Entries Tagged as 'Les Enluminures'

New Job at Les Enluminures in Paris

JOB: Les Enluminures (Paris), sales and administration, art history background required (medieval manuscripts preferred), bilingual (French and English), must be able to work in France, salary dependent on experience. Liaison with New York and Chicago (and London) locations. Salary commensurate with experience. Full-time position

Exceptional and rare opportunity to join the team of an international art gallery exhibiting in the most prestigious art and book fairs worldwide and with locations and/ or staff in Paris, Chicago, New York, London, and Boston.

Main Responsibilities:
– EU client development and follow up
– Liaise and be a point of contact for clients in Europe, particularly in Paris
– Organization of European fairs (Tefaf, Frieze Master, Masterpiece)
– Follow all EU auctions
– Press representative for the gallery (write press releases, contact and follow up)
– Miscellaneous administration

– Strong commercial presence
– Some experience in the art world, including in sales
– Background in Medieval and Renaissance art history preferred
– Languages required: English and French bilingual, others preferable
– Skills required: PC platforms, MS Office Suite, Photoshop
– Self-starter, multi-tasker, well-organized.

Send letter of application and CV to office@lesenluminures.com.

Starting date: asap.

Read more about Les Enluminures

Salon International du Livre Rare


EXHIBITION: Salon International du Livre Rare & de l’Objet d’Art de Paris (Stand C5), Les Enluminures, Grand Palais, Avenue Winston Churchill, 75008 Paris, 7 – 9 April 2017.

There will be exhibited an exceptional selection of illuminated manuscripts, Books of Hours, Text Manuscripts and miniatures.

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Visions of Jerusalem in New York


EXHIBITION: Visions of Jerusalem: Medieval Christendom Imagines the City on a Hill, Les Enluminures, 23 East 73rd Street, 7th Floor, Penthouse, New York (NY 10021), 16 September – 12 November 2016.

Visions of Jerusalem: Medieval Christendom Imagines the City on a Hill explores the representation of the Holy City in the images and imaginations of the Latin West and the rich diversity of its representation in both word and picture.

Far from inspiring a consistent Christian conception of the Holy City, we show how Jerusalem prompted a vast range of depictions by Western authors and artists. In a time before cameras, images of Jerusalem were less concerned with veracity than with the power of their associations.

The versatility of the Holy Land allowed it to act not only as the mise en scène for the Church’s rich biblical-mystical tradition, but also as a virtual destination for spiritual pilgrims and a touchstone in medieval apocalyptic traditions, among others.

These varying visions of Jerusalem exemplify the fascinating complexity of the city. In the medieval mind, Jerusalem was both heavenly and earthly. It was a physical location and a mental construction that offered a link to the past and a harbinger of the future.

Highlights of the exhibition include a miniature depicting the Agony in the Garden from the Holy Land Choir Book, the long lost first volume of the Bible of Louis de Harcourt, Patriarch of Jerusalem and Bishop of Bayeux, a beautifully illustrated early gothic copy of Peter of Poitiers’ geneological scroll, and a deluxe book of hours with miniatures attributed to the Workshop of the Master François.

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A Medieval Medley


EXHIBITION – A Medieval Medley: Celebrating 25 Years of Les Enluminures, 23 East 73rd Street (7th Floor, Penthouse), New York, 2 June – 10 September 2016.

Over the past 25 years, Les Enluminures has worked with some of the masterpieces of medieval and Renaissance art. The gallery’s collection spans over 500 years mostly from Western Europe and ranges from finely illuminated Books of Hours to dazzling rings and captivating miniatures. Highlights will include a manuscript by the Venetian illuminator Cristoforo Cortese, long separated from its other portion in the Houghton Library at Harvard University, and a colorful Spanish sculpture of St. Jerome perhaps modelled after a portrait of a Spanish ecclesiastic.

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Traces: People and the Book


EXHIBITION: Traces: People and the Book, Les Enluminures, 23 East 73rd Street, 7th Floor (Penthouse) New York, NY 10021, 6 – 23 April 2016.

Our newest text manuscripts catalogue (the sixth in our series) is not about text. Instead, it is about the manuscript and the people who came into contact with it.

We examine what physical evidence can reveal about who made manuscripts and how they made them, who used them and in what ways, and how over time up to the present day many different people left their marks, their footprints, on manuscripts.

