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
**Discontinued with Limited Stock**
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.
B2179. Nature Illuminated Nature Illuminated: Flora & Fauna from the Court of Emperor Rudolph II 1997. 64pp. 7.25" x 5.25". Hardcover
The court of Holy Roman Emperor Rudolf II produced nothing more amazing than the Mira calligraphiae monumenta, a brilliant demonstration of two arts--calligraphy and miniature painting. The project began when Rudolf's predecessor, Ferdinand I, commissioned master calligrapher Georg Bocskay to create a model book of calligraphy. A preeminent scribe, Bocskay assembled a vast selection of contemporary and historic scripts.
Years later, at Rudolf's behest, miniaturist Joris Hoefnagel filled the spaces on each manuscript page with insects, fruits, flowers, and other botanical images. The combination of word and illustration is rare and, on its tiny scale, constitutes one of the marvels of the Central European Renaissance.
Nature Illuminated reproduces forty-one pages from the original codex. Those who love and collect beautiful books will be endlessly fascinated by Hoefnagel's imagery and invention. The accompanying commentary identifies and explains the details of Hoefnagel's exquisitely crafted illuminations.
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.
B2578. Materials & Tech of Medieval Painting The Materials and Techniques of Medieval Painting by Daniel V. Thompson. 239pp. 5.5"x8.5". 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.
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 centuries.
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.
B4224. Bible from Late Antiquity to the Renaissance, The B4224.The Bible from Late Antiquity to the Renaissance: Writing and Images from the Vatican Library. Edited by Ambrogio M. Piazzoni. 2017. 9.5"x13.5". Hardcover
This volume is a journey though manuscripts of the Bible, tracing its development from Late Antiquity to the Renaissance era, guided by international experts who discuss both the manuscripts and their text. The many writers were given unprecedented access to the Vatican Library archive, the world's largest and most diverse collection of Bibles, in both their calligraphic and illuminative expression. Each manuscript has at least one of its pages shown in all its glory, full-page size in this new book. Many of the images shown are available here for the first time, allowing you to marvel at the wisdom of the writings and beauty of the illustrations.
B4322. Knightly Art of Battle / Mondschein B4322. The Knightly Art of Battle by Ken Mondschein. 2011. 128pp. 6.2"x9". Paper
This volume offers an intriguing glimpse into the world of late medieval martial arts, from wrestling to fencing with the longsword to the subtle tricks that could be employed when jousting on horseback. Using superb details of lively pen drawings highlighted with gold leaf, the book features some of the most interesting selections from Fior di Battaglia (The Flower of Battle), a manuscript by the renowned Italian fencing master Fiore dei Liberi depicting the knightly arts of fighting with swords, daggers, and polearms, on foot and on horseback, and in and out of armor.
B4320. Warfare in Medieval Manuscripts /Porter B4320. Warfare in Medieval Manuscripts by Pamela Porter. 2018. 112pp. 6"x7.5". Hardcover
The glamour associated with knights in shining armor, colorful tournaments, and heroic deeds appeal strongly to the modern imagination. However, few pieces of military dress and equipment have survived, so for a comprehensive view of the nature of medieval warfare we rely on written documentation and the information preserved in paintings, sculptures, carvings, and other pictorial sources. The most numerous of these are the miniatures and drawings found in manuscript books, partly because books tend to survive better that other artefacts and partly because many individual volumes contain multiple representations. Pamela Porter presents a variety of evocative manuscript illuminations and reveals them as a source of information about military dress, equipment, and practices.
B4321. Sea Monsters... /Van Duzer B4321. Sea Monsters on Medieval and Renaissance Maps by Chet Van Duzer. 2014. 144pp. 8"x9". Hardcover
In Sea Monsters on Medieval and Renaissance Maps, Chet Van Duzer analyzes the most important examples of sea monsters on medieval and Renaissance maps produced in Europe. Van Duzer begins with the earliest mappaemundi on which these monsters appear in the tenth century and continues to the end of the sixteenth century and, along the way, sheds important light on the sources, influences, and methods of the cartographers who drew or painted them.