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Flowers and leaves. Mid-century modern art vector background. Abstract geometric seamless pattern. Decorative ornament in retro vi

Flowers and leaves. Mid-century modern art vector background. Abstract geometric seamless pattern. Decorative ornament in retro vi

Cute mid-century style seamless pattern with birds on nests with eggs.

Cute mid-century style seamless pattern with birds on nests with eggs.

Mid century style seamless pattern

Mid century style seamless pattern

Seamless abstract mid century modern pattern. Retro design of connected overlaying rectangle shapes.

Seamless abstract mid century modern pattern. Retro design of connected overlaying rectangle shapes.

Mid century modern interior empty room with white wall, dresser, console, yellow lounge chair, armchair.

Mid century modern interior empty room with white wall, dresser, console, yellow lounge chair, armchair.

Seamless abstract mid century modern pattern of organic oval shapes.

Seamless abstract mid century modern pattern of organic oval shapes.

Seamless geometric pattern with semicircles. Mid century modern style.

Seamless geometric pattern with semicircles. Mid century modern style.

Retro Atomic 1950s Mid Century Vintage Seamless Background Starburst

Retro Atomic 1950s Mid Century Vintage Seamless Background Starburst

Sunset sunrise in sea. Abstract mid-century modern Scandinavian landscape. Minimal art nature background

Sunset sunrise in sea. Abstract mid-century modern Scandinavian landscape. Minimal art nature background

Mid Century Modern House Set

Mid Century Modern House Set

Set of colorful mid century geometric seamless patterns for interior design.

Set of colorful mid century geometric seamless patterns for interior design.

Spring mid-century style birds pattern with 2 coordinating patterns.

Spring mid-century style birds pattern with 2 coordinating patterns.

Seamless abstract mid-century modern pattern for backgrounds, fabric design, home decor

Seamless abstract mid-century modern pattern for backgrounds, fabric design, home decor

Abstract geometric, natural shapes poster set in mid century style. Modern illustration

Abstract geometric, natural shapes poster set in mid century style. Modern illustration

Set of colorful mid century geometric seamless patterns for interior design.

Set of colorful mid century geometric seamless patterns for interior design.

Retro girls in mid century style. Retro girls in mid century style

Powerful ocean waves crashing on a sandy beach with a cloudy, overcast sky in the background. Image is a high-resolution

Image is a high-resolution photograph capturing a dynamic ocean scene. The layout is horizontal, focusing on a large, powerful wave cresting in the foreground. The wave is characterized by its deep green hue, with white frothy foam forming at the top as it curls over. The water appears smooth and glassy, reflecting the overcast sky above. The sky is a uniform gray, suggesting a cloudy day, with no visible sun. The horizon line is slightly blurred, emphasizing the wave's motion and energy. The overall mood of the image is dramatic and intense, highlighting the raw power of the ocean. Image is a high-resolution photograph capturing a dynamic ocean scene. The layout is horizontal, focusing on a large, powerful wave cresting in the foreground. The wave is characterized by its deep green hue, with white frothy foam forming at the top as it curls over. The water appears smooth and glassy, reflecting the overcast sky above. The sky is a uniform gray, suggesting a cloudy day, with no visible sun. The horizon line is slightly blurred, emphasizing the wave's motion and energy. The overall mood of the image is dramatic and intense, highlighting the raw power of the ocean.

Landscape architecture mid-19 th century. White fence.

A seamless retro style background paper - tile to your desired size. A seamless retro style background paper - tile to your desired size

A seamless retro style background paper - tile to your desired size. A seamless retro style background paper - tile to your desired size

A seamless retro stryle background paper - tile to your desired size. A seamless retro stryle background paper - tile to your desired size

Butterfly Patio Chair

Retro vintage Butterfly chair, stylized with aqua boomerang motif; Layered file. Retro vintage Butterfly chair, stylized with aqua boomerang motif; Layered file.

Retro Dots Background

Retro disco dots pattern in 3 color ways. Retro disco dots pattern in 3 color ways.

Alhambra detail

The detail of one of the Alhambra palaces. Alhambra is a palace and fortress complex constructed during the mid 14th century by the Moorish rulers of the Emirate of Granada in Al-Andalus. The detail of one of the Alhambra palaces. Alhambra is a palace and fortress complex constructed during the mid 14th century by the Moorish rulers of the Emirate of Granada in Al-Andalus.

Rock Wall Background

Rock wall background for websites and other media.

Retro chair in a corner of a white room

Lonely retro chair in a corner of a white room

Outdoor Hot Tub

Outdoor hot tub in Palm Springs, California

Retro chairs furniture on red

Retro chairs furniture on red background. Retro chairs furniture on red background

A brown rocking chair isolated on white

Retro Squares Swatch Set

A set of seamless retro square patterns in four different colours. A set of seamless retro square patterns in four different colours.

