View PDF - Les Enluminures

Exhibition:
November 3rd to 28th, 2015
Tuesday through Saturday 10 AM to 6 PM
at
LES ENLUMINURES
23 East 73rd Street • 7th Floor
Penthouse • New York, NY 10021
Tel +1 212 717 7273
[email protected]
Full descriptions available upon request
GOTHIC COFFERS REVISITED:
DEVOTIONAL IMAGERY AND VISUAL CULTURE
Approximately 140 Gothic Coffers and fugitive prints survive (110 Coffers and 30 prints), most in European
museums. The eleven examples here, many previously unknown, are all French from around 1490 to 1510. A
few preserve their secret compartments or their horsehair cushions, evidence that they contained relics and
were carried as backpacks. All include rare hand-colored prints, some unique, others surviving in only a few
impressions. Most of the prints are related to the Parisian workshop of the Master of the Très Petites Heures
of Anne de Bretagne. Any study of the origins of French printmaking must take into account these Coffers and
their remarkable prints. The body of material is exceptional, for the viewing context helps explain the function
of the prints.
A sale in 2007 of twenty-two Gothic Coffers – the largest single collection formed by André and Marie-Thérèse
Jammes – prompted renewed interest in these art works and resulted in a flurry of new studies. Significant
among these are investigations by Severine Lepape and Michel Huynh on the typology of the coffers, the
identity and attribution of the prints (including a yet-unpublished census), and the union of print and coffer.
The recent discovery of a Northern Renaissance painting of the Rest on the Flight, published by Sandra Hindman,
prompts a reconsideration of the Coffers with prints as traveling boxes. Painted in Antwerp c. 1530 by an
artist working in the tradition of Joachim Patinir, the painting includes a detail of a large, partially opened box.
A small leather-bound book with clasps, a rosary composed of precious gems, a brush, scissors, and two
finger-rings all nest on a bunch of diaphanous white cloth inside the box. This detail survives as the only known
contemporary depiction of these Gothic Coffers. The painting thus encourages us to revisit the question of the
purpose of these traveling boxes – symbols of “the house and the garden of the Virgin” – and helps clarify the
interactive viewing context of the Gothic Coffers. It confirms the long-held theory of their use as book boxes.
Many unresolved issues remain, however. Further analysis of the texts of all the prints awaits publication.
Most of the short texts, which are all xylographic, include excerpts from prayers and biblical texts. But, their
precise sources, how they were chosen and by whom, and how they shaped the devotional experience of the
Gothic Coffers needs clarification. Preliminary findings are presented here.
The artistic milieu for the production of the prints also merits closer attention. Attribution of the designs for
the prints to the Master of the Très Petites Heures of Anne de Bretagne is generally accepted, but scholarship
on this artist (variously known also as the Master of the Apocalypse Rose of the Sainte-Chapelle, the Master
of the Chasse à la licorne, the Master of the Life of Saint John the Baptist, and perhaps identical with the
painter Jean d’Ypres) is complex, and the workings of his atelier unclear. This multi-media artist was responsible
for painted altarpieces, stained glass windows, designs for tapestries, illuminated manuscripts (his eponymous
Book of Hours is Paris, BnF, NAL 1320 of 1498), and designs for woodcuts. His style, as well as his repertory
of models, establishes him as the artistic heir of the Master of Coëtivy, possibly identical with the painter, Colin
d’Ypres (active 1450-1485). The documented career of Jean d’Ypres from c. 1490 to 1508 corresponds with
that of the Master of the Très Petites Heures of Anne de Bretagne. Yet, the volume and diversity of his artistic
production in the international arena of the Parisian art market at the beginning of print culture suggest a
flourishing workshop not a lone individual.
2
Our group of prints cannot be all by the same hand, although they may originate in the same workshop.
