Lot 46

CIRCLE OF THE MASTER OF THE VIENNA ROMAN DE LA ROSE (JEAN HORTART) (Lyon, active 1412–1463) with a follower of the MASTER OF GUILLAUME LAMBERT (Lyon, active c. 1475–1500) Book of Hours (fragment), in Latin, illuminated manuscript on parchment

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CIRCLE OF THE MASTER OF THE VIENNA ROMAN DE LA ROSE (JEAN HORTART) (Lyon, active 1412–1463) with a follower of the MASTER OF GUILLAUME LAMBERT (Lyon, active c. 1475–1500) Book of Hours (fragment), in Latin, illuminated manuscript on parchment

Estimate: $5,000 - $7,000

Current Bid: $2,500

(1 Bid)

by Freeman’s
July 9, 2026 10:00 AM CDT
Live Auction
1550 W Carroll Avenue
Suite 106
Chicago, IL, US 60607

CIRCLE OF THE MASTER OF THE VIENNA ROMAN DE LA ROSE (JEAN HORTART) (Lyon, active 1412–1463) with a follower of the MASTER OF GUILLAUME LAMBERT (Lyon, active c. 1475–1500)
Book of Hours (fragment), in Latin, illuminated manuscript on parchment [France, Lyon, c. 1450–1460 and 1480–1490]

Courtly elegance in a manuscript for a female owner in late fifteenth-century Lyon.

iii (modern paper) + 28 + viii (modern paper) leaves, partially foliated, [collation: single leaves mounted in a modern guard binding] ruled in red ink for a single column of 16 lines (justification: 52 × 34 mm), written in a bâtarde minuscule script, capitals of one and two lines in gold on alternating red and blue grounds, text blocks accompanied by three-quarter borders of delicate penwork vine ornament, composed of fine black ink tendrils with tightly coiled scrolls, highlighted with burnished gold bezants and small floral and pellet motifs, FOUR HALF-PAGE MINIATURES, three within arched gold frames and one within a rectangular frame, each with full borders of vine and tendril ornament, florals, and bezants, inhabited by birds, animals, drolleries, and Wild Men, TWO HALF-PAGE MINIATURES WITH FULL HISTORIATED BORDERS, containing five and three scenes respectively, compartmentalized by banderoles and architectural elements. Bound by Denis Gouey in red velvet over pasteboards, covers plain with a narrow raised frame formed by the turn-ins, spine rounded and untooled, edges gilt, fitted with a small brass clasp and catch of openwork quatrefoil design, minor modern interventions to stabilize areas of damage, including some retouching, particularly within the historiated borders (see below), slight cockling and discoloration to the lower and outer edges, calendar text notably faded; otherwise in good condition. Dimensions 95 mm × 65 mm.

Provenance
(1) Made for a woman of the Burgundian Gelan family whose heraldry is present in the first miniature below the figure of Gabriel: gules, on a chief Or three mullets sable (see Castaño 2019, p. 70).
(2) Christian Andrew Zabriskie (1899–1970), New York, an American collector and philanthropist, and a member of the prominent New York Zabriskie family. He assembled a refined collection of European art and decorative objects and was an active benefactor to cultural institutions, including the Metropolitan Museum of Art.
(3) Manhattan College, New York (by gift of Christian Zabriskie), deaccessioned.
(4) Christie’s, 7 October 1994, lot 6.
(5) Purchased by Bruce Ferrini (1949–2010), Akron, OH, and broken by him. This group of leaves sold April, 21, 1995.
(6) Collection of Dr. Scott Schwartz, New York, his bookplate and catalog number “MS 56” on front pastedown.

Text
ff. 1–5, Calendar (January–April and June; Use of Rome with Lyon Saints); ff. 6–8, incipit of Matins and portions of Lauds (Hours of the Virgin); ff. 8v–10, incipit of Prime and portions of Sext, with additional portions of the Little Hours of the Virgin (including the hymn Gloriosa domina), followed by the explicit of the Hours of the Holy Spirit; ff. 10v–11, incipit of the Hours of the Cross and a portion of Prime; ff. 12–13, incipit and portions of Terce (Hours of the Virgin); ff. 14–16, incipit of Vespers (Hours of the Virgin), followed by a portion of the Penitential Psalms (Psalm 129); f. 17, blank; ff. 18–26, portions of the Office of the Dead; ff. 27–28, blank.

Illumination
This album preserves a substantial group of leaves from a Book of Hours probably produced in Lyon or its environs around 1450–1460. Formerly in the collection of Christian Andrew Zabriskie and subsequently at Manhattan College, the manuscript was sold at Christie’s and later dispersed by Bruce Ferrini around 1994. The present fragment, comprising twenty-eight leaves, preserves six miniatures corresponding to major divisions of the Hours: Matins, Prime, Terce, Vespers, the Hours of the Cross, together with a Virgin and Child executed on what was likely a singleton leaf inserted slightly later. Since its acquisition from Ferrini, areas of later intervention and overpainting have been introduced, most notably within the marginal narrative scenes. Nevertheless, enough of the original illumination survives to recognize the manuscript as an important witness to Lyonnais illumination and to tentatively associate its decoration with the circle of the Master of the Vienna Roman de la Rose, probably identifiable with Jean Hortart (also Jean d’Écosse).

