Marjan Debaene and Hannah de Moor, Foreword
Part I: Commissions and Commissioners from North to South
Magali Briat-Philippe, The Statuary of the Royal Monastery of Brou: An Important and Singular Witness of Brabantine Sculpture between 1513 and 1522
Catheline Périer-D’Ieteren, Emmanuelle Mercier, and Myriam Serck-Dewaide, The Adoration of the Magi in San Nazaro, Milan: An Unknown Work by Jan Borman II?
Marjan Debaene and Claire Dumortier, The Bormans and Leuven: An Analysis of Known and Newly Discovered Documents in the Leuven City Archives concerning Jan I Borman, the Borman Family, and Their Artistic Activity in Leuven in the Fifteenth Century
Hannah De Moor, In Search of the Patrons of Netherlandish Carved Altarpieces in Sweden
Ragnhild M. Bø, The Resurrected Christ Appearing to His Mother and the Seven Joys of the Virgin: Borman and Beyond
Adam Harris Levine, Borman Reliquaries in their Iberian Context
Emilio Ruiz de Arcaute Martínez, Originals or Copies? Interesting Contributions regarding the Technical Study of Some Borman Reliquary Busts
Part II:Style, Materials, Techniques, and Workshop Organisation
Michel Lefftz, De Rogier van der Weyden à Jan Borman I: Transferts, rivalité et émulation dans la peinture et la sculpture des anciens Pays-Bas au XVe siècle
Elisabeth Van Eyck and Ria De Boodt, Reunited? Case Study about an Early Sixteenth-Century Carved Wooden Altarpiece and Its Painted Shutters
Ingrid Geelen, The Polychromers of the Borman Altarpieces
Christel Theunissen, Lost and Found: Tracing the Origin of Scattered Choir Stall Fragments
Seppe Roels and Marieke Van Vlierden, Mallets, Flowers, and Circles: Marks on Sculptures Related to the Borman Workshops: A Preliminary Comparison
Index
In September 2019, ten years of interdisciplinary research culminated in the first-ever monographic exhibition on the Borman family, titled Borman and Sons. The Best Sculptors (20.09.19–26.01.20) at M Leuven. The exhibition was accompanied by a new publication on the Borman family of Brussels sculptors, who were active from the second half of the fifteenth century into the second third of the sixteenth century. The 6th Annual Ards Colloquium, held at M Leuven in November 2019, provided an in-depth contextualisation of the sculptural work of the Borman family. While a document from 1513 refers to the Bormans as ‘the best sculptors’, they did not operate in isolation. Brussels was a thriving artistic centre―a cultural hub that hosted numerous talented and influential artists, all working under the patronage of high-profile commissioners. This volume presents papers that explore the Bormans’ role within the artistic context of the Duchy of Brabant, alongside discussions of stylistic and iconographical themes, as well as new discoveries concerning their commissions and works.
