Twenty-six miniatures by Lyonnais artists. Six gold arch topped miniatures above three and four-line illuminated initials with full borders of acanthus leaves, flowers, birds and animals by the workshop of the Rosenburg Master [c. 1475-95], c. 71 x 55 mm (including border). Eight smaller illuminations in rectangular gold frames to the outer margins between partial borders of ivy vine, fruit, and floral decoration in the hand of an apprentice, possibly from the workshop of the Master of Guillaume Lambert [c. 1475-1500], c. 52 x 15 mm (including border). Ten half-page miniatures in red square frames and one small square illumination by the workshop of the Master of Guillaume Lambert, c. 29 x 31 / 21 x 22 mm (including frame). One full page miniature in a gold frame with painted jewels by an associate of the Master of Alarmes de Mars [c. 1485-1510], c. 70 x 52 (including border). Many miniatures and some borders are rubbed, some smudging, and occasional offsetting. Line fillers in red and blue with white tracery and gold decoration, one- and two-line initials in burnished gold on alternately dark pink or blue grounds with white tracery. Three and four-line initials in dark pink or blue on burnished gold grounds with white tracery and ivy leaf or floral decoration.
 
198 leaves (f. 120 loose) c. 81 x 60 x mm, seemingly complete, collation: three later paper flyleaves, i-ii6, iii-vii8, viii8-1 (after 56, with no text loss), ix-xvi8, xvii4, xviii-xxi8, xxiii4, xxiv-xxvi8, xxvii3, three later paper flyleaves. Written space, c. 51 x 32 mm, ruled in red ink for fourteen lines, single column, written in neat cursive gothic script in dark brown ink, rubrics in red, some quires with catchwords in red, pricking near the end of the manuscript, modern foliation in pencil.
 
A late eighteenth century inscription to the front pastedown: ‘Odo Perier / Divi Pauli’ with a correction line through ‘Odo Perier’ and significant wear with a later inscription above ‘Charles.’ This inscription is repeated on the second fly-leaf ‘Odo Perier. Divi Pauli’ and ‘odo divinum officium’. Bound in 18th century brown morocco, c. 90 x 65 mm, lined and decorated in gilt to covers and spine, three raised bands to spine, lacks head and some of the tail of spine, remains of part of a metal clasp, occasional worm holes to spine and cover, marbled endpapers and paper flyleaves. Housed in a modern quarter black morocco protective box with velvet lining.
 
An attractively decorated Book of Hours, written and illuminated in Lyon by three major Lyonnais workshops in the late fifteenth-century.
 
The text comprises: ff. 1-12v, Calendar in red and brown including feasts for Lyonnais saints such as St Viventiolus of Lyon (12 July); ff. 13-22v; Gospel Extracts: ff.13-16, John; ff. 16-18v, Luke; ff. 18v-21, Matthew; ff. 21-22v; Mark; ff. 23-28, Hours of the Cross: ff. 23-24v, Matins; f. 25, Prime; ff. 25-25v, Terce; ff. 25v-26, Sext; ff. 26-26v, None; ff. 26v-27, Vespers; ff. 27-28, Compline; f. 28v, blank; ff. 29-33v, Hours of the Holy Spirit: ff. 29-30v, Matins; f. 30v, Prime; ff. 30v-31, Terce; ff. 31-31v, Sext; ff. 31v-32, None; ff. 32 -32v, Vespers; ff. 32v-33v, Compline; ff. 34-99v, Hours of the Virgin: ff. 34-50v, Matins; ff. 50v-67v, Lauds; ff. 68-72v, Prime; ff. 73-77, Terce; ff. 77v-81, Sext; ff. 81v-85v, None; ff. 86-94, Vespers; ff. 94-99v, Compline; ff. 100-127v, Penitential Psalms and Litany of Saints: ff. 100-118, Psalms; ff. 118-127v, Litany of Saints; ff. 128-155, Office of the Dead; ff.128-137v, Vespers; ff. 138-148, Matins; ff. 148v-155, Lauds; ff. 155v-159v, blank; ff. 160-171v, Suffrages of Saints: ff. 160-160v, St Michael; ff. 161-161v, St John the Baptist; ff. 162-162v, Sts Peter and Paul; ff. 163-164, St Andrew; ff. 164-165, St John the Evangelist; ff. 165-167, St Sebastian; ff. 167v-168v, St Anthony; ff. 168-169v, St Catherine; ff. 170-170v, St Barbara; ff. 171-171v, St Mary Magdalene; ff. 172-178, Obsecro te, ff. 178v-179v, blank; ff. 180-196, Passion according to St John the Evangelist; ff. 196v-198v, blank.
 
