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This pocket-sized Book of Hours, ca. 1460-70, was completed in the circle of Willem Vrelant for the use of Sarum. Featuring twenty-seven extant miniatures and twenty-two historiated initials, it is an important example of the prayer books made in the third quarter of the thirteenth century in Bruges for English owners. While this manuscript is not especially unique amongst its peers, it is exemplary because of its impressive pictorial program, including the aforementioned miniatures and historiated initials. The miniatures include decorative details distinctive of the tradition of the Masters of the Gold Scrolls, which was influential in this period. Also notable is the sensitivity to atmospheric landscape effects imbued with spatial and coloristic qualities reminiscent of manuscripts in the Eyckian tradition. Full-page Passion scenes paired with smaller Infancy episodes in the Hours of the Virgin are juxtaposed, resulting in a rare dualism that speaks to the ambitious artistic program exhibited in this manuscript.

Page data

Page
5
Source index
0
Type
photo
Media ID
5aaea340d7df34b9
Size
unknown

Document data

ID
38776
Core
obj
Type
object
DTO data
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    "id": "38776",
    "sourceUrl": "https://purl.thewalters.org/art/W.202",
    "contentType": "object",
    "stage": "normalized",
    "title": "Book of Hours",
    "description": "This pocket-sized Book of Hours, ca. 1460-70, was completed in the circle of Willem Vrelant for the use of Sarum. Featuring twenty-seven extant miniatures and twenty-two historiated initials, it is an important example of the prayer books made in the third quarter of the thirteenth century in Bruges for English owners. While this manuscript is not especially unique amongst its peers, it is exemplary because of its impressive pictorial program, including the aforementioned miniatures and historiated initials. The miniatures include decorative details distinctive of the tradition of the Masters of the Gold Scrolls, which was influential in this period. Also notable is the sensitivity to atmospheric landscape effects imbued with spatial and coloristic qualities reminiscent of manuscripts in the Eyckian tradition. Full-page Passion scenes paired with smaller Infancy episodes in the Hours of the Virgin are juxtaposed, resulting in a rare dualism that speaks to the ambitious artistic program exhibited in this manuscript.",
    "provenance": "Léon Gruel, Paris, late 19th-early 20th century [1] [2]; purchased by Henry Walters, Baltimore, early 20th century; by bequest to Walters Art Museum, 1931.[1] Unknown modern ownership notation on front pastedown: no. \"\"4\"\" in blue crayon followed by \"\"I.III.16\"\" written in pencil[2] Gruel and Engelmann bookplate on front pastedown inscribed \"\"N. 935\"\"",
    "date": "ca. 1460-1470",
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Context sent to Scholar

Document identity
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    "core": "obj",
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    "citationUrl": "https://purl.thewalters.org/art/W.202"
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Document source metadata
{
    "id": "38776",
    "sourceUrl": "https://purl.thewalters.org/art/W.202",
    "contentType": "object",
    "stage": "normalized",
    "title": "Book of Hours",
    "description": "This pocket-sized Book of Hours, ca. 1460-70, was completed in the circle of Willem Vrelant for the use of Sarum. Featuring twenty-seven extant miniatures and twenty-two historiated initials, it is an important example of the prayer books made in the third quarter of the thirteenth century in Bruges for English owners. While this manuscript is not especially unique amongst its peers, it is exemplary because of its impressive pictorial program, including the aforementioned miniatures and historiated initials. The miniatures include decorative details distinctive of the tradition of the Masters of the Gold Scrolls, which was influential in this period. Also notable is the sensitivity to atmospheric landscape effects imbued with spatial and coloristic qualities reminiscent of manuscripts in the Eyckian tradition. Full-page Passion scenes paired with smaller Infancy episodes in the Hours of the Virgin are juxtaposed, resulting in a rare dualism that speaks to the ambitious artistic program exhibited in this manuscript.",
    "provenance": "Léon Gruel, Paris, late 19th-early 20th century [1] [2]; purchased by Henry Walters, Baltimore, early 20th century; by bequest to Walters Art Museum, 1931.[1] Unknown modern ownership notation on front pastedown: no. \"\"4\"\" in blue crayon followed by \"\"I.III.16\"\" written in pencil[2] Gruel and Engelmann bookplate on front pastedown inscribed \"\"N. 935\"\"",
    "date": "ca. 1460-1470",
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    ],
    "dimensionsRaw": "Folio H: 3 7/8 × W: 2 7/8 in. (9.8 × 7.3 cm)"
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Document source extras
{
    "med": "ink and pigments on parchment bound between boards covered with leather",
    "creator_ids": [
        "6505",
        "8629"
    ],
    "collection_ids": [
        "MSS",
        "MED"
    ],
    "exhibition_ids": []
}
Page context
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