A core group is manifestly by the artist responsible for both the Book of Hours of Anne of Brittany and the designs for the woodcuts in the incunable Horae published by Philippe Pigouchet for Simon Vostre on 22 August
1498. These include the Annunciation, the Nativity, God the Father in Majesty, Saint Roch, and Saint Margaret
(nos. 1, 4, 5, 6. 8) with precise parallels in manuscript, incunable, and print. Others demonstrate the impact
of the circulation of foreign prints on the Parisian market; these include the Man of Sorrows seated on the
Cross (Dutch or German source), the Crucifixion with Two Thieves (German source), and Christ as Man of
Sorrows and the Virgin (Italian source) (nos. 2, 3, and 7). Exact sources for the remaining prints are still being
sought.
Further investigation of these practical, accessible, and intriguing objects promises new insights into the
relationship between devotional imagery and visual culture in early Modern France.
3
1
Coffret
France, probably Paris, c. 1490-1500
Wood, cover reinforced with 9 iron fittings, hinges, a lock, hidden compartment open, lining removed, cushion
removed (120 x 260 x 175 mm.)
MASTER OF THE TRES PETITES HEURES D’ANNE DE BRETAGNE
Woodcut, the Annunciation (230 x 160 mm.), “Monstra te esse matrem …” from the hymn “Ave maris stella” at
Vespers (distinct from the later second version of the Annunciation with a different text); one example known to
Schreiber/Heitz (BnF, Est. Rés. Ea. 5b); another version without the Coffer in the Metropolitan Museum of Art
Schreiber VIII, nr. *31; Schreiber/Heitz 1, not in Jammes
In beautiful condition with fresh hand-coloring, the print is distinguished by its rarity and by its
close correspondence to the work of the artist with exact parallels in the Très Petites Heures of
Anne of Brittany (Paris, BnF, NAL 3120) and the Pigouchet-Vostre Horae of 22 August 1498. The
well-preserved box has its hidden compartment exposed.
4
5
2
Coffret
France, Paris, c. 1490-1500
Wood, cover reinforced with 9 iron fittings, hinges, a lock, key (later?), hidden compartment open, green canvas
lining, cushion removed (100 x 250 x 155 mm.)
MASTER OF THE TRES PETITES HEURES D’ANNE DE BRETAGNE (attr.)
Woodcut, Man of Sorrows seated on the Cross (210 x 140 mm.), framing lines visible at the bottom, no text
Unique impression, not recorded in Schreiber or Schreiber/Heitz, reversed variant of Jammes 11 (also unique)
French version of a pan-European devotional image perhaps of Netherlandish origin, this unique
impression of a moving image is in excellent condition and would once have been accompanied
by a prayer (tops of letters barely visible). The box is intact in excellent condition, and the hidden
compartment opens.
6
7
3
Coffret
France, probably Paris, c. 1500-1510
Wood, the domed cover reinforced with 9 iron fittings, hinges, a lock, key (not original), red canvas lining,
horsehair cushion covered in red-dyed leather (140 x 280 x 180 mm.)
MASTER OF THE TRES PETITES HEURES D’ANNE DE BRETAGNE (attr.)
Woodcut, The Crucifixion with Two Thieves (270 x 180 mm.), xylographic text, “Cum vidisset ergo Iesus matre[m]
et discipul[um]. Autem [sic] quam diligebat dixit matri suo. Mulier ecce filius tuus. Deinde dixit discipul[o] [Ecce
mater tua]….” (John 19: 26-27), woodcut after an anonymous German print (Bartsch, Supplement, 478.1, p. 100,
unique impression in Wrockaw (UB))
Unique impression, unrecorded in Schreiber or Schreiber/Heitz, not in Jammes
Produced in Paris, this Coffer and its unique print demonstrate the impact of the circulation of
German prints in the time of Dürer. The well-known biblical text from John is used in the Mass
of the Seven Sorrows of the Virgin, as well as other devotional contexts. The box preserves its
horsehair cushion.
8
9
4
Coffret
France, probably Paris, c. 1490-1500
Wood covered with leather, the flat cover reinforced with 9 iron fittings, hinges, a lock, a chain (later addition), the
interior lined with red canvas; unopened hidden compartment, no cushion (160 x 240 x 90 mm.)
