The Sadeler family were the largest, and probably the most successful of the dynasties of Flemish engravers that were dominant in Northern European printmaking in the later 16th and 17th centuries, as both artists and publishers. As with other dynasties such as the Wierixes and Van de Passe family, the style of family members is very similar, and their work often hard to tell apart in the absence of a signature or date, or evidence of location. Altogether at least ten Sadelers worked as engravers, in the Spanish Netherlands, Germany, Italy, Bohemia and Austria.
Euphronios was an ancient Greek vase painter and potter, active in Athens in the late 6th and early 5th centuries BC. As part of the so-called "Pioneer Group,", Euphronios was one of the most important artists of the red-figure technique. His works place him at the transition from Late Archaic to Early Classical art, and he is one of the first known artists in history to have signed his work.
Simon Bening was a Flemish miniaturist, generally regarded as the last major artist of the Netherlandish tradition.
Simon Marmion was a French and Burgundian Early Netherlandish painter of panels and illuminated manuscripts. Marmion lived and worked in what is now France but for most of his lifetime was part of the Duchy of Burgundy in the Southern Netherlands.
Giovanni Ambrogio de Predis was an Italian Renaissance painter, illuminator and designer of coins active in Milan. Ambrogio gained a reputation as a portraitist, including as a painter of miniatures, at the court of Ludovico Sforza.
The Providence Painter is the conventional name given to a painter of the Attic red-figure style. He was active around 470 BC.
The Master of the Saint Bartholomew Altarpiece was an Early Netherlandish painter active in Germany, mostly Cologne, between 1475/1480 and 1510. Despite his anonymity, he is one of the most recognizable artists of the early Renaissance period in German art.
The Master of the Llangattock Epiphany was a Flemish manuscript painter active between 1450 and 1460. He is one of at least eight artists who contributed to a Book of Hours, the Llangattock Hours, now in the J. Paul Getty Museum collection. His name is derived from this book, whose title in turn was derived from the name of a previous owner. The Master contributed one miniature to the collection, an Adoration of the Magi; he is believed to have lived in Bruges.
The Master of Anthony of Burgundy was a Flemish miniature painter active in Bruges between about 1460 and 1490, apparently running a large workshop, and producing some of the most sophisticated work of the final flowering of Flemish illumination. He was first identified by Winkler in 1921; his name is derived from one of his most elevated patrons, Anthony of Burgundy, Philip the Good's illegitimate son, though he also worked for the Dukes and other bibliophiles in Burgundian court circles, who had already been allocated "Masters" by art historians. His contributions to the heavily illustrated Froissart of Louis of Gruuthuse from the early 1470s, on which several of the leading illuminators of the day worked, show him excelling some more famous names, like Loiset Lyédet. The young Master of the Dresden Prayerbook worked as his assistant on this book, suggesting he was an apprentice; a number of other anonymous masters have been postulated as his pupils. Other works are in the libraries of Paris, Wrocław, Philadelphia, Munich, Cambridge University Library and elsewhere.
The Master of James IV of Scotland was a Flemish manuscript illuminator and painter most likely based in Ghent, or perhaps Bruges. Circumstantial evidence, including several larger panel paintings, indicates that he may be identical with Gerard Horenbout. He was the leading illuminator of the penultimate generation of Flemish illuminators. The painter's name is derived from a portrait of James IV of Scotland which, together with one of his Queen Margaret Tudor, is in the Prayer book of James IV and Queen Margaret, a book of hours commissioned by James and now in Vienna. He has been called one of the finest illuminators active in Flanders around 1500, and contributed to many lavish and important books besides directing an active studio of his own.
The Ravenelle Painter, also known as the Master of the Book of Hours of Johannete Ravenelle, the Ravenelle Master or the First Master of the Bible Historiale of Jean de Berry, was a French manuscript illuminator active between 1390 and 1405. Little is known about him. In a 2002 dissertation, Eva Lindqvist Sandgren used stylistic comparison to identify this artist as the illuminator of a book of hours now in the Uppsala University Library, the Ravenelle Hours. This identification is now widely accepted. An earlier notname for the same artist derives from a manuscript of the Bible Historiale, now held by the Bibliothèque nationale de France in Paris, in which he painted several miniatures. The manuscript was once owned by John, Duke of Berry, and with most books containing other work ascribed to the artist seems to have been produced in Paris. This would indicate that the artist lived and worked there, producing large secular works as well as religious treatises written in vernacular French.
The Turin–Milan Hours is a partially destroyed illuminated manuscript, which despite its name is not strictly a book of hours. It is of exceptional quality and importance, with a very complicated history both during and after its production. It contains several miniatures of about 1420 attributed to an artist known as "Hand G" who was probably either Jan van Eyck, his brother Hubert van Eyck, or an artist very closely associated with them. About a decade or so later Barthélemy d'Eyck may have worked on some miniatures. Of the several portions of the book, that kept in Turin was destroyed in a fire in 1904, though black-and-white photographs exist.
The Boucicaut Master or Master of the Hours for Marshal Boucicaut was an anonymous French or Flemish miniaturist and illuminator active between 1400 and 1430 in Paris. He worked in the International Gothic style.
Georgiana, Lady Llangattock,, born Georgiana Marcia Maclean and after her marriage termed Georgiana Marcia Rolls, was a socialite, benefactor and an enthusiast for Horatio Nelson and associated naval heroes. She was the wife of John Rolls, 1st Baron Llangattock, a Victorian landowner, Member of Parliament and agriculturalist. She and her husband lived at The Hendre, a Victorian country house north of Monmouth.
The Nelson Rooms is a grade II listed building in Monmouth, Monmouthshire, Wales. It is in the historic Glendower Street and Agincourt Street neighbourhood, within the medieval town walls. The building initially served as a gymnasium and was a gift from Lady Llangattock to the town of Monmouth. In 1924, after the benefactor's death, it reopened as the Nelson Museum, and showcased the collection of memorabilia related to Admiral Horatio Nelson that had been amassed by the baroness. The Nelson Museum moved to new quarters at the Market Hall in 1969. The former gymnasium and museum is now an apartment building.
In art history, a Notname is an invented name given to an artist whose identity has been lost. The practice arose from the need to give such artists and their typically untitled, or generically titled works, an acceptable if unsatisfactory grouping, avoiding confusion when cataloging. The phrases provisional name, name of convenience and emergency names are sometimes used to describe anonymous masters; nonce name was at one time used.
The Pseudo-Jacquemart was an anonymous master illuminator active in Paris and Bourges between 1380 and 1415. He owed his name to his close collaboration with painter Jacquemart de Hesdin.
The Master of Mary of Burgundy was a Flemish illuminator, painter and draughtsman active between 1469-1483 in Flanders, probably in Ghent. His notname is derived from two books of hours attributed to him, the Vienna Hours of Mary of Burgundy and another books of hours, now in Berlin, also for Mary of Burgundy.
The Master of the Brussels Initials, previously identified with Zebo da Firenze, was a manuscript illuminator active mainly in Paris. He brought Italian influences to French manuscript illumination and in that way played an important role in the development of the so-called International Gothic style. Decorations by the artist appear in several different works, illustrated by several different artists, and some attributions have been questioned. A corpus of works attributable to the Master of the Brussels Initials was initially identified by art historians Otto Pächt and Millard Meiss. The artist's style was inventive, bright and lively, and G. Evelyn Hutchinson has also pointed out the unusually realistic depictions of minute wildlife found in his work. At one point the bibliophile John, Duke of Berry employed the Master of the Brussels Initials.
