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St mary magdalene Stock Photos and Images
St. Mary Magdalene, German, 1470–1499, Engraving, Prints, sheet: 8 1/4 x 3 11/16 in. (20.9 x 9.4 cm Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/st-mary-magdalene-german-14701499-engraving-prints-sheet-8-14-x-3-1116-in-209-x-94-cm-image454292599.htmlRM2HB2PRK–St. Mary Magdalene, German, 1470–1499, Engraving, Prints, sheet: 8 1/4 x 3 11/16 in. (20.9 x 9.4 cm
Book of Hours, St. Mary Magdalene, This small Book of Hours was made at the turn of the sixteenth century. The illuminations are in the style of the Master of the Prayerbook of ca. 1500, active in Bruges Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/book-of-hours-st-mary-magdalene-this-small-book-of-hours-was-made-at-the-turn-of-the-sixteenth-century-the-illuminations-are-in-the-style-of-the-master-of-the-prayerbook-of-ca-1500-active-in-bruges-image573468936.htmlRM2T8YNDC–Book of Hours, St. Mary Magdalene, This small Book of Hours was made at the turn of the sixteenth century. The illuminations are in the style of the Master of the Prayerbook of ca. 1500, active in Bruges
Book of Hours (for use of Tournai), St. Mary Magdalene, This Book of Hours was completed for the Use of Tournai and was illuminated ca. 1500 under the influence of the Master of the Prayer Books. Synthesis of text and decoration is well balanced in this manuscript Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/book-of-hours-for-use-of-tournai-st-mary-magdalene-this-book-of-hours-was-completed-for-the-use-of-tournai-and-was-illuminated-ca-1500-under-the-influence-of-the-master-of-the-prayer-books-synthesis-of-text-and-decoration-is-well-balanced-in-this-manuscript-image573469535.htmlRM2T8YP6R–Book of Hours (for use of Tournai), St. Mary Magdalene, This Book of Hours was completed for the Use of Tournai and was illuminated ca. 1500 under the influence of the Master of the Prayer Books. Synthesis of text and decoration is well balanced in this manuscript
Albrecht Dürer (1471 - 1528), Rapture of St. Mary Magdalene, print medium: c. 1504 - 1505, woodcut, sheet size: 21.5 x 14.9 cm, monogrammed 'AD' on lower left panel Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/albrecht-drer-1471-1528-rapture-of-st-mary-magdalene-print-medium-c-1504-1505-woodcut-sheet-size-215-x-149-cm-monogrammed-ad-on-lower-left-panel-image573214958.htmlRM2T8G5EP–Albrecht Dürer (1471 - 1528), Rapture of St. Mary Magdalene, print medium: c. 1504 - 1505, woodcut, sheet size: 21.5 x 14.9 cm, monogrammed 'AD' on lower left panel
Book of Hours, Initial 'I' with St. Mary Magdalene, This Book of Hours was completed by followers of Loyset Liédet ca. 1470 in Bruges. The calendar and litany feature saints venerated in Bruges, Brittany, and Angers, which locates the book to the northwest region of Flanders. This book contains eleven extant miniatures and a hymn to the Virgin, which was added to the end of the book early on Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/book-of-hours-initial-i-with-st-mary-magdalene-this-book-of-hours-was-completed-by-followers-of-loyset-lidet-ca-1470-in-bruges-the-calendar-and-litany-feature-saints-venerated-in-bruges-brittany-and-angers-which-locates-the-book-to-the-northwest-region-of-flanders-this-book-contains-eleven-extant-miniatures-and-a-hymn-to-the-virgin-which-was-added-to-the-end-of-the-book-early-on-image573465354.htmlRM2T8YGWE–Book of Hours, Initial 'I' with St. Mary Magdalene, This Book of Hours was completed by followers of Loyset Liédet ca. 1470 in Bruges. The calendar and litany feature saints venerated in Bruges, Brittany, and Angers, which locates the book to the northwest region of Flanders. This book contains eleven extant miniatures and a hymn to the Virgin, which was added to the end of the book early on
