The Digital Walters is a branch of The Walters Art Museum Manuscripts Department.
The Digital Walters is a branch of The Walters Art Museum Manuscripts Department.
The Missal of Eberhard von Greiffenklau is a masterpiece of Dutch manuscript painting. It was originally produced in the second quarter of the fifteenth century for von Greiffenklau, prebendary of Utrecht from 1446. The manuscript features work by the Masters of Zweder van Culemborg, active in the Utrecht area between 1420 and 1440, so-named after the bishop of Utrecht (1425-1433), for whom they produced a magnificent Missal in the late 1420s (now Bressanone, Bibl. del Seminario Maggiore). This Missal also features work by the celebrated Master of Catherine of Cleves, linking it to possibly the finest Dutch illuminated manuscript ever made; the Hours of Catherine of Cleves of ca. 1440 (Morgan Library & Museum, M.917 and M.945). This extremely elaborate Missal is illuminated with one full-page miniature, fifty-two column miniatures and sixty-eight historiated initials throughout the manuscript, with the temporale and sanctorale sections being particularly richly decorated. In the late fifteenth century, a selection of prayers and sequences were added to the end of the manuscript in Germany, probably Mainz, and the volume was subsequently rebound with its current brown calf over boards, blind, rebacked binding either at that time or in the early sixteenth century.
Liturgical Gothic bookhand, usually in two sizes depending on liturgical function; much larger, multi-sized script used for the common of the mass, with proportionately wider spacing between the lines (21 vs. 35 lines within the same ruled space). At least three hands (fols. 1-227, 228-234), with additions in different scripts for two inserted bifolios (fols. 146-147, 157-158) and a third hand responsible for the sequences added in Germany during the late fifteenth century (fols. 235r-248v).
artist: Master of Catherine of Cleves
artist: Masters of Zweder van Culemborg
Principal cataloger: Marrow, James
Cataloger: Devine, Alex
Cataloger: Dutschke, Consuelo
Cataloger: Herbert, Lynley
Cataloger: Valle, Chiara
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Bockrath, Diane
Contributor: Boot, Christine
Contributor: Emery, Doug
Contributor: Noel, William
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Conservator: Owen, Linda
Conservator: Quandt, Abigail
Hoogewerff, G. J. Gelderse miniatuurschildes in de eerste helft van de XVde eeuw. Oud Holland. LXXVI (1961), pp.33-4, 43-4, figs. 28-32.
Los Angeles County Museum. Medieval and Renaissance Illuminated Manuscripts: A Loan Exhibition, November 25, 1953-January 9, 1954. p. 27, no. 75.
Bloem, Miranda. "New Light on Three Miniatures from the Egmond Breviary." Oud Holland 125 (2012): pp. 69-89 at p. 89 n. 31 (fol. 98v).
De Ricci, Seymour, and W.J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 1. New York, 1935-1940, p. 776, no. 122.
Delaissé, L.M.J. A Century of Dutch Manuscript Illumination. Berkeley and Los Angeles, 1968, pp. 24-25, figs. 28-34.
Panofsky, E. Early Netherlandish Painting. Cambridge, Mass., Harvard University Press, 1953. Vol. I, pp. 103, 398 (no. 102); Vol. II, p. 91.
Avril, François. L'Enluminure à l'époque gothique, 1200-1420. Paris: Bibliothèque de l'image, 1995, p. 126.
Noel, William. "The Origins of Dutch Painting: The Beauty and Importance of Dutch Manuscripts." The Walters Magazine 51, no. 2 (1998): p. 7 (fol. 152v).
Miner, D. "Dutch Illuminated Manuscripts in the Walters Art Gallery." Connoisseur Yearbook, 1955, pp. 70-74, figs. v-ix.
Buck, Stephanie. Die Niederländischen Zeichnungen des 15. Jahrhunderts im Berliner Kupferstichkabinett. Turnhout: Brepols, 2001, p. 65 (fol. 19v).
Oberlin College. Spring Bulletin 1960, pp. 102, 104, no. 23, ill. p. 105.
Rijksmuseum. Middeleeuwse Kunst der Noordelijke Nederlanden. Amsterdam 1958, pp. 122-3, no. 154, figs. 78-80.
Leson, Richard. "For This Is My Body." The Walters Magazine 61, no. 4 (2006): p. 7 (fols. 152v-153r).
