‘St. Catherine of Siena, as Christ and a host of saints appears to her, and offers her a bejewelled wedding ring, miniature on a leaf from a copy of the French translation of the Legenda Maior of Raymond of Capua, this leaf from a illuminated manuscript on parchment made for the grand Burgundian patron, Louis de Gruuthuse [French Flanders (doubtless Bruges), c. 1475]
Single leaf, with half page gold framed miniature attributed to the Master of Margaret of York or his workshop (see below), above a single pale pink initial containing coloured foliage, and 6 lines of elegant Burgundian lettre bâtarde by a professional scribe as yet unidentified but close to that of Colard Mansion, all within gold text frame and full border of acanthus leaves and other foliage, reverse with single word from previous chapter (‘personnes’: see below) at head, followed by line-filler in gold, blue and pink, above 5 lines of rubric opening with large and fine calligraphic initial (with human face poking out it’s tongue picked out in brown ink at its edge), some flaking and scuffing to gold, brown stains to upper margin, else fine condition, 276 by 197mm.
This leaf has a sublime provenance from Louis de Gruuthuse, the greatest art patron of the Burgundian Netherlands aside from the ducal family, to two kings of France, including François I, the father of the French Renaissance
1. This is a long-lost leaf from BnF MS. fr. 1048 (olim Regius 7336; on the manuscript see I. Hans-Collas & P. Schandel, Manuscrits enluminés des anciens Pays-Bas méridionaux. I. Manuscrits de Louis de Bruges, Paris, 2009, no. 36, pp. 144-45), a copy of the anonymous Légende de la Vie de Sainte Catherine de Sienne, made for Louis de Gruuthuse (1422-92; also known as Louis de Bruges), courtier to Philip the Good and the wealthiest and most important art patron in the Burgundian Low Countries outside the reigning ducal family. The loss of leaves from the parent volume removed the frontispiece with his armorial devices, but an offset of them can be seen on fol. 4v there. The present leaf contains the last word of book I, ch. 7, and the opening of book II, ch. 1, and once sat before fol. 35 in the parent manuscript (see the gallica.bnf.fr website for a black-and-white facsimile).
2. Louis XII (1462-1515, king of France from 1498), who was given the entire Gruuthuse library c. 1500, most probably by Jean V de Gruuthuse, the son and heir of Louis de Gruuthuse, as well as Louis XII’s chamberlain.
3. François I (1494-1547, king of France from 1515), the father of the Renaissance in France and one of that nation’s most important bibliophiles. He had the Gruuthuse arms overpainted in many of the volumes from that library and moved them along with the rest of the royal library into the treasury of the château of Blois (note the parent manuscript has the sixteenth-century note ‘Bloys’ at the head of its first original flyleaf above a description of its contents, doubtless from this move). There the royal chaplain, Guillaume Petit, recorded them in an inventory of 1518, and again in 1544, with the present leaf part of no. 1510, described as ‘Ung autre livre, en parchemyn, intitule: Vye de saincte Catherine de Sennes; couvert de veloux incarnat’ (see H. Omont, Anciens inventaires et catalogues de la Bibliothèque nationale, I, 1908, p. 235). These then passed to the royal library in Fontainebleau, and after the Revolution and foundation of the First Republic in 1792 to the Bibliothèque nationale. Depredations were made early into the Gruuthuse sections of the royal library, and in fact only 155 volumes of the 180 extant from this library now remain in the Bibliothèque nationale. All bar one of the leaves with miniatures were abstracted from the volume in question here before 1831, when the first comprehensive inventories of the Bibliothèque nationale were made (where the parent manuscript is no. 1683: see Omont, Anciens inventaires, p. 344). Where such miniatures were on a recto, a French hand of the eighteenth century added the preceding rubric in the parent volume (this is the case with the leaf in Dartmouth College and the leaf now in a European private collection), indicating that these leaves were removed while the collection was in Blois, and probably before the French Revolution.
4. Three leaves from the parent manuscript (most probably including this one) appeared for sale in a Philip C. Duschnes catalogue of May 1970, with one of these reappearing in Sotheby’s, 21 June 1994, lot 33 (but with the parent manuscript misidentified, and thus Gruuthuse provenance obscured), and another now in an important European private collection. Two further leaves with miniatures are now in Dartmouth College Library, Hanover, North Hampshire, USA (Rauner Library, 470940, gift of Madelyn C. Hickmott [1897-1988], both reproduced online).
5. The present leaf owned by a private North American collector, their sale in Cowen’s Auctions of Cincinnati, in March 2013, lot 51; acquired there by Roger Martin.
Raymond of Capua (c. 1330-99) served as spiritual director and confessor to St. Catherine of Siena, and thus his account is of paramount importance as an eye-witness record of her life. After her death, he undertook the restoration of the Dominican Order, and was named its second founder. This translation was made by an anonymous Dominican friar, sometime immediately after the canonisation of St. Catherine of Sienna in 1461. It had a short and closely focussed distribution as a text, and may well have been produced under the patronage of the Burgundian court as all five extant witnesses are associated with members of that court or their highest followers. See J.F. Hamburger & G. Signori, ‘The Making of a Saint: Catherine of Siena, Thomas Caffarini, and the Others’, in Catherine of Siena: The Creation of a Cult, 2013, pp. 8-10.
Artist and patron:
The identification of the artist as the Master of Margaret of York or a member of his workshop was made by the authors of the Manuscrits de Louis de Bruges volume published in 2009 (working from the single miniature remaining in BnF. fr. 1048 and those in Dartmouth College). The artist was active in Bruges from about 1470 to 1480, and takes his name from a book produced for Margaret of York, wife of Charles the Bold (now Bibliothèque royale de Belgique, nos. 9305-06). However, his surviving works indicate that his principal patron was Louis de Gruuthuse, with some fifteen extant works produced for Louis’ apparent personal reading (mostly French translations of Latin works, as here). See S. McKendrick & T. Kren, Illuminating the Renaissance, 2003, p. 217-18.
Items from this illustrious library, quintessentially of the late Middle Ages and made to inspire secular piety and demonstrate bourgeois opulence in equal measure, are of enormous rarity on the market. The last significant codex was that of a manuscript from Chatsworth, containing the Deeds of Sir Gillion de Trazegnies, and dated 1464, sold at Sotheby’s, 5 December 2012, to the Getty Museum, for £3,849,250. Otherwise a somewhat battered copy of Boethius’ Consolation of Philosophy, with three miniatures, from the final remnant of the Thomas Phillipps collection, appeared at Christie’s, 7 June 2006, lot 19, and realised £45,600. Perhaps the closest comparables to that here are a series of three grisaille miniatures produced by the Burgundian artist Lievan van Lathem for a grand manuscript made for Duke Philip the Good, Louis de Gruuthuse’s …(for full text, see catalogue PDF)’