Landscape with St. Mary Magdalene praying before a crucifix in a ravine, Landscape with the Penitent Mary Magdalene, print maker: Cornelis Cort, (mentioned on object), Girolamo Muziano, (mentioned on object), publisher: Carlo Losi, (mentioned on object), Rome, 1573 and/or c. 1774, paper, engraving, h 498 mm × w 357 mm Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/landscape-with-st-mary-magdalene-praying-before-a-crucifix-in-a-ravine-landscape-with-the-penitent-mary-magdalene-print-maker-cornelis-cort-mentioned-on-object-girolamo-muziano-mentioned-on-object-publisher-carlo-losi-mentioned-on-object-rome-1573-andor-c-1774-paper-engraving-h-498-mm-w-357-mm-image472033385.htmlRM2JBXYB5–Landscape with St. Mary Magdalene praying before a crucifix in a ravine, Landscape with the Penitent Mary Magdalene, print maker: Cornelis Cort, (mentioned on object), Girolamo Muziano, (mentioned on object), publisher: Carlo Losi, (mentioned on object), Rome, 1573 and/or c. 1774, paper, engraving, h 498 mm × w 357 mm
Book of Hours, St. Mary Magdalene, This book was created ca. 1460-70 CE in Bruges by the workshop of Willem Vrelant for an English patron, as suggested by the many English saints included in the calendar. The manuscript is heavily illuminated and contains thirty historiated initials, some with unusual themes, such as Christ's wounds and the Murder of St. Thomas Becket. While the number of illuminations is large, their execution is fairly standard Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/book-of-hours-st-mary-magdalene-this-book-was-created-ca-1460-70-ce-in-bruges-by-the-workshop-of-willem-vrelant-for-an-english-patron-as-suggested-by-the-many-english-saints-included-in-the-calendar-the-manuscript-is-heavily-illuminated-and-contains-thirty-historiated-initials-some-with-unusual-themes-such-as-christs-wounds-and-the-murder-of-st-thomas-becket-while-the-number-of-illuminations-is-large-their-execution-is-fairly-standard-image573470063.htmlRM2T8YPWK–Book of Hours, St. Mary Magdalene, This book was created ca. 1460-70 CE in Bruges by the workshop of Willem Vrelant for an English patron, as suggested by the many English saints included in the calendar. The manuscript is heavily illuminated and contains thirty historiated initials, some with unusual themes, such as Christ's wounds and the Murder of St. Thomas Becket. While the number of illuminations is large, their execution is fairly standard
Masters of the Dark Eyes Missal, Initial G with St. Mary Magdalene, This Latin Missal was written in Utrecht, Netherlands, ca. 1500. Portraits of the original owners, whose names are not recorded, are accompanied by heraldry indicating that the husband was of the family of St. Férréol of Dauphiné; the wife was of the Cambronne of Ponthieu family. The manuscript is heavily illuminated with more than fifty historiated initials and miniatures by a group of artists known in scholarship as the 'Masters of the Dark Eyes Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/masters-of-the-dark-eyes-missal-initial-g-with-st-mary-magdalene-this-latin-missal-was-written-in-utrecht-netherlands-ca-1500-portraits-of-the-original-owners-whose-names-are-not-recorded-are-accompanied-by-heraldry-indicating-that-the-husband-was-of-the-family-of-st-frrol-of-dauphin-the-wife-was-of-the-cambronne-of-ponthieu-family-the-manuscript-is-heavily-illuminated-with-more-than-fifty-historiated-initials-and-miniatures-by-a-group-of-artists-known-in-scholarship-as-the-masters-of-the-dark-eyes-image573478862.htmlRM2T9063X–Masters of the Dark Eyes Missal, Initial G with St. Mary Magdalene, This Latin Missal was written in Utrecht, Netherlands, ca. 1500. Portraits of the original owners, whose names are not recorded, are accompanied by heraldry indicating that the husband was of the family of St. Férréol of Dauphiné; the wife was of the Cambronne of Ponthieu family. The manuscript is heavily illuminated with more than fifty historiated initials and miniatures by a group of artists known in scholarship as the 'Masters of the Dark Eyes
