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Harvey Miller
Tributes (HMTRIB 3)

Tributes in Honor of James H. Marrow
Studies in Painting and Manuscript Illumination of the Late Middle Ages and Northern Renaissance

J. F. Hamburger, A. Korteweg (eds.)
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679 p., 311 b/w ill. + 81 colour ill., 210 x 275 mm, 2006
ISBN: 978-1-905375-08-0
Languages: English
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Bibliography of James H. Marrow

Abbreviations

Alfred Acres, ‘Elsewhere in Early Netherlandish Painting’;

Jonathan J. Alexander, ‘A Shepherdess on a Swing in a Netherlandish Book of Hours’;

François Avril, ‘Un nouveau manuscrit de Jean Bourdichon: Les Heures de Charles de Martigny, évêque d’Elne’;

Gabriele Bartz, ‘Adam wird ins Paradies getragen’;

Marina Belozerskaya, ‘Good Dog: Model Canines in Renaissance Manuscripts’;

Adelaide Bennett, ‘Christ’s Five Wounds in the Aves of the Vita Christi in a Book of Hours about 1300’;

Paul Binski, ‘The Faces of Christ in Matthew Paris’s Chronica Majora’;

Bodo Brinkmann, 'Happy End für einen Löwen’;

Klara H. Broekhuijsen, ‘Ende ziet alomme int paradijs: Seth’s Vision of Paradise as Part of an Unusual Decoration Program in a Fifteenth-Century Book of Hours from Utrecht’;

Walter Cahn, ‘The Allegorical Menorah’;

Bert Cardon, ‘The Miroir de la salvation humaine Revisited: Bibliothèque Nationale de France, Ms. Fr. 3275’;

Debra Taylor Cashion, ‘The Man of Sorrows and Mel Gibson’;

Albert Châtelet, ‘L’enseignement paternel dans les Heures de Milan-Turin’;

Gregory T. Clark, ‘Made In Flanders and the Master of the Ghent Privileges: A Second Coda’;

Henri Defoer, ‘Images as Aids for Earning the Indulgences of Rome’;

Christopher de Hamel, ‘Dates in the Giant Bible of Mainz’;

Albert Derolez, ‘Two Notes on Mercatel’s Earliest Astrological Manuscripts’;

Mark Evans, ‘The Afterlife of Saint Jerome: Giovanni Bilivert’s Portrait of Neri Corsini’;

Reindert L. Falkenburg, ‘On Compositional Errata in Pieter Aertsen’s Peasant Scenes’;

Marc Gil, ‘D’Italie du nord en Artois, le portrait de saint Bernardin de Sienne des Heures d’Antoine de Crèvecoeur, vers 1450–55 : Leeds, University Library, The Brotherton Collection, Ms. 4’;

Liz Guenther, ‘Realism and Invention in the Prints of Albrecht Dürer’;

Jeffrey F. Hamburger, ‘The Writing on the Wall: Inscriptions and Descriptions of Carthusian Crucifixions in a Fifteenth-Century Passion Miscellany’;

Christian Heck, ‘Histoire mythique et archéologie au quinzième siècle: Une représentation inédite de Stonehenge’;

Lynn F. Jacobs, ‘The Miraculous Threshold in Hugo Van der Goes’s Portinari Altarpiece’;

Eberhard König, ‘Zur Wirklichkeit im Fensterbild der Kreuzannagelung des Wiener Stundenbuchs der Maria von Burgund’;

Joseph Leo Koerner, ‘Bosch’s Enmity’;

Anne S. Korteweg, ‘Framing the Issues: A Codicological Approach to Dutch Border Decoration’;

Thomas Kren, ‘Simon Bening, Juan Luis Vives, and the Observation of Nature’;

Anne-Marie Legaré, ‘The Reception of the Dresden Prayer Book Master in the Hainaut’;

Jean Michel Massing, ‘Two Portolan Charts of the Mediterranean in Cambridge by Joan Martines and Estienne Bremond’;

Ruth Mellinkoff, ‘Pilate’s Wife’;

Elizabeth J. Moodey, ‘Historical Identity in the Burgundian Netherlands: The Role of Manuscripts’;

William Noel, ‘William de Brailes in Baltimore, Paris, and Stockholm’;

Judith Oliver, ‘A Bundle of Myrrh: Passion Meditation in French Vernacular Poems and Images in Some Liège Psalters’;

Peter Parshall, ‘Penitence and Pentimenti: Hieronymus Bosch’s Mocking of Christ in London’;

Véronique Plesch, ‘Sixteenth-Century Pictorial and Dramatic Religious Cycles in the French Alps: Time for the Renaissance Yet?’;

Lilian M. C. Randall, ‘To Have and to Hold: The Bridal Hours of Isabelle de Coucy’;

Kathryn M. Rudy, ‘Fragments of a Mental Journey to a Passion Park’;

Jochen Sander, ‘Anmerkungen zu Jan Gossaert’;

Lucy Freeman Sandler, ‘Bedford in Brooklyn’;

Gerhard Schmidt, ‘Die zwei Stile des Meisters des Friedrichsbreviers: Ein spätgotischer Buchmaler kopiert Stiche des Meisters ES’;

Diane Scillia, ‘The Master of the Tiburtine Sibyl’s Raising of Lazarus (Mexico City, San Carlos Museum) and the Early Haarlem School of Painting Reconsidered’;

Larry Silver, ‘Pox vobiscum: Early Modern German Art and Syphilis’;

Jeffrey Chipps Smith, ‘Albrecht Dürer, Cardinal Matthäus Lang, and the Throne of Invention’;

Robert Suckale, ‘Rogier van der Weydens Werkstatt: Zwei Fallbeispiele’;

Judith Testa, ‘Simon Bening Studies Raphael: The Impact of the Italian High Renaissance on a Flemish Miniaturist’;

Anne H. van Buren, ‘A Window on Two Duchesses of Burgundy’;

Hugo van der Velden, ‘A Prayer Roll of Henry Beauchamp, Earl of Warwick’;

Dominique Vanwijnsberghe, ‘Robert Campin et l’enluminure: Trois miniatures attribuables à l’entourage direct du peintre tournaisien’;

William M. Voelkle, ‘Coins, Mussels, and a Crab in the Hours of Catherine of Cleves’;

Ursula Weekes, ‘Engraving the Mind: An Illustrated Rapiarum of the Fifteenth Century’;

Roger S. Wieck, ‘The Susanna Hours’;

W. C. M. Wüstefeld, ‘Manuscript Painting in the Circle of the Master of Catherine of Cleves (ca 1635–60): Tradition and Context of Utrecht, Museum Catharijneconvent, Ms. ABM h15

 

Interest Classification:
Book History, Manuscript Studies & Palaeography
Fine Arts & Performing Arts
Drawing
Medieval drawing

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