Illuminated Manuscript—The Annunciation to the Shepherds, miniature from a luxurious Book of Hours (Use of Rome) by the workshop of the Master of the Chronique Scandaleuse, [northern France (probably Paris), c.1500]

An elegant miniature by the workshop of one of Paris’ most prolific artists, the Master of the Chronique Scandaleuse

PROVENANCE:

1. Made for a highly decorated Book of Hours, certainly a noble commission.

2. Pencil numbering 227707 on verso.

3. Another leaf apparently from the same manuscript, showing the Baptism of Christ, was sold in our rooms, 12 December 1967, lot 6, afterwards Maggs, Bulletin 6 (1969), no.8, with plate.

4. Sotheby’s, Western Manuscripts, 7^th June 2006, lot 30.

COMMENTARY:

This sophisticated scene depicts the Annunciation to the Shepherds in a style that can be traced back to one of Tours’ leading artist, Jean Bourdichon, before proliferating more widely, until it reached the French capital.

The miniature is most likely made by the workshop or under the direct influence of the Master of the Chronique Scandaleuse (previously known as the Master of Morgan 219). This artist was active in Paris c.1493-c.1510 and created beautiful high-profile commissions for patrons such as Philippa of Guelders, wife of Duke René of Lorraine often in collaboration with other leading artists, such as Jean Pichore and the Master of Jacques the Besançon. The work of this artist is closely connected to the fine printed editions of Antoine Vérard who were highly popular in the French capital and beyond. It is likely that the artist drew inspirations from these highly influential and impressive printed works. The artist is likely to have worked in this medium as well, probably designing woodcuts for printed books.

The miniature is placed in a gently arched window opening a view onto a brightly illuminated night scene of the Annunciation to the Shepherds. Placed in a verdant and lush landscape two shepherds receive the news of the coming of the saviour. Above the two shepherds a golden and etherial angel appears, radiating light, that bathes the two figures in a golden hue by using fine gold hatchings.

The leaf hints at the former glory of the complete manuscript with its dual-coloured border of liquid gold and exuberant decoration. The verso offers us more hints at the origin of the manuscript, using blue for rubrics which catch the eye is characteristic for Parisian Books of Hours. The Use, identifiable in the antiphon ‘Maria virgo’, is that of Rome. 

This precious leaf unveils the influential position of Parisian illuminators and the close connection between luxury manuscript copies and fine printed editions at the beginning of the 16^th century.

LITERATURE:

Burin, Elizabeth. Manuscript Illumination in Lyons, 1473–1530. Turnhout: Brepols, 2001.

Avril, François, et Nicole Reynaud. Les manuscrits à peintures en France, 1440–1520. Paris: Bibliothèque nationale de France, 1993.

Reinburg, Virginia. French Books of Hours: Making an Archive of Prayer, c. 1400–1600. Cambridge: Cambridge University Press, 2012.

Wieck, Roger S. Painted Prayers: The Book of Hours in Medieval and Renaissance Art. New York: George Braziller, 1997.

König, Eberhard. French Illuminated Manuscripts, 1200–1500. London: Harvey Miller, 2014.