Book of Hours, St. Mary Magdalene, This beautifully bound Book of Hours was completed in Bruges ca. 1490. The illuminator's style was influenced by the Master of Edward IV, active ca. 1470-90, and followers. The manuscript includes twelve full-page miniatures and twenty-five small miniatures, along with sacred and secular marginalia and some illusionistic borders. While the sheer volume of miniatures is remarkable, the decoration program as a whole only strengthens the manuscript’s impact Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/book-of-hours-st-mary-magdalene-this-beautifully-bound-book-of-hours-was-completed-in-bruges-ca-1490-the-illuminators-style-was-influenced-by-the-master-of-edward-iv-active-ca-1470-90-and-followers-the-manuscript-includes-twelve-full-page-miniatures-and-twenty-five-small-miniatures-along-with-sacred-and-secular-marginalia-and-some-illusionistic-borders-while-the-sheer-volume-of-miniatures-is-remarkable-the-decoration-program-as-a-whole-only-strengthens-the-manuscripts-impact-image573468910.htmlRM2T8YNCE–Book of Hours, St. Mary Magdalene, This beautifully bound Book of Hours was completed in Bruges ca. 1490. The illuminator's style was influenced by the Master of Edward IV, active ca. 1470-90, and followers. The manuscript includes twelve full-page miniatures and twenty-five small miniatures, along with sacred and secular marginalia and some illusionistic borders. While the sheer volume of miniatures is remarkable, the decoration program as a whole only strengthens the manuscript’s impact
Book of Hours (Use of Rome), St. Mary Magdalene, This pocket-size Flemish Book of Hours was created in Bruges between 1460 and 1470. A heavy contingent of South Netherlandish saints in the litany helps localize its production. Although small in scale, it is notable for its abundance of illuminations, nearly thirty extant, by artists working in the style of the prolific mid-fifteenth-century Flemish illuminator Willem Vrelant. Three artists worked on this book Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/book-of-hours-use-of-rome-st-mary-magdalene-this-pocket-size-flemish-book-of-hours-was-created-in-bruges-between-1460-and-1470-a-heavy-contingent-of-south-netherlandish-saints-in-the-litany-helps-localize-its-production-although-small-in-scale-it-is-notable-for-its-abundance-of-illuminations-nearly-thirty-extant-by-artists-working-in-the-style-of-the-prolific-mid-fifteenth-century-flemish-illuminator-willem-vrelant-three-artists-worked-on-this-book-image573462102.htmlRM2T8YCNA–Book of Hours (Use of Rome), St. Mary Magdalene, This pocket-size Flemish Book of Hours was created in Bruges between 1460 and 1470. A heavy contingent of South Netherlandish saints in the litany helps localize its production. Although small in scale, it is notable for its abundance of illuminations, nearly thirty extant, by artists working in the style of the prolific mid-fifteenth-century Flemish illuminator Willem Vrelant. Three artists worked on this book
Prayer Book, including Office of the Dead, St. Mary Magdalene, This prayer book was produced ca. 1430-40, likely in Brabant, but the contents of the calendar point to Tournai and Cambrai, and the Office of the Dead is for the Use of Liège. North Netherlandish influence, possibly connected with works by the Masters of the Gold Scrolls, is suggested by the style and iconography of its images. The manuscript is notable for its large number of miniatures - forty-eight in total - as well as the sense of narrative within them, and the diversity of the suffrages they illustrate is striking Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/prayer-book-including-office-of-the-dead-st-mary-magdalene-this-prayer-book-was-produced-ca-1430-40-likely-in-brabant-but-the-contents-of-the-calendar-point-to-tournai-and-cambrai-and-the-office-of-the-dead-is-for-the-use-of-lige-north-netherlandish-influence-possibly-connected-with-works-by-the-masters-of-the-gold-scrolls-is-suggested-by-the-style-and-iconography-of-its-images-the-manuscript-is-notable-for-its-large-number-of-miniatures-forty-eight-in-total-as-well-as-the-sense-of-narrative-within-them-and-the-diversity-of-the-suffrages-they-illustrate-is-striking-image573463681.htmlRM2T8YENN–Prayer Book, including Office of the Dead, St. Mary Magdalene, This prayer book was produced ca. 1430-40, likely in Brabant, but the contents of the calendar point to Tournai and Cambrai, and the Office of the Dead is for the Use of Liège. North Netherlandish influence, possibly connected with works by the Masters of the Gold Scrolls, is suggested by the style and iconography of its images. The manuscript is notable for its large number of miniatures - forty-eight in total - as well as the sense of narrative within them, and the diversity of the suffrages they illustrate is striking
