Patronage and the Burgundian court

Magazine Antiques, Oct, 2004 by Stephen N. Fliegel

(5) De Winter, "The Patronage of Philippe le Hardi," p. 170. See also, Elisabeth Taburet-Delahaye, Paris 1400: Les arts sous Charles VI (Fayard and Reunion des musees nationaux, Paris, 2004), p. 164.

(6) Taburet, Paris 1400, p. 164, No. 86.

(7) Eva Kovacs, "Problemes de style autour de 1400. Lorfevrerie parisienne et ses sources," Revue de l'art, vol. 28 (1975), pp. 25-33; and Kovacs, Der goldene Kalvarienberg des Konigs Matthias Corvinus in der Domschatzkammer zu Esztergom (Corvina Kiado, Budapest, 1984).

(8) Stephen N. Fliegel, "The Cleveland Table Fountain and Gothic Automata," Cleveland Studies in the History of Art, vol. 7 (2002), pp. 6-49.

(9) L'inventaire du tresor du dauphin futur Charles V, 1363, ed. Danielle Gaborit-Chopin (Societe de l'histoire de l'art francais, Paris, 1996), p. 51; see also Inventaire du mobilier de Charles V, roi de France, ed. Jules Labarte (Paris, 1879).

(10) Inventaire de l'orfeverie et des joyaux de Louis I, duc d'Anjou, ed. Henri Moranville, 4 vols. (Ernest Leroux, Paris, 1903-1906).

(11) See Patrick M. de Winter, La bibliotheque de Philippe le Hardi, duc de Bourgogne (1364-1404) ... (Editions du Centre national de la recherche scientifique, Paris, 1985).

(12) Ibid., pp. 189-194, Figs. 113-116; De Winter, "The Grandes Heures of Philip the Bold, Duke of Burgundy: The Copyist Jean L'Avenant and His Patrons at the French Court," Speculum, vol. 57 (October 1982), pp. 786-842; and Alain Arnould and Jean-Michel Massing, Splendours of Flanders (Cambridge University Press, Cambridge and New York, 1993), pp. 144-145.

(13) De Winter, "The Grandes Heures of Philip the Bold," p. 813.

(14) The first volume is MS. 3-1954 in the Fitzwilliam Museum, Cambridge; volume two is MS. 11035-37 in the Bibliotheque royale de Belgique, Brussels. See Arnould and Massing, Splendours of Flanders, p. 144.

(15) Only two of the original twenty-six paintings survive: the one illustrated here and another in the Musee du Louvre in Paris. See Charles Sterling, "Oeuvres retrouvees de Jean de Beaumetz, Peintre de Philippe le Hardi," Musees Royaux des Beaux-Arts Bulletin, vol. 4 (1955), pp. 57-81; Henry Francis, "Jean de Beaumetz Calvary with a Carthusian Monk," Bulletin of the Cleveland Museum of Art, vol. 53 (November 1966), pp. 329-338; Georg Troescher, Burgundische Malerei ... (Mann Verlag, Berlin, 1966), vol. 1, pp. 37-59, Nos. 8, 9; De Winter, The Patronage of Philippe le Hardi, pp. 217-237; European Paintings before 1500 (Cleveland Museum of Art, 1974), entry by Nancy Coe Wixom, pp. 12-15, No. 5; Patrick M. de Winter, "Art from the Duchy of Burgundy," Bulletin of the Cleveland Museum of Art, vol. 74 (December 1987), pp. 407-449; and Anne D. Hedeman, "Roger van der Weyden's Escorial Crucifixion and Carthusian Devotional Practice," in The Sacred Image East and West, ed. Robert Ousterhout and Leslie Brubaker (University of Illinois Press, Urbana, 1995), pp. 191-203.

(16) Emmanuel Starcky et al., The Museum of Fine Arts Dijon (Musees et Monuments de France, Paris, 1992), p. 31.