[ENLUMINATION]. Extracts from an illuminated antiphonary, mo - Lot 2

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  3. [ENLUMINATION]. Extracts from an illuminated antiphonary, mo - Lot 2
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[ENLUMINATION]. Extracts from an illuminated antiphonary, mo - Lot 2
[ENLUMINATION]. Extracts from an illuminated antiphonary, mounted in a diptych In Latin, extracts from an illuminated manuscript on parchment Belgium, Bruges, ca. 1500-1515. With two large historiated initials (initial S and initial V), by an artist of the group of the "Masters of Raphael of Mercatellis", attributable to Cornelia van Wulfschkercke (active in Bruges at the beginning of the 16th century, nun of the Convent of the Carmelites of Sion in Bruges); with 56 ornamented or historiated initials (work of Marguerite Wanzeele?) Framed in two articulated panels in a diptych Dimensions with frame : 425 x 585 mm. Good condition. Beautiful rediscovery of excerpts of a work probably produced in collaboration by two women artists of the group of "Masters of Raphael of Mercatellis": Cornelia van Wulfschkercke for the illuminated historiated initials in association with an ornamental calligrapher, perhaps Marguerite Wanzeele (?). The calligraphic initials are very inventive and funny. This diptych should be added to the ongoing inventory of works by Cornelia van Wulfschkercke, to whom about twenty works are attributed to date. Left panel: Hymns for the 3rd Sunday after the octave of Easter, at vespers; antiphonal leaf with music notated in square on staves drawn in red; rubric, Sabbato ante .iii. dominicam post octavus pasche ad vesperas; historiated initial "S", Christ among the Apostles (dimensions: 75 x 70 mm); border on gold background, genteel illusionist decoration with fruit, flowers and butterflies [dimensions in height of the sheet truncated in width: 488 mm]; 28 initials cadellated arranged in columns on either side of the antiphonary excerpt, with a large number of figures (monks, women), grotesques, various profiles, bestiary; a few initials cadellated with mottoes in Latin: "Ave Maria"; "Memento Mori"; one initial cadellated with a coat of arms, described as follows: "Or, three mill irons Gules"; it is difficult to determine whether or not these coats of arms relate to the sponsor of the original manuscript, however it is interesting to note that there is a Montfort or Montfoort (van) family, originating in the province of Utrecht, but with ties in Hainaut that bears these coats of arms (see Riestap and Armorial of Saint-Antoine-en-Barbefosse, a place in Havré Wood (Mons); the order of Saint-Antoine-en-Barbefosse was a hainuyer order of chivalry founded in the XIVth century, prior to that of the Golden Fleece). Right panel: Antiphonal leaf with music notated in square on staves drawn in red; rubric (truncated), Incipit officium [...] usque ad visitati[onem]...; historiated initial "V", Two full-length saints [Simon the Zealot, holding a cross and a book (?) and Judas Thaddeus (?), holding a book and a club, his attribute; the two saints are often depicted together]. (dimensions: 75 x 75 mm); border on gold background, Ganto-Bruges illusionist decoration with fruit, flowers, and butterflies [dimensions in height of truncated leaf in width: 485 mm]; 28 cadelated initials arranged in columns on either side of the antiphonal excerpt, with a large number of figures, grotesques, and profiles; a few cadelated initials with mottoes in Latin: "Ama nesciri"; "Mors rabat ante fores"; "Vive meorum leti." Related or close leaf in style: Philadelphia, Free Library, E M 66:13-14, leaves from an illuminated Gradual (dim: 321 x 482 mm): "This leaf was illuminated by Cornelia van Wulfschkercke, a nun at the Bruges Carmelite convent Sion who was active in the late 15th and early 16th century. The other leaf was illuminated by an assistant" [on the other hand, it should be noted that the staves are drawn in brown ink; these leaves have initials in the same type as the present diptych mount]. See: https://openn.library.upenn.edu/Data/0023/html/lewis_e_m_066_013-014.html; "enrubannées" initials are also found in the manuscripts Paris, Bibliothèque Mazarine, MS 390 and MS 432. The two historiated initials of this dummy diptych, composed of excerpts from a large illuminated antiphonary, can be attributed to a member of the group of artists known as the "Maîtres de Raphaël de Mercatellis" who worked, among others, for Raphaël de Mercatellis, the natural son of Philip the Good. Mercatellis was abbot of St Bavo's Abbey in Ghent from 1478 until his death in 1508. The group of anonymous illuminators probably worked in Bruges and Ghent. Among these artists, Cornelia van Wulfschkercke is one of the best studied and associated with this group. This artist was a Carmelite nun from the convent of Sion in Bruges, documented between 1495 and her death on 15 April 1540, to whom more than twenty manuscripts have been attributed to date (especially the Gradual of Si
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