![JOB ON THE DUNGHEAP, miniature on a leaf from a Book of Hours [Paris, c.1500]](https://devapim.christies.com/uat/lot-images/6154498/2018/CKS/2018_CKS_16018_0033_000(job_on_the_dungheap_miniature_on_a_leaf_from_a_book_of_hours_paris_c15094351).jpg?maxwidth=3840)
Lot 33
JOB ON THE DUNGHEAP, miniature on a leaf from a Book of Hours [Paris, c.1500]
Closed11 July 2018
Price Realised
GBP 1,250
More Information
JOB ON THE DUNGHEAP, miniature on a leaf from a Book of Hours [Paris, c.1500]
A sensitive and empathetic handling of the Old Testament story of Job – tormented by the Devil, before his redemption by God – by the Master of Petrarch’s Triumphs, the illuminator named after a 1503 translated copy of Petrarch’s Trionfi (Paris, Bibliothèque nationale de France, MS. fr. 594), a manuscript likely commissioned in Rouen by its Cardinal and Archbishop, George I d’Amboise (1460-1510), for presentation to Louis XII.
123 x 89mm. The miniature would have introduced the Office of the Dead in a Book of Hours. Laid down on paper, framed.
Provenance:
Christie's, 8 December 1971, lot 262.
A close associate of Jean Pichore (fl. c.1500-1520), with whom the Master collaborated on a number of works illuminated in Paris – including a Book of Hours held at the Musée Renaissance in Écouen (MS. E. Cl. 1251) – despite their shared patron’s residence in Rouen and his work is characterised by the same solid figures clothed in voluminous drapery and watercolour-like, transparent landscapes. The hand of the Master of Petrarch’s Triumphs, for some time tentatively conflated with that of Pichore, has also been discerned in the Hours of Claude Molé (New York, Morgan Library, MS M.356) illuminated c.1500 in Paris, which features closely comparable facial types to those in the present miniature, displaying high, angular cheekbones flushed with definite brushstrokes of red.
A sensitive and empathetic handling of the Old Testament story of Job – tormented by the Devil, before his redemption by God – by the Master of Petrarch’s Triumphs, the illuminator named after a 1503 translated copy of Petrarch’s Trionfi (Paris, Bibliothèque nationale de France, MS. fr. 594), a manuscript likely commissioned in Rouen by its Cardinal and Archbishop, George I d’Amboise (1460-1510), for presentation to Louis XII.
123 x 89mm. The miniature would have introduced the Office of the Dead in a Book of Hours. Laid down on paper, framed.
Provenance:
Christie's, 8 December 1971, lot 262.
A close associate of Jean Pichore (fl. c.1500-1520), with whom the Master collaborated on a number of works illuminated in Paris – including a Book of Hours held at the Musée Renaissance in Écouen (MS. E. Cl. 1251) – despite their shared patron’s residence in Rouen and his work is characterised by the same solid figures clothed in voluminous drapery and watercolour-like, transparent landscapes. The hand of the Master of Petrarch’s Triumphs, for some time tentatively conflated with that of Pichore, has also been discerned in the Hours of Claude Molé (New York, Morgan Library, MS M.356) illuminated c.1500 in Paris, which features closely comparable facial types to those in the present miniature, displaying high, angular cheekbones flushed with definite brushstrokes of red.
JOB ON THE DUNGHEAP, miniature on a leaf from a Book of Hours [Paris, c.1500]
A sensitive and empathetic handling of the Old Testament story of Job – tormented by the Devil, before his redemption by God – by the Master of Petrarch’s Triumphs, the illuminator named after a 1503 translated copy of Petrarch’s Trionfi (Paris, Bibliothèque nationale de France, MS. fr. 594), a manuscript likely commissioned in Rouen by its Cardinal and Archbishop, George I d’Amboise (1460-1510), for presentation to Louis XII.
123 x 89mm. The miniature would have introduced the Office of the Dead in a Book of Hours. Laid down on paper, framed.
Provenance:
Christie's, 8 December 1971, lot 262.
A close associate of Jean Pichore (fl. c.1500-1520), with whom the Master collaborated on a number of works illuminated in Paris – including a Book of Hours held at the Musée Renaissance in Écouen (MS. E. Cl. 1251) – despite their shared patron’s residence in Rouen and his work is characterised by the same solid figures clothed in voluminous drapery and watercolour-like, transparent landscapes. The hand of the Master of Petrarch’s Triumphs, for some time tentatively conflated with that of Pichore, has also been discerned in the Hours of Claude Molé (New York, Morgan Library, MS M.356) illuminated c.1500 in Paris, which features closely comparable facial types to those in the present miniature, displaying high, angular cheekbones flushed with definite brushstrokes of red.
A sensitive and empathetic handling of the Old Testament story of Job – tormented by the Devil, before his redemption by God – by the Master of Petrarch’s Triumphs, the illuminator named after a 1503 translated copy of Petrarch’s Trionfi (Paris, Bibliothèque nationale de France, MS. fr. 594), a manuscript likely commissioned in Rouen by its Cardinal and Archbishop, George I d’Amboise (1460-1510), for presentation to Louis XII.
123 x 89mm. The miniature would have introduced the Office of the Dead in a Book of Hours. Laid down on paper, framed.
Provenance:
Christie's, 8 December 1971, lot 262.
A close associate of Jean Pichore (fl. c.1500-1520), with whom the Master collaborated on a number of works illuminated in Paris – including a Book of Hours held at the Musée Renaissance in Écouen (MS. E. Cl. 1251) – despite their shared patron’s residence in Rouen and his work is characterised by the same solid figures clothed in voluminous drapery and watercolour-like, transparent landscapes. The hand of the Master of Petrarch’s Triumphs, for some time tentatively conflated with that of Pichore, has also been discerned in the Hours of Claude Molé (New York, Morgan Library, MS M.356) illuminated c.1500 in Paris, which features closely comparable facial types to those in the present miniature, displaying high, angular cheekbones flushed with definite brushstrokes of red.
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.