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Title:

Leaf from a Book of Hours

Maker(s):

Painter of Add. MS. 15677; artist
; production
; production

Collection:

Charles Brinsley Marlay

Category:

illuminated manuscript

Name(s):

leaf (manuscript); sub-category
book of hours; type of text

Date:

circa 1500

Period:

early sixteenth century

Description:

PHYSICAL DESCRIPTION: Parchment, 139 x 98 mm, leaf from a Book of Hours: miniature 95 x 63 mm, reverse sides blank.

DECORATION: Full-page miniature in thin arched frame with full strewn-flower borders on brushed gold or pink grounds: St Barbara with book standing within enclosed garden, tower behind her, grotesques jousting in border.

Production
Place (legacy):

Flanders, production, region
Bruges, place
Ghent, place

Technique:

illumination; whole

Material(s):

parchment; support
gold; medium

Dimension(s):

height, page, 139, mm
width, page, 98, mm
height, miniature, 95, mm
width, miniature, 63, mm

Acquisition:

bequeathed; 1912; Marlay, Charles Brinsley

Associated
Person:

Marlay, Charles Brinsley; previous owner

Notes:

Marlay cuttings G 7a-e and 8a-e: Ten leaves from a Book of Hours. While the page design and dimensions suggest that these miniatures once belonged to the same Book of Hours, they preserve the work of two artists. The more accomplished one was responsible for the figures, if not always for the landscape and borders, of Marlay cuttings 7b, 8a, 8b, 8c, and 8d. The rest appear to be by a less competent hand. Bodo Brinkmann has suggested (in correspondence) that the first illuminator was probably the Painter of Add. 15677, an artist he named after a Book of Hours in the British Library and identified in a Book of Hours at the Fitzwilliam Museum, MS 1058-1975 (Brinkmann 1992; Brinkmann 1997, 279, 318-325, 328, 345-346, figs. 334-337, pl. 60). The Painter of Add. 15677 collaborated with the Master of the Dresden Prayer Book, active c.1470 – 1510 mainly in Bruges, and with the Master of James IV of Scotland who is thought to have worked largely in Ghent c.1480 – 1520 (Los Angeles and London 2003 – 2004, 207 – 208, 366 – 67). The faces, hair, hands, drapery, elements of the landscape, and compositional motifs in Marlay cuttings 7b, 8a, 8b, 8c, and 8d find close parallels in the work of the Painter of Add. 15677 in MS 1058-1975, but are treated in a looser, sketchier manner. The proportions of the figures are also more elongated and their faces and movements more expressive, suggesting in Brinkmann’s opinion, contact with Antwerp mannerism.

Documentation:

Wormald, F.. Giles, P.M.. 1982. A Descriptive Catalogue of the Additional Manuscripts in the Fitzwilliam Musuem Acquired between 1895-1979 (excluding the McClean Collection).England: Cambridge University Pressp. 103 – 105

Accession:

Object Number: Marlay cutting G. 8e
(Manuscripts and Printed Books)
(record id: 170677; input: 2010-01-29; modified: 2012-09-04)

Permanent
Identifier:

http://data.fitzmuseum.cam.ac.uk/id/object/170677





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