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