• For the first time in the world history of fine facsimile, the binding of a codex or illuminated manuscript has been reproduced with true precious stones, neither synthetic nor reconstructed, their authenticity is guaranteed by a gemological certificate and report.
• First complete fine facsimile edition of the most elegant and only Book of Hours, commissioned by the Duke of Berry, that never had been reproduced in facsimile.
• Masterpiece illustrated by Jacquemart de Hesdin, painter at the court of the Duke from 1384 to 1409 -date of his death-, the Bedford Master and the Boucicaut Master.
• All the great geniuses of the painting of the International Gothic style are authors of this magnificent work, with the sole exception of the Limbourg brothers.
• The singularity of this spectacular illuminated manuscript lies in the elegance, richness and genial quality of its illustrations, in the large dimensions of its folios which make it the largest Book of Hours ever created, and in the impressiveness of all its illuminated folios with gold and adorned with hundreds of acanthus leaves and drolleries.
• The commission of this spectacular format by a Duke of Berry in his sixties might be due to the fact that he suffered from presbyopia.
• This bibliographic monument to his glory was considered, at his death, to be the pearl of his entire collection. It was valued at 4000 livres, an enormous sum for the period and one which represented eight times the value placed on the Très Riches Heures.
• The inventory of Jean de Berry’s collections, from 1413, describes them as follows :
“Item, unes très grans moult belles et riches heures, très notablement enluminées et historiées de grans histoires de la main de Jacquemart de Hodin et autres ouvriers de monseigneur… et au commencement du second feuillet des heures de Nostre Dame a escript “flamine”…”.
“Item, a very large and extremely beautiful and rich Hours, very noteworthy illuminated and historiated with large paintings in the hand of Jacquemart de Hodin and others workers of his lordship… and at the beginning of the second folio of the Hours of our Lady was written “flamine”…” .
• This last remark is conclusive: we need only consult the second folio of the Hours of the Virgin (folio 9) to confirm that in fact begins with the Latin word cited in the inventory.
• The binding of our fine facsimile edition is based on the aforementioned inventory, in which it is described as covered in magnificent violet velvet and with two gold clasps, each studded with a ruby, sapphire, and six large pearls; the reconstruction of the binding has been carried out with prestigious experts from the BnF in an advisory role.
• The very large and extremely beautiful and rich Hours were the item that all the prestigious publishers were eager to reproduce in facsimile. Owing to strict conservation matters, the manuscript remained unpublished and untouchable in the Grande Réserve. Today, thanks to the agreement between Patrimonio Ediciones, the Bibliothèque nationale de France and the Louvre Museum, the art lovers, bibliophiles and the most prestigious museums of the world will be able to get access to this first, unique, and unrepeatable complete fine facsimile edition of the most impressive Book of Hours commissioned by the most celebrated patron of the arts during the Gothic period.
• 3D images. Pergamenata paper. Stochastic screening. We emphasize on the making of the blue ink, predominating colour in the illustrations of the manuscript, starting from lapis lazuli to obtain the colour tone of the original. The use of lapis lazuli blue gives a three-dimensional effect, contrast, volume and an exceptional and unique intensity of colour and detail, very noticeable in the garments’ pleats and skies. The result surpasses a magnificent fine facsimile edition, it amazingly looks like an authentic original hand painted and illuminated manuscript. We applied to all its golds -leaf, ink- and silvers an ageing patina and subtle micro detachments, due to the passing of centuries and currently noticeable in all medieval illuminated manuscripts.
• Pergamenata Series. First and unique complete fine facsimile edition with true precious stones -a ruby, a sapphire and six pearls- fixed on each of its two 24 carat gold-plated bronze clasps, their authenticity is guaranteed by a gemological certificate and notarized certificate. Pergamenata paper and gold leaf with similar characteristics to the one used by the most prestigious publishing houses specialized in facsimiles or quasi-originals of illuminated manuscripts on paper, pergamenata or natural lambskin parchment. Edition limited to 949 single copies numbered and individually authenticated by notary public.
• Gold Series. First and unique complete fine facsimile edition with true precious stones -a ruby, a sapphire and six pearls- fixed on each of its two 24 carat gold-plated bronze clasps, their authenticity is guaranteed by a gemological certificate and notarized certificate. 50 single copies with authentic 22.25 carat pure fine gold leaf and pergamenata paper. We add something extra and unique to our publication, something that differentiates us from the rest of publishers. For the first time ever, the illustrations for the Grandes Heures of the Duke of Berry will be illuminated the way its creators meant it to be, by the liberal application of fine gold leaf. It will be accompanied by a notarized laboratory analysis confirming that 22.25 carat gold has been used in its 41 large format illustrations to faithfully recreate the splendor of the original.Out of print.Last copies.
The first 250 reservations will receive a commemorative coin Collection Bibliothèque duc de Berry, limited and numbered 24 carat gold-plated bronze edition produced by the Gruppo Istituto Poligrafico e Zecca dello Stato – national coin manufacturer of the Italian State-, with its beautiful case of exclusive Italian design, valued 900€.
Diameter of the coin: 70 mm.