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This Book of Hours was completed for Use of Reims ca. 1450-1475 in northeastern France. The book was first owned by Collette, who is portrayed on fol. 76r with the Virgin and Child. An inscription from 1559 on the back pastedown records later ownership by female owner G. Marlot, as well as by her aunt, née Labourgue, wife of the merchant Jean Bourguet, followed by G. Marlot's daughter, Martine Marlot. The amount of female content in the book suggests that the patron, Collette, was very wealthy, as the book derives from a normal workshop program. This Book of Hours contains a heightened amount of prayers to the Virgin, virgins listed in the calendar and litany, as well as the Hours of St. Catherine in a devotional sequence. The manuscript also contains charming marginalia, most famously a garden party scene in which couples play music, and even games such as backgammon, together (fol. 16r).
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This richly illuminated fourteenth-century German homilary is particularly interesting for its rare bifolium of drawings bound in at the front of the book. The headgear worn by the nuns in the drawings is characteristic of Cistercensian and Premostratensian nuns in northern Germany as early as circa 1320. Evidence for dating and localization is also found in the manuscript's relationship with a second homilary in the Bodleian Library (Oxford, Bodleian Library, Ms. Douce 185). Despite minor codicological differences--page layout, textblock dimensions, and ruling--it seems likely that the two homilaries were composed as a set in one scriptorium. The drawings at the beginning of the Walters manuscript were inspired by miniatures within the book and are very similar to the style of Master of Douce 185, recently identified as a collaborator of the Willehalm Master. Although the Walters homilary lacks internal evidence for localization, it can be attributed to the lower Rhine on the basis of general affinities between work of this region and English art. The Walters homilary is stylistically close to the small ivory book illustrated with fourteen paintings of the Passion in the Victoria and Albert Museum (London, Victoria and Albert Museum, inv. no.11-1872), which has Westphalian and north German characteristics. Palette, figural drawings, the use of checkered spandrels, large ivy-leaf terminals, and ape marginalia in the Walters homilary are also close to fragments of an antiphonary from Westphalia scattered in German collections (Düsseldorf, Universitätsbibliothek, Ms. D. 37a, b, c and Hamm, Städtisches Gustav-Lübcke-Museum, Mss 5474-5476). A second group of stylistically related manuscripts can be found in a two-volume antiphonary from the Dominican nunnery of Paradise near Soest (Düsseldorf, Universitätsbibliothek, Mss. D.7 and D.9).
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours was made ca. 1310-20, likely in Ghent. It was badly rebound with a sixteenth-century Flemish binding by Léon Gruel in Paris at the end of the nineteenth or early twentieth century, and the initials of Gruel and Engelmann are printed on the bookplate on the front pastedown. The manuscript lacks its calendar, and the text is incomplete and misbound. In the fourteenth century a prayer for Communion, written in French, was added at the end of the book. Initials in gold, blue and pink mark the divisions of the text. The manuscript is richly illuminated with drolleries; painted on the borders of each folio, they would have amused the reader with their playful animals, hybrids, and human figures.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This Book of Hours was completed for Use of Reims ca. 1450-1475 in northeastern France. The book was first owned by Collette, who is portrayed on fol. 76r with the Virgin and Child. An inscription from 1559 on the back pastedown records later ownership by female owner G. Marlot, as well as by her aunt, née Labourgue, wife of the merchant Jean Bourguet, followed by G. Marlot's daughter, Martine Marlot. The amount of female content in the book suggests that the patron, Collette, was very wealthy, as the book derives from a normal workshop program. This Book of Hours contains a heightened amount of prayers to the Virgin, virgins listed in the calendar and litany, as well as the Hours of St. Catherine in a devotional sequence. The manuscript also contains charming marginalia, most famously a garden party scene in which couples play music, and even games such as backgammon, together (fol. 16r).