The subjects for the miniatures are: f.13, St John on the island of Patmos; f.23, Crucifixion; f.29, Pentecost; f.34, Annunciation; f.50v, Visitation; f.68, Nativity; f.73, Annunciation of the Shepherds; f.77v, Adoration of the Magi; f.81v, Circumcision; f.86, Flight to Egypt; f.94, Virgin in a Mandorla; f.100, King David in Prayer; f.128, Burial Scene; f.138, Job on the Dung Heap; f.160, St Michael; f.161, St John the Baptist; f.162, Sts Peter Paul; f.163, St Andrew; f.164, St John the Evangelist; f.165, Martyrdom of St Sebastian; f.167v, St Anthony; f.168v, St Catherine; f.170, St Barbara; f.17, St Mary Magdalene; f.172, Mary and Child; f.180 Christ’s Agony in the Garden of Gethsemane.
 
This highly illuminated manuscript is an exquisite example of varying artistic hands in a Lyonnais style. The six arch topped miniatures are reminiscent of the stylistic models and illustrative program of the Rosenburg Master (active c.1475-1495). Such is the case for David in Prayer (f. 100), with rounded bushes with accents of yellow, and the dark blue radiances [Lynn Jacobs]. On another note, the Annunciation (f. 34) evidences typical features of the Rosenburg Master’s style with the Virgin’s softly rounded face and angular folds of garments [Jacobs]. While the execution of detail and style is synonymous with the Rosenburg Master, the level of detail is not consistent with other examples (such as Rosenberg Ms 6 and The Molé Hours both sold at Christie’s in 2021, but it was certainly produced within the workshop of the Rosenburg Master.
 
The eight smaller illuminations within the side of the margins appear to be done by an apprentice; there is a distinctive shift in technical skill and a slight departure of style from the Rosenburg Master, instead it is better aligned with the Master of Guillaume Lambert’s composition and use of colour.
For the ten half-page miniatures associated with the Suffrages of Saints and one small miniature for Obsecro te are characteristic in terms of style with the Master of Guillaume Lambert. The firmness of eyelids with a touch of white with a black dot, softer folds of garments highlighted in gold, three-quarter length body composition, and greyed tones with touches of orange and yellow are again synonymous with the workshop of Master of Guillaume Lambert [Jacobs].
 
The full page miniature Christ’s Agony in the Garden of Gethsemane (f. 180) is distinctive in terms of composition and style to the other illuminations. Its innovative approach to the composition of figures is hallmarked by the style of the Master of Alarmes de Mars. Through cross comparison there are certainly nuances that do not fit the Master of Alarmes de Mars’ schema (attention should be paid to [Ms. 10 (85.ML.80) at The Getty Museum) the enlarging of heads and caricature features suggest it was completed by an associate of this Master, [Elizabeth Burin].
 
This small Book of Hours is a wonderful example of how manuscripts often were completed by multiple hands. There are stylistic and compositional nuances throughout which are all connected through fifteenth century Lyonnais style. Lyon artistry is known for its reference to compositions from Jean Colombe of Bourges (c. 1430-1493), and its naturalistic style, as showcased in this Horae.