Wikipedia

User:DrMedRenArtHistory/Pasquier Grenier

< User:DrMedRenArtHistory
Pasquier Grenier
The Battle with the Sagittary and the Conference at Achilles' Tent (from Scenes from the Story of the Trojan War). Probably produced through Jean or Pasquier Grenier, ca. 1470–90. Accession Number: 52.69, Metropolitan Museum of Art, New York.
BornUnknown
DiedJuly 21, 1493
Tournai
Burial placeChurch of Saint Quentin, Tournai
NationalityFlemish
Other namesPasqiuer Grenier (preferred modern day form)

Pashier Grenier

Passchier Grenier
Occupation(s)Tapestry and wine merchant
Years active1447-1493
SpouseMarguerite de Lannoy
Children7: Gilles, Pierre, Jean, Imbert, Colinet, Antoine (Antonin), and an unnamed daughter
Websitehttps://www.metmuseum.org/art/collection/search/468417

Pasquier Grenier (active 1447–1493), was a Flemish tapestry and wine merchant working in Tournai, and the greater region under the control of the Dukes of Burgundy.[1][2] Once believed to be a master tapestry weaver, archival documents reveal that he was actually one of the most prominent tapestry dealers of the fifteenth-century in Western Europe, working with tapestry workshops in cities such as Tournai, Bruges, and Antwerp.[1][3][4]

Life and family

edit

Pasquier Grenier was the son of Lottart, but his birth year is undocumented, as neither the primary archival sources nor secondary sources cite a date.[5][6] What is known is that on July 7, 1447, Pasquier was officially accepted as a burgher of the city of Tournai.[7][8] At some point (date unknown), he married Marguerite de Lannoy and together they had seven children, who were listed in Pasquier's will including: Gilles, Pierre, Jean, Imbert, Colinet, Antoine (Antonin), and an unnamed daughter married to Corneille Daussat.[6][7] In addition, Pasquier fathered an illegitmate daughter named Mariette.[6][7] His sons Pierre and Gilles were both church canons, while Jean and Imbert were noted as being married.[2][7] Pasquier was a notable and engaged citizen of Tournai and lived in the parish of the Church of Saint Quentin.[6] [9][10] He was also a member of the noble confraternity of the Damoiseaux (founded in 1280), dedicated to the Virgin Mary.[9][10]

Pasquier owned several houses in Tournai, located on the "Grand Market," known today as the Grand-Place, and they were adjacent to the Church of Saint Quentin.[6] The house[Note 1] was left to his son Jean in his will, along with another house in the city of Bruges.[6] His other son, Imbert, was left a house in the town of Guise inFrance.[6]

Career

edit

Tapestry Merchant

edit

Perhaps as early as 1448, Pasquier Grenier is associated with the Truye Brothers, tapestry merchants based in the city of Arras, who named him as their agent in Tournai.[8] Then on February 4, 1449, he is mentioned in archival documents as a Tournai tapestry dealer or merchant (French: "marcheteur") selling his goods to several brokers in different regions of France, including: in 1449, to Pierre Peliche, a merchant in Puy-de-Dôme (in the Auvergne region) and to Jehan Vernie, another merchant in Lyon (in the Auvergne-Rhône-Alpes region).[4][9][11] Later, in 1460, he worked with a merchant named Geradin Glaude based in Reims, and to another unnamed merchant in the Champagne region at an unknown date.[4][9][11] Archival documents also referred to him as a "tapissier" but scholars have argued based on the extant documentation about him that the term "tapissier" did not mean a tapestry (French: tapisserie) weaver, but one who functioned rather as a supplier or dealer.[9][12]

On July 20, 1479, he established political and commercial ties to the King of France, Louis XI, through Olivier le Daim, a courtier and advisor to the King, concerning a matter that came before the magistrate of Tournai and documented in the ancient registers of the "Consaux" (the four colleges that made up Tournai's municipal government).[4][7][9] [13] Then, another Consaux record dated October 29, 1481 explains that Pasquier served as an ambassador for King Louis XI to the city of Tournai.[6][9]