Book of Hours (Use of Rome), St. Mary Magdalene, Created in the fifteenth century and rebound slightly later, this small Book of Hours may still appear much as a sixteenth-century viewer saw it. In that period, it was covered in either Belgium or England with an opulent red velvet embellished with silk and silver embroidery. The manuscript itself was produced in Flanders around 1480-1490, and was likely destined for Cambrai, as indicated by the selection of saints in the calendar Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/book-of-hours-use-of-rome-st-mary-magdalene-created-in-the-fifteenth-century-and-rebound-slightly-later-this-small-book-of-hours-may-still-appear-much-as-a-sixteenth-century-viewer-saw-it-in-that-period-it-was-covered-in-either-belgium-or-england-with-an-opulent-red-velvet-embellished-with-silk-and-silver-embroidery-the-manuscript-itself-was-produced-in-flanders-around-1480-1490-and-was-likely-destined-for-cambrai-as-indicated-by-the-selection-of-saints-in-the-calendar-image573469525.htmlRM2T8YP6D–Book of Hours (Use of Rome), St. Mary Magdalene, Created in the fifteenth century and rebound slightly later, this small Book of Hours may still appear much as a sixteenth-century viewer saw it. In that period, it was covered in either Belgium or England with an opulent red velvet embellished with silk and silver embroidery. The manuscript itself was produced in Flanders around 1480-1490, and was likely destined for Cambrai, as indicated by the selection of saints in the calendar
Suchteten Hours, Initial 'M' with St. Mary Magdalene, The Suchteten Hours is a fine example of artists working in the style of the Master of the Prayerbooks ca. 1500. The book is believed to have been produced in Bruges and owned by someone associated with the Franciscan order and the Utrecht diocese. The nine extant, full-page, highly detailed miniatures exhibit clarity of forms and a vivid color palette. Of particular interest are the border illuminations that appear either surrounding the miniatures or as strips running along the sides of the text Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/suchteten-hours-initial-m-with-st-mary-magdalene-the-suchteten-hours-is-a-fine-example-of-artists-working-in-the-style-of-the-master-of-the-prayerbooks-ca-1500-the-book-is-believed-to-have-been-produced-in-bruges-and-owned-by-someone-associated-with-the-franciscan-order-and-the-utrecht-diocese-the-nine-extant-full-page-highly-detailed-miniatures-exhibit-clarity-of-forms-and-a-vivid-color-palette-of-particular-interest-are-the-border-illuminations-that-appear-either-surrounding-the-miniatures-or-as-strips-running-along-the-sides-of-the-text-image573469177.htmlRM2T8YNP1–Suchteten Hours, Initial 'M' with St. Mary Magdalene, The Suchteten Hours is a fine example of artists working in the style of the Master of the Prayerbooks ca. 1500. The book is believed to have been produced in Bruges and owned by someone associated with the Franciscan order and the Utrecht diocese. The nine extant, full-page, highly detailed miniatures exhibit clarity of forms and a vivid color palette. Of particular interest are the border illuminations that appear either surrounding the miniatures or as strips running along the sides of the text
Malet-Lannoy Hours, St. Mary Magdalene, Assumption, This Book of Hours was made ca. 1420-1440 for use of Rome in northeastern France or Paris, as suggested by the contents in the calendar and the inclusion of a suffrage to St. Avia. Although the identity of the initial patron is unknown, his heraldry was added thirty-five times throughout the book. The manuscript was owned within the first decades of its creation by Thomas Malet of Berlettes and Jeanne of Lannoy, whose heraldry was added early into the manuscript as well Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/malet-lannoy-hours-st-mary-magdalene-assumption-this-book-of-hours-was-made-ca-1420-1440-for-use-of-rome-in-northeastern-france-or-paris-as-suggested-by-the-contents-in-the-calendar-and-the-inclusion-of-a-suffrage-to-st-avia-although-the-identity-of-the-initial-patron-is-unknown-his-heraldry-was-added-thirty-five-times-throughout-the-book-the-manuscript-was-owned-within-the-first-decades-of-its-creation-by-thomas-malet-of-berlettes-and-jeanne-of-lannoy-whose-heraldry-was-added-early-into-the-manuscript-as-well-image573467983.htmlRM2T8YM7B–Malet-Lannoy Hours, St. Mary Magdalene, Assumption, This Book of Hours was made ca. 1420-1440 for use of Rome in northeastern France or Paris, as suggested by the contents in the calendar and the inclusion of a suffrage to St. Avia. Although the identity of the initial patron is unknown, his heraldry was added thirty-five times throughout the book. The manuscript was owned within the first decades of its creation by Thomas Malet of Berlettes and Jeanne of Lannoy, whose heraldry was added early into the manuscript as well
Book of Hours, St. Mary Magdalene, This pocket-sized Book of Hours, ca. 1460-70, was completed in the circle of Willem Vrelant for the use of Sarum. Featuring twenty-seven extant miniatures and twenty-two historiated initials, it is an important example of the prayer books made in the third quarter of the thirteenth century in Bruges for English owners. While this manuscript is not especially unique amongst its peers, it is exemplary because of its impressive pictorial program, including the aforementioned miniatures and historiated initials Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/book-of-hours-st-mary-magdalene-this-pocket-sized-book-of-hours-ca-1460-70-was-completed-in-the-circle-of-willem-vrelant-for-the-use-of-sarum-featuring-twenty-seven-extant-miniatures-and-twenty-two-historiated-initials-it-is-an-important-example-of-the-prayer-books-made-in-the-third-quarter-of-the-thirteenth-century-in-bruges-for-english-owners-while-this-manuscript-is-not-especially-unique-amongst-its-peers-it-is-exemplary-because-of-its-impressive-pictorial-program-including-the-aforementioned-miniatures-and-historiated-initials-image573470465.htmlRM2T8YRC1–Book of Hours, St. Mary Magdalene, This pocket-sized Book of Hours, ca. 1460-70, was completed in the circle of Willem Vrelant for the use of Sarum. Featuring twenty-seven extant miniatures and twenty-two historiated initials, it is an important example of the prayer books made in the third quarter of the thirteenth century in Bruges for English owners. While this manuscript is not especially unique amongst its peers, it is exemplary because of its impressive pictorial program, including the aforementioned miniatures and historiated initials
Book of Hours, St. Mary Magdalene with manuscript owner, This Book of Hours was originally completed ca. 1430-1440 but has since been reconstructed, with several prayers and suffrages having been added to it over time. The miniatures were illuminated under the influence of the Master of Guillebert de Mets. The book was rebound by Joris de Gavere of Ghent ca. 1525-1535. The manuscript was rebacked in the modern period, but the sixteenth-century boards remain. Both contain stamped panels depicting angels playing instruments, and a band of fantastic animals depicted in profile Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/book-of-hours-st-mary-magdalene-with-manuscript-owner-this-book-of-hours-was-originally-completed-ca-1430-1440-but-has-since-been-reconstructed-with-several-prayers-and-suffrages-having-been-added-to-it-over-time-the-miniatures-were-illuminated-under-the-influence-of-the-master-of-guillebert-de-mets-the-book-was-rebound-by-joris-de-gavere-of-ghent-ca-1525-1535-the-manuscript-was-rebacked-in-the-modern-period-but-the-sixteenth-century-boards-remain-both-contain-stamped-panels-depicting-angels-playing-instruments-and-a-band-of-fantastic-animals-depicted-in-profile-image573469224.htmlRM2T8YNRM–Book of Hours, St. Mary Magdalene with manuscript owner, This Book of Hours was originally completed ca. 1430-1440 but has since been reconstructed, with several prayers and suffrages having been added to it over time. The miniatures were illuminated under the influence of the Master of Guillebert de Mets. The book was rebound by Joris de Gavere of Ghent ca. 1525-1535. The manuscript was rebacked in the modern period, but the sixteenth-century boards remain. Both contain stamped panels depicting angels playing instruments, and a band of fantastic animals depicted in profile
