The Maître du Champion des dames is an enlighter and cartonboard of tapestry whose activity is limited in northern France around the city of Lille in the second half of the 19th century. His work, consisting of 182 inserts distributed in eight manuscripts currently dispersed around the world and two tapestries, was grouped together by various studies (mainly exhibition catalogues) between 1911 and 1959. However, this corpus had never been studied in detail and the artist’s personality had never been considered globally in his training and creative contexts. The monographic study presented here makes it possible, for the first time, to study precisely its production in a wide variety of respects and thus makes it possible to make a portrait of this anonymous artist. An artist trained in Picardie and having spent his career in Lille during Charles le Téméraire’s ruler (1467-1477), the Maître du Champion des dams can now be returned to his training and creative contexts. He thus appears to be surrounded by his contemporaries, painters and picards and lillois lights, of which he shares certain aspects of his art, without however ever being subject to their practices and ways. Strongly independent and original, he follows his own path, and develops a unique style that is entirely subject to formal geometry that has no equivalent at his time, for adventitious bibliophiles of manuscripts containing contemporary literary works. It adds to this activity the creation of tapestry pads, working for a type of work in which he has full control of the monumenthood requirement. The rediscovery of the Maître du Champion des dams led to a new presentation of the pictorial production of the city of Lille during the 15th century. Firmly removed from the traditionally negative view of the artistic role of this city during this period, the partial restitution of the activity of the Lillois painters gives them a status equivalent to that of certain northern cities already recognised as Amiens, Cambrai or Douai. The manuscripts removed from their workshops also testify to the diversity of their practice, which, far from being confined to the sole use of paper watercolour, a technique which was most often associated with them, also includes parchment gouache. This book therefore allows both the rediscovery of an artist whose work and personality had so far remained in the shadow and the renewal of our knowledge of Lille artistic production during the 15th century. He also depicts the bibliophiles of the Bourgogne court, whose sponsorship activity in both literary and artistic fields is most often the source of major openings of the heritage of the late Middle Age. Accompanied by an abundant iconography (around 170 images, a large part of which is in colour), it is also a book which makes it possible to discover many images of novel manuscripts, the most important of which is the Martin Le Franc’s Women’s Champion, which is kept at the Grenoble Municipal Library and which gave the artist his name.