Master of Robert Gaguin

The Master of Robert Gaguin was an anonymous painter, active in Paris around 1485–1500. He was so named by Nicole Reynaud after a manuscript of Robert Gaguin's translation of Julius Caesar's De Bello Gallico, offered by the translator to Charles VIII, king of France.[1] He belongs to a circle of French artists, whose art follows the style of the Master François.[2]

Style

His style is very close to the work of the Master of Jacques of Besançon, with whom he collaborated and could have been the disciple. His art is more modern than his master, though. His manner is close to the style of Jean Colombe and the illuminators of Rouen.[3] He decorated several printed copies for Antoine Vérard and he also probably designed about thirty woodcuts used by this Parisian publisher.[4]

Works attributed to the Master

Manuscripts
Frontispiece of the Chronique universelle of Sigebert of Gembloux.

Illuminated printed copies
  • Grandes Chroniques de France, for Antoine Vérard, 1493 (Paris, BnF: Vélins 730)
  • L’Ordinaire des chrétiens, for Antoine Vérard, 1494 (copy prepared for Charles of Angoulême; Paris, BnF: Vélins 357; digital copy)
  • Lancelot du Lac, for Antoine Vérard, 1494 (copy prepared for Charles of Angoulême; Paris, BnF: Vélins 617 entirely, Vélin 618-619 with the Master of Philippe of Gueldre)[8]
  • Raoul Lefèvre, Recueil des histoires troiennes, Antoine Vérard, [around 1494] (Chantilly, Musée Condé: MC 1080)
  • Jean V de Bueil, Le Jouvencel, Antoine Vérard, 1493/94 (priv. coll., sold via Sotheby's auctions)

Woodcut designs
  • Valerius Maximus, [Facta et dicta memorabilia, fr.:] Valère le Grand (tr. and comm. Simon de Hesdin and Nicolas de Gonesse), Paris: [Gillet Couteau(?)] for Antoine Vérard, [between October 1499 and June 1503][9]
  • Terentius Afer (Publius), [Comœdiae, fr.:] Térence en français, Paris: [Gillet Couteau(?)] for Antoine Vérard, [between October 1499 and 30 May 1503] (only full-page woodcuts)[10]
  • Jean Gobin, Les Loups ravissants, Paris: for Antoine Vérard, [around 1505][11]
  • Bartholomaeus Anglicus, [De Proprietatibus rerum, fr.:] Le Livre des propriétés des choses (tr. Jean Corbechon, ed. Pierre Farget), Paris: [Gillet Couteau(?)] for Antoine Vérard, [non long after the end of October, 1499][12]

Notes and references
  1. Avril & Reynaud 1993, p. 262
  2. Delaunay 2000, vol. 1, p. 228 sq.
  3. Reynaud 1993, p. 262
  4. Bonicoli 2015, pp. 148–151
  5. H. Tenschert (Hrsg.
  6. Reproduction des miniatures sur la base enluminures
  7. Valérie Ruf-Fraissinet, « Un inédit de la Bibliothèque municipale de Versailles, le manuscrit M 139, livre d’heures à l’usage de Rouen », Cahiers de recherches médiévales et humanistes, 20, 2010, 339-355. lire en ligne
  8. Hermant, Maxence (2015). Presses universitaires de Rennes (ed.). Trésors royaux. La bibliothèque de François Ier. Rennes. p. 67 (notice 11). ISBN 978-2-7535-4185-6.{{cite book}}: CS1 maint: location missing publisher (link)
  9. Bonicoli 2015, catalogue des éditions n°V-1 et catalogue des gravures, série ValèreMaxime, p. 405-407
  10. Bonicoli 2015, catalogue des éditions n°T-5 et catalogue des gravures, série Térence, n°49-50
  11. Bonicoli 2015, catalogue des éditions n°G-11 et catalogue des gravures p. 310-311
  12. Bonicoli 2015, catalogue des éditions n°B-2 et catalogue des gravures, série Propriétaire, p. 305-308

Further reading
  • Avril, François; Reynaud, Nicole (1993). BNF/Flammarion (ed.). Les manuscrits à peintures en France, 1440-1520. Flammarion. pp. 262–263. ISBN 978-2080121769.
  • Delaunay, Isabelle (2000). Université Paris 4 (PhD dissertation of Art History, supervised by Fabienne Joubert) (ed.). Échanges artistiques entre livres d'heures manuscrits et imprimés produits à Paris : 1480- 1500 (in French). Paris.{{cite book}}: CS1 maint: location missing publisher (link)
  • Bonicoli, Louis-Gabriel (2015). La production du libraire-éditeur parisien Antoine Vérard (1485-1512) : nature, fonctions et circulation des images dans les premiers livres imprimés illustrés (in French). Université Paris Ouest (thèse d'histoire de l'art sous la direction de Jean-Pierre Caillet).{{cite book}}: CS1 maint: location missing publisher (link) (this dissertation is available at the BnF; see also the defense report)
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