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.
This Book of Hours was likely produced in Bruges ca. 1480-90, as evinced by the saints in the calendar. The provenance is not certain, however, since Bayeux and St. Riquier are also attested by the litany and usage of the Office of the Dead. The book's lavish full-page miniatures in black-grisailles, as well as the facing opening of the Hours, are enframed with foliate borders and drolleries, and have been attributed to the circle of Willem Vrelant and the so-called Master of the Black Prayerbook. Gold was employed for the details of the illuminations, bringing light to the monochrome scenes. Similarly, the text is enlightened by gold-speckled large initials for the opening of each of the Hours, and small ones for minor divisions of the text throughout the manuscript.
Five full-page grisailles miniatures with facing borders at the beginning of each Hour, fols. 19v, 31v, 39v, 43v, 47v, 50v, 53v, and 58v
artist: Master of the Black Prayerbook
artist: Circle of Willem Vrelant
Principal cataloger: Randall, Lilian M.C.
Cataloger: Herbert, Lynley
Cataloger: Valle, Chiara
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Emery, Doug
Contributor: Herbold, Rebekah
Contributor: Noel, William
Contributor: Pizzinato, Riccardo
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Wiegand, Kimber
Conservator: Owen, Linda
Conservator: Quandt, Abigail
De Ricci, Seymour, and W. J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 1. New York: H. W. Wilson Company, 1935; p. 801, cat. no. 281.
Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 3, Belgium, 1250-1530. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1997; pp. 417-423, cat. no. 280.
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.
Flanders (Bruges?)
Ca. 1480-90
book
Non-original Binding
Flemish, sixteenth-century brown leather binding over oak boards with wide chamfer at outer edges; modern repairs to spine; sides impressed in blind with panel stamps with the same design on both covers; St. John the Baptist preaching with seated woman and man on each side; dog seated on ground at front seen from back; St. Michael vanquishing devil; four peasants dancing at the center of the cover separate the saints' portraits; remains of green and crimson silk in tailband; former fastening at center fore-edge is now missing; panels with SS. John the Baptist and Michael are also on a Flemish Book of Hours in the Bibliothèque Royale de Belgique (iv 315), and a Greek Evangeliary in the Österreichische Nationalbibliothek (Suppl. grec. 175)
The primary language in this manuscript is Latin. The secondary language of this manuscript is Dutch; Flemish.
Made likely in Bruges ca.1480-90 for owner connected to Bayeux and Flanders
Re-bound in the second quarter of the sixteenth century in Flanders
Louvain, mid-sixteenth-century owner
Henry Walters, Baltimore, purchased between 1895 and 1931
Walters Art Museum, 1931, by Henry Walters' bequest
Flanders (Bruges?)
Ca. 1480-90
book
The primary language in this manuscript is Latin. The secondary language of this manuscript is Dutch; Flemish.
Made likely in Bruges ca.1480-90 for owner connected to Bayeux and Flanders
Re-bound in the second quarter of the sixteenth century in Flanders
Louvain, mid-sixteenth-century owner
Henry Walters, Baltimore, purchased between 1895 and 1931
Walters Art Museum, 1931, by Henry Walters' bequest
This Book of Hours was likely produced in Bruges ca. 1480-90, as evinced by the saints in the calendar. The provenance is not certain, however, since Bayeux and St. Riquier are also attested by the litany and usage of the Office of the Dead. The book's lavish full-page miniatures in black-grisailles, as well as the facing opening of the Hours, are enframed with foliate borders and drolleries, and have been attributed to the circle of Willem Vrelant and the so-called Master of the Black Prayerbook. Gold was employed for the details of the illuminations, bringing light to the monochrome scenes. Similarly, the text is enlightened by gold-speckled large initials for the opening of each of the Hours, and small ones for minor divisions of the text throughout the manuscript.
Five full-page grisailles miniatures with facing borders at the beginning of each Hour, fols. 19v, 31v, 39v, 43v, 47v, 50v, 53v, and 58v
artist: Master of the Black Prayerbook
artist: Circle of Willem Vrelant
Principal cataloger: Randall, Lilian M.C.
Cataloger: Herbert, Lynley
Cataloger: Valle, Chiara
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Emery, Doug
Contributor: Herbold, Rebekah
Contributor: Noel, William
Contributor: Pizzinato, Riccardo
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Wiegand, Kimber
Conservator: Owen, Linda
Conservator: Quandt, Abigail
De Ricci, Seymour, and W. J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 1. New York: H. W. Wilson Company, 1935; p. 801, cat. no. 281.
Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 3, Belgium, 1250-1530. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1997; pp. 417-423, cat. no. 280.
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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