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This part of the website shows sold
works. The definition of pictures is a compromise
between the different screens and the slowest modems.
Even so, it can take much time to display enlargements
due to their size (100 to 200Ko).
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Detail
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From the Gospel of Otto III (Munich, Bayerische
Staatsbibliothek, Clm.4453, Folio 139r) Late
Xth cent. (picture 170mmx220mm)
Saint Luke, represented with a pile of codex
on his knees, exalts the prophets of the Old Testament who
announced the arrival of the Christ. The manuscript
of Otton III, whose richness of the original binding
equalizes the content, is one of the most precious manuscripts
of the world.
Goat parchment. 23½
carat gold leaf on gum ammoniac and 23½
carat gold fluid burnished. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Historical
pigments: Blend (Cochineal, Lapis-Lazuli, cinnabar),
malachit, copper acetate,
yellow ochre...
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Detail
1
Detail
2
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From the "Très riches Heures du Duc de
Berry"
(Ms.65, Folio14v) XVth cent. (text & picture210x270mm)
Universal man in the center of all the astrological
signs.
vellum parchment. 23½
carat gold fluid burnished and 24 carat silver. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Historical
pigments: Lapis-Lazuli, cinnabar, copper
acetate,
ceruse, yellow ochre...
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From a german
cut off leaf (Berlin, Kupferstichkabinett) XIII-XIVe
s. (165x115mm)
This representation of St Michael bringing down the
dragon is superbly made of fuid curves over geometrical
patterns, accentuating the motion effects.
Goat parchment. 23½
carat gold leaf on gum ammoniac and 23½
carat gold fluid burnished. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Historical
pigments:Lapis-Lazuli, red and yellow ochres, green
earth, ceruse...
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From the Averbode "Evangéliaire"
(Université de Liège, MS.363,Folio17) XIIe
s. (200x135mm)
This nativity is divided in two parts. In the
first one, a cloud of angels contemplates Jesus
in his through, next to the donkey and the ox. The
stage is flanked by the prophets Habacuc and Isaiah. The
Virgin and Joseph, separated from the child, are
represented in the second part. Goat
parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded with medieval tempera
(gum arabic, egg, honey water). Historical pigments:
Lapis-Lazuli, cinnabar, malachit, ceruse...
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Saint Théodore (Picture 135x115mm )
Initial "T" with St Theodore bringing
down dragons.
Goat parchment. 23½
carat gold leaf on gum ammoniac, and silver powder Pigments binded
with medieval tempera (gum arabic, egg, honey water). Historical
pigments: Lapis Lazuli, azurit, minium, copper
acetate, ceruse...
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Prayer to Ste Sabine and St Florent (Texte
& picture 147x150mm)
Initial "S" with the miniatures of
Ste Sabine and St Florent. Prayer text on the
occasion of engagement.
Goat parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Historical
pigments: Lapis Lazuli, redochre, ceruse...
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Detail
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From "La Somme le Roi"
(London, British Library, Ms. Add. 54180, Folio
16v.) Late XIIIth cent. (picture 120x160mm)
The Beast with many faces crushing a saint and
adored by an hypocrite.
Goat parchment. 23½
carat gold leaf burnished with agate
on base and gold powder for the calf. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Natural pigments:
Lapis-Lazuli, cinnabar, copper acetate, ceruse, ochres... Oak
gall ink and cinnabar.
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Detail1
Detail2 Detail3
Detail4
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From the "Très riches Heures du Duc de
Berry"
(Ms.65, Folio195) XVth cent. (text & picture180x210mm)
St Michael bringing down the
dragon.
vellum parchment. 23½
carat gold fluid burnished. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Historical
pigments: Lapis-Lazuli, Azurit, cinnabar, copper
acetate, malachit,
ceruse, red and yellow ochre... Oak
gall ink.
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From a miniature of the St Michael Mount Manuscripts. Picture
& text: 230x160mm
Order for a wedding present. Miniature from
the St Mihael Mount Manuscripts accompanied by the
St Michael's prayer.
Goat parchment. 23½
carat gold leaf on gum ammoniac Pigments binded
with medieval tempera (gum arabic, egg, honey water). Historical pigments:
Cinnabar, copper acetate. Oak
gall ink.