First identified in 1925 by Friedrich Winkler through the celebrated copy of the Roman de la Rose preserved in Vienna (Österreichische Nationalbibliothek, Cod. 2568), the Master of the Vienna Roman de la Rose was long considered within a northern artistic framework and variously compared with the circles of Jean Fouquet and Barthélemy d’Eyck before François Avril securely relocated his activity to Lyon in 1993. Recently reassessed in the first monographic study devoted to the artist, Mireia Castaño (2022) has established the Master of the Vienna Roman de la Rose as one of the central personalities of Lyonnais illumination before the introduction of printing. Following the observations of Frédéric Elsig (2007), Castaño has further argued for his probable identification with Jean Hortart (also recorded as Jean d’Écosse), a painter, illuminator, and embroiderer documented in Lyon between 1412 and 1463. The epithet “d’Écosse” may indicate Scottish origin or ancestry, although the artist’s surviving works are entirely rooted in the artistic culture of fifteenth-century France. Castaño expands the artist’s oeuvre to approximately thirty manuscripts produced between c. 1425 and 1465, revealing a workshop that served not only Lyon’s ecclesiastical and urban elites but also aristocratic patrons connected with Bourges, Burgundy, Savoy, and the royal court of Charles VII. Beyond his own production, Hortart’s workshop appears to have played a formative role in the development of later Lyonnais illumination between the mid-century generation and the later circle of the Master of Guillaume Lambert.

The present manuscript was clearly executed by an artist working within this Lyonnais milieu and familiar with the visual vocabulary established by Hortart’s workshop. The miniatures are especially close to the work of the so-called Master of Gaste (Maître de Gaste), named after his defining manuscript, a Book of Hours now preserved in Paris (Bibliothèque nationale de France, MS lat. 13265), which was produced for a female member of the Gaste family, prominent patrons from Lyon and the Forez region (see Castaño 2019). The paintings in the present manuscript exhibit many of the defining characteristics of this artist’s style: compact, softly modeled figures rather than the attenuated forms typical of earlier courtly illumination; graceful, almost choreographed gestures; and a strong interest in the expressive interaction between figures. Also present, especially in the historiated borders, are the Master of Gaste’s compositional arrangements, which group figures close to the picture plane, with emotional exchanges and movements animating elaborate pictorial space. The miniature of the Virgin and Child (f. 17) appears to represent a later addition, perhaps executed some twenty years after the original campaign by an artist associated with the circle of the Master of Guillaume Lambert (active c. 1475–1500). Comparable qualities appear in works such as the Virgin and Child miniature from a Book of Hours now in the Robert Lehman Collection (New York, Metropolitan Museum of Art, 1975.1.2466; see Hindman et al. 1998), where pale porcelain flesh tones are contrasted with deep burgundies and blues and enriched by sumptuous textile effects. The present fragment therefore preserves a rare visual record of the evolution of Lyonnais manuscript painting across the second half of the fifteenth century from the refined courtly language of Jean Hortart to his heirs of the Master of Guillaume Lambert generation.

The subjects of the six miniatures are as follows: f. 6, the Annunciation, historiated border with scenes of the Meeting of Joachim and Anne at the Golden Gate, the Birth of the Virgin, and the Presentation of the Virgin in the Temple; f. 8v, the Nativity of Christ; f. 10v, the Crucifixion, historiated border with scenes of of the Agony in the Garden, the Arrest of Christ, and Christ before Pontius Pilate; f. 12, the Annunciation to the Shepherds; f. 14, the Flight into Egypt; f. 17, the Virgin and Child.

LITERATURE
Published: Mireia Castaño, “Le Maître de Gaste: Enluminure et broderie à Lyon au XVe siècle,” Bibliothèque d’Humanisme et Renaissance 81, (2019), pp. 65–79, p. 70; Related literature: Friedrich Winkler, Die flämische Buchmalerei des XV. und XVI. Jahrhunderts, Leipzig, 1925, pp. 33–35; François Avril and Nicole Reynaud, Les manuscrits à peintures en France, 1440-1520, Paris, 1993, pp. 199–201; Sandra Hindman et al., The Robert Lehman Collection at the Metropolitan Museum of Art, Volume IV:?Illuminations, New York and Princeton, 1998;
Frédéric Elsig, “Dossier lyonnais,” in Quand la peinture était dans les livres: Mélanges en l’honneur de François Avril, Mara Hofmann and Caroline Zöhl, eds., Turnhout, 2007, pp. 89–98; Mireia Castaño, “Le Maître du Roman de la Rose de Vienne et sa clientèle à Bourges,” in Peindre à Bourges aux XVe-XVIe siècles, Frédéric Elsig, ed., Milan, 2019, pp. 48–57; Mireia Castaño, “Le Maître de Gaste: Enluminure et broderie à Lyon au XVe siècle,” Bibliothèque d’Humanisme et Renaissance 81, (2019), pp. 65–79; Mireia Castaño, Le Maître du Roman de la Rose de Vienne, Milan, 2022; Julie Dumasy, “Les artistes cartographes français aux XVe et XVIe siècles,” CFC 256 (June 2024).

We thank Senior Consultant Sandra Hindman and Peter Bovenmyer for their assistance in preparing this sale.

Collection of Dr. Scott Schwartz
This lot is located in Chicago.

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Bid Increments
From: To: Increments:
$0 $999 $50
$1,000 $1,999 $100
$2,000 $4,999 $250
$5,000 $9,999 $500
$10,000 $19,999 $1,000
$20,000 $49,999 $2,500
$50,000 $99,999 $5,000
$100,000 $199,999 $10,000
$200,000 + $20,000