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 created ca. 1435-1440 in Amiens by artists from the circle of the Master of W.281 (Randall, cat. 112) for a female patron depicted on fol. 135r. The manuscript contains fourteen miniatures and is localized to Amiens by the contents of the calendar and litany, which include many saints particular to that region. Quire 12 (fols. 82-89) is misbound with quire 13 (fols. 90-97), with Suffrages and the Seven Verses of St. Bernard (fols. 82-89) intended to be after the Office of the Dead (fols. 90-128), as evinced by the location of the rubric for the Office of the Dead on fol. 81v.
Misbound quire
Principal cataloger: Randall, Lilian M.C.
Cataloger: Ransom, Allison
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Emery, Doug
Contributor: Noel, William
Contributor: Ransom, Allison
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. 795, cat. no. 240.
Bowles, E. A., "A Checklist of Musical Instruments in Fifteenth-Century Illuminated Manuscripts at the Walters Art Gallery," Quarterly Journal of the Music Library Association, 1976, p. 721, 723.
Cahn, W.. and Marrow, J, "Medieval and Renaissance Manuscripts at Yale: A Selection," Yale University Library Gazette 4, no. 52 (1978), pp. 174-284
Plummer, John, with the assistance of Gregory Clark. The Last Flowering: French Painting in Manuscripts, 1420-1530. New York: Pierpont Morgan Library, 1982., cat. no. 14, p. 11
Owens, M.B., "Musical Subjects in the Illumination of Books of Hours from Fifteenth-Century France and Flanders," PhD diss., University of Chicago, 1987, p. 232, 433, fig. 47 (fol. 41r)
Wieck, Roger S. Time Sanctified. The Book of Hours in Medieval Art and Life. New York: George Braziller. 1988. Pp. 129, 187, cat. no. 36, fig. 118, fol. 90
Sterling, C., La peinture médiévale a Paris, Paris 1990
Nash, Susie. Between France and Flanders: Manuscript Illumination in Lyons. London: The British Library, 1999; pp. 76-78, 117, 119, 120, 128, 133, 187, 215, 218-219, 224, 228, 405, figs. 11, 16, 66-67, 69-70, 179, 184, 189, pl. 13.
Wieck, Roger S. “The Death Desired: Books of Hours and the Medieval Funeral.” In Death and Dying in the Middle Ages. Edited by Edelgard E. DuBruck and Barbara I. Gusick, 431-476. New York: Peter Lang, 1999; pp. 440 (as fig. 24), 447 (n. 23), 472 (fig. 24).
Clark, Gregory T. Made in Flanders: The Master of the Ghent Privileges and Manuscript Painting in the Southern Netherlands in the Time of Philip the Good. Tournhout, Belgium: Brepolis Publishers, 2000; pp. 67, 71; illus. 31-32.
Natale, Mauro. “Maestro de las Horas Collins: Horas de Thiébaut de Luxemburgo, Amiens, c. 1440.” In El Renacimiento mediterrńeo: Viajes de artistas e itinerarios de obras entre Italia, Francia y España en el siglo XV. Madrid, Museo Thyssen-Bornemisza, del 31 de enero al 6 de mayo de 2001, Valencia Museu de Belles Arts de València, del 18 de mayo al 2 de septiembre de 2001. Edited by Mauro Natale, 216-218. Madrid: Fundación Colección Thyssen-Bornemisza, 2001; p. 216 (ref. under cat. no. 17).
Büttner, F.O. “Ce sera moy. Realitäsghalt und Rhetorik in Darstellungen der Toten- und Vergänglichkeitsikonographie des Stundengebetbuchs.” In "Als Ich Can": Liber Amicorum in Memory of Professor Dr. Maurits Smeyers. Edited by Bert Cardon, Jan Van der Stock, and Dominique Vanwijnsberghe, 243-316, vol. 1. Leuven: Peeters Press, 2002; p. 251.
Clark, Gregory T. “‘Made in Flanders’ and The Master of the Ghent Privileges: A First Coda.” In "Als Ich Can": Liber Amicorum in Memory of Professor Dr. Maurits Smeyers. Edited by Bert Cardon, Jan Van der Stock, and Dominique Vanwijnsberghe, 383-400, vol. 1. Leuven: Peeters Press, 2002; pp. 385-397.
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.
Amiens
Ca. 1425-1440 CE
book
Non-original Binding
Bound in Paris, France by Léon Gruel in nineteenth century; brown morocco leather; re-sewn on five cords; upper and lower boards blind tooled with imitation fifteenth-century Flemish motifs; five raised bands on spine; gilt title on spine reading "Heures/ D'Ameins/ Saec. XV.", at tail edge of spine reading "Gruel"; modern gilded edges; two modern leather straps missing, metal edge-pin clasps at fore-edge of upper and lower boards extant
The primary language in this manuscript is Latin. The secondary language of this manuscript is French, Middle (ca.1400-1600).