Byvanck, A. W. Kroniek der Noord-Nederlandsche Miniaturen, III. Oudheidkundig Jaarboek, 4th ser., IX. 1940, pp. 36-7, figs. 18-19.
Foister, Susan, Sue Jones, and Delphine Cool, eds. Investigating Jan van Eyck. Turnhout: Brepols, 2000, p. 191.
Calkins, Robert G. Distribution of Labor: The Illuminators of the Hours of the Catherine of Cleves and Their Workshop, Transactions of the American Philosophical Society 69, part 5 (1979), pp. 34-39, with figs. 26-33
Byvanck, A. W. De Middeleeuwsche Boekillustratie in de Noordelijke Nederlanden. Antwerp, 1943, p. 28, figs. 19-20.
van Buren, Anne H., James H. Marrow, and Silvana Pettenati. Heures de Turin-Milan: Inv. no. 47, Museo Civico d'Arte Antica, Torino. Lucerne: Faksimile Verlag, 1996, fol. 79v.
Miner, D. Illuminated Books of the Middle Ages and Renaissance. Baltimore: Walters Art Gallery, 1949, p.48, no. 128, pl. XLIX.
Leson, Richard. "The Early History of the Bible." The Walters Magazine 59, no. 4 (2004): p. 7 (fols. 153v-154r).
Priem, Rob, et al. The Hours of Catherine of Cleves: Devotion, Demons and Daily Life in the Fifteenth Century. New York: The Morgan Library & Museum, 2009, pp. 202-203, cat. no. 31.
These are pages that we pulled aside that disrupted the flow of the manuscript reader. These may be bindings, inserts, bookmarks, and various other oddities.
Utrecht; additions, Germany, probably Mainz
Second quarter of the 15th century CE
book
Non-original Binding
Fifteenth- or sixteenth-century brown calf over boards, blind, rebacked, corners repaired in tan calf; quadruple fillets forming a diaper pattern, sewn on five raised bands, the six panels of the spine decorated with a crossing pattern of quadruple fillets; brass clasps and catches
The primary language in this manuscript is Latin.
Manuscript was made for Carthusian use, probably for a member of the family of Greiffenklau, perhaps Eberhard von Greiffenklau
Coat-of-arms, some erased or possibly over-painted, appear on two leaves: on fol. 8r
Dr. Jacob von Hefner-Alteneck
Jacques Rosenthal, Munich
Henry Walters, Baltimore, probably obtained from Rosenthal, before 1931
Walters Art Museum, 1931, by Henry Walters' bequest
Utrecht; additions, Germany, probably Mainz
Second quarter of the 15th century CE
book
The primary language in this manuscript is Latin.
Manuscript was made for Carthusian use, probably for a member of the family of Greiffenklau, perhaps Eberhard von Greiffenklau
Coat-of-arms, some erased or possibly over-painted, appear on two leaves: on fol. 8r
Dr. Jacob von Hefner-Alteneck
Jacques Rosenthal, Munich
Henry Walters, Baltimore, probably obtained from Rosenthal, before 1931
Walters Art Museum, 1931, by Henry Walters' bequest
The Missal of Eberhard von Greiffenklau is a masterpiece of Dutch manuscript painting. It was originally produced in the second quarter of the fifteenth century for von Greiffenklau, prebendary of Utrecht from 1446. The manuscript features work by the Masters of Zweder van Culemborg, active in the Utrecht area between 1420 and 1440, so-named after the bishop of Utrecht (1425-1433), for whom they produced a magnificent Missal in the late 1420s (now Bressanone, Bibl. del Seminario Maggiore). This Missal also features work by the celebrated Master of Catherine of Cleves, linking it to possibly the finest Dutch illuminated manuscript ever made; the Hours of Catherine of Cleves of ca. 1440 (Morgan Library & Museum, M.917 and M.945). This extremely elaborate Missal is illuminated with one full-page miniature, fifty-two column miniatures and sixty-eight historiated initials throughout the manuscript, with the temporale and sanctorale sections being particularly richly decorated. In the late fifteenth century, a selection of prayers and sequences were added to the end of the manuscript in Germany, probably Mainz, and the volume was subsequently rebound with its current brown calf over boards, blind, rebacked binding either at that time or in the early sixteenth century.