MASTER OF THE TRES PETITES HEURES D’ANNE DE BRETAGNE
Woodcut of The Nativity (215 x 140 mm.), xylographic text “Mirabile misterium declaratur hodie innovator [sic]
natur[e]… “(antiphon at lauds on the Octave of the Nativity), 12 impressions of the Nativity, in two versions, of
which 9 exist in boxes and 3 as independent prints (extracted from boxes)
Schreiber 63 a-c; Schreiber/Heitz 2; Jammes 18
Considering survival rates, this must have been one of the most popular prints: twelve other
copies from two variant blocks are recorded. Close to work by the Master of the Très Petites
Heures of Anne de Bretagne, the image was reused by the Master of the Chronique Scandaleuse
and other Parisian illuminators. The size of the box is just right for a Book of Hours.
10
11
5
Coffret
France, Paris, c. 1490-1500
Wood covered with leather, the flat cover reinforced with 9 iron fittings, hinges, a lock, red canvas lining, no cushion,
compartment unopened (215 x 320 x 140 mm.)
MASTER OF THE TRES PETITES HEURES D’ANNE DE BRETAGNE
Woodcut, God the Father in Majesty (247 x 162 mm.), xylographic text “Te inuocamus, te laudamus, te benedicimus
…” a chant for the Feast of the Trinity, 5 impressions known of this print (of which one is in the Spencer Collection,
NYPL, see Kup, 1956), one without its box, in good condition, a crack the length of the box affecting the print with
some slight tears
Schreiber 750, Schreiber/Heitz 10, Jammes 16
This is one of the largest models known of these Coffers, too large for a Book of Hours, but
perfect for a Missal. The print, a variant on a woodcut the Master of the Très Petites Heures
created for a Missal printed in Paris by Jean du Pré in 1491, includes text from the chant for a
feast day – entirely appropriate in this context, alluding to the possible use of the Coffer as a
traveling altar.
12
13
6
Coffret
France, probably Paris, c. 1490-1500
Wood, covered with leather, the flat cover reinforced with 9 iron fittings, hinges, a lock, red canvas lining, no cushion,
compartment unopened (180 x 260 x 120 mm.)
MASTER OF THE TRES PETITES HEURES D’ANNE DE BRETAGNE
Woodcut, Saint Margaret (240 x 164 mm.), xylographic text, suffrage to St. Margaret, “Omnipotens sempiterne
deus auctor virtutis … beatam virginem margaretam …” (Oh almighty and powerful God to whom the virtues of
the blessed virgin Margaret [are due]), one other impression known, no longer in its box, BnF, Estampes, Rés. Ea.
5k, in very good condition, some slight wear
Schreiber 1607a, Schreiber/ Heitz 25, not in Jammes
This well-preserved box of the usual typology includes the rare print of St. Margaret, patron saint
of childbirth, in unusually fresh condition. The image derives directly from the work of the Master
of the Très Petites Heures of Anne of Brittany, where it occurs in reverse in the 1498 PigouchetVostre Hours. The Suffrage to the saint is entirely suitable for private devotion.
14
15
7
Coffret
France, probably Paris, c. 1500
Wood, the flat cover reinforced with 9 iron fittings, hinges, a lock, hidden compartment unopened, red linen lining,
no cushion (180 x 275 x 125 mm.)
MASTER OF THE TRES PETITES HEURES D’ANNE DE BRETAGNE (attr.)
Woodcut, Christ as Man of Sorrows and the Virgin (208 x 152 mm.), xylographic text “Helas mon cher enfant et ma
seule espera[n]ce p[er]do[n]nes aux pecheurs” (Alas, my dear child and my only Hope, pardon to the sinners…,
unrecorded French prayer), one of five impressions with slight variations, inspired by a Venetian print (Schreiber no.
913b)
Jammes 26
Although the inspiration for this print is Venetian, the execution, including the coloring, is entirely
Parisian, confirming the impact of the circulation of prints in major European thoroughfares. This
is one of five variants of Christ as Man of Sorrows from this group of Coffers (see no. 2). The
inclusion of a prayer in French is noteworthy in the context of private devotion.
