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.
Created in the fifteenth century and rebound slightly later, this small Book of Hours may still appear much as a sixteenth-century viewer saw it. In that period, it was covered in either Belgium or England with an opulent red velvet embellished with silk and silver embroidery. The manuscript itself was produced in Flanders around 1480-1490, and was likely destined for Cambrai, as indicated by the selection of saints in the calendar. Painted by a group of artists referred to as the Associates of the Master of Antoine Rolin, the manuscript contains several interesting full-page miniatures representing St. John the Evangelist and the Pentecost painted in blue grisaille; a similar grisaille technique was used in the Suffrages to create sculpture-like figures of the saints evoked in the prayers. Full-color miniatures introduce each hour, while illusionistic borders enhance several folios throughout the book.
Full-page miniature with decorated borders fol. 17v
Principal cataloger: Randall, Lilian M.C.
Cataloger: Valle, Chiara
Editor: Herbert, Lynley
Copy editor: Wallace, Susan
Contributor: Bucca, Lauren
Contributor: Emery, Doug
Contributor: Noel, William
Contributor: Schuele, Allyson
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Wiegand, Kimber
Conservator: Owen, Linda
Conservator: Quandt, Abigail
Brinkmann, Bodo. Die flamische Buchmalerei am Ende des Burgunderreichs. Turnhout: Brepols, 1997; pp. 219, 221, 229, Amm. 346.
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. 806, cat. no. 309.
Legaré, Anne-Marie. "The Master of Antoine Rolin: A Hainaut Illurninator Working in the Orbit of Simon Marmion." In Margaret of York, Simon Marmion, and The Visions of Tondal. Papers delivered at a symposium organized by the Department of Manuscripts of the J. Paul Getty Museum in collaboration with the Huntington Library and Art Collections, June 21-23, 1990, edited by T. Kren, pp. 209-222. Malibu: J. Paul Getty Museum, 1992; pp. 214, 215: fig. 201, 218, 222.
Miner, D. The History of Bookbinding, 525-1950 A.D, exhibition catalogue. Baltimore: Trustees of the Walters Art Gallery, 1957; p. 144, cat. no. 343.
Oikonomides, N.A. "Σημείωμα γιὰ τὸ Τραπεζουντιακὸ Εὐαγγέλιο 531 τῆς Walters Art Gallery (Baltimore)." Ἀρχεῖον Πόντου 39 (1984). 145-148.
Wieck, R.S., L.R. Poos, V. Reinburg, and J. Plummer. Time Sanctified: The Book of Hours in Medieval Art and Life, exhibition catalogue. Baltimore, Walters Art Gallery. New York, 1988; pp. 105, 136, 217: no. 101, figs. 75, 131.
Legaré, Anne-Marie et al. Le livre des échecs amoureux. Paris: Chêne, 1991; pp. 85, 93, 94, fig. 17.
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. 455-459, cat. no. 285.
Bütner, Frank O. "Ce Sera Moy." In "Als Ich Can": Liber Amicorum in Memory of Professor Dr. Maurits Smeyers, edited by Bert Cardon, Jan Van der Stock, and Dominique Vanwijnsberghe, vol. 1, 243-315. Leuven: Peeters Press, 2002; p. 254.
Kren, Thomas. "Vienna Master of Mary of Burgundy and/or Workshop/Followers, Simon Marmion, Master of the Dresden Prayerbook, and Lieven van Lathem." In Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe, edited by Thomas Kren and Scot McKendrick, 142-146. Los Angeles: J. Paul Getty Museum, 2003; p. 146 (ref. under cat. no. 20).
Millet, Hélene. "Eustache Deschamps, précoce témoin de la dévotion aux a saints privilégies." In Eustache Deschamps, témoin et modèle: Littérature et société politique (XIVe-XVIe siècles), edited by Thierry Lassabatere. Paris: Presses de l'Université de Paris-Sorbonne, 2008; pp. 163, 165, 170.
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 (Mons?)
Ca. 1490-1500 CE
book
Non-original Binding
Sixteenth-century tawed skin over thin boards; covered with red velvet case embroidered with triple silver thread wound around yellow-brown silk thread, outline design on both covers of two inverted hearts, surrounded by foliate flowers
The primary language in this manuscript is Latin. The secondary language of this manuscript is French, Middle (ca.1400-1600).
Made in the region of Mons for the use of Cambrai, ca. 1490-1500
Leo Olschki, Florence, ca. 1900; inv. no. 31351 penciled on fol. 1r
Henry Walters, Baltimore, purchased from Olschki and unpacked in Baltimore on Nov. 10, 1912, according to James Anderson inventory
Walters Art Museum, 1931, by Henry Walters' bequest
Flanders (Mons?)
