evokes, even for those unfamiliar with Catholic iconography or for those who are, like him, non-religious. He observes that, despite a loss of understanding of religious symbols, they still evoke deep emotions as they continue to influence modern culture, resonating with viewers even when stripped of their original meanings. 

Coming straight from the artist's studio, the present painting encapsulates Harald Erath's thoughts on religion and symbolism. Removed from their original context, they invite reinterpretation. Elements like the hand with bloody hole, the poisoned chalice and the moon are free of any meanings; the viewer is free to assign his own meaning to the symbols depicted on the painting. For Harald Erath, the viewer's emotional response is always crucial, defining his art beyond his own intentions.