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This Book of Hours was completed for Use of Reims ca. 1450-1475 in northeastern France. The book was first owned by Collette, who is portrayed on fol. 76r with the Virgin and Child. An inscription from 1559 on the back pastedown records later ownership by female owner G. Marlot, as well as by her aunt, née Labourgue, wife of the merchant Jean Bourguet, followed by G. Marlot's daughter, Martine Marlot. The amount of female content in the book suggests that the patron, Collette, was very wealthy, as the book derives from a normal workshop program. This Book of Hours contains a heightened amount of prayers to the Virgin, virgins listed in the calendar and litany, as well as the Hours of St. Catherine in a devotional sequence. The manuscript also contains charming marginalia, most famously a garden party scene in which couples play music, and even games such as backgammon, together (fol. 16r).
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Gospel book was likely created in the capital of the Byzantine Empire, Constantinople, in the eleventh century. The manuscript is remarkable on account of its exceptionally small size, as well as the high quality of its script and miniatures. Its extensive image cycle includes six full-page miniatures, four half-page miniatures, four historiated initials, and marginalia.
An image of the Nativity sometimes (as here) serves as a headpiece for Matthew's Gospel, because the first important liturgical reading in the Gospel of Matthew is the one for Christmas. The image is very worn: most of the paint has flaked, laying bare the preliminary ink drawing. However, one can still make out the three angels in the upper left corner, raising their hands in veneration toward the star of Bethlehem (Luke 2:13). In the upper right, corner an angel talks to the shepherds (Luke 2:8-12). On the left below, Joseph sits deep in though at the mystery of the Incarnation. Next to him, the newborn Jesus is being washed by his two midwives (the tub resembles a baptismal font). In the center, the Virgin lies on a red bedsheet next to her infant son. The vertical stroke of the initial letter B in Matthew 1:1 ("*B*ook of the generation...") is formed by a figure of the evangelist, pen in hand. He is actually writing the text that we read on the page. This is the very beginning of the Gospel, where Christ's genealogy is recounted. Correspondingly, the three standing figures in the side margin form a sort of abbreviated family tree of the Savior: Abraham above, David in the middle, and Jesus Himself at the bottom.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This book of hours was written in Dutch in the fifteenth century for the use of Utrecht. The Hours of the Virgin and of the Cross are accompanied here by the Dutch translation of Henry Suso's "Cursus aeternae sapientiae," a text that was particularly popular for private devotion in the Netherlands. Once owned by the English collector Lord Amherst, the manuscript is exceptional for its extensive illumination. Webs of foliage cover every margin, most sprouting medallions containing flora and fauna. The divisions in the text are marked by twenty richly painted full-page miniatures, often accompanied by related marginalia. Further illumination in the form of historiated and foliate initials marks minor breaks in the text, and the overall effect is a visual feast for the reader.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This Book of Hours was produced in the early fourteenth century in Northeast France. The contents of the calendar suggest a use of Saint-Omer which was in the diocese of Therouanne. The presence of a female figure kneeling in prayer accompanying the Pentecost suggests the manuscript was made for a female owner. The calendar contains marginal illumination with the Labors of the Months and the zodiac symbols. There are seven full-page miniatures depicting scenes from the book of Genesis contained within architectural settings. There are twenty-four historiated initials as well as a number of initials decorated with human heads. An abundance of marginal figures makes this manuscript exceptionally charming.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
British Library, Gorleston Psalter
The Gorleston Psalter (British Library Manuscript Additional 49622) is a 14th-century manuscript notable for containing early music instruction and for its humorous marginalia. It is named for the town of Gorleston in Norfolk.
One of 4 early ms. marginal sketches in a copy of Giovanni Boccaccio's Filocolo, printed in Venice on 24 December 1488 by Peregrinus de Pasqualibus (ISTC ib00744000):
Leaf h5v: dragon[?] with caption: [...]hina bochina
Leaf k1v: flowers with caption: Ia a mo [pictured here]
Leaf m7v: owl[?] with caption: angela .P.