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Grandes Armes of the Family Manno (picture
& text155x190mm)
The crown ssurmounting the coat of arms is a
baron crown, title which is in the Family since
1343. The Manno Family came from France during
the invasion of Sicilia by the norman (normanno
in italian), and many authors think they can
trace back the origin to the close entourage
of Charlemagne (source: directory of the sicilian
nobility).
Vellum parchment. 23½
carat gold leaf on gum ammoniac and gold powder. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Historical pigments:
Cinnabar, ceruse. Oak
gall ink.
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Detail
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From the Bible of Montiéramey (BM Troyes, Ms28 T1 folio111v) XIIème
cent. (picture & text 125x265mm)
Initial F introducing the text of the first book
of Samuel. In the middle of multiple interlaces,
David is about to give the coup de grâce to Goliath,
fallen down from one's horse
Goat parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Historical pigments:
Lapis-Lazuli, malachit, copper acetate, minium,
red ochre, ceruse... Oak
gall ink.
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From the Maciejowski Bible
(New York,
Pierpont Morgan Library, MS.638, Folio41r.) XIIIth
cent. (text & picture 225x190mm)
Detail of a page of the Bible. The miniature shows
the battle of David against syrians and their chief
Shobach. The text written in latin describe the
scene.
Goat parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Historical
pigments: Lapis Lazuli, minium, cinnabar, copper
acetate, red and yellow ochre, ceruse...
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From the Codex de St Georges (Roma, Vatican
Library, Ms. 129 folio 85) (text &
picture 220x290mm)
Classical representation of St Georges relieving
the princess of the dragon.
Kid parchment. 23½
carat gold leaf burnished with agate
on base. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Historical
pigments:
Lapis-Lazuli, minium, green earth, yellow ochre, ceruse. Oak
gall ink.
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From the Hours
of Nuremberg (Ms. Solger4.4°,
Folio 83v) XIIIth cent. (text
& picture 160x210mm)
Initial "D" with the miniature of the
Throne of Grace. The original, realized in Paris,
is now preserved at the Stadtbibliothek
of Nuremberg
Goat
parchment. 23½ carat gold leaf burnished with agate
on engraved base. Pigments binded with medieval tempera
(gum arabic, egg, honey water). Historical
pigments: Lapis-Lazuli, cinnabar, cochineal. Oak
gall ink.
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Detail
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From Commentary on the Psalms, from Pierre
Lombard (BM Troyes, Ms92 T1 folio2) XIIth
cent. (texte & picture 100x240mm)
Illuminated initial, at the beginning of the
first psalm.
Goat parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Historical pigments:
Lapis-Lazuli, malachit, copper acetate, red ochre... Oak
gall ink.
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From the Bible of St Bernard (BM
Troyes, Ms458 T1 folio 213v) XIIth cent. (text
& picture 80x95mm)
Initial V of Visio, made by two dragons.
Goat parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Historical pigments:
Lapis-Lazuli, malachit, cinnabar... Oak
gall ink.
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From Commentary on the Psalms, from Pierre
Lombard (BM Troyes, Ms92 T1 folio100v) XIIth
cent. (texte & picture 120x160mm)
Initial D of the Psalm number 52.
Goat parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Natural pigments:
Lapis-Lazuli, copper acetate, cinnabar, minium,
brasil wood... Oak
gall ink.
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From Commentary on the Psalms, from Pierre
Lombard (BM Troyes, Ms92 T2 folio70v) XIIth
cent. (texte & picture 100x160mm)
Initial D of the Psalm number 109.
Goat parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Natural pigments:
Lapis-Lazuli, copper acetate, cinnabar, minium,
brasil wood... Oak
gall ink.
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Picture
of the Frame
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From the "Très riches Heures du Duc de
Berry"
(Ms.65, Folio182) XVth cent. (text & picture120x215mm)
Resurrection of the Christ. Resurexxi
et adhuc tecum sum... I woke up and I am still with
you...
Kid parchment. 23½
carat gold fluid burnished. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Natural
pigments: Lapis-Lazuli, Azurit, cinnabar, copper
acetate,
ceruse, yellow ochre... Oak
gall ink.