Today when digital reproductions of medieval manuscripts are widely available, it is vital to recall that even the best reproduction cannot replace the actual physical objects that give us real access to people who handled them long ago.

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JOB: Art Gallery Assistant @ Les Enluminures

JOB: Les Enluminures, Art Gallery Assistant,

Global Art Gallery on the Upper East Side, New York with multiple locations in the USA, France, and Britain seeks a full-time (could be ¾ time to start) gallery assistant.

Responsibilities include administration, coordination of shipping, sales to new and established clients, organization of in-house exhibitions, participation in international art fairs, answering the phone and greeting clients.

The ideal candidate will have some background in Medieval and Renaissance art history, preferably at the post-graduate level, excellent computer and verbal skills, and some experience in the art world, including in sales.  Applicant must be a self-starter, multi-tasker, well-organized, and able to work independently.

There is considerable interaction with a worldwide team of more than a dozen individuals, as well as enormous potential for growth within the company. This is not a research position.

Salary commensurate with experience. Contact: Charlotte Stovell.

To apply send a letter of application and CV to Les Enluminures.

Deadline: 4 April 2016.

Source: H-ArtHist

Gathering the Past


EXHIBITION: Gathering the Past: A Selection of Manuscripts from the James & Elizabeth Ferrell Collection, Les Enluminures Gallery,  23 East 73rd Street (Penthouse, 7th Floor), New York, 6 – 28 November 2015.

The Les Enluminures Fall exhibition will highlight a selection of important illuminated manuscripts, covering a wide range of subjects including classic works of medieval French literature, humanism, Church history and liturgy, planetary science, and Books of Hours.

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A New Blog by Les Enluminures

NEWS – Textmanuscripts Blog: A New Blog by Les Enluminures.

This blog highlights what makes our text manuscripts particularly interesting and appealing to us – and (we hope) to you too! Here we explore what these books can tell us about how they were made and used. We also share what we know of their most fascinating and unusual contents, makers, and owners. Some of our discoveries are quite significant, some merely amusing, and some bizarre. All medieval manuscripts have much to reveal to their attentive modern audiences. Follow our blog to learn more about them.

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Flowering of Medieval French Literature


EXHIBITION: Flowering of Medieval French Literature. “Au parler que m’aprist ma mere”, Les Enluminures, New York, 23 East 73rd Street, 7th Floor, 2-26 April 2014; Paris, 1 rue Jean-Jacques Rousseau, 3-20 May 2014.

This project previews an exhibition in New York and Paris, a scientific catalogue, and an international colloquium that all focus on a group of sixteen manuscripts all written in the French language between c. 1300 and c. 1550.

Mostly illuminated, the manuscripts are widely diverse. They are written in verse and in prose. Some are translations from the Latin, others new compositions entirely in French. They treat a wide variety of subjects ranging from literature and science, to philosophy and theology, and to history and government. There are some unique texts that exist only in the manuscripts included here. A significant number of the volumes boast royal provenance. There are signed and dated works by newly identified scribes, as well as works by famous calligraphers. Some of the manuscripts still have their original bindings. So rare on the art market are illuminated manuscripts in the French language of this period that this project would not be possible without the purchase of a substantial group of mostly unpublished manuscripts from the Collection of Joost R. Ritman (born 1941), the Amsterdam businessman and founder of the Bibliotheca Philosophica Hermetica.

The subtitle appropriates a quote from Jean de Meun, who with Guillaume de Lorris wrote the Roman de la Rose, the very bedrock of medieval French literature. In c. 1325, Jean describes writing in French as “speaking as I learned from my mother” (parler que m’aprist ma mere) or we might say now “speaking in my mother tongue.” Although the earliest records of written French date from the ninth century, by the thirteenth century French had become widespread as a written language, even if for writers like Dante, Latin was still considered the sovereign of the vernacular (“sovrano del volgare,” Convivo 1:7)

Many factors influenced the shift from Latin to the “mother tongue.” The change from an agrarian economy based on the land to a commercial economy in the towns and cities imposed a need for the middle classes to understand each other in written as well as oral forms. The centralization of French government and the rise of a nation state with the reign of King Philip Augustus (reigned 1180-1223) dictated a need for a language through which the court and the nobles could wield power far and wide (medieval French written and spoken in Paris became known as the “langue du roi” often contrasted with the “mother tongue” which was usually a dialect). And, not least of all, women played a major role the rise and evolution of medieval French as women readers, writers, and collectors. By the fifteenth century, vernacular language was well established as the language of literature, historical record, and personal expression.

