Master of Mary of Burgundy (active in Flanders, Ghent, second half of the 15th century) (workshop of)
The Resurrection of saint Lazarus, circa 1480-1485
Illuminated leaf from a Book of Hours.
Tempera and gold on vellum.
Tempera and gold on vellum.
171 x 123 mm (framed: 32.6 x 26.3 cm).
PRICE ON RESQUEST
In the history of Flemish illumination, the Master of Mary of Burgundy occupies a prestigious place. This artist is named after two Books of Hours created around 1480 for Mary...
In the history of Flemish illumination, the Master of Mary of Burgundy occupies a prestigious place. This artist is named after two Books of Hours created around 1480 for Mary of Burgundy (1457-1482), which are now preserved in Vienna and Berlin (Österreichische Nationalbibliothek, cod. 1857; Staatliche Museen zu Berlin, Kupferstichkabinett, 78 B 12). The Master worked for high-ranking patrons, such as Charles the Bold and his wife Margaret of York, Engelbert II of Nassau, Count of Nassau-Breda, and the Englishman William Hastings. His works are housed in important institutions such as the J. Paul Getty Museum in Los Angeles, The Bodleian Library in Oxford, and the Museo de la Fundación Lázaro Galdiano in Madrid.
The Master of Mary of Burgundy is recognized as one of the most innovative Flemish illuminators of his generation. His technique and unique style influenced many contemporaries, making this artist a pioneer of the Flemish stylistic revival of the 1470s-1480s, known as the Ghent-Bruges School. This tradition is characterized by meticulous works, vivid colors, sophisticated treatment of light, and fascinating borders, often decorated with trompe-l'oeil flowers and insects.
The present illuminated leaf depicts the Resurrection of Saint Lazarus. Stylistically, this miniature is distinguished by a fine brushstroke, a fresh palette, and figures with delicate faces, characteristics of the Master of Mary of Burgundy and his workshop. However, recent research has divided the Master of Mary of Burgundy into two distinct artists: The Viennese Master (illuminator of the Book of Hours in Vienna) and the Berlin Master (illuminator of the Book of Hours in Berlin). This illumination of the Resurrection of Saint Lazarus can be attributed to the Berlin Master of Mary of Burgundy.
We thank Dr Bodo Brinkmann for his expertise.
The Master of Mary of Burgundy is recognized as one of the most innovative Flemish illuminators of his generation. His technique and unique style influenced many contemporaries, making this artist a pioneer of the Flemish stylistic revival of the 1470s-1480s, known as the Ghent-Bruges School. This tradition is characterized by meticulous works, vivid colors, sophisticated treatment of light, and fascinating borders, often decorated with trompe-l'oeil flowers and insects.
The present illuminated leaf depicts the Resurrection of Saint Lazarus. Stylistically, this miniature is distinguished by a fine brushstroke, a fresh palette, and figures with delicate faces, characteristics of the Master of Mary of Burgundy and his workshop. However, recent research has divided the Master of Mary of Burgundy into two distinct artists: The Viennese Master (illuminator of the Book of Hours in Vienna) and the Berlin Master (illuminator of the Book of Hours in Berlin). This illumination of the Resurrection of Saint Lazarus can be attributed to the Berlin Master of Mary of Burgundy.
We thank Dr Bodo Brinkmann for his expertise.
Provenance
Part of an unidentified Book of Hours made in Flanders (Ghent), by the workshop of the Master of Mary of Burgundy circa 1475 for an unknown patron.ess.The Book of Hours was dismembered at an unknown date. The provenance of the leaf can be traced back as follows:
Private collection.
Bern, Dobiaschofsky, May 12, 2004, Lot 1151.
Wabern (Bern), collection Dr. Syvlia Legrain.
Zurich, Koller Autkionen AG, September 20, 2023 (as "anonymous Flemish illuminator, 15th century".
Switzerland, private collection.
Literature
UnpublishedFurther readings on the Master of Mary of Burgundy and his workshop
O. Pächt, The Master of Mary of Burgundy, London, 1948.
A. van Buren, "The Master of Mary of Burgundy and his colleagues: the state of research and questions of method", Zeitschrift für Kunstgeschichte, 1975 (38).
T. Kren & R. Wieck, The Visions of Tondal from the Library of Margaret of York, Los Angeles, 1990.
M. Smeyers, Flemish Miniatures from the 8th to the mid-16th century: the Medieval world on parchment, Turnhout, 1999.
Illuminating the Renaissance: the Triumph of Flemish manuscript painting in Europe, exhibition catalogue (Los Angeles, J. Paul Getty Museum, June 17-September 7, 2003 & London, the Royal Academy of Arts, November 29, 2003-February 22, 2004), ed. T. Kren & S. McKendrick, Los Angeles, 2003.
T. Kren & E. Morrison, Flemish manuscript painting in context: recent research, Los angeles, 2006.
A. de Schryver, The Prayer Book of Charles the Bold, Los Angeles, 2008.
T. Kren, Illuminated manuscripts from Belgium and the Netherlands in the J. Paul Getty Museum, Los Angeles, 2010.
F. Avril, N. Reynaud & D. Cordellier, Les Enluminures du Louvres: Moyen Âge et Renaissance, Paris, 2011.