Leaf n5v: bird in tree with caption: [...]ametta ..
The leaves of this copy are closely cropped at all margins with damage to each sketch. A ms. table headed "T.D.T. L. SS." appears on leaf s4v; it records the locations of the sketches (each denoted by an initial: S, R, C, and P, respectively) in order of appearance by the folio number of the facing leaf.
Established form: Pasqualibus, Peregrinus de, Bononiensis, active 15th century
Penn Libraries call number: Inc B-744 [catalog record]
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
Robert Greene's "The 33 Strategies of War," sighted on a BART train. Who knew that warmonger business strategists had the right to make beautiful and insightful book designs? The midrash runs down the columns to the sides; the main text changes color and form as it expresses different points on the page. The book's passenger-reader cooperated when I asked to take a picture.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
Album title: Edna St Vincent Millay Reading Her Poetry
Artist: Edna St Vincent Millay
Label: Caedmon
Year: 1961
Catalog Number/Other Info: TC 1123 The previous owner wrote marginalia on the back concerning their joyful assessment of each reading, as well as calculating Edna’s age.
Taken by Cory Funk.
Simon de Varie kneeling in prayer;
Book of Hours of Simon de Varie [1455]
Jean Fouquet (French, born about 1415 - 1420, died before 1481);
Tempera colors, gold paint, gold leaf, and ink on parchment; Leaf: 11.4 × 8.3 cm (4 1/2 × 3 1/4 in.);
Ms. 7 (85.ML.27), fol. 2r
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This small Book of Hours is especially interesting for its profusion of humorous drolleries. Humans, animals, and hybrids are featured in the margins of each page of the book. The artists rendered in small scenes a variety of actions, like cooking, playing game, climbing, fishing, making music or moving the bodies in a dance. These drolleries amuse the faithful during his prayers, while showing scenes that work as metaphors of the soul fighting the vices. The original female owner seems to have been established in the diocese of Cambrai, judging from the use of the Office of the Dead. Several provenance episodes are evidenced by the book in the signatures on the leaves at the beginning and end of the manuscript. A priest in the sixteenth century wrote a message in code on fol. 1v asking to return to him the book if lost. Members of the ducal house of Savoy owned this book of prayer in the seventeenth century, as evidenced by the gilt armorial shield of Charles Emmanuel II (1634-75), duke of Savoy, stamped on the covers.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This small Book of Hours is especially interesting for its profusion of humorous drolleries. Humans, animals, and hybrids are featured in the margins of each page of the book. The artists rendered in small scenes a variety of actions, like cooking, playing game, climbing, fishing, making music or moving the bodies in a dance. These drolleries amuse the faithful during his prayers, while showing scenes that work as metaphors of the soul fighting the vices. The original female owner seems to have been established in the diocese of Cambrai, judging from the use of the Office of the Dead. Several provenance episodes are evidenced by the book in the signatures on the leaves at the beginning and end of the manuscript. A priest in the sixteenth century wrote a message in code on fol. 1v asking to return to him the book if lost. Members of the ducal house of Savoy owned this book of prayer in the seventeenth century, as evidenced by the gilt armorial shield of Charles Emmanuel II (1634-75), duke of Savoy, stamped on the covers.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This book of hours was written in Dutch in the fifteenth century for the use of Utrecht. The Hours of the Virgin and of the Cross are accompanied here by the Dutch translation of Henry Suso's "Cursus aeternae sapientiae," a text that was particularly popular for private devotion in the Netherlands. Once owned by the English collector Lord Amherst, the manuscript is exceptional for its extensive illumination. Webs of foliage cover every margin, most sprouting medallions containing flora and fauna. The divisions in the text are marked by twenty richly painted full-page miniatures, often accompanied by related marginalia. Further illumination in the form of historiated and foliate initials marks minor breaks in the text, and the overall effect is a visual feast for the reader.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This small Book of Hours is especially interesting for its profusion of humorous drolleries. Humans, animals, and hybrids are featured in the margins of each page of the book. The artists rendered in small scenes a variety of actions, like cooking, playing game, climbing, fishing, making music or moving the bodies in a dance. These drolleries amuse the faithful during his prayers, while showing scenes that work as metaphors of the soul fighting the vices. The original female owner seems to have been established in the diocese of Cambrai, judging from the use of the Office of the Dead. Several provenance episodes are evidenced by the book in the signatures on the leaves at the beginning and end of the manuscript. A priest in the sixteenth century wrote a message in code on fol. 1v asking to return to him the book if lost. Members of the ducal house of Savoy owned this book of prayer in the seventeenth century, as evidenced by the gilt armorial shield of Charles Emmanuel II (1634-75), duke of Savoy, stamped on the covers.