Prayer Book (fragment), St. Mary Magdalene, This Prayer Book was created ca. 1520-30, likely in Brussels, in the style of the Master of Charles V. It consists entirely of single folios that were added in or moved around in the book, rendering collation unfeasible. Many of intricate and high-quality miniatures were reproduced through chromolithography by Léon Gruel in his Petites Heures, published in Paris in 1875. The calendar is especially charming and features seasonally relevant illustrations, such as children having a snowball fight in December Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/prayer-book-fragment-st-mary-magdalene-this-prayer-book-was-created-ca-1520-30-likely-in-brussels-in-the-style-of-the-master-of-charles-v-it-consists-entirely-of-single-folios-that-were-added-in-or-moved-around-in-the-book-rendering-collation-unfeasible-many-of-intricate-and-high-quality-miniatures-were-reproduced-through-chromolithography-by-lon-gruel-in-his-petites-heures-published-in-paris-in-1875-the-calendar-is-especially-charming-and-features-seasonally-relevant-illustrations-such-as-children-having-a-snowball-fight-in-december-image573468870.htmlRM2T8YNB2–Prayer Book (fragment), St. Mary Magdalene, This Prayer Book was created ca. 1520-30, likely in Brussels, in the style of the Master of Charles V. It consists entirely of single folios that were added in or moved around in the book, rendering collation unfeasible. Many of intricate and high-quality miniatures were reproduced through chromolithography by Léon Gruel in his Petites Heures, published in Paris in 1875. The calendar is especially charming and features seasonally relevant illustrations, such as children having a snowball fight in December
Prayer book, St. Mary Magdalene, This early sixteenth-century illuminated prayer book contains Latin prayers and passages from the Gospels. Although small in scale, it is notable for its abundance of illuminations, with nearly sixty extant small miniatures. Full-color portraits embellish the prayers to the Virgin and Suffrages, while the images within the Gospel narrative are rendered primarily in grisaille, a nearly entirely gray monochrome technique. The last folios include a trompe-l'oeil foliate margin and a Crucifixion that seems to be a later addition Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/prayer-book-st-mary-magdalene-this-early-sixteenth-century-illuminated-prayer-book-contains-latin-prayers-and-passages-from-the-gospels-although-small-in-scale-it-is-notable-for-its-abundance-of-illuminations-with-nearly-sixty-extant-small-miniatures-full-color-portraits-embellish-the-prayers-to-the-virgin-and-suffrages-while-the-images-within-the-gospel-narrative-are-rendered-primarily-in-grisaille-a-nearly-entirely-gray-monochrome-technique-the-last-folios-include-a-trompe-loeil-foliate-margin-and-a-crucifixion-that-seems-to-be-a-later-addition-image573478692.htmlRM2T905WT–Prayer book, St. Mary Magdalene, This early sixteenth-century illuminated prayer book contains Latin prayers and passages from the Gospels. Although small in scale, it is notable for its abundance of illuminations, with nearly sixty extant small miniatures. Full-color portraits embellish the prayers to the Virgin and Suffrages, while the images within the Gospel narrative are rendered primarily in grisaille, a nearly entirely gray monochrome technique. The last folios include a trompe-l'oeil foliate margin and a Crucifixion that seems to be a later addition