In Burgundy (part of modern day Flanders in Belgium), Pasquier created a subsidiary company based in Bruges, a major port town, allowing him to export his products to the royal courts of England, Italy, and Spain.[4][9] He also had a showroom filled with an inventory of tapestries in Antwerp, where clients could stop by and purchase an already completed tapestry or set of tapestries (a transaction today referred to as "on spec" meaning the object made was sold on speculation, without a specific buyer) or alternatively the client could order one with him to be woven to their specifications.[4][9] On September 22, 1486, King Edward IV of England granted Pasquier, his son Jean, and their workers protection and licenses to import tapestries, and other textile objects into England.[1][7][8][14] Two years later, King Edward permitted Jean Pasquier to import into the country, duty free, altar cloths and tapestries of the Trojan War series (see below).[8]

Wine Merchant

edit

Pasquier was registered as a wine dealer in the city of Tournai's registers on Dec. 30, 1483.[7][9] It is likely that Pasquier became a wine merchant because of his contacts in France, especially Burgundy.[6] However, he was not the first tapestry dealer to also become a wine seller, a career combination seen earlier in the late fourteenth-century and early fifteenth-century in merchants from the city of Arras, such as Jean (Jehan) Cosset and Hugues (Huart) Walois who sold both wine and tapestries.[12][15][16]

Documented tapestry sales to royal clients

edit

Archival documents, gathered in various secondary sources, shed more specific information on his career, including that Pasquier Grenier sold several sumptuous tapestry sets to Philip the Bold, the Duke of Burgundy as early at 1454-1455.[1][7] He was also the most important supplier of tapestries to later dukes of Burgundy, including Philip the Good and Charles the Bold.[8][17] Documented sales of tapestries (or sets of specific tapestry series) by Pasquier Grenier include the following:

The Story of Alexander the Great

edit
  • One set (6 tapestry wall panels, along with a "chambre" of tapestries set for the bed) sold in August 1459 to Philip the Good, the Duke of Burgundy. The archival record states this tapestry set was made with wool, silk, and metallic (gold and silver) threads and the panels were very large in dimension (seven hundred and eight three-quarter ells), and cost the Duke 5,000 écus d'or (a type of gold French coinage).[3][7][8][9][15][14][17][18]
  • Another set was possibly sold also in 1459, but it is not certain, to the Duke of Milan, Francesco Sforza, after Pasquier's son, Melchior, and Guillaume[Note 2] went to Milan in January 1459 to show the designs for the set to Francesco Sforza.[7][8][19] Two pieces survive, likely from this set (or possibly the one purchased by Philip the Good), and are located in the collection of the Doria Pamphilj Gallery in Rome, having been part of the collection of the Doria family of Genoa.[1][6][8][20][18]
  • Another set was sold in 1467-1468 to King Edward IV of England.[1][18]

The Story of the Trojan War

edit
  • A series of payments are recorded from 1472 to 1476 from the city of Bruges, as well as the by the Franc of Bruge, for a set of eleven tapestries that were given as a gift to Charles the Bold, Duke of Burgundy.[4][9][8][14][15][21][22]

The Story of the Passion of Christ

edit
  • Six-panel set of tapestries were sold in 1461 to Philip the Good, the Duke of Burgundy, for 4,000 écus d'or.[15][17][18] Two tapestries from this set survive in the collections of the Vatican Museums in Rome and the Royal Museums of Fine Arts of Belgium in Brussels.[1][8]
  • Another set was sold in 1467-1468 to King Edward IV of England. This set of tapestries were made with metallic threads (gold and silver) and the panels were very large in dimension.[1][18]
 
Esther and Ahasuerus, c. 1460-1485, Flanders, wool and silk, 134 3/4 in. x 128 in. (342.27 cm. x 325.12 cm), Minneapolis Institute of Art, Accession No. 16.721

The Story of Esther and Ahasuerus

edit
  • A six-panel tapestry set was sold in 1461-1462 to Philip the Good, the Duke of Burgundy.[8][14][15][17] [30] Like the Swan Knight below, the set was offered as a gift to the Cardinal of Arras, Jean Jouffroy.[3][14] Several fragments from this series survive among three collections, though it is not certain if they are from the set that Pasquier Grenier sold to the Duke.[14][17] Two tapestries are located at the Musée Lorrain in Nancy, another at the Minneapolis Institute of Arts[31] and a fragment at the Louvre Museum.[6][17][32][33]
     
    Tapestry fragment from the Swan Knight, ca. 1462, Tournai. Wool, silk, and metal threads. 356 cm. x 224 cm. Vienna, Museum of Applied Arts (MAK), Inv. No. T 8211.