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This Book of Hours was created ca. 1440 in Hainaut for a female patron with Cistercian connections, which is suggested by long devotional sequences focused on the Passion of Christ and the Virgin, including indulgences, a litany with Cistercian affiliation, and various references to a female suppliant. Two devotional texts written by various scribes in Latin and French were added to the front and back of the book ca. 1450-1600. At the end of the front devotional text, on fol. 6v, there are sewing holes and strong impressions of a variety of pilgrim badges. The manuscript contains eight full-page miniatures, five of which were at some point protected by pieces of gauze that have been removed and are now in the WAM file.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Dated to the tenth century, this manuscript is the oldest Armenian codex in North America and the fifth oldest among documented Armenian Gospel Books. The principal colophon on 2v indicates that Sargis the Priest completed the text in 415 [966]. Within the framed area, the commission of the codex is described: a priest, whose name was replaced by the later owner T’oros, commissioned the work "as decoration and for the splendor of [the] holy church and for the pleasure of the congregation of Rznēr." As the codex was written and commissioned by priests, the manuscript is referred to as the “Gospels of the Priest.” It was formerly known as the “Gospels of the Translators,” as, following the date 415, someone erased the formula “of the Armenian era” and replaced it with “of our Lord,” suggesting an earlier date and that the text was based on the original translation of the Gospels into Armenian during the fifth century. The text is copied in large angular erkat‘agir script. The full page paintings and marginal ornaments bear stylistic characteristics of Armenian illumination of the tenth and eleventh century associated with non-royal patronage. The illustrations comprise the Canon Tables, with only the last two remaining; the Virgin and Child on a wheeled chariot; the framed colophon; ornamental cross with donor’s portrait; portraits of Mathew and Mark together (7sv, at the end of Matthew); and Mark with Luke (114v, at the end of Mark); two unknown saints (192a, at the end of Luke). Marginalia is found throughout the text. It has been suggested that the scribe was also responsible for the illumination.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
Non-original binding. Eighteenth-century green morocco over pulp- or paste-board; gilt tooled floral motif
This book of hours was written in Dutch in the fifteenth century for the use of Utrecht. The Hours of the Virgin and of the Cross are accompanied here by the Dutch translation of Henry Suso's "Cursus aeternae sapientiae," a text that was particularly popular for private devotion in the Netherlands. Once owned by the English collector Lord Amherst, the manuscript is exceptional for its extensive illumination. Webs of foliage cover every margin, most sprouting medallions containing flora and fauna. The divisions in the text are marked by twenty richly painted full-page miniatures, often accompanied by related marginalia. Further illumination in the form of historiated and foliate initials marks minor breaks in the text, and the overall effect is a visual feast for the reader.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This small Book of Hours is especially interesting for its profusion of humorous drolleries. Humans, animals, and hybrids are featured in the margins of each page of the book. The artists rendered in small scenes a variety of actions, like cooking, playing game, climbing, fishing, making music or moving the bodies in a dance. These drolleries amuse the faithful during his prayers, while showing scenes that work as metaphors of the soul fighting the vices. The original female owner seems to have been established in the diocese of Cambrai, judging from the use of the Office of the Dead. Several provenance episodes are evidenced by the book in the signatures on the leaves at the beginning and end of the manuscript. A priest in the sixteenth century wrote a message in code on fol. 1v asking to return to him the book if lost. Members of the ducal house of Savoy owned this book of prayer in the seventeenth century, as evidenced by the gilt armorial shield of Charles Emmanuel II (1634-75), duke of Savoy, stamped on the covers.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours was completed for Use of Reims ca. 1450-1475 in northeastern France. The book was first owned by Collette, who is portrayed on fol. 76r with the Virgin and Child. An inscription from 1559 on the back pastedown records later ownership by female owner G. Marlot, as well as by her aunt, née Labourgue, wife of the merchant Jean Bourguet, followed by G. Marlot's daughter, Martine Marlot. The amount of female content in the book suggests that the patron, Collette, was very wealthy, as the book derives from a normal workshop program. This Book of Hours contains a heightened amount of prayers to the Virgin, virgins listed in the calendar and litany, as well as the Hours of St. Catherine in a devotional sequence. The manuscript also contains charming marginalia, most famously a garden party scene in which couples play music, and even games such as backgammon, together (fol. 16r).
