Title: [Hours of Antoine de Crèvecœur]
Other titles: Book of hours (Leeds University Library. Brotherton Collection MS 4)
Classmark: BC MS 4
City: [France, Amiens or Arras]
Main language: Latin
Size and medium: 1 v. (ii, 244, ii leaves) (1 column, 17 lines; ruled in red ink)
Collection group(s): Medieval Manuscripts
Decoration: 38 large arched miniatures surrounded by framed borders in designs of intricate curving foliage and ivy leaves in pen and gold, enclosing strawberries and flowers in colour. Decorated initials in blue with white tracery on burnished gold grounds throughout. The thirty original miniatures painted around 1450-55 are thought to be the work of the Mansel Master and his assistant, an anonymous illuminator employed in his workshop. Around 1470-75 eight new miniatures were added, and have been attributed to the two artists from Bruges, Willem Vrelant (f. 1v) and the Master of Edward IV (ff. 10r-37r and 229r).
Written in bastard secretary.
Principal contents: ff. 1v-2r Memoria of Saint Gregory; f. 3 Memoria of Saint John, the Evangelist; ff. 3v-9v Gospel sequences; ff. 10r-35v Hours of the Holy Spirit and Holy Cross; ff. 45r-97v Hours of the Virgin; ff. 98r-112v Penitential psalms and litany; ff. 113r-142r Office of the dead; ff. 143r-146v Prayers; ff. 147r-162v Suffrages; ff. 162v-165r Office with psalm 90; ff. 165r-171v Prayers before and at the mass; ff. 171v-186r Prayers; ff. 186r-200r Devotions to the Virgin; ff. 200r-205r Prayers; ff. 205r-212r Suffrages; ff. 212r-213r Seven verses of St Bernard; ff. 213r-220r Prayers; ff. 220r-223v Psalms; ff. 224r-228v Prayers; ff. 229r-244v Psalter of St. Jerome.
From the library of Lord Brotherton. He had purchased the manuscript from the London book seller Chas. J. Sawyer in the 1920s.
See for a fuller description: N. R. Ker, Medieval Manuscripts in British Libraries, vol. 3 (Oxford: Clarendon Press, 1983) pp. 30-34. See also: M. Gil, "D'Italie du nord en Artois, le portrait de saint Bernardin de Sienne des Heures d'Antoine de Crèvecœur, vers 1450-55: Leeds University Library, The Brotherton Collection, Ms. 4" in J. F. Hamburger and A. S. Korteweg (eds.), Tributes in honor of James Marrow: studies in painting and manuscript illumination of the late Middle Ages and Northern Renaissance (Brepols Publishers, 2006) pp. 207-218; T. Kren and S. McKendrick, Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe (Los Angeles and London, 2003), p. 296; M. Gil in A. Notter (ed.), Fragments d'une splendeur: Arras à la fin du Moyen Age (Arras: Musée des Beaux-Arts d'Arras, 2000) pp. 86-89; M. Gil, Du Maître du Mansel au Maître de Rambures: le milieu des peintres et des enlumineurs de Picardie, ca. 1440-1480 (unpublished doctoral thesis, Université de Paris IV-Sorbonne, 1999); F. Avril and N. Reynaud, Les Manuscrits à peintures en France, 1440-1520 (Paris, 1993), p. 73; G. Dogaer, Flemish Miniature Painting in the 15th and 16th Centuries (Amsterdam: B.M. Israël B.V., 1987), pp. 43-47, 98-105; La Miniature Flamande: le mecenat de Philip le Bon. Exposition organisée à l’occasion du 400e anniversaire de la fondation de la Bibliothèque Royale de Philippe II, le 12 Avril 1559 (Brussels, 1959), p. 64, item 57; and J. A. Symington, The Brotherton Collection: a Catalogue of Ancient Manuscripts and Early Printed Books Collected by Edward Allen Baron Brotherton of Wakefield (Leeds, 1931), pp. 20-21.
16th-century binding of brown calf with a narrow border roll, angle-pieces and a large centrepiece in gilt.
The manuscript was possibly made for Antoine de Crèvecœur, the Burgundian courtier. Sometime around 1460 the manuscript passed to Hughes de Mazijnghem, a nobleman recorded as working in 1446 for the Bishop of Cambrai, who had the arms in the patron portrait on f. 153v changed to his own and his name added in the prayer below. Around 1470-75 the manuscript was owned by the couple represented in the miniature of the Mass for Corpus Christi, painted by the Master of Edward IV. In the early 16th century it belonged to Family Hornes (motto "Plus con va de Hornes" (?) on f. 149r), and later in the 16th century it was owned by one Pierre Peruanni (f. 102r). In the 17th century the manuscript had passed to Seigneur François Pot (several signatures).
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