The Story of the Swan Knight (Knight of the Swan)

edit
Main article: Knight of the Swan
  • A three-piece set was sold in 1461-1462 to the Duke of Burgundy, Philip the Good.[8][15][14][17] The set was a gift to the Cardinal of Arras, Jean Jouffroy, similar to the tapestry set above that illustrates the Story of Esther and Ahasuerus.[3][14] Fragments from this set survive at the Museum of Applied Arts (MAK) in Vienna (Inv. No. T 8211) and also in the tapestry collection at the Wawel Royal Castle in Cracow.[6][14][17][34]

Orange Pickers

edit
  • One panel was sold in 1461 to the Duke of Burgundy, Philip the Good.[17] In 1466, the Duke bought an entire suite (French: chambre) of tapestries with orange trees that included four wall panels, a bedcover, and a bench cover as a gift for his sister, Agnes of Burgundy, Duchess of Bourbon.[6][8][15][35]

Woodcutters

edit
  • One set was sold in 1461 to the Duke of Burgundy, Philip the Good, that comprised a suite (French: chambre) of nine tapestries including cushions and covers for the bed, along with four panels for the walls, all made out of linen and silk.[35] Then again in 1466, the Duke of Burgundy, Philip the Good purchased another suite for his niece, Catharine of Bourbon, the Duchess of Guelders.[6][8][17][18]
  • In 1505, Pasquier's son, Jean, sold another set (probably based on the same cartoons as the earlier sets) to Philip the Handsome, Duke of Burgundy.[8][35]

The Story of Nebuchadnezzar

edit
  • A set was sold in 1467-1468 to King Edward IV of England.[1][18]

Attributed tapestry sales to royal clients

edit

Some tapestry sales do not have archival documentation, but based on stylistic affinities with those surviving tapestries listed above, scholars have proposed that the following set of tapestries was a possible sale of Pasquier Grenier:[36]

Pastrana Tapestries

edit
Main article: Pastrana Tapestries
  • Attributed sale made by Pasquier Grenier: this set of tapestries celebrates the 1471 Portuguese conquest of the Moroccan cities of Asilah and Tangier.[36] The set of four tapestries was woven for Afonso V, King of Portugual, in the 1470s. In 1664, Fray Pedro da Silva e Mendonça (c. 1563), the son of Ruy Gómez de Silva, 1st Prince of Éboli donated the works to the Collegiate Church (Spanish: Sacristía Mayor de la Colegiata) in Pastrana, Spain, which is now the Parish Museum (Spanish: El Museo Parroquial) and where the tapestries are housed today.[36]
 
Tapestry with the Armorial Bearings and Badges of John Dynham, 1st Baron of Dynham, c.1487-1501, Southern Netherlands, wool and silk, 12 ft. 8 in. x 12 ft. 1 in., inv. no. 60.127.1, The Cloisters Collection, The Metropolitan Museum of Art, New York.

Heraldic of John Dynham, 1st Baron of Dynham

edit
Main article: John Dynham, 1st Baron Dynham § Heraldic tapestry

Patronage at the Church of Saint Quentin

edit

Architectural

edit

From the archival sources, scholars deduce that Pasquier Grenier accumulated significant wealth and status.[1][4] He became a patron of the Church of Saint Quentin, Tournai as early as 1464 or 1469,[Note 3] he provided the funds for the renovation of the east end (chevet) of the Church of Saint Quentin, including the addition of an ambulatory, eight new columns that supported the vaults of the choir, and three new chapels.[2][6][38][39] The central chapel (axial chapel) of the three was dedicated to the Seven Sacraments and later housed the sepulcher of Pasquier and his wife, Marguerite de Lannoy.[39] Pasquier paid in perpetuity for masses to be said in the family's honor four times a week.[6] Later, in 1519, Pasquier's son stipulated in his will that he too was to be buried in the same family chapel.[6]

Wall painting and tapestry

edit

In addition to paying for the structural changes and additions to the church that were completed by October 1474, Pasquier paid for frescoed wall paintings that were executed between 1474 and 1493, and made with tempera for the axial chapel's ceiling vaults.[6][38] In the vaults, the painting's imagery includes angels, the Four Evangelists (Matthew, Mark, Luke and John), chalices (or ciborium), Eucharistic hosts, and banderoles with text.[2][38] In the center of the keystone vault, Pasquier had a painted sculpture created that includes an angel supporting his coat of arms, but it was over-painted in the nineteenth century, thus the image is not an accurate representation of his crest.[6][38]