Liturgical Gothic bookhand, usually in two sizes depending on liturgical function; much larger, multi-sized script used for the common of the mass, with proportionately wider spacing between the lines (21 vs. 35 lines within the same ruled space). At least three hands (fols. 1-227, 228-234), with additions in different scripts for two inserted bifolios (fols. 146-147, 157-158) and a third hand responsible for the sequences added in Germany during the late fifteenth century (fols. 235r-248v).
artist: Master of Catherine of Cleves
artist: Masters of Zweder van Culemborg
Principal cataloger: Marrow, James
Cataloger: Devine, Alex
Cataloger: Dutschke, Consuelo
Cataloger: Herbert, Lynley
Cataloger: Valle, Chiara
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Bockrath, Diane
Contributor: Boot, Christine
Contributor: Emery, Doug
Contributor: Noel, William
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Conservator: Owen, Linda
Conservator: Quandt, Abigail
Hoogewerff, G. J. Gelderse miniatuurschildes in de eerste helft van de XVde eeuw. Oud Holland. LXXVI (1961), pp.33-4, 43-4, figs. 28-32.
Los Angeles County Museum. Medieval and Renaissance Illuminated Manuscripts: A Loan Exhibition, November 25, 1953-January 9, 1954. p. 27, no. 75.
Bloem, Miranda. "New Light on Three Miniatures from the Egmond Breviary." Oud Holland 125 (2012): pp. 69-89 at p. 89 n. 31 (fol. 98v).
De Ricci, Seymour, and W.J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 1. New York, 1935-1940, p. 776, no. 122.
Delaissé, L.M.J. A Century of Dutch Manuscript Illumination. Berkeley and Los Angeles, 1968, pp. 24-25, figs. 28-34.
Panofsky, E. Early Netherlandish Painting. Cambridge, Mass., Harvard University Press, 1953. Vol. I, pp. 103, 398 (no. 102); Vol. II, p. 91.
Avril, François. L'Enluminure à l'époque gothique, 1200-1420. Paris: Bibliothèque de l'image, 1995, p. 126.
Noel, William. "The Origins of Dutch Painting: The Beauty and Importance of Dutch Manuscripts." The Walters Magazine 51, no. 2 (1998): p. 7 (fol. 152v).
Miner, D. "Dutch Illuminated Manuscripts in the Walters Art Gallery." Connoisseur Yearbook, 1955, pp. 70-74, figs. v-ix.
Buck, Stephanie. Die Niederländischen Zeichnungen des 15. Jahrhunderts im Berliner Kupferstichkabinett. Turnhout: Brepols, 2001, p. 65 (fol. 19v).
Oberlin College. Spring Bulletin 1960, pp. 102, 104, no. 23, ill. p. 105.
Rijksmuseum. Middeleeuwse Kunst der Noordelijke Nederlanden. Amsterdam 1958, pp. 122-3, no. 154, figs. 78-80.
Leson, Richard. "For This Is My Body." The Walters Magazine 61, no. 4 (2006): p. 7 (fols. 152v-153r).
Byvanck, A. W. Kroniek der Noord-Nederlandsche Miniaturen, III. Oudheidkundig Jaarboek, 4th ser., IX. 1940, pp. 36-7, figs. 18-19.
Foister, Susan, Sue Jones, and Delphine Cool, eds. Investigating Jan van Eyck. Turnhout: Brepols, 2000, p. 191.
Calkins, Robert G. Distribution of Labor: The Illuminators of the Hours of the Catherine of Cleves and Their Workshop, Transactions of the American Philosophical Society 69, part 5 (1979), pp. 34-39, with figs. 26-33
Byvanck, A. W. De Middeleeuwsche Boekillustratie in de Noordelijke Nederlanden. Antwerp, 1943, p. 28, figs. 19-20.
van Buren, Anne H., James H. Marrow, and Silvana Pettenati. Heures de Turin-Milan: Inv. no. 47, Museo Civico d'Arte Antica, Torino. Lucerne: Faksimile Verlag, 1996, fol. 79v.
Miner, D. Illuminated Books of the Middle Ages and Renaissance. Baltimore: Walters Art Gallery, 1949, p.48, no. 128, pl. XLIX.
Leson, Richard. "The Early History of the Bible." The Walters Magazine 59, no. 4 (2004): p. 7 (fols. 153v-154r).
Priem, Rob, et al. The Hours of Catherine of Cleves: Devotion, Demons and Daily Life in the Fifteenth Century. New York: The Morgan Library & Museum, 2009, pp. 202-203, cat. no. 31.
These are pages that we pulled aside that disrupted the flow of the manuscript reader. These may be bindings, inserts, bookmarks, and various other oddities.
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