The technology of the press provided greater access to the mother tongue and contributed to its standardization. Statistics of publications in French are indeed astonishing. Whereas in 1501 only 10% of books published in Paris were in French, by 1575, 55% of all books published in Paris were in French. The triumph of the French vernacular was also promoted by the Renaissance King Francis I, who in 1539, deemed French the official language of his kingdom. Then, in 1635, Cardinal Richelieu founded the Académie française whose mission was “to codify the French language, to give it rules, to make it pure and comprehensible to everyone.” And, the rest, so they say, is history. The medieval and Renaissance manuscripts discussed here endure as vibrant reminders of the historical legacy of modern-day France and the French language.

The scholarly catalogue that accompanies the exhibition will include of detailed descriptions with comparative material, a preface, an introduction, and an extensive bibliography, and will be published in full color.

A one-day international colloquium will take place in Paris.

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Chanting the Bible in the Middle Ages


EXHIBITION: Sacred Song: Chanting the Bible in the Middle Ages and Renaissance, New York, Les Enluminures Gallery (23 East 73rd Street, 7th Floor, ph. 212 717 7273), 24 January – 21 February 2014. Opening Hours: Mondays to Saturdays, 10 a.m. to 6 p.m.

I. In the Church: in the Choir.
II. Outside the Church: in the Cloister, in the Cemetery, and in the City and Countryside.
III. Apart from the Church: in the Classroom, in the Chapter House, and in the Congregation.

Gregorian chant, the repertory of music used in the liturgical services of the Roman Catholic Church, is the earliest substantial body of music preserved in written form. The lovely idea that this sacred chant owes its origin to a bird – or the Holy Spirit – singing directly into the ear of Pope Gregory the Great (pope from 590-604), is surely legendary, but still reminds us that music and liturgy were inseparable throughout the Middle Ages. Intimately tied to the Bible, chant consists of a vocal, monophonic music composed in Latin using sacred texts from the Old and New Testaments. This is why Gregorian chant has often been called a “sung Bible.” It first appears in written form much later in the ninth century, and it continued as a living tradition through the medieval centuries and into the modern era.

The thirty-some manuscripts displayed in this exhibition and described in the accompanying catalogue represent the different aspects of the chant tradition, as well as other forms of sacred music. They are divided in three groups. We begin with (I) “In the Church: in the Choir.” These often colossal manuscripts present the music for the Mass and the Divine Office (mostly Graduals and Antiphonals). The choir sang from these large Chant Books, the colorful initials of which signaled the beginnings of each feast. Monks and nuns not only sang chant confined within the wall of the medieval church, but outside it as well. Next is (II) “Outside the Church: in the Cloister, in the Cemetery, and in the City and Countryside.”

Music accompanied liturgical processions as celebrants made their way from the church, to the cloister, and into the cities and fields of medieval Europe. Each participant carried his or her own volume, a Processional; these music manuscripts, some of which are illuminated, are small and portable, and often were personalized. A final group of manuscripts reflects the fact that sacred chant, although originating in the liturgy, is often preserved in non-liturgical contexts. A final group of manuscripts, (III) Apart from the Church: in the Classroom, in the Chapter House, and in the Congregation, reflects the fact that sacred chant, although originating in the liturgy, is often preserved in non-liturgical contexts.

The general public may recognize that Gregorian chant is monophonic and sung in Church, but most people probably have no idea what actually is being sung. In fact, the words of Gregorian chant are taken almost entirely from the Latin Bible, usually but not always from the Vulgate translated by St. Jerome near the end of the fourth century.” In Graduals, sung sections called Introits (invitations or openings of a chant), offertories, and communions are almost always biblical. The biblical passages often come from the Book of Psalms and focus on the individual’s relationship to God, his praise of, petition to, repentance, exhortation, and so forth.

The liturgy was profoundly conservative and resistant to change. The text of Choir Books — even books from the later Middle Ages and Renaissance — often preserves biblical verses that come from pre-Jerome versions of the Bible (the so-called Vetus Latina or Old Latin Bible), linking the earliest days of the Church with the Church centuries later. One aspect of Gregorian chant that merits further attention, therefore, is the degree to which it preserves early biblical readings, which readings and why, and what if anything these readings can contribute to biblical studies?