Sometime between 1464 or 1469 and 1474, Pasquier Grenier and Marguerite de Lannoy donated a set of seven tapestries of the Seven Sacraments to the Church of Saint Quentin that were in turn hung in the choir of the church.[1][2][6][8] Fragments that survive possibly from Pasquier's set (or more likely a related set that was woven from the same cartoons as those donated to the Church of Saint Quentin by Pasquier) are located in the collections of the Metropolitan Museum of Art,[40] the Victoria and Albert Museum,[41] and the Burrell Collection.[8] Scholars argue that the imagery of the panel in Glasgow includes donor portraits of Pasquier Grenier and his wife, Marguerite de Lannoy, along with their children, but other scholars like Adolph Cavallo doubt this represents the family.[6][8][39]

Death and legacy

edit

His testament is dated July 13, 1493 and was entered into record on July 24, 1493.[Note 4] [1][4][6][9][17] It is believed that he died on July 21, 1493.[6] His testament outlined the division of his property among his survivors, including many tapestry models and "cartoons" (French: "patrons") that he specifically left to be "equally divided" among "my children": Jean, Imbert, Colinet, and Antoine.[1][4][9][17] No tapestries were bequeathed in his testament, leaving scholar Guy Delmarcel to deduce that Pasqiuer was indeed a tapestry merchant in that he was essentially a financier who owned the copyright to his models, cartoons, and designs, and he would have likely subcontracted these out to different workshops and weavers who would in turn manufacture the tapestries to be sold on spec or made on the request of a specific patron.[17] Further evidence supports the argument that Pasquier was more of a merchant and agent than a workshop owner, as he did not own any low-warp looms or high-warp looms upon his death, nor did he have any stock of wool.[4][8][15]

Two of Pasquier's sons remained involved with the family business as tapestry dealers after their father's death: Jean (d. Feb. 1519)[9][42] and Antoine.[1] They both continued to sell tapestries till around 1520 to the leading noble families of Europe, including clients such as King Henry VII of England, Philip the Handsome, the Duke of Burgundy, and the Archbishop of Rouen, Georges d'Amboise.[1][8][9] In 1497, Antoine Grenier sold Georges d'Amboise a tapestry altar frontal to be displayed in the Archiepiscopal Palace in Rouen, and then in 1508, Antoine sold him other tapestries for his summer archiepiscopal residence, the Château de Gaillon.[8][9]

Notes

edit
  1. ^ The house was identified by Crick-Kuntziger as possibly the one called the "Hôtel du Porc" or the "Maison du Porcelet," demolished in the seventeenth century.
  2. ^ It remains unclear who Guillaume Grenier and how he was related to Pasquier Grenier. Some scholars have identified him as his nephew, as he was the son of a deceased man named Johannes (Jean) Grenier.
  3. ^ The date remains unclear because of an error made by earlier transcribers of the fifteenth-century letter, thus exact original date is unknown.
  4. ^ Eugène Soil de Moriamé misdated it as 1494 instead of 1493.

