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Illuminated Manuscripts




B3956. St. Albans Psalter / Collins, Kidd, & Turner
B3956. The St. Albans Psalter: Painting and Prayer in Medieval England by Kristen Collins, Peter Kidd, and Nancy K. Turner. 2013. 104pp. 7.75"x11". Paper

Created between 1120 and 1140, the St Albans Psalter is one the most important, famous, and puzzling books produced in the twelfth century. Unlike most prayer books of the times, the St. Albans Psalter includes more than 40 full-page illuminations and over 200 historiated initials. The manuscript’s powerfully drawn figures and saturated colors are distinct and signal the arrival of the Romanesque style of illumination in England. Decorated with gold and precious colors, the Psalter offers a display unparalleled by any other English manuscript of the period. This newly published book is rich with exquisite images from the manuscript.



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B3957. Scripsit 35.2: Brady, Brady, Shapiro, Leung, Marjina, Fedor, Yallop
B3957. Scripsit 35.2. Designed and edited by Michael Clark. 2013. 36pp. 8.5"x11". Paper

A collection of calligraphy, lettering, and logos from around the world, with work by Larry and Marsha Brady (USA), Sergey Shapiro (Russia), Patrick Leung (Hong Kong), Marina Marjina (Russia), James Fedor (USA), and Rachel Yallop (UK). Includes work for reproduction as well as one-off pieces - with pointed pen, broad-edged pen, and brush letters.



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B2179. Nature Illuminated
Nature Illuminated: Flora & Fauna from
the Court of Emperor Rudolph II.
Hardcover

Similar book from the same manuscript
as The Art of the Pen (B2547).



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B3168-P. Gilded Page PB / Whitley
The Gilded Page: The History and Technique of Manuscript Gilding by Kathleen P. Whitley. 2009. 238pp. 6"x9". Paperback.

Explains in detail the historical and modern techniques of manuscript gilding, along with recipes and helpful hints. Learn step-by-step methods of applying and burnishing gold, described in a sensible and easy-to-understand way. Learn about the tools, methods, and materials employed in flat, raised, and pattern gilding for manuscripts and paintings, along with historical mordants such as Gesso Sottile, Gum Ammoniac, Gum Arabic, and Garlic Juice; and modern mordants such as Acrylic Gesso and White Glue. Second edition; revised, with the addition of color plates and new information on ancient Egyptian Papyrus gilding.



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B2578. Materials & Tech of Medieval Paint
The Materials and Techniques of Medieval
Painting
By Daniel V. Thompson. 239pp. Paper.

Recommended by Sheila Waters in her illuminated initials workshop. Excellent introduction for illuminators and painters. Cover carriers and grounds, including the different types of surfaces used and their preparation. Followed by a section on binding media consisting of binding methods and vehicles, their viscosity and transparency effects, and the pros and cons of different binding media, glazes and varnishes. Gives a classification of medieval pigments divided into smaller sections for each main color. Includes pigment mixing, reaction, permanence problems, confusion of identification, and history. Metals are also discussed, including types of gold media and gilding methods. Essential for anyone interested in the building blocks of medieval painting.

Price increased by publisher May 2008.



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B4029. Irish Hand, The / O’Neill
B4029. The Irish Hand: Scribes and their Manuscripts from the Earliest Times by Timothy O’Neill. 2014. 148pp. Approx. 11.75"x 9.25". Hardcover

This revised and expanded edition has high quality, full-color digital images of the works of Irish scribes throughout the centuries. (The original edition was in black & white.) The first part is a survey of the manuscript tradition, followed by essays and full-page images for thirty-one of the great books of Ireland. The context, contents, and history of each manuscript are given, accompanied by a full-page illustration. The second part surveys the work of the scribes from a practical perspective, examining script and lettering in detail. Extracts are given from fifty-two manuscripts, transliterated and translated, with a commentary on the pen work. The Irish Hand covers 1,500 years of Irish script and letter design from the sixth to the twenty-first century.




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B4032. Illuminated Manuscripts: Masterpieces of Art
B4032. Illuminated Manuscripts: Masterpieces of Art. 2014. 128 pp. 8.5"x9". Hardcover

An introduction to illuminated manuscripts is followed by 95 full-page reproductions of illuminated manuscript pages from the 8th-century Lindesfarne Gospels to 16th-century Renaissance manuscripts from the British Library’s collection. Includes a good number of pages from lesser-known manuscripts.




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B4202. Illuminating Women in the Medieval World / Sciacca
B4202. Illuminating Women in the Medieval World by Christine Sciacca. 2017. 120pp. 7"x9". Hardcover.

When one thinks of women in the Middle Ages, the images that often come to mind are those of damsels in distress, mystics in convents, female laborers in the field, and even women of ill repute. In reality, however, medieval conceptions of womanhood were multifaceted, and women’s roles were varied and nuanced. Female stereotypes existed in the medieval world, but so too did women of power and influence. The pages of illuminated manuscripts reveal to us the many facets of medieval womanhood and slices of medieval life—from preoccupations with biblical heroines and saints to courtship, childbirth, and motherhood. While men dominated artistic production, this volume demonstrates the ways in which female artists, authors, and patrons were instrumental in the creation of illuminated manuscripts.

Featuring over one hundred illuminations depicting medieval women from England to Ethiopia, this book provides a lively and accessible introduction to the lives of women in the medieval world.



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B4192. Image on the Edge
B4192. Image on the Edge: The Margins of Medieval Art by Michael Camille. 2004. 176pp. 6"x9".

Recommended by Annie Cicale for her LetterWorks 2017 class.

What do they all mean – the lascivious ape, autophagic dragons, pot-bellied heads, harp-playing asses, arse-kissing priests and somersaulting jongleurs to be found protruding from the edges of medieval buildings and in the margins of illuminated manuscripts? Michael Camille explores that riotous realm of marginal art, so often explained away as mere decoration or zany doodles, where resistance to social constraints flourished.

Medieval image-makers focused attention on the underside of society, the excluded and the ejected. Peasants, servants, prostitutes and beggars all found their place, along with knights and clerics, engaged in impudent antics in the margins of prayer-books or, as gargoyles, on the outsides of churches. Camille brings us to an understanding of how marginality functioned in medieval culture and shows us just how scandalous, subversive, and amazing the art of the time could be.



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