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.
These six full-page miniatures were originally part of a Book of Hours created in Bruges ca. 1480-90. It is unknown at what point the images were excised from the book, but at least four of them were mounted and framed ca. 1900 by the Parisian bookdealer and binder Léon Gruel. Although the book they were part of has not been identified, and may be lost, Roger Wieck has suggested a stylistic relationship between these miniatures and works by the Master of Edward IV, an artist working in Bruges ca. 1470-90. For another example of work by this artist and his circle, see Walters manuscript W.435. As there is no text remaining with the images, their original positions within the text of the manuscript they once illuminated are conjectural, and the text identifiers included here are those proposed by Lilian Randall in her catalog.
Principal cataloger: Randall, Lilian M.C.
Cataloger: Herbert, Lynley
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Emery, Doug
Contributor: Herbert, Lynley
Contributor: Noel, William
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Wiegand, Kimber
Conservator: Huber, Terra
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. 808, cat. no. 323.
Bowles, Edmund A. "A Checklist of Musical Instruments in Fifteenth-Century Illuminated Manuscripts at the Walters Art Gallery." Quarterly Journal of the Music Library Association, 32/4 (1976): 719-726, p. 722.
Wieck, Roger S. "Masters and Manuscripts or How to Distinguish One Illuminator from Another". 42 No.4. The Walters. 04/1989:2-4.
Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 3, Part 2, Belgium, 1250-1530. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1997; pp. 436-438, cat. no. 282.
Kren, Thomas and Maryan W. Ainsworth. “Illuminators and Painters: Artistic Exchanges and Interelationships.” In Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe. Edited by Thomas Kren and Scot McKendrick, 39-58. Los Angeles: J. Paul Getty Museum, 2003; pp. 50-51.
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.
Bruges
Ca. 1480-90 CE
leaves
No Binding
Mounted on silk-covered card, with modern painted gold paper borders, in modern gilded frames; A, B, C, and E at least framed as a group ca. 1900 by Léon Gruel, Paris; framing of D and F possibly done separately
No linguistic content; Not applicable
Originally part of a Book of Hours created in Bruges ca. 1480-90 in the style of the Master of Edward IV
Gruel and Engelmann collection, Paris, ca. 1900; their bookplates on backs of frames inscribed with "145/147/148/144" for W.443.A-C and E; W.443.D inscribed "2423" and "L.85-86," with note "ex. L. Gruel"; W.443.E also inscribed "2427 1/2x," "L./94.," and "vol. 12"; W.443.F re-backed but had previously carried inscription "[M134]s"
Henry Walters, Baltimore, purchased from Léon Gruel on June 9, 1903
Walters Art Museum, 1931, by Henry Walters' bequest
Bruges
Ca. 1480-90 CE
leaves
No linguistic content; Not applicable
Originally part of a Book of Hours created in Bruges ca. 1480-90 in the style of the Master of Edward IV
Gruel and Engelmann collection, Paris, ca. 1900; their bookplates on backs of frames inscribed with "145/147/148/144" for W.443.A-C and E; W.443.D inscribed "2423" and "L.85-86," with note "ex. L. Gruel"; W.443.E also inscribed "2427 1/2x," "L./94.," and "vol. 12"; W.443.F re-backed but had previously carried inscription "[M134]s"
Henry Walters, Baltimore, purchased from Léon Gruel on June 9, 1903
Walters Art Museum, 1931, by Henry Walters' bequest
These six full-page miniatures were originally part of a Book of Hours created in Bruges ca. 1480-90. It is unknown at what point the images were excised from the book, but at least four of them were mounted and framed ca. 1900 by the Parisian bookdealer and binder Léon Gruel. Although the book they were part of has not been identified, and may be lost, Roger Wieck has suggested a stylistic relationship between these miniatures and works by the Master of Edward IV, an artist working in Bruges ca. 1470-90. For another example of work by this artist and his circle, see Walters manuscript W.435. As there is no text remaining with the images, their original positions within the text of the manuscript they once illuminated are conjectural, and the text identifiers included here are those proposed by Lilian Randall in her catalog.
Principal cataloger: Randall, Lilian M.C.
Cataloger: Herbert, Lynley
Editor: Herbert, Lynley
Copy editor: Dibble, Charles
Contributor: Emery, Doug
Contributor: Herbert, Lynley
Contributor: Noel, William
Contributor: Tabritha, Ariel
Contributor: Toth, Michael B.
Contributor: Wiegand, Kimber
Conservator: Huber, Terra
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. 808, cat. no. 323.
Bowles, Edmund A. "A Checklist of Musical Instruments in Fifteenth-Century Illuminated Manuscripts at the Walters Art Gallery." Quarterly Journal of the Music Library Association, 32/4 (1976): 719-726, p. 722.
Wieck, Roger S. "Masters and Manuscripts or How to Distinguish One Illuminator from Another". 42 No.4. The Walters. 04/1989:2-4.
Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 3, Part 2, Belgium, 1250-1530. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1997; pp. 436-438, cat. no. 282.
Kren, Thomas and Maryan W. Ainsworth. “Illuminators and Painters: Artistic Exchanges and Interelationships.” In Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe. Edited by Thomas Kren and Scot McKendrick, 39-58. Los Angeles: J. Paul Getty Museum, 2003; pp. 50-51.
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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