References

edit
  1. ^ a b c d e f g h i j k l m n o p q r s t McKendrick, Scot (2003), "Grenier, Pasquier", Oxford Art Online, Oxford University Press, doi:10.1093/gao/9781884446054.article.t034851, retrieved 2023-09-13
  2. ^ a b c d e Wells, William (1959). "The Seven Sacraments Tapestry - A New Discovery". The Burlington Magazine. 101 (672): 97–105. ISSN 0007-6287.
  3. ^ a b c d Joubert, Fabienne (2002). La tapisserie médiévale (in French) (3rd ed.). Paris: Éditions de la Réunion des Musées Nationaux. pp. 7, 27, 35. ISBN 978-2711844937.
  4. ^ a b c d e f g h i j k l m n o Dudant, Anne (1985). Les tapisseries tournaisiennes de la seconde moitié du XVème siècle au Musée d'histoire et d'archéologie de Tournai (in French). Mons: Fédération du tourisme de la province de Hainaut. pp. 9, 11, 13–15.
  5. ^ La Grange, Amaury de (1897). "Choix de testaments tournaisiens". Annales de la Société historique et archéologique de Tournai (in French). Nouvelle série, t. 2: 337, no. 1184.
  6. ^ a b c d e f g h i j k l m n o p q r s t u v w x Crick-Kuntziger, Marthe (1936). "Le tapissier Pasquier Grenier et l'église Saint-Quentin à Tournai". Revue Belge dilirchéologie et d'Histoire de l'Art. 6: 203–214.
  7. ^ a b c d e f g h i j k Lestocquoy, J. (1978). Deux siècles de l'histoire de la Tapisserie 1300-1500: Paris, Arras, Lille, Tournai, Bruxelles (in French). Arras: Mémoires de la Commission Départementale des Monuments Historiques du Pas-de-Calais. pp. 71–80.
  8. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad Cavallo, Adolph S. (1993). Medieval tapestries in the Metropolitan Museum of Art. New York: H. N. Abrams. pp. 58–59, 66–68, 70, 157, 166–170, 205, 242–243, 276, 583, figs. 61, 62. ISBN 978-0-87099-644-3.
  9. ^ a b c d e f g h i j k l m n o p q Soil de Moriamé, Eugène (1892). Les Tapisseries de Tournai, les tapissiers et les hautelissiers de cette ville, recherches et documents sur l'histoire, la fabrication et les produits des ateliers de Tournai (in French). Tournai; Lille: Vasseur-Delmée; L. Quarré. pp. 24, 34, 210, 236–243, 316–317.
  10. ^ a b Desmette, Philippe (2004). "Les confréries religieuses à Tournai aux XVe et XVIe siècles". In Maillard-Luypaert, Monique; Cauchies, Jean-Marie (eds.). De Pise à Trente: La réforme de l’Eglise en gestation: Regards croisés entre Escaut et Meuse (in French). Brussels: Facultés Universitaires Saint-Louis. pp. 85–125.
  11. ^ a b Salet, Francis (1988). "Remarques sur le vocabulaire ancien de la tapisserie". Bulletin Monumental. 146 (3): 211–229. doi:10.3406/bulmo.1988.3142.
  12. ^ a b Wilson, Katherine Anne (2013). "Tapestry in the Burgundian Dominions. A complex Object". In Paravicini, Werner; Hiltmann, Torsten; Viltart, Frank (eds.). La cour de Bourgogne et l'Europe. Le rayonnement et les limites d’un mode`le culturel; Actes du colloque international tenu à Paris les 9, 10 et 11 octobre 2007 (PDF). Ostfildern: Jan Thorbecke Verlag. pp. 317–331. ISBN 9783799574648. OCLC 826856449.
  13. ^ "Élites et magistrats tournaisiens à la fin du Moyen Âge (1423-1521)". École nationale des chartes - PSL (in French). 2015-09-24. Retrieved 2023-09-23.
  14. ^ a b c d e f g h i j Asselberghs, J. P. (1972). Les tapisseries tournaisiennes de la Guerre de Troie (in French). Brussels: Musées royaux d'art et d'histoire. pp. n.p.
  15. ^ a b c d e f g h Souchal, Geneviève; Salet, Francis (1973). Masterpieces of Tapestry: From the Fourteenth to the Sixteenth Century: An Exhibition at the Metropolitan Museum of Art, 1974. Paris / New York: Éditions des musées nationaux / Metropolitan museum of art. pp. 12–15, 17, 141. ISBN 978-0-87099-086-1.
  16. ^ Salet, Francis (1988). "Remarques sur le vocabulaire ancien de la tapisserie". Bulletin Monumental (in French). 146 (3): 211–229. doi:10.3406/bulmo.1988.3142.
  17. ^ a b c d e f g h i j k l m n o p Delmarcel, Guy (2000). Flemish Tapestry. New York, NY: Abrams. pp. 30, 33, 36, 61, 365–366. ISBN 978-0-8109-3345-3.
  18. ^ a b c d e f g M'Kendrick, Scot (1987). "Edward IV: An English Royal Collector of Netherlandish Tapestry". The Burlington Magazine. 129 (1013): 521–524. ISSN 0007-6287.
