THE CRUCIFIXION, miniature cut from a Book of Hours, illuminated manuscript on vellum [eastern France, c.1450s-60s] A striking miniature from a Book of Hours: a fusion of eastern French and Flemish illumination showing the influence of Simon Marmion 99 x 69mm. Verso blank (small losses of pigment to the clothes of the figures, to Christ's face, and to the sky). Mounted on card and framed. Provenance : Maggs Bros Ltd, catalogue 1319 (2001), no 15. The style of illumination is close to the work of the Glasgow Master, an artist active in Amiens in the the 1450s and 60s and who S. Nash names after a Book of Hours at Glasgow (Glasgow University Library, Euing MS 40; see S. Nash, Between France and Flanders: Manuscript Illumination in Amiens in the fifteenth century , 1999, pp.236-7). We see the similarities particularly in the treatment of the landscapes (compare, for example, the Crucifixion scene in the Glasgow Hours, f.14), but also in the figures with their broad faces and simply delineated eyes. The Glasgow Master collaborated with the Annunciation Master in the Boulogne Histoires (Boulogne-sur-Mer, Bibliothèque Municipale MS 149) and was heavily influenced by the work of the great illuminator and panel painter Simon Marmion we see some of these influences too in the present miniature.
THE CRUCIFIXION, miniature cut from a Book of Hours, illuminated manuscript on vellum [eastern France, c.1450s-60s] A striking miniature from a Book of Hours: a fusion of eastern French and Flemish illumination showing the influence of Simon Marmion 99 x 69mm. Verso blank (small losses of pigment to the clothes of the figures, to Christ's face, and to the sky). Mounted on card and framed. Provenance : Maggs Bros Ltd, catalogue 1319 (2001), no 15. The style of illumination is close to the work of the Glasgow Master, an artist active in Amiens in the the 1450s and 60s and who S. Nash names after a Book of Hours at Glasgow (Glasgow University Library, Euing MS 40; see S. Nash, Between France and Flanders: Manuscript Illumination in Amiens in the fifteenth century , 1999, pp.236-7). We see the similarities particularly in the treatment of the landscapes (compare, for example, the Crucifixion scene in the Glasgow Hours, f.14), but also in the figures with their broad faces and simply delineated eyes. The Glasgow Master collaborated with the Annunciation Master in the Boulogne Histoires (Boulogne-sur-Mer, Bibliothèque Municipale MS 149) and was heavily influenced by the work of the great illuminator and panel painter Simon Marmion we see some of these influences too in the present miniature.
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