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Illuminated Manuscript, Book of Hours, Decorated Initial, Walters Art Museum Ms. W.165, fol. 27r

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. Short hours of the cross: Vespers. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. Short hours of the cross: Vespers.

Illuminated Manuscript, Book of Hours, St. Catherine, Walters Art Museum Ms. W.165, fol. 123v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage.

Illuminated Manuscript, Book of Hours, The Arrest of Christ, Walters Art Museum Ms. W.165, fol. 13v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the short hours of the cross. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the short hours of the cross.

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Illuminated Manuscript, Book of Hours, Crucifixion, Walters Art Museum Ms. W.165, fol. 23v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The Illumination begins the short hours of the cross: None. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The Illumination begins the short hours of the cross: None.

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Illuminated Manuscript, Book of Hours, St. Agnes, Walters Art Museum Ms. W.165, fol. 125v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The prayer begins the suffrage. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The prayer begins the suffrage.

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Illuminated Manuscript, Book of Hours, St. John the Baptist, Walters Art Museum Ms. W.165, fol. 118v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage.

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Illuminated Manuscript, Book of Hours, Decorated Initial, Walters Art Museum Ms. W.165, fol. 131r

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. Office of the Dead. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. Office of the Dead.

Illuminated Manuscript, Book of Hours, Last Judgment, Walters Art Museum Ms. W.165, fol. 100v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the prayers to the limbs of Christ. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the prayers to the limbs of Christ.

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Illuminated Manuscript, Book of Hours, Five Wounds of Christ, Walters Art Museum Ms. W.165, fol. 110v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the prayer to the five wounds. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the prayer to the five wounds.

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Illuminated Manuscript, Book of Hours, St. Anthony, Walters Art Museum Ms. W.165, fol. 116v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage.

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Illuminated Manuscript, Book of Hours, Holy Cross with Symbols of the four Evangelists, Walters Art Museum Ms. W.165, fol. 113v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the prayer to the holy cross. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the prayer to the holy cross.

Illuminated Manuscript, Book of Hours, St. Barbara, Walters Art Museum Ms. W.165, fol. 127v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage.

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