Ca. 1490-1500 CE
book
The primary language in this manuscript is Latin. The secondary language of this manuscript is French, Middle (ca.1400-1600).
Made in the region of Mons for the use of Cambrai, ca. 1490-1500
Leo Olschki, Florence, ca. 1900; inv. no. 31351 penciled on fol. 1r
Henry Walters, Baltimore, purchased from Olschki and unpacked in Baltimore on Nov. 10, 1912, according to James Anderson inventory
Walters Art Museum, 1931, by Henry Walters' bequest
Created in the fifteenth century and rebound slightly later, this small Book of Hours may still appear much as a sixteenth-century viewer saw it. In that period, it was covered in either Belgium or England with an opulent red velvet embellished with silk and silver embroidery. The manuscript itself was produced in Flanders around 1480-1490, and was likely destined for Cambrai, as indicated by the selection of saints in the calendar. Painted by a group of artists referred to as the Associates of the Master of Antoine Rolin, the manuscript contains several interesting full-page miniatures representing St. John the Evangelist and the Pentecost painted in blue grisaille; a similar grisaille technique was used in the Suffrages to create sculpture-like figures of the saints evoked in the prayers. Full-color miniatures introduce each hour, while illusionistic borders enhance several folios throughout the book.
Full-page miniature with decorated borders fol. 17v
Principal cataloger: Randall, Lilian M.C.
Cataloger: Valle, Chiara
Editor: Herbert, Lynley
Copy editor: Wallace, Susan
Contributor: Bucca, Lauren
Contributor: Emery, Doug
Contributor: Noel, William
Contributor: Schuele, Allyson
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Wiegand, Kimber
Conservator: Owen, Linda
Conservator: Quandt, Abigail
Brinkmann, Bodo. Die flamische Buchmalerei am Ende des Burgunderreichs. Turnhout: Brepols, 1997; pp. 219, 221, 229, Amm. 346.
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. 806, cat. no. 309.
Legaré, Anne-Marie. "The Master of Antoine Rolin: A Hainaut Illurninator Working in the Orbit of Simon Marmion." In Margaret of York, Simon Marmion, and The Visions of Tondal. Papers delivered at a symposium organized by the Department of Manuscripts of the J. Paul Getty Museum in collaboration with the Huntington Library and Art Collections, June 21-23, 1990, edited by T. Kren, pp. 209-222. Malibu: J. Paul Getty Museum, 1992; pp. 214, 215: fig. 201, 218, 222.
Miner, D. The History of Bookbinding, 525-1950 A.D, exhibition catalogue. Baltimore: Trustees of the Walters Art Gallery, 1957; p. 144, cat. no. 343.
Oikonomides, N.A. "Σημείωμα γιὰ τὸ Τραπεζουντιακὸ Εὐαγγέλιο 531 τῆς Walters Art Gallery (Baltimore)." Ἀρχεῖον Πόντου 39 (1984). 145-148.
Wieck, R.S., L.R. Poos, V. Reinburg, and J. Plummer. Time Sanctified: The Book of Hours in Medieval Art and Life, exhibition catalogue. Baltimore, Walters Art Gallery. New York, 1988; pp. 105, 136, 217: no. 101, figs. 75, 131.
Legaré, Anne-Marie et al. Le livre des échecs amoureux. Paris: Chêne, 1991; pp. 85, 93, 94, fig. 17.
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. 455-459, cat. no. 285.
Bütner, Frank O. "Ce Sera Moy." In "Als Ich Can": Liber Amicorum in Memory of Professor Dr. Maurits Smeyers, edited by Bert Cardon, Jan Van der Stock, and Dominique Vanwijnsberghe, vol. 1, 243-315. Leuven: Peeters Press, 2002; p. 254.
Kren, Thomas. "Vienna Master of Mary of Burgundy and/or Workshop/Followers, Simon Marmion, Master of the Dresden Prayerbook, and Lieven van Lathem." In Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe, edited by Thomas Kren and Scot McKendrick, 142-146. Los Angeles: J. Paul Getty Museum, 2003; p. 146 (ref. under cat. no. 20).
Millet, Hélene. "Eustache Deschamps, précoce témoin de la dévotion aux a saints privilégies." In Eustache Deschamps, témoin et modèle: Littérature et société politique (XIVe-XVIe siècles), edited by Thierry Lassabatere. Paris: Presses de l'Université de Paris-Sorbonne, 2008; pp. 163, 165, 170.
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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