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Book of Hours
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Book of Hours


Description Exhibitions Provenance Credit
Description Made for use in the diocese of Cambrai ca. 1450-60, this Book of Hours is extraordinary for its lavish illumination. It was likely produced by several artists within the circle of Willlem Vrelant, and the wealth of texts and images recall the richness of manuscripts by Vrelant from the same era, such as the Hours of Isabel la Católica (Biblioteca del Palacio Real, Madrid, Arm. Inf. 61) completed in Bruges ca. 1455.
Exhibitions
  • God's Minstrel: St. Francis of Assisi. The Walters Art Gallery, Baltimore. 1982.
  • Saints and Their Symbols. The Walters Art Gallery, Baltimore. 1985-1986.
  • Puer Natus Est : The Christmas Story in Medieval Manuscripts. The Walters Art Gallery, Baltimore. 1986-1987.
  • Time Sanctified: The Book of Hours in Medieval Art and Life. The Walters Art Gallery, Baltimore. 1988.
  • Art in the Book:The Vision of Architecture, Painting, and Sculpture in Illuminated Manuscripts. The Walters Art Gallery, Baltimore. 1989.
  • Outdoor Space in Medieval Book Illumination. The Walters Art Gallery, Baltimore. 1990.
  • Manuscript Illumination in Flanders. The Walters Art Gallery, Baltimore. 1992.
  • Medieval Games of Love and War. The Walters Art Gallery, Baltimore. 1995-1996.
  • Medieval Mastery, Book Illumination from Charlemagne to Charles the Bold (Meesterlijke Middeleeuwen). Stedelijik Museum Vander Kelen-Mertens, Leuven. 2002.
  • Illuminating the Word: Gospel Books in the Middle Ages. The Walters Art Museum, Baltimore. 2004.
  • The Christmas Story: Picturing the Birth of Christ in Medieval Manuscripts. The Walters Art Museum, Baltimore. 2009-2010.
  • Beasts on Parchment: Picturing Animals in Medieval Manuscripts. The Walters Art Museum, Baltimore. 2010-2011.
  • Seeing Music in Medieval Manuscripts. 2014.
  • A Feast for the Senses: Art and Experience in Medieval Europe. The Walters Art Museum, Baltimore; The John and Mable Ringling Museum of Art, Sarasota. 2016-2017.
Provenance Created for unidentified patron, Bruges, ca. 1450-1460 [1]. D. Fray Pedro de la Torre, Spain (?), before 1555 [2]; acquired by Don Saturnino Segurola, Buenos Aires, Argentina [3]; period of unknown ownership and location [4]; acquired by Don Saturnino Segurola, Buenos Aires, Argentina, ca. 1800 [5]. Acquired by William Bragge, Britain; Sale, Sotheby, Wilkinson & Hodge, London, June 10 1876, no. 487; purchased by Thibaudeau, London (?), 1876. Sotheby's Sale, London, May 6 1909, lot 10; purchased by McFarlane, London (?), 1909. Acquired by Léon Gruel, Paris [6]; purchased by Henry Walters, Baltimore; by bequest to Walters Art Museum, 1931. [1] Patron depicted before St. Bernardinus on fol. 334v, perhaps also with his family at mass and funeral service on fols. 82v and 267v [2] Pedro de la Torre was the first Bishop sent to the River Plata by Spain, see D. Pedro de Angelis, "Documentos sobre el Rio de la Plata" vol. I, p. 106 [3] According to Segurola, the manuscript passed to him through successive bishops; inscription on fol. 1r with his name and date along with "posuitque Dominus Cain signum ut non interficeret eum omnis qui invenisset eum. Gen. lib. 1 cap. 4" [4] The manuscript was lost during the dictatorship of Juan Manuel de Rosas [5] Recovered by Segurola in Lima, Peru for 30 gold ounces [6] His bookplate on front pastedown inscribed "N. 965"
Credit Acquired by Henry Walters

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Period
Manuscript: ca. 1450-1460; Binding: 17th century with 19th century additions
Medium
ink and pigments on parchment bound between boards covered with velvet
(Manuscripts & Rare Books)
Accession Number
W.240
Measurements
Overall H: 7 1/2 × W: 5 11/16 × D: 2 9/16 in. (19 × 14.4 × 6.5 cm); Folio H: 7 1/16 × W: 5 3/8 in. (17.9 × 13.7 cm)
Geographies
Location Within Museum
Not On View

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