16
17
8
Coffret
France, Paris, c. 1480-90
Wood covered in leather, the domed lid reinforced with 5 iron fittings, hinges, a lock, green canvas lining, cushion
(190 x 290 x 130 mm.)
MASTER OF THE TRES PETITES HEURES D’ANNE DE BRETAGNE
Woodcut, Saint Anne with the Virgin and Child, accompanied by Saints Catherine and Barbara (190 x 156 mm.),
without text, good original coloring, some fading, crack along upper third of box affecting woodcut, some water
damage
Jammes 15, unique, unknown to Schreiber or Schreiber/Heitz
In spite of its compromised condition, this print is one of the closest to the style of the Master of
Anne of Brittany’s as extant in woodcuts for Jean Du Pré, Verard, and Pigouchet-Vostre. The
hypothesis (based partly on style and partly on the domed typology of the Coffer) that it is one
of the earliest xylographs inserted in a Coffer merits serious attention.
18
19
9
Coffret
France, Paris, c. 1490-1500
Wood covered in leather, flat lid with tooled leather, reinforced by three iron fittings, hinges, a lock the interior lined
in green, side loops, no cushion (180 x 260 x 110 mm.)
MASTER OF THE TRES PETITES HEURES D’ANNE DE BRETAGNE
Woodcut, Saint Roch (234 x 67 mm.), xylographic text of a suffrage to Saint Roch, “Ora pro nobis beate roche. Ut
mereamur preservari a peste epidemie …” (Pray for us Saint Roch. That we may be worthy of being preserved
from the mortal plague …), original coloring, some fading, some water damage, no restoration, unidentified mark
(ex-libris?)
Jammes 21, BnF Est. Rés. Ea 50, and Musée historique du Vieux Vevey (Switzerland) (three other impressions known)
This is an interesting example, not only because of the rare image of Saint Roch, who protected
against the plague, and the accompanying prayer, but also because of the typology of the Coffer,
which is distinctive from others in the group and includes tooled leather covered with fittings
and no extra compartment.
20
21
10
Coffret
France, Lyons, c. 1550
Wood covered with leather, domed top reinforced by nine iron fittings, two loops, hinges, a lock, hasp detached,
cushion, clasp (235 x 355 x 165 mm.)
ANONYMOUS
Woodcut, La Sovage (228 x 253 mm.), composed of two blocks, the central image inserted in an ornamental field
composed of grotesques, birds, and flowers
Jammes 30
One of a small group of Renaissance domed Coffers, with prints of personifications of the
Continents or parts of the World (in this case, the New World or the Americas) and the Gods (see
Hercules, BnF, Estampes, Rés, Ea. 5p), The sources are drawings by Leonard Thiry, who worked at
Fontainbleau, and for the ornament Ovid’s Metamorphosis illustrated by Bernard Salomon for
Jean de Tournes.
22
23
11
Woodcut
France, Paris, c. 1490-1500
Saint Francis of Assisi (320 x 247 mm.)
Woodcut, torn, skillfully restored, with two missing strips affecting the face of the saint, xylographic text “Deus qui
beato Fra[n]cisco glorisoso confessori tuo tantam graciem …”
Jammes 41, unique impression (variant image BnF, Estampes, Rés., Schreiber 1423bis)
Notwithstanding its restorations, this exceptionally large and rare print is important because it is
the largest associated with the group of Gothic Coffers. A single variant exists with different text
in the BnF, Estampes, removed from its box, which is now in Angers. The place of execution and
the source of the image are unknown; Lemoisne suggested Tours but it may well be Paris.
24
25
SELECTED LITERATURE
Avril, François and Nicole Reynaud. Les manuscrits à peintures en France, 1440-1520. Paris, 1993, pp. 265270.
Boerner -- C. G. Boerner, Les Enluminures and Helmut H. Rumbler Kunsthandlung. Woodcuts in French Late
Gothic Coffrets: an exhibition presented on the occasion on the IFPDA Print Fair in New York, 2008.
Field, Richard. Fifteenth-Century Woodcuts and Metalcuts from the National Gallery of Art, exhibition catalogue,
Washington, D.C., 1965.