Missal of Eberhard von Greiffenklau, St. Mary Magdalene in the Desert, The Missal of Eberhard von Greiffenklau is a masterpiece of Dutch manuscript painting. It was originally produced in the second quarter of the fifteenth century for von Greiffenklau, prebendary of Utrecht from 1446. The manuscript features work by the Masters of Zweder van Culemborg, active in the Utrecht area between 1420 and 1440, so-named after the Bishop of Utrecht 1425-33 for whom they produced a magnificent Missal in the late 1420s (now Bressanone, Bibl. del Seminario Maggiore) Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/missal-of-eberhard-von-greiffenklau-st-mary-magdalene-in-the-desert-the-missal-of-eberhard-von-greiffenklau-is-a-masterpiece-of-dutch-manuscript-painting-it-was-originally-produced-in-the-second-quarter-of-the-fifteenth-century-for-von-greiffenklau-prebendary-of-utrecht-from-1446-the-manuscript-features-work-by-the-masters-of-zweder-van-culemborg-active-in-the-utrecht-area-between-1420-and-1440-so-named-after-the-bishop-of-utrecht-1425-33-for-whom-they-produced-a-magnificent-missal-in-the-late-1420s-now-bressanone-bibl-del-seminario-maggiore-image573475756.htmlRM2T90250–Missal of Eberhard von Greiffenklau, St. Mary Magdalene in the Desert, The Missal of Eberhard von Greiffenklau is a masterpiece of Dutch manuscript painting. It was originally produced in the second quarter of the fifteenth century for von Greiffenklau, prebendary of Utrecht from 1446. The manuscript features work by the Masters of Zweder van Culemborg, active in the Utrecht area between 1420 and 1440, so-named after the Bishop of Utrecht 1425-33 for whom they produced a magnificent Missal in the late 1420s (now Bressanone, Bibl. del Seminario Maggiore)
St. Barbara's Monastery and St. Mary Magdalene Monastery in Amsterdam, ca. 1544, Magdalena and Barbera's Monasteries (title on object), Bird's-eye view and view of the St. Barbara's Monastery (2) and the St. Mary Magdalene Monastery (1) between the Nes and the Oudezijds Voorburgwal in Amsterdam, as it would have looked around 1544. The title is in the top center, and the legend 1-6 is below. Numbered top right: II., print maker: anonymous, publisher: Isaak Tirion, (possibly), Amsterdam, 1760, paper, etching, engraving, height 267 mm × width 169 mm Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/st-barbaras-monastery-and-st-mary-magdalene-monastery-in-amsterdam-ca-1544-magdalena-and-barberas-monasteries-title-on-object-birds-eye-view-and-view-of-the-st-barbaras-monastery-2-and-the-st-mary-magdalene-monastery-1-between-the-nes-and-the-oudezijds-voorburgwal-in-amsterdam-as-it-would-have-looked-around-1544-the-title-is-in-the-top-center-and-the-legend-1-6-is-below-numbered-top-right-ii-print-maker-anonymous-publisher-isaak-tirion-possibly-amsterdam-1760-paper-etching-engraving-height-267-mm-width-169-mm-image599483362.htmlRM2WR8R42–St. Barbara's Monastery and St. Mary Magdalene Monastery in Amsterdam, ca. 1544, Magdalena and Barbera's Monasteries (title on object), Bird's-eye view and view of the St. Barbara's Monastery (2) and the St. Mary Magdalene Monastery (1) between the Nes and the Oudezijds Voorburgwal in Amsterdam, as it would have looked around 1544. The title is in the top center, and the legend 1-6 is below. Numbered top right: II., print maker: anonymous, publisher: Isaak Tirion, (possibly), Amsterdam, 1760, paper, etching, engraving, height 267 mm × width 169 mm
Mary presents Mary Magdalene de Pazzi with a lily branch and covers her with a white veil. An angel helps her straighten the veil. Mary Magdalene de Pazzi kneels in the habit of the Carmelites and wears a crown of thorns on her head. Mary gives a lily branch to St. Mary Magdalene de Pazzi, print maker: Cornelis Galle (I), (mentioned on object), Southern Netherlands, c. 1607 - 1650, paper, engraving, h 93 mm × w 133 mm Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/mary-presents-mary-magdalene-de-pazzi-with-a-lily-branch-and-covers-her-with-a-white-veil-an-angel-helps-her-straighten-the-veil-mary-magdalene-de-pazzi-kneels-in-the-habit-of-the-carmelites-and-wears-a-crown-of-thorns-on-her-head-mary-gives-a-lily-branch-to-st-mary-magdalene-de-pazzi-print-maker-cornelis-galle-i-mentioned-on-object-southern-netherlands-c-1607-1650-paper-engraving-h-93-mm-w-133-mm-image472224686.htmlRM2JC7KBA–Mary presents Mary Magdalene de Pazzi with a lily branch and covers her with a white veil. An angel helps her straighten the veil. Mary Magdalene de Pazzi kneels in the habit of the Carmelites and wears a crown of thorns on her head. Mary gives a lily branch to St. Mary Magdalene de Pazzi, print maker: Cornelis Galle (I), (mentioned on object), Southern Netherlands, c. 1607 - 1650, paper, engraving, h 93 mm × w 133 mm