Pisa Baptistery

The Baptistery - The Baptistery is a circular building designed by the architect Diotisalvi with a truncated cone shaped dome roof crowned by a statue of John the Baptist. Construction began in 1152 and was not completed until the mid 14th Century. The Baptistery - The Baptistery is a circular building designed by the architect Diotisalvi with a truncated cone shaped dome roof crowned by a statue of John the Baptist. Construction began in 1152 and was not completed until the mid 14th Century

Abandoned railway tracks

A railway built in the mid 19th century that has been abandoned for many years. Details are visible of the building methods used at that time. A railway built in the mid 19th century that has been abandoned for many years. Details are visible of the building methods used at that time.

Swiss Miss House Pool

Pool with fence in Palm Springs, California. Pool with fence in Palm Springs, California.

Palm Springs House with Yellow Garage

Mid-century modern Palm Springs House with Yellow Garage

The Leaning Tower of Pisa

The Leaning Tower of Pisa - The 14,500 ton, 8 story Bell Tower was begun in 1173. Ten years later construction was halted (at 3 stories) because it was already visibly leaning. From 1275-1284 a second architect slightly altered the angle and added to the building , only to stop after 7 stories because the lean worsened. Finally in the mid 14th Century the belfry was added making the tower 180 feet high.

Retro abstract Background

Vector illustration of mid-century modern 1950's style abstract fish pattern. Retro abstract Background.

Retro abstract Background

Vector illustration of mid-century modern 1950's style abstract fish pattern. Retro abstract Background.

A raccoon, hidden between the green leaves

The raccoon (Procyon lotor) is a medium-sized mammal native to North America, but as a result of escapes and deliberate introductions in the mid-20th century, raccoons are now also distributed across the European mainland, the Caucasus region and Japan. Their original habitats are deciduous and mixed forests. The raccoon (Procyon lotor) is a medium-sized mammal native to North America, but as a result of escapes and deliberate introductions in the mid-20th century, raccoons are now also distributed across the European mainland, the Caucasus region and Japan. Their original habitats are deciduous and mixed forests.

Retro Abstract Background

Vector illustration of mid-century modern 1950's style abstract fish pattern. Retro abstract Background.

Vintage etched glass cake plate

Vintage etched glass cake plate near a sunny window

Star Pyramid or Salem Rock, Stirling

Monumental stone pyramid commissioned in the mid-19th century by William Drummond as a memorial to the martyrs of the Reformation and Covenanting era in Scotland and set somewhat incongruously in Stirling's Valley Kirkyard. Monumental stone pyramid commissioned in the mid-19th century by William Drummond as a memorial to the martyrs of the Reformation and Covenanting era in Scotland and set somewhat incongruously in Stirling's Valley Kirkyard.

Star Pyramid or Salem Rock, Stirling

Monumental stone pyramid commissioned in the mid-19th century by William Drummond as a memorial to the martyrs of the Reformation and Covenanting era in Scotland and set somewhat incongruously in Stirling's Valley Kirkyard. Monumental stone pyramid commissioned in the mid-19th century by William Drummond as a memorial to the martyrs of the Reformation and Covenanting era in Scotland and set somewhat incongruously in Stirling's Valley Kirkyard.

Retro yellow background

Seamless retro yellow and gray background pattern. Seamless retro yellow and gray background pattern

Astronomical clock

The astrological clock is in The Old Town Square, Prague. It has been in working order from the mid 14th century. Crowds gather on the hour, each hour to see it chime. The astrological clock is in The Old Town Square, Prague. It has been in working order from the mid 14th century. Crowds gather on the hour, each hour to see it chime.

Square Colorful Background

Many Square Colorful on Gray Background. Many Square Colorful on Gray Background

Square Colorful Background

Many Square Colorful on Gray Background. Many Square Colorful on Gray Background

Modern living room sketch

Modern living room: colorful and stylized. Modern living room: colorful and stylized

Boston Custom House Tower

The Custom House Tower - now Marriott's Custom House Hotel - is a skyscraper in McKinley Square, in the Financial District neighborhood of Boston, Massachusetts. Construction began in the mid-19th century; the tower was added in the 1910s. Standing at 496 feet (151 m) tall, the tower is currently Boston's 17-th-tallest building. The Custom House Tower - now Marriott's Custom House Hotel - is a skyscraper in McKinley Square, in the Financial District neighborhood of Boston, Massachusetts. Construction began in the mid-19th century; the tower was added in the 1910s. Standing at 496 feet (151 m) tall, the tower is currently Boston's 17-th-tallest building.

Abstract flower blue wallpaper

Abstract flower over blue background. Abstract flower over blue background

Vintage juice glasses in checkerboard and backgamm

Vintage juice glasses in checkerboard and backgammon shapes

Antique Silverware on Vintage French Plates

Antique Silverware on Vintage French Plates with fine linens

Abstract repeat green background

Seamless green leaf with ornament background. Seamless green leaf with ornament background

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.

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.

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, 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.

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.

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.

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.

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.

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, 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.

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