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From the Hours
of Nuremberg (Ms. Solger4.4°,
Folio 22r) XIIIth cent. (text
& picture 130x220mm)
Initial "D" with the miniature of the
dormition of the Virgin. The original, realized in Paris,
is now preserved at the Stadtbibliothek
of Nuremberg
Goat
parchment. 23½ carat gold leaf burnished with agate
on engraved base. Pigments binded with medieval tempera
(gum arabic, egg, honey water). Semi precious
pigments: Lapis-Lazuli, cinnabar, cochineal. Oak
gall ink.
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Detail1
Detail2
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From "La Somme le Roi"
(London, British Library, Ms. Add. 54180, Folio
5v.) Late XIIIth cent. (picture 120x160mm)
Moses taking the Tables of the Law and hypocrites
adoring the golden calf.
Goat parchment. 23½
carat gold leaf burnished with agate
on base and gold powder for the calf. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Natural pigments:
Lapis-Lazuli, minium, copper acetate, ceruse, yellow
ochre. Oak
gall ink and cinnabar.
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Detail1
Detail2
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From the Maciejowski Bible
(New York,
Pierpont Morgan Library, MS.638, Folio28v.) XIIIth
cent. (text & picture
240x185mm)
Detail
of a page of the Bible representing one of the most
famous scene of the Ancient Testament: David
against Goliath.
Goat parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Natural
pigments:
Lapis Lazuli, Azurit, red ochre, ceruse, minium,
copper acetate, cinnabar, yellow ochre. Oak
gall ink.
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From the Maciejowski Bible
(New York,
Pierpont Morgan Library, MS.638, Folio23v.) XIIIth
cent. (text & picture
220x200mm)
Detail
of a page of the Bible. The ammonite army, leaded
by Nahash, laid siege to the town of Yabeth. The
king Saul's army goes to the town's aid and scatters
the invaders.
Goat parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Natural
pigments:
Lapis Lazuli, Azurit, cinnabar, ceruse, minium,
green of iris, yellow and red ochres. Oak
gall ink.
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From the Marquette Bible (Getty Museum,
Ms.Ludwig I 8,V1, Folio 10v) XIIIth cent. (text
& picture 300x400mm)
This grand initial "I", for "In
principio creavit Deus" (In the beginning God
created), is the first page of the Marquette Bible
preserved at the Getty Museum. The different events
of creation, and the Crucifixion, are represented
on medaillons embedded within the initial.
Goat
parchment. 23½ carat gold leaf burnished with agate
on base. Pigments binded with medieval tempera
(gum arabic, egg, honey water). Natural
pigments: Lapis-Lazuli, cinnabar, ceruse, copper acetate. Oak
gall ink.
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From the Montiéramey Bible (BM
Troyes, Ms28 T2 folio107) XIIth cent. (text &
picture 100x160mm)
Initial T of Tobie, made by two dragons. The
prophet Tobie is piercing a dragon with his spear.
Imprisoned by many plants, Tobie is swaying one's
hip in order to suggest a moving scene.
Goat parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water). Natural pigments:
Lapis-Lazuli, copper acetate, cinnabar... Oak
gall ink.
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From the Maciejowski Bible
(New York,
Pierpont Morgan Library, MS.638, Folio29v.) XIIIth
cent. (picture 195x120mm)
Detail of a page of the Bible. The miniature shows
the battle of David against philistines. The king
Saul promises his daughter if David can slay 100
Philistines. David will slay 200...
Goat parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water).
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From the Ingeburge
Psalter
(Chantilly, Musée Condé, Ms.1965, Folio 28v)
Early XIIIth cent. (picture
205x150mm)
The Ingeburge Psalter is probably the most beautiful
example of a transition of the romanesque to the
gothic style (softening of the formes, human faces
more expressive...).
Goat
parchment. 23½ carat gold leaf burnished
on base with agate. Pigments binded with medieval tempera
(gum arabic, egg, honey water).
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From the Hours of Anne de Bretagne (folio
115) Early XVIth cent. (picture 65x220mm)
The Hours of Anne de bretagne contain an impressive
herbarium, illustrating most of the plants of the
medieval gardens. We have here, some white violets
with a dragonfly.
Goat parchment. "Mineral" gold
fluid from "Laverdure". Pigments binded
with medieval tempera (gum arabic, egg, honey water).
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From the Souvigny
Bible (Moulins, BM, MS., Folio288v.) Late
XIIth cent. (picture
155x105mm)
After a very long absence, the young Tobie comes
back in order to cure the blindness of his father:
Tobit. His mother and other people attend the
stage. This picture was, for a long time, a model
of paternal love and filial piety.