Hindman, Sandra. “Gothic Traveling Coffers Revisited,” in Le Livre, La Photographie, L’Image & La Lettre. Essays
in Honor of André Jammes, ed. Sandra Hindman, Isabelle Jammes, Bruno Jammes and Hans P. Kraus Jr, Paris,
2015, pp. 312-327.
Huyhn, Michel and Séverine Lepape. “De la rencontre d’une image et d’une boite: les coffrets à estampe,”
La Revue des musées de France, no. 4 (2011), pp. 37-50.
Jammes: Coffrets – Pierre Bergé & Associés. Vente Collection Marie-Thérèse et AndréJ ammes, Coffrets de
Messagers, Images du Moyen Age et Traditions Populaires, Paris, Drouot Richelieu, 7 Novembre 2007.
Karr Schmidt, Suzanne and Kimberly Nichols. Altered and Adorned. Using Renaissance Prints in Daily Life,
exhibition catalogue, The Art Institute of Chicago in association with Yale University Press, New Haven and
London, 2011.
Kup, Karl. “A Fifteenth-Century Coffret,” Renaissance News 9 (1956), pp. 14-19.
Kup, Karl. “Notes on a Fifteenth-Century Cofferet,” The Connoisseur 140 (1957), pp. 62-66.
Lehrs, Max. “Die decorative Verwendung von Holzschnitten im XV. und XVI. Jahrhundert,” Jahrbuch der Königlich Preussichsen Kunstsammlungen, 29 (1908), pp. 183-194.
Lemoisne, P.-A. Les xylographies du XIVe et du XVe siècle au cabinet des estampes de la Bibliothèque Nationale,
2 vols., Paris and Brussels, 1927.
Lepape, Séverine. “Du nationalism au surréalism: une petite histoire de coffrets,” Bulletin du bibliophile, no. 1
(2012), pp. 11-23.
Lepape, Séverine. “When Assemblage Makes Sense: An Example of a Coffret à Estampe,” Art in Print, 2, no.
4 (2012).
Nettekoven, Ina. Der Meister der Apokalypsenrose der Sainte Chapelle und die Pariser Buchkunst um 1500,
Ars Nova, 9, Turnhout, 2004.
26
Parshall, Peter W, Rainer Schoch, David S. Areford, Richard S. Field, and Peter Schmidt. Origins of European
Printmaking, exhibition catalogue, Washington, D.C., National Gallery of Art in association with Yale University
Press, New Haven, CT, 2005.
Primeau, Thomas. “Coloring within the Lines: The Use of Stencil in Early Woodcuts, “Art in Print, 3, no. 3
(2013).
Schreiber, W. L. Handbuch der Holz- und Metallschnitte des XV. Jahrhunderts, 12 vols., Leipzig, 1926-1930.
Schreiber/Heitz -- Wilhelm Ludwig Schreiber, Kassetten-Holzschnitte des X. Jahrhunderts aus Sammlungen in
Frankreich, Deutschland, Österreich, Schweiz, Holland, Italien, England und Amerika, in Einblattdrucke des
Funfzehnten Jahrhunderts, vol. 76, ed. Paul Heitz, Strassburg,1931.
Souchal, G. “Un grand peintre français de la fin du XVe siècle: le Maître de la Chasse à la licorne,” Revue de
l’Art 22 (1973), pp. 22-86.
Acknowledgments: with thanks to Séverine Lepape, André Jammes, Armin Kunz, Michel Huyhn, and
the team at Les Enluminures
Text: Sandra Hindman
Design: Karen Gennaro
Printing: besttype
LES ENLUMINURES
NEW YORK
PARIS
CHICAGO
23 East 73rd Street
7th Floor
New York, NY 10021
tel: +1 212 717 7273
[email protected]
1, rue J.J. Rousseau
75001 Paris
tel: +33 (0)1 42 60 15 58
[email protected]
2970 North Lake Shore Drive
Chicago, Illinois 60657
tel: +1 773 929 5986
[email protected]
www.lesenluminures.com