Bound in France ca. 1550-1575; brown calfskin boards; gilded foliate design on upper and lower boards, names "Claude/Armilhon" (upper board) and "Martinne/Marlot" (lower board) in gilt lettering; spine added ca. eighteenth or nineteenth century with gilt lettering of title, "Heures/Gotiques"; endbands of pink and blue thread with edgebead added ca. eighteenth or nineteenth century.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This small Book of Hours is especially interesting for its profusion of humorous drolleries. Humans, animals, and hybrids are featured in the margins of each page of the book. The artists rendered in small scenes a variety of actions, like cooking, playing game, climbing, fishing, making music or moving the bodies in a dance. These drolleries amuse the faithful during his prayers, while showing scenes that work as metaphors of the soul fighting the vices. The original female owner seems to have been established in the diocese of Cambrai, judging from the use of the Office of the Dead. Several provenance episodes are evidenced by the book in the signatures on the leaves at the beginning and end of the manuscript. A priest in the sixteenth century wrote a message in code on fol. 1v asking to return to him the book if lost. Members of the ducal house of Savoy owned this book of prayer in the seventeenth century, as evidenced by the gilt armorial shield of Charles Emmanuel II (1634-75), duke of Savoy, stamped on the covers.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This small Book of Hours is especially interesting for its profusion of humorous drolleries. Humans, animals, and hybrids are featured in the margins of each page of the book. The artists rendered in small scenes a variety of actions, like cooking, playing game, climbing, fishing, making music or moving the bodies in a dance. These drolleries amuse the faithful during his prayers, while showing scenes that work as metaphors of the soul fighting the vices. The original female owner seems to have been established in the diocese of Cambrai, judging from the use of the Office of the Dead. Several provenance episodes are evidenced by the book in the signatures on the leaves at the beginning and end of the manuscript. A priest in the sixteenth century wrote a message in code on fol. 1v asking to return to him the book if lost. Members of the ducal house of Savoy owned this book of prayer in the seventeenth century, as evidenced by the gilt armorial shield of Charles Emmanuel II (1634-75), duke of Savoy, stamped on the covers.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
This Book of Hours was produced in the early fourteenth century in Northeast France. The contents of the calendar suggest a use of Saint-Omer which was in the diocese of Therouanne. The presence of a female figure kneeling in prayer accompanying the Pentecost suggests the manuscript was made for a female owner. The calendar contains marginal illumination with the Labors of the Months and the zodiac symbols. There are seven full-page miniatures depicting scenes from the book of Genesis contained within architectural settings. There are twenty-four historiated initials as well as a number of initials decorated with human heads. An abundance of marginal figures makes this manuscript exceptionally charming.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
