Lepape relates this impression to a small group of other prints inspired by the work of Jean d'Ypres (active 1490-1508), but not by him. She identifies 13 impressions of this print, making it one of the most widely diffused. The artist, undoubtedly Parisian and active in the first half of the sixteenth century, borrowed heavily from the Crucifixion by Jean d'Ypres, and his decorative motifs are found also in an woodcut of the Virgin of the Rosary, an impression of which is also at The University Of Manchester Library: R241402. See: Lepape, Severine, et al. Mystérieux coffrets: Estampes au temps de La Dame à la licorne (exhibition catalogue), Paris, Musee du Cluny, 2019, pages 59-60.<\/p>
Jean d'Ypres (active 1490-1508) is the artist responsible for most of the prints found within around 110 coffrets - wooden boxes covered with leather and reinforced with iron fittings and locks - into which are pasted a series of these stencilled impressions of devotional themes. Around 30 fugitive prints survive which are thought to have once been pasted within coffrets and subsequently removed.<\/p>
Attribution of the designs for most of the prints found within these coffrets to the Master of the Très Petites Heures of Anne de Bretagne is generally accepted, but scholarship on this artist (variously known also as the Master of the Apocalypse Rose of the Sainte-Chapelle, the Master of the Chasse à la licorne, the Master of the Life of Saint John the Baptist, and now identified as the painter Jean d'Ypres) is complex, and the workings of his atelier unclear. The documented career of Jean d'Ypres extends from c. 1490 to 1508, yet, the volume and diversity of his production suggest a flourishing workshop not a lone individual.<\/p>
Schreiber identified two states of this woodcut, one with the chain border, one without.<\/p>
Other known impressions: the same Sacred Monogram impression appears in a different coffret in the sale of the collection of Marie-Thérèse and Andre Jammes, Paris, Drouot Richelieu, 7 November 2007, no. 23 (now Bowdoin College Museum of Art, inv. 2008.8.a); the Sacred Monogram impression also appears in a coffret in a catalogue published by Joseph Baer in 1921 (cat. 675, no. 259), in a coffret sold by Piasa at Drouot in May 2008 (lot 35) and in a coffret sold by Les Enluminures to a private collector; loose impressions are in the collection of National Gallery of Art (see: Field (1965), number 262), Paris, Ècole Supérieure des Beaux-Arts (EST MAS 249), and Schreiber notes a copy in Vienna.<\/p>" }, { "label": "Former Owner(s)", "value": "Jammes, Marie-Thérèse; Jammes, André" }, { "label": "Acquisition", "value": "
One of a set of three prints purchased by The University of Manchester Library in March 2020.<\/p>" }, { "label": "Title", "value": "Sacred Monogram" }, { "label": "Funding", "value": "Arts and Humanities Research Council (AHRC); Deutsche Forschungsgemeinschaft (DFG)" }, { "label": "Project Information", "value": "
Created as part of the Incunabula Cataloguing Project, funded by the John Rylands Research Institute and Library, and the research project: '\u2018Werck der bücher\u2019 Transitions, experimentation, and collaboration in reprographic technologies, 1440\u20131470', funded by the AHRC/DFG. John Gandy is Project Cataloguer on the Incunabula Cataloguing Project. 'Werck der bücher' is led by Dr Stephen Mossman, Senior Lecturer in Medieval History, Department of History, School of Arts, Languages and Cultures, (SALC), University of Manchester, and Edward Potten, Principal Consultant, Department of History, School of Arts, Languages and Cultures, (SALC), University of Manchester.<\/p>" }, { "label": "Publication", "value": "Paris?: publisher not identified" }, { "label": "Date of Creation", "value": "between 1490 and 1500?" }, { "label": "Origin Place", "value": "France, Paris" }, { "label": "Language(s)", "value": "Latin" }, { "label": "Physical Location", "value": "The John Rylands Research Institute and Library" }, { "label": "Extent", "value": "1 sheet. Leaf height: 220 mm, width: 155 mm." }, { "label": "Classmark", "value": "R241401" }, { "label": "Subject(s)", "value": "Christian art and symbolism; Wood-engraving--15th century; Early works to 1800" }, { "label": "Physical Description", "value": "
Trimmed to 220 x 155 mm to fit the lid of the wooden box in which the print was at one time pasted; the top border has sustained damage and there are two gaps between the \"H\" and the \"S\" of the Monogram. Damage may have occurred during the removal of the print from the lid of the Coffer.<\/p>
With stencil-applied vermillion and green colours.<\/p>
Removed from the lid of a coffret and now loose.<\/p>" }, { "label": "Abstract", "value": "
Impression on paper of a woodcut depicting the Sacred Monogram. A crucifix forming the left stem of the 'H' is accompanied by Instruments of the Passion and two monks, perhaps Carthusians, dressed in white habit, who kneel below the Monogram before a eucharistic chalice; two xylographic banderoles read: Quod admirabile est nomen tuum domine and Sit nomen tuum domine iesu benedictum.<\/p>" }, { "label": "Collection", "value": "Special Collections" }, { "label": "Bibliography", "value": "