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213 x 137 mm. (8 3/8 x 5 3/8"). Single column, 25 lines, in a gothic hand. i, 123 leaves. COMPLETE. Contents: blank (f. i); Calendar (f. 1r); Gospel Lessons (f. 13r); Passion according to John (f. 17r); "Obsecro te" and "O Intemerata" (f. 23v); Hours of the Virgin (f. 28r); Hours of the Cross (f. 69r); Hours of the Holy Spirit (71v); Seven Penitential Psalms (f. 75r); Litanies (f. 82r); Office of the Dead (f. 88r); Suffrages (114r); ruled blank (f. 123). SPECTACULAR NEAR-CONTEMPORARY LYONNAISE BINDING OF POLISHED CALF, VERY DENSELY GILT, covers with a central oval filled with diamond-shaped tools, surrounded by an intricate strapwork pattern incorporating acanthus and three heads at the top and bottom (two with helmets, looking sideways, one, more prominent, staring ferociously straight on), the negative space densely azured (appearing from a distance as if entirely filled with gold), raised bands, spine compartments gilt with door-handle tools, floral motifs, and sawtooth borders, edges gauffered and gilt, later (17th century?) endpapers, lacking ties. Rubrics in deep pink, line fillers in red and blue with gilt embellishments, numerous one-line initials in gold on red or blue ground, many two-line initials in mauve or blue with white embellishment, most enclosing a flower or two, on painted gold ground, EACH PAGE WITH A FULL BORDER consisting of a plain gold bar on three sides and a painted gold panel containing colorful flowers, acanthus, and the occasional banner, WITH 21 SMALL MINIATURES (each measuring between 30-50 mm. tall), and 18 FULL-PAGE MINIATURES framed by a gilt and painted architectural border and accompanied by a three- or four-line initial with opening text on a banner, the initial painted mauve or blue with white embellishment, enclosing colorful flowers on painted gold ground, the subjects of the large miniatures being: St. John on Patmos (f. 13r); Agony in the Garden (f. 17r); The Temptation of Adam and Eve (f. 27v); Annunciation (f. 28r); Visitation (f. 34v); Nativity (41v); Annunciation to the Shepherds (f. 44v); Adoration of the Magi (f. 47v); Presentation in the Temple (f. 50r); Flight into Egypt (f. 52v); Coronation of the Virgin (f. 57r); Christ Carrying the Cross (f. 68v); Crucifixion (f. 69r); Pentecost (f. 71v); Bathsheba Bathing (f. 74v); David and Uriah (f. 75r); Job on the Dung Heap (f. 88r); Trinity (f. 114r). Front pastedown with book label of W. H. Corfield, armorial label of "H C M" (or perhaps "F C M") and a pasted-in piece of paper with early 19th century(?) notes about the manuscript written in French. Joints with a little wear and flaking, minor rubbing to edges and corners, but the binding entirely sound and in a remarkable state of preservation, glistening with gilt. A few small marginal holes where the vellum has thinned, a couple miniatures with light flaking or rubbing to the architectural border, a handful of trivial smudges to borders, but the contents in fine condition, being extraordinarily clean and fresh, and the miniatures extremely well preserved. IN EXCEPTIONALLY FINE AND PLEASING CONDITION INSIDE AND OUT. Complete, in a memorable 16th century binding, and boasting a large and particularly appealing program of miniatures, this splendid Parisian Book of Hours was produced by a highly skilled workshop for a patron of means, and comes down to us in extraordinarily fine condition. The style of the miniatures closely resembles that of Jean Coene IV (active ca. 1490-1520), an artist who hailed from a long line of manuscript illuminators originally from Bruges but active in Paris from the early 15th century. Identified by Isabelle Delaunay and Eberhard König and dubbed the "Master of the Paris Entries," Coene was a prolific artist who, according to Peter Kidd, "was perhaps particularly known to contemporary patrons for his ability to create new compositions." His versatility as an artist is demonstrated by the variety of volumes to which he contributed, including histories, voyag.
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