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Book of Hours, Use of Rome Presumably made for a couple from the Erizzo and Priuli families of Venice: with their arms (ff. 13v and 14, respectively).Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1776, d. 1839), 1st duke of Buckingham and Chandos, of Stowe
Book of Hours, Use of Rome Presumably made for a couple from the Erizzo and Priuli families of Venice: with their arms (ff. 13v and 14, respectively).Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1776, d. 1839), 1st duke of Buckingham and Chandos, of Stowe
Book of Hours, Use of Rome Presumably made for a couple from the Erizzo and Priuli families of Venice: with their arms (ff. 13v and 14, respectively).Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1776, d. 1839), 1st duke of Buckingham and Chandos, of Stowe
Book of Hours, Use of Rome Presumably made for a couple from the Erizzo and Priuli families of Venice: with their arms (ff. 13v and 14, respectively).Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1776, d. 1839), 1st duke of Buckingham and Chandos, of Stowe
de Cluis (Cluys), Knight of the Order of Saint John of Jerusalem and Bailiff of the Morea: purchased by him in 1475: dated inscription (f. 13); the arms of the Cluys family of Bourges and of his order (f. 11).
de Cluis (Cluys), Knight of the Order of Saint John of Jerusalem and Bailiff of the Morea: purchased by him in 1475: dated inscription (f. 13); the arms of the Cluys family of Bourges and of his order (f. 11).
de Cluis (Cluys), Knight of the Order of Saint John of Jerusalem and Bailiff of the Morea: purchased by him in 1475: dated inscription (f. 13); the arms of the Cluys family of Bourges and of his order (f. 11).
lot 82; New York, Private Collection, formerly Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), no.
and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), cat. nos.
Miniature of Vincent of Beauvais as a Dominican monk, sitting at a desk and writing his book, at the beginning of book 1, with a full border containing the Royal arms of England, with Edward IV's colours of red and
of the York family with the Yorkist badge, 'Dieu et mon droit', at the beginning of chapter 1 of book 1. Includes the third volume of the Recueil des croniques d’Engleterre of Jean of Wavrin, preceded by a list
Miniature of Vincent of Beauvais as a Dominican monk, sitting at a desk and writing his book, at the beginning of book 1, with a full border containing the Royal arms of England, with Edward IV's colours of red and
rose of the York family with the Yorkist badge, 'Dieu et mon droit', in the external margin, at the beginning of chapter 1 of book 2. Includes the third volume of the Recueil des croniques d’Engleterre of Jean of Wavrin,
book-market. Book of Hours, Use of Sarum Perhaps made for a woman: the devotions in the feminine form.The name of Thomas of Canterbury has been erased throughout, and the suffrage to Thomas and rubrics referring to promises of indulgences have
book-market. Book of Hours, Use of Sarum Perhaps made for a woman: the devotions in the feminine form.The name of Thomas of Canterbury has been erased throughout, and the suffrage to Thomas and rubrics referring to promises of indulgences have
at the beginning of the Hours of the Passion of the Virgin (ff. 2v-3). 1 full-page miniature, framed by flowers, at the beginning of a prayer, misbound, the corresponding text missing (f. 62); 2 other miniatures of the same size
at the beginning of the Hours of the Passion of the Virgin (ff. 2v-3). 1 full-page miniature, framed by flowers, at the beginning of a prayer, misbound, the corresponding text missing (f. 62); 2 other miniatures of the same size
at the beginning of the Hours of the Passion of the Virgin (ff. 2v-3). 1 full-page miniature, framed by flowers, at the beginning of a prayer, misbound, the corresponding text missing (f. 62); 2 other miniatures of the same size
beginning of the Hours of the Passion of the Virgin. 1 full-page miniature with full foliate borders, accompanied by a large decorated initial and a full foliate border on the facing page, at the beginning of the Hours of the
at the beginning of the Hours of the Passion of the Virgin (ff. 2v-3). 1 full-page miniature, framed by flowers, at the beginning of a prayer, misbound, the corresponding text missing (f. 62); 2 other miniatures of the same size