  19. ^ a b Smit, Hillie (1994). "Tapijhandel op Italië rod 1450. De Medicibank en de familie Grenier". Textielhistorische Bijdragen. 34: 13–29.
  20. ^ "The Tapestries". Doria Pamphilj - da 500 anni contemporanei all'arte. Retrieved 2023-09-23.
  21. ^ a b McKendrick, Scot (1991). "The Great History of Troy: A Reassessment of the Development of a Secular Theme in Late Medieval Art". Journal of the Warburg and Courtauld Institutes. 54: 43–82. doi:10.2307/751480. ISSN 0075-4390.
  22. ^ a b c Raggio, Olga (1999). The Gubbio Studiolo in the Metropolitan Museum of Art. Vol. 1: Federico da Montefeltro's Palace at Gubbio and its Studiolo. New York: The Metropolitan Museum of Art. pp. 73, 67–68, 185 (footnotes 49, 51). ISBN 978-0-87099-924-6.
  23. ^ "No. 2 Tapestry in Painted Chamber: Watercolour Drawing ca. 1790-1810 · V&A". Victoria and Albert Museum. Retrieved 2023-10-11.
  24. ^ "The War of Troy Tapestry · V&A". Victoria and Albert Museum. Retrieved 2023-10-11.
  25. ^ "Les collections du département des arts graphiques - Arrivée de Penthésilée: la bataille des amazones - Maitre de Coetivy". Louvre Museum (in French). Retrieved 2023-10-11.
  26. ^ "Probably produced through Jean or Pasquier Grenier | The Battle with the Sagittary and the Conference at Achilles' Tent (from Scenes from the Story of the Trojan War) | South Netherlandish". The Metropolitan Museum of Art. Retrieved 2023-10-11.
  27. ^ "Fragment from tapestry "The Rape of Helen," with soldiers in Paris' company - MFA Boston". Museum of Fine Arts, Boston. Retrieved 2023-10-11.
  28. ^ Avedillo, Fabriciano Martin (1989). Los tapices de la Catedral de Zamora (in Spanish). Zamora: Ediciones Fama. pp. 8–10. ISBN 978-84-86457-06-8. OCLC 28548957.
  29. ^ Asselberghs, J. P. (1970). Tapisseries héraldiques et de la vie quotidienne (in French). Tournai: Cathedrale de Tournai. p. 172. OCLC 33429988.
  30. ^ Castel, Albert (1879). Les Tapisseries. Paris: Hachette. p. 130.
  31. ^ "Esther and Ahasuerus, c. 1460-1485, Flanders". The Minneapolis Institute of Art. Retrieved 2023-10-11.
  32. ^ Hochner, Nicole (2010). "Imagining Esther in Early Modern France". The Sixteenth Century Journal. 41 (3): 757–787. ISSN 0361-0160.
  33. ^ Anonyme (1470), Tapisserie : scène de l'histoire d'Esther, Vashti refusant l'invitation d'Assuérus, retrieved 2023-10-11
  34. ^ "Wawel Royal Castle - official website - tickets, informations, reservations". wawel.krakow.pl. Retrieved 2023-10-11.
  35. ^ a b c Warburg, Aby (1998). "Arbetende Bauern auf burgundischen Teppichen". In Bredekamp, Horst (ed.). Gesammelte Schriften: Studienausgabe (in German). Vol. 1. Berlin: Akademie Verlag. pp. 221–229. ISBN 978-3-05-003284-9.
  36. ^ a b c Fundación Carlos de Amberes; National Gallery of Art, eds. (2011). The Invention of Glory: Afonso V and the Pastrana Tapestries [National Gallery of Art, Washington, September 18, 2011 - January 8, 2012; Meadows Museum, Southern Methodist University, Dallas, February 5, 2012 - May 13, 2012]. Madrid: Ediciones El Viso. ISBN 978-84-95241-84-9.
  37. ^ "Tapestry with Armorial Bearings and Badges of John, Lord Dynham | South Netherlandish". The Metropolitan Museum of Art. Retrieved 2023-10-12.
  38. ^ a b c d Moris, Stéphanie (2005). "En l'église Saint-Quentin: Les peintures des voûtes de la chapelle funéraire de Pasquier Grenier" (PDF). Bulletin de l'association Pasquier Grenier (in French). 83: 3–15.
  39. ^ a b c Deshoulières, François (1937). "L'église Saint-Quentin à Tournai". Bulletin Monumental (in French). 96 (1): 108–109.
  40. ^ "Scenes from the Story of the Seven Sacraments, God the Father Uniting Adam and Eve, and David Being Annoited King at Hebron | South Netherlandish". The Metropolitan Museum of Art. Retrieved 2023-10-11.
  41. ^ "Confirmation from the Seven Sacraments, Tapestry, 1470-1475 · V&A". Victorian and Albert Museum. Retrieved 2023-10-11.
  42. ^ Pasquier Grenier in the RKD
Retrieved from "https://en.wikipedia.org/w/index.php?title=User:DrMedRenArtHistory/Pasquier_Grenier&oldid=1181254288"