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This paper focuses on the miniatures of the three manuscript witnesses of an anonymous edition of Christine de Pizan’s City of Ladies, known as V1’. It proposes a possible location and dating for the oldest manuscript: it could have been produced by a follower of the Talbot Master, in Normandy, in the 1440s. The other two manuscripts, with similar illustrations, were probably produced between 1460 and 1480 by an artist close to the Master of the Rouen Échevinage. The contribution demonstrates that the text and images of this edition followed divergent paths: the text is based on the first authorial version of the City of Ladies (V1), which is not illustrated; its miniatures are modeled on those that illustrate the original manuscripts of the second authorial version of the City (V2), produced by the workshop of the Master of the Cité des dames. Finally, the paper proposes a hypothesis on the spread of this iconographic model: it could have reached the Norman entourage of the Talbot Master through the links that this master, no doubt originally from Paris, had with the Parisian artists of the previous generation.