This richly illuminated fourteenth-century German homilary is particularly interesting for its rare bifolium of drawings bound in at the front of the book. The headgear worn by the nuns in the drawings is characteristic of Cistercensian and Premostratensian nuns in northern Germany as early as circa 1320. Evidence for dating and localization is also found in the manuscript's relationship with a second homilary in the Bodleian Library (Oxford, Bodleian Library, Ms. Douce 185). Despite minor codicological differences--page layout, textblock dimensions, and ruling--it seems likely that the two homilaries were composed as a set in one scriptorium. The drawings at the beginning of the Walters manuscript were inspired by miniatures within the book and are very similar to the style of Master of Douce 185, recently identified as a collaborator of the Willehalm Master. Although the Walters homilary lacks internal evidence for localization, it can be attributed to the lower Rhine on the basis of general affinities between work of this region and English art. The Walters homilary is stylistically close to the small ivory book illustrated with fourteen paintings of the Passion in the Victoria and Albert Museum (London, Victoria and Albert Museum, inv. no.11-1872), which has Westphalian and north German characteristics. Palette, figural drawings, the use of checkered spandrels, large ivy-leaf terminals, and ape marginalia in the Walters homilary are also close to fragments of an antiphonary from Westphalia scattered in German collections (Düsseldorf, Universitätsbibliothek, Ms. D. 37a, b, c and Hamm, Städtisches Gustav-Lübcke-Museum, Mss 5474-5476). A second group of stylistically related manuscripts can be found in a two-volume antiphonary from the Dominican nunnery of Paradise near Soest (Düsseldorf, Universitätsbibliothek, Mss. D.7 and D.9).
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
2018-04-12 Dena Yago | Sheida Soleimani | Irini Miga | Krista Clark Exhibition Openings Atlanta Contemporary
Atlanta Contemporary is pleased to announce four exhibition openings:
Dena Yago | Sheida Soleimani | Irini Miga | Krista Clark
Join us in celebrating four new exhibitions! The opening reception will be held in conjunction with Contemporary Cocktails, drinks by our Mixologist in Residence. Admission is free. Cash/credit bar. 7-9pm. Doors 6pm.
We are also pleased to announce Jaime Keiter as featured studio artist on the Studio Artist Program wall.
Parking is free in the lot at Bankhead & Means streets. You can access the lot via Bankhead Avenue and proceed past the parking attendant booth.
Dena Yago:
Dena Yago (b. 1988, New York, NY) is based in New York. Recent solo exhibitions include Bodega, New York; Sandy Brown, Berlin; High Art, Paris; Boatos Fine Art, São Paulo; White Flag Library, St. Louis; and Cubitt, London.
Recent group exhibitions include Museum of Modern Art Warsaw, Warsaw; Hammer Museum, Los Angeles; Cell Space, London; Studio for Propositional Cinema, Düsseldorf; JTT, New York; and Kunsthalle Bern, Bern.
Sheida Soleimani:
Sheida Soleimani is an Iranian-American artist, currently residing in Providence, Rhode Island. The daughter of political refugees that were persecuted by the Iranian government in the early 1980’s, Soleimani inserts her own
critical perspectives on historical and contemporary socio-political occurrences in Iran. Her works meld sculpture, video, collage, and photography to create collisions in reference to Iranian politics throughout the past
century. By focusing on media trends and the dissemination of societal occurrences through the news, source images from popular press and social media leaks are adapted to exist within alternate scenarios. Soleimani received
her MFA from Cranbrook Academy of Art in 2015. She currently resides in Providence, RI where she teaches at the Rhode Island School of Design. She has had solo exhibitions at Edel Assanti, London, UK; BOYFRIENDS, Chicago, IL;
Williamson/Knight, Portland, OR, and forthcoming shows at the CUE Arts Foundation, New York and Contemporary Arts Center, Cincinnati.