The death on the cross of Christ on Mount Golgotha. Below the cross are Mary Magdalene, Mary and St. John. The scene is framed in an ornamental frame decorated with the instruments of the passion and at the top the tetragram surrounded by cherubs. Crucifixion of Christ Passion of Christ , print maker: Antonie Wierix (II), (mentioned on object), Maerten de Vos, (mentioned on object), publisher: Claes Jansz. Visscher (II), (mentioned on object), print maker: Antwerp, publisher: Amsterdam, 1582 - 1586, paper, engraving, h 190 mm × w 147 mm Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/the-death-on-the-cross-of-christ-on-mount-golgotha-below-the-cross-are-mary-magdalene-mary-and-st-john-the-scene-is-framed-in-an-ornamental-frame-decorated-with-the-instruments-of-the-passion-and-at-the-top-the-tetragram-surrounded-by-cherubs-crucifixion-of-christ-passion-of-christ-print-maker-antonie-wierix-ii-mentioned-on-object-maerten-de-vos-mentioned-on-object-publisher-claes-jansz-visscher-ii-mentioned-on-object-print-maker-antwerp-publisher-amsterdam-1582-1586-paper-engraving-h-190-mm-w-147-mm-image472210420.htmlRM2JC715T–The death on the cross of Christ on Mount Golgotha. Below the cross are Mary Magdalene, Mary and St. John. The scene is framed in an ornamental frame decorated with the instruments of the passion and at the top the tetragram surrounded by cherubs. Crucifixion of Christ Passion of Christ , print maker: Antonie Wierix (II), (mentioned on object), Maerten de Vos, (mentioned on object), publisher: Claes Jansz. Visscher (II), (mentioned on object), print maker: Antwerp, publisher: Amsterdam, 1582 - 1586, paper, engraving, h 190 mm × w 147 mm
Martin Schongauer (1450 um - 1491), artist, Christ appears to Mary Magdalene Noli me tangere, Lambert Zutman (1510 um - 1567, 1574), John the Evangelist, sheet 9 of the series 'Christ, the Twelve Apostles and St. Paul', print medium: 1545, copperplate engraving, sheet size: 21. 7 x 11.4 cm, bottom left on plate inscribed 'SVAVIVS, .INVEN.' and right beside numbered '9 Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/martin-schongauer-1450-um-1491-artist-christ-appears-to-mary-magdalene-noli-me-tangere-lambert-zutman-1510-um-1567-1574-john-the-evangelist-sheet-9-of-the-series-christ-the-twelve-apostles-and-st-paul-print-medium-1545-copperplate-engraving-sheet-size-21-7-x-114-cm-bottom-left-on-plate-inscribed-svavivs-inven-and-right-beside-numbered-9-image573213474.htmlRM2T8G3HP–Martin Schongauer (1450 um - 1491), artist, Christ appears to Mary Magdalene Noli me tangere, Lambert Zutman (1510 um - 1567, 1574), John the Evangelist, sheet 9 of the series 'Christ, the Twelve Apostles and St. Paul', print medium: 1545, copperplate engraving, sheet size: 21. 7 x 11.4 cm, bottom left on plate inscribed 'SVAVIVS, .INVEN.' and right beside numbered '9
St Margaret of Cortona Kneeling before the Christ Child and Offering Him a Book, Pietro da Cortona, c. 1640, The Christ Child, seated on the lap of Mary and surrounded by the saints Mary Aegyptiaca, Augustine and Mary Magdalene, receives a book from the hands of St Margaret of Cortona. Design for a print., draughtsman: Pietro da Cortona, c. 1640, paper, h 409 mm × w 305 mm Stock Photohttps://www.alamy.com/licenses-and-pricing/?v=1https://www.alamy.com/st-margaret-of-cortona-kneeling-before-the-christ-child-and-offering-him-a-book-pietro-da-cortona-c-1640-the-christ-child-seated-on-the-lap-of-mary-and-surrounded-by-the-saints-mary-aegyptiaca-augustine-and-mary-magdalene-receives-a-book-from-the-hands-of-st-margaret-of-cortona-design-for-a-print-draughtsman-pietro-da-cortona-c-1640-paper-h-409-mm-w-305-mm-image472051246.htmlRM2JBYP52–St Margaret of Cortona Kneeling before the Christ Child and Offering Him a Book, Pietro da Cortona, c. 1640, The Christ Child, seated on the lap of Mary and surrounded by the saints Mary Aegyptiaca, Augustine and Mary Magdalene, receives a book from the hands of St Margaret of Cortona. Design for a print., draughtsman: Pietro da Cortona, c. 1640, paper, h 409 mm × w 305 mm
Search Results for St mary magdalene Stock Photos and Images (24)
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