Catalogue: Sacred Song: Chanting the Bible in the Middle Ages and Renaissance, by Susan Boynton and Laura Light, with a preface by Sandra Hindman, Paris 2014 (Les Enluminures), $35.00 (click here to view the pdf).

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Se vêtir au Moyen Âge et à la Renaissance

EXHIBITION: Dressing Up and Dressing Down in the Middle Ages and Renaissance: Costume in Art.  Se vêtir au Moyen Âge et à la Renaissance, Les Enluminures, Le Louvre des Antiquaires, (2 Place du Palais-Royal, 75001 Paris, tel +331-42601558), 5 May – 25 August 2011. Contact: info@lesenluminures.com

This summer spotlights the theme of Fashion worldwide. As part of its series of 20th year anniversary celebrations, the gallery Les Enluminures plans an exhibition on fashion in its Paris space in the Louvre des Antiquaires. Approximately 35 works of art are featured in Dressing Up and Dressing Down in the Middle Ages and Renaissance: Costume in Art, from May 5 to August 25.

The exhibition will include manuscripts, single leaves and cuttings and sculpture. Dressing Up and Dressing Down is coordinated with two museum exhibitions that take place at the same time. One is at the Morgan Library and Museum in New York and is titled Illuminating Fashion. It also opens in May and continues through the summer months and is accompanied by a long-awaited publication by Roger Wieck and Ann van Buren. At the Getty Museum, Fashion in the Middle Ages, is displayed simultaneously from May 31 to August 21. It is accompanied by a Getty Publication by Margaret Scott.

The exhibition is organized around three themes. The first takes the title of the exhibition and shows how in many diverse ways people in the Middle Ages dressed their parts. It was so important to dress according to one’s station in life and occupation that the fifteenth-century proto-feminist writer, Christine de Pizan, complained that she often saw her contemporaries dressing above their social class. Thus, the nobility favored lavish houppelands (gowns) and surcotes (overcoats or tunics), often fur-lined, usually with miniver (white fur used in ceremonial garments) or squirrel. The peasants wore simpler garments.”

The second theme is “Wearing Color”. Color was frequently a code: blue for royalty, green for hope and youth, red and green together signified bold youth, and so forth. Stripes were to be strictly avoided: only prisoners, executioners, those people on the margins of society wore stripes. The middle class often wore more sober colors: witness the neutral-colored garment worn by the head of the tailor’s guild in Bologna, along with the scissors (symbol of the guild) in the margin.

The third theme, “Accessorizing Costume”, throws a spotlight on rings and some pendants. At least in Italy sumptuary laws regulated the wearing of gold jewelry, but plenty of silver and even bronze jewelry was available for the lower estates. Merchants wore their rings on the index finger for ease of sealing with them. The numerous paintings of the period in which wealthy sitters wear as many as 8 to 10 rings on a single hand show just how popular this bejeweled accessory had become.

This exhibition, which is the second in a series of four to celebrate our 20th year anniversary, will give to our audience of gallery-goers—composed mostly of European and Americans—a chance to see many works in which fashion figures. Paris is, after all, ‘the fashion capital of the world!’ Those who can’t come to Paris will visit the exhibition virtually—such is the beauty of the Internet.

Download the Catalogue

France 1500: Exhibition 2

EXHIBITION – France 1500: The Pictorial Arts at the Dawn of the Renaissance, Le Louvre des Antiquaires (2 Place du Palais-Royal, 75001 Paris), 9 September – 28 November 2010.

This exhibition is coordinated with a major international exhibition, Entre Moyen Age et Renaissance France 1500, organized by the Réunion des musées nationaux (Paris) and the Art Institute of Chicago. The museum exhibition takes place in Paris (Grand Palais, October 6, 2010 to January 10, 2011) and in Chicago (February 26, 2011 to May 30, 2011). Our complementary exhibition brings together approximately 45 diverse works that include manuscripts, Books of Hours, single leaves and cuttings, coffrets with early xylographs, and stained glass. Among the artists are: Jean Bourdichon, the Master of the Très Petites Heures d’Anne de Bretagne, Jean Fouquet, Noel Bellemare, Guillaume Barbe, and many others. Some of the themes of the exhibition are: the French Humanism, the Dominance of Paris, the Influence of Italy and the North. They encourage a re-appreciation of the flourishing of the arts at the dawn of the Renaissance.

For further information