Goat parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water).
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From "the
life of St Amand" (Valenciennes,
BM, MS., Folio61r) XIIth cent. (picture
155x135mm)
In order to devalorize some pagan cults venerating
animals of the forest, this miniature tells how
St Amand, bishop of Maastricht and evangelist, constrained
the bear, wich devoured the mule, to carry his luggages.
Sheep parchment. 23½
carat gold leaf and 24 carat Silver leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water).
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St Nicholas (unknown
origin) (picture 100x80mm)
Initial "S" with the miniature of St
Nicholas resuscitating the children from the salting
tub of the nasty butcher.
Sheep parchment. 23½
carat shell gold (powder). Pigments binded
with medieval tempera (gum arabic, egg, honey water).
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From the book
"Moralia in Job" (Tours, BM; MS.321,
Folio248v.) XIIth cent. (155x125mm)
This initial "Q", like most of the ones
of the XIIth century, shows an abounding scenery
where plants are mixing with fantastic creatures. This
evocation suggest to the reader what happens to
the sinner who wouldn't be converted to a better
christian life...
Sheep parchment. 23½
carat gold leaf. Pigments binded
with medieval tempera (gum arabic, egg, honey water).
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From the book
"Moralia in Job" (Tours, BM; MS.321,
Folio 029v.) XIIth cent. (140x105mm)
Initial "Q" using the classic theme
of St Michael bringing down the
dragon.
Goat
parchment. 23½ carat gold leaf burnished with agate
on base. Pigments binded with medieval tempera
(gum arabic, egg, honey water). Natural pigments:
Lapis-Lazuli, cinnabar, ceruse, yellow and red ochres. Oak
gall ink.
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From "A
life of St Louis"
(Bibl. Ste Geneviève, Ms.782, Folio 327) Early
XIVth cent. (110x120mm)
Historiated initial of St Louis holding a sceptre
and a model of the holy chapel.
Sheep parchment. 23½
carat gold leaf and 23½ carat shell gold (powder). Pigments binded
with medieval tempera (gum arabic, egg, honey water).
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From the Hours
of Ruskin (Ms. Ludwig
IX3; 83.ML.99, Folio 37v) XII-XIVth cent. (160x240mm)
Initial "D" with the miniature of the
annunciation to the Virgin. This is an example of
a complete illuminated manuscript (Initial with
miniature, calligraphy and decorated margins).
Goat
parchment. 23½ carat gold leaf burnished
on base with agate and on gum ammoniac. Pigments binded with medieval tempera
(gum arabic, egg, honey water). Semi precious
stone pigments: Lapis-Lazuli and cinnabar. Oak
gall ink.
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From the Averbode "Evangéliaire"
(Université de Liège, MS.363,Folio17) XIIe
s. (200x135mm)
This nativity is divided in two parts. In the
first one, a cloud of angels contemplates Jesus
in his through, next to the donkey and the ox. The
stage is flanked by the prophets Habacuc and Isaiah. The
Virgin and Joseph, separated from the child, are
represented in the second part. Goat
parchment. 23½ carat gold leaf burnished on base
with agate.. Pigments binded with medieval tempera
(gum arabic, egg, honey water).
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framed
version
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From a german
cut off leaf (Berlin, Kupferstichkabinett) XIII-XIVe
s. (165x115mm)
This representation of St Michael bringing down the
dragon is superbly made of fuid curves over geometrical
patterns, accentuating the motion effects.
Sheep parchment. 23½
carat gold leaf on gum ammoniac and 23½
carat shell gold (powder). Pigments binded
with medieval tempera (gum arabic, egg, honey water).
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framed
version
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From the Aberdeen Bestiary (Aberdeen University Library MS 24,
Folio14v.) XII-XIIIe s. (85x85mm)
Two wild goats lock horns during a confrontation.
Sheep parchment. 23½
carat gold leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water).
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framed
version
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From the Aberdeen Bestiary (Aberdeen University Library MS 24,
Folio14r.) XII-XIIIe s. (90x85mm)
Majestic goat scratching its head.
Sheep parchment. 23½
carat gold leaf and 24 carat Silver leaf on gum ammoniac. Pigments binded
with medieval tempera (gum arabic, egg, honey water).
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