Created in Amiens ca. 1435-1440 by artists from the circle of the Master of Walters 281 for female patron, depicted on fol. 135r
Rebound by firm of Léon Gruel, Paris bookbinder, twentieth century
Leo S. Olschki, Florence bookseller, before 1912
Purchased from Leo S. Olschki by Henry Walters, Baltimore, 1912
Walters Art Museum, 1931, by Henry Walters' bequest
Amiens
Ca. 1425-1440 CE
book
The primary language in this manuscript is Latin. The secondary language of this manuscript is French, Middle (ca.1400-1600).
Created in Amiens ca. 1435-1440 by artists from the circle of the Master of Walters 281 for female patron, depicted on fol. 135r
Rebound by firm of Léon Gruel, Paris bookbinder, twentieth century
Leo S. Olschki, Florence bookseller, before 1912
Purchased from Leo S. Olschki by Henry Walters, Baltimore, 1912
Walters Art Museum, 1931, by Henry Walters' bequest
This Book of Hours was created ca. 1435-1440 in Amiens by artists from the circle of the Master of W.281 (Randall, cat. 112) for a female patron depicted on fol. 135r. The manuscript contains fourteen miniatures and is localized to Amiens by the contents of the calendar and litany, which include many saints particular to that region. Quire 12 (fols. 82-89) is misbound with quire 13 (fols. 90-97), with Suffrages and the Seven Verses of St. Bernard (fols. 82-89) intended to be after the Office of the Dead (fols. 90-128), as evinced by the location of the rubric for the Office of the Dead on fol. 81v.
Misbound quire
Principal cataloger: Randall, Lilian M.C.
Cataloger: Ransom, Allison
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Emery, Doug
Contributor: Noel, William
Contributor: Ransom, Allison
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. 795, cat. no. 240.
Bowles, E. A., "A Checklist of Musical Instruments in Fifteenth-Century Illuminated Manuscripts at the Walters Art Gallery," Quarterly Journal of the Music Library Association, 1976, p. 721, 723.
Cahn, W.. and Marrow, J, "Medieval and Renaissance Manuscripts at Yale: A Selection," Yale University Library Gazette 4, no. 52 (1978), pp. 174-284
Plummer, John, with the assistance of Gregory Clark. The Last Flowering: French Painting in Manuscripts, 1420-1530. New York: Pierpont Morgan Library, 1982., cat. no. 14, p. 11
Owens, M.B., "Musical Subjects in the Illumination of Books of Hours from Fifteenth-Century France and Flanders," PhD diss., University of Chicago, 1987, p. 232, 433, fig. 47 (fol. 41r)
Wieck, Roger S. Time Sanctified. The Book of Hours in Medieval Art and Life. New York: George Braziller. 1988. Pp. 129, 187, cat. no. 36, fig. 118, fol. 90
Sterling, C., La peinture médiévale a Paris, Paris 1990
Nash, Susie. Between France and Flanders: Manuscript Illumination in Lyons. London: The British Library, 1999; pp. 76-78, 117, 119, 120, 128, 133, 187, 215, 218-219, 224, 228, 405, figs. 11, 16, 66-67, 69-70, 179, 184, 189, pl. 13.
Wieck, Roger S. “The Death Desired: Books of Hours and the Medieval Funeral.” In Death and Dying in the Middle Ages. Edited by Edelgard E. DuBruck and Barbara I. Gusick, 431-476. New York: Peter Lang, 1999; pp. 440 (as fig. 24), 447 (n. 23), 472 (fig. 24).
Clark, Gregory T. Made in Flanders: The Master of the Ghent Privileges and Manuscript Painting in the Southern Netherlands in the Time of Philip the Good. Tournhout, Belgium: Brepolis Publishers, 2000; pp. 67, 71; illus. 31-32.
Natale, Mauro. “Maestro de las Horas Collins: Horas de Thiébaut de Luxemburgo, Amiens, c. 1440.” In El Renacimiento mediterrńeo: Viajes de artistas e itinerarios de obras entre Italia, Francia y España en el siglo XV. Madrid, Museo Thyssen-Bornemisza, del 31 de enero al 6 de mayo de 2001, Valencia Museu de Belles Arts de València, del 18 de mayo al 2 de septiembre de 2001. Edited by Mauro Natale, 216-218. Madrid: Fundación Colección Thyssen-Bornemisza, 2001; p. 216 (ref. under cat. no. 17).
Büttner, F.O. “Ce sera moy. Realitäsghalt und Rhetorik in Darstellungen der Toten- und Vergänglichkeitsikonographie des Stundengebetbuchs.” In "Als Ich Can": Liber Amicorum in Memory of Professor Dr. Maurits Smeyers. Edited by Bert Cardon, Jan Van der Stock, and Dominique Vanwijnsberghe, 243-316, vol. 1. Leuven: Peeters Press, 2002; p. 251.
Clark, Gregory T. “‘Made in Flanders’ and The Master of the Ghent Privileges: A First Coda.” In "Als Ich Can": Liber Amicorum in Memory of Professor Dr. Maurits Smeyers. Edited by Bert Cardon, Jan Van der Stock, and Dominique Vanwijnsberghe, 383-400, vol. 1. Leuven: Peeters Press, 2002; pp. 385-397.
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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