{"title":"Master of James IV of Scotland Prints","description":"\u003cp\u003eFine art prints by Master of James IV of Scotland. Every work in our Master of James IV of Scotland collection is printed to order. All chosen by hand, with free shipping and import duties included.\u003c\/p\u003e","products":[{"product_id":"master-of-james-iv-of-scotland-spinola-hours-the-crucifixion-illuminated-manuscript-print","title":"Master of James IV of Scotland — Spinola Hours: The Crucifixion | Illuminated Manuscript Print","description":"\u003cp\u003eThree crosses stand on a grey rocky hilltop against a deep blue sky streaked with orange, two mourners in blue and red beneath Christ. Below, a column of riders and soldiers with lances, a trumpet and a red banner winds down past the cliffs and on into the right-hand border, where the dead Christ is mourned before a distant city. Beneath a panel of black script with a gold initial, the Entombment fills a strip between gilded columns, all framed in painted gold mouldings on cream parchment.\u003c\/p\u003e\u003cp\u003eThe page was planned to face a miniature of the Assumption of the Virgin in the Spinola Hours, and its story runs from the hilltop through the procession to the Lamentation and the Entombment. The brilliant colours of the sun at the upper left and far right, about to be put out by dark cloud, recall the eclipse Saint Matthew's Gospel reports at the hour of Christ's death.\u003c\/p\u003e\u003cp\u003eThe original: a folio from the Spinola Hours, tempera colours, gold and ink on parchment, painted in Bruges or Ghent about 1510–20; J. Paul Getty Museum, Los Angeles.\u003c\/p\u003e\u003cp\u003eThe Master of James IV of Scotland is the name scholars give a Flemish illuminator active in the years around 1500, after a portrait of King James IV of Scotland in a devotional manuscript. Over some forty years the artist directed an active workshop and contributed to many lavish manuscripts of the period, filling them with robust, unidealised figures, vivid scenes of daily life and borders that play illusionistic games with the miniatures they frame. Some evidence suggests the master may be the painter Gerard Horenbout. Leaves are held by the J. Paul Getty Museum and the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Hooded mourners in black kneel round a bier draped in blue and gold and ringed with tall yellow candles. Beneath a lettered panel lies a vault with a gilt effigy on a blue tomb chest, and outside to the right a churchyard path passes stacked skulls under a spire.\u003c\/p\u003e\u003cp\u003eThe leaf comes from the Spinola Hours, a Flemish book of hours with eighty-eight large illuminations, for which the Master of James IV of Scotland was the primary illuminator, working with several other painters; it takes its name from the Spinola family of Genoa, who owned it in the 1700s. Here the painted frame divides the page into simultaneous views of the chapel, its exterior and a vault below ground.\u003c\/p\u003e\u003cp\u003eThe original: a page from the Spinola Hours, a book of hours illuminated in Bruges or Ghent about 1510–20, in tempera colours, gold and ink on parchment; J. Paul Getty Museum, Los Angeles.\u003c\/p\u003e\u003cp\u003eThe Master of James IV of Scotland is the name scholars give a Flemish illuminator active in the years around 1500, after a portrait of King James IV of Scotland in a devotional manuscript. Over some forty years the artist directed an active workshop and contributed to many lavish manuscripts of the period, filling them with robust, unidealised figures, vivid scenes of daily life and borders that play illusionistic games with the miniatures they frame. Some evidence suggests the master may be the painter Gerard Horenbout. Leaves are held by the J. Paul Getty Museum and the Metropolitan Museum of Art.\u003c\/p\u003e\u003cp\u003eEach print is a giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints are printed on 200gsm matte fine-art paper and arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Around this arched panel a continuous landscape carries scenes from his life: the Baptism of Christ in a distant river, John preaching to a seated crowd, his arrest beside a barred tower, his beheading in a courtyard, Herod's feast and the burning of his bones.\u003c\/p\u003e\u003cp\u003eThe leaf comes from a book of devotional prayers, and the museum reads its border scenes counterclockwise from the upper left. Its painter made manuscripts for European royalty, among them James IV, king of Scotland, and Queen Isabella of Spain; he may be Gerard Horenbout, who became a master in the painters' guild of Ghent in 1487.\u003c\/p\u003e\u003cp\u003eThe original: a cutting from a book of devotional prayers, tempera, ink and shell gold on parchment, made in Bruges about 1515; The Metropolitan Museum of Art, New York.\u003c\/p\u003e\u003cp\u003eThe Master of James IV of Scotland is the name scholars give a Flemish illuminator active in the years around 1500, after a portrait of King James IV of Scotland in a devotional manuscript. Over some forty years the artist directed an active workshop and contributed to many lavish manuscripts of the period, filling them with robust, unidealised figures, vivid scenes of daily life and borders that play illusionistic games with the miniatures they frame. Some evidence suggests the master may be the painter Gerard Horenbout. Leaves are held by the J. 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