Irini Miga:
Irini Miga (b. in Larissa, Greece) lives and works in New York. She has studied at the Athens School of Fine Arts, London’s Central Saint Martins College, and received her MFA from Columbia University, New York on a Fulbright
grant. Miga has been awarded residencies in several organizations including Skowhegan School of Painting and Sculpture, The Fountainhead Residency, Lower Manhattan Cultural Council’s Workspace Program; The Drawing Center’s
Open Sessions program, and The Watermill Center, amongst others. Her work has been exhibited internationally. Recent shows include: Tomorrow’s Dream, at Neuer Essener Kunstverein, in Essen, Germany; Selections by Larry
Ossei-Mensah at Elizabeth Dee Gallery, in New York; Scraggly Beard Grandpa, at Capsule Shanghai, in Shanghai; Good Weather Presents: The Best is the Least We Can Do, at Atlanta Contemporary, in Atlanta; Marginalia, at The
Drawing Center in New York; and The Equilibrists, organized by the New Museum in New York, the DESTE Foundation in Athens and shown in the Benaki Museum in Athens, amongst others. Her work has been recently mentioned at
Artforum, FlashArt, Time Out New York, Ocula, Blouin ArtInfo, and Huffington Post.
Krista Clark:
Krista Clark grew up in Burlington, VT and holds a BFA from Atlanta College of Art in printmaking, an MA from New York University and an MFA from Georgia State University. She lives and works in Atlanta, GA. Her work is
included in the permanent collection of the High Museum and is part of an ongoing exhibition in Bratislava, Slovakia through Art in Embassies.
Jaime Keiter:
Jaime Keiter is an artist working primarily in the medium of ceramics. She graduated with a BFA from the University of Georgia in 2001 and worked as a photo art director at various fashion and design magazines in New York
City for 14 years before returning to Atlanta in 2016. Her ceramic sculptures are collaged from individually handcrafted and glazed porcelain tiles. Her process begins with cutting geometric and organic shapes from porcelain
slabs, underglazing patterns and textures, and then finishing each tile with a variety of different mid-fire glazes including copper washes, turquoise, creamy pastels, and bold primaries. These elements are then collaged
together to create the sculptures. The works are inspired by the Bauhaus art of 1920’s Pre-War Germany and the Postmodern Memphis design movement of the 1980’s. She is interested in the intersection both of these movements
have between fine art and craft that combine to make functional and non-functional design objects. She has exhibited with Daily Operation in Brooklyn, New York as well as Swan Coach House in Atlanta. Her art has been featured
in various publications including Sight Unseen, Design Milk, and Architectural Digest.
Maker:L,Date:2017-8-29,Ver:5,Lens:Kan03,Act:Kan02,E-Y
This Book of Hours was created in northeastern France in the early fourteenth century, possibly for the marriage of Louis I of Châtillon (d. 1346) and Jeanne of Hainaut, as the Châtillon de Blois arms are depicted on fols. 19r and 81v, and the arms of Hainaut also appear in the borders, including in conjunction with the Châtillon arms on fol. 19r. The manuscript is exceptional for the abundance of drolleries and lively hybrids that inhabit nearly every page. Stylistically these images have been linked to a workshop in the Artois region, possibly based in Arras, and related manuscripts were traced by Carl Nordenfalk in his 1979 publication. Although the manuscript is incomplete, lacking its calendar and likely some images, its surviving illumination provides an excellent example of the playfulness of art during this period.
GB - London - British Library - Add 49622 - Gorleston Psalter
The Gorleston Psalter (British Library Manuscript Additional 49622) is a 14th-century manuscript notable for containing early music instruction and for its humorous marginalia. It is named for the town of Gorleston in Norfolk.
pictures taken from:
Mouth of Hell from The Hours of Catherine of Cleves.
Illuminated by the Master of Catherine of Cleves.
The Netherlands, Utrecht, ca. 1440.
The manuscript is housed at the Morgan Library and Museum in New York City.
Marginalia in Medieval Manuscripts at
johanphoto.blogspot.nl/2013/02/in-de-kantlijn-van-middele...