PLEASE NOTE: The book may be smaller than expected. See description below. The Master of Mary of Burgundy: A Book of Hours for Engelbert of Nassau, with an introduction by J.J.G. Alexander. Published by George Braziller in 1970. First edition. A nice, compact reproduction of a late 1400s Catholic book of hours produced in Flanders by the "Master of Mary of Burgundy", for Engelbert II, Count of Nassau. Each page is devoted to a specific prayer for different times of the day, and the book has accompanying academic descriptions to aid in the study and enjoyment of the illuminated manuscripts. Condition: The book is in very good condition. Binding is fresh and immaculate, no major issues. Pages are excellent. Has a pen inscription from a previous owner on front endpaper. Slip case is nice. See photos for more detail. Dimensions: 6” by 4.5”
The past was full of amazing and strange trends! In the first part, we take a look at some bizarre trends from last 3000 years of fashion
I wrote earlier before about Mary of Burgundy and what she used to wear, but her signature style was what is best described as the Burgundian take on a witch hat. This type of hat is called a trunc…
There are so many kruselers out there, differing in looks and most likely also in technique. Following up on my last blogpost here comes some thoughts on construction of the less elaborate kruselers, mostly seen in 15th Century art. Some say they must all be woven frilled edges. However, there seems to be exceptions. Mary from "The Deposition" by Rogier van der Weyden, 1435. Here we see a clear example of what must be a woven frilled edge and it is looking the same through most of Rogier van der Weyden's art. This is obviously an expensive and exclusive fabric, woven by professionals, and you can find it recreated today, but it is costly. Just how exclusive it was can be shown also in the fact that Jesus loin cloth is depicted as frilled, from the time he was wrapped as a baby until his death. Epitaph for Konrad Winkler and his wives Kundigunde and Adelhaid, Nürnberg 1431. The same simple frill can also be used in more elaborate styles by simply using it in multiple layers. Portrait of Giovanni Arnolfini and his Wife (detail) 1434 by Jan van Eyck Detail from St. John Altarpiece by Rogier van der Weyden, 1455 - 1460 The same frilled fabric also seems to be in use in the German styles of late 15th Century, pressing on to the fashions of 16th Century. Here we see one of many examples where it is combined with a vulst. Portrait of a woman from the Hofer Family, artist unknown, ca 1470 Frills are also in use in Burgundy, England and France, although adapted to the local headdress fashion. Portrait of Mary of Burgundy wearing a small frill under her hennin. Portrait of a young woman, possibly Anne de Dreux, ca 1490. And by now you are starting to wonder if I will ever get to the point. Where there possibly exceptions from the woven frill in plain single rows? I did find some beautiful frills that do give the impression of having a seam connecting it to the veil, even though it is a single frill when visiting the Germanisches National Museum in Nürnberg on New Years. And they are from the 14th Century, not the 15th. Mary, from Frauenkirche in Nürnberg, ca 1360 Female statue from a church in Nürnberg ca 1360. And in case you now are wondering the artform might have an impact on how the frills are depicted, here is another one in stone, clearly without the line that I would like to interpret as a seam. Same church and same period as the first one. Statue from the south portal av the Frauenkirche in Nürnberg, ca 1360. So one can not state, in my opinion, that frills were only woven when done in single rows and simpler styles. Good to know, now I will not have to spend like half a month´s salary on a frilled veil, I can make one myself. Even though I really really like one that is woven.
Mary of Burgundy was in her time a fashion icon, because her parents had a lot of money and they were very interested in the latest fashion. Nowadays Paris and Milan are the places to be for fashio…
The Lady of Tournament delivering the Price. Our engraving representing this ceremony, forms the last of the series of drawings by King Rene.
Mary of Burgundy's gown (1475-1500). Donated in 1522 by Mary's Granddaughter.
I wrote earlier before about Mary of Burgundy and what she used to wear, but her signature style was what is best described as the Burgundian take on a witch hat. This type of hat is called a trunc…
I wrote earlier before about Mary of Burgundy and what she used to wear, but her signature style was what is best described as the Burgundian take on a witch hat. This type of hat is called a trunc…
I wrote earlier before about Mary of Burgundy and what she used to wear, but her signature style was what is best described as the Burgundian take on a witch hat. This type of hat is called a trunc…
I wrote earlier before about Mary of Burgundy and what she used to wear, but her signature style was what is best described as the Burgundian take on a witch hat. This type of hat is called a trunc…
Conical hennins like these were worn from 1430 and onward mainly in Burgundy and France but even in England, Poland and Hungary. It wasn’t very common in Italy though. In the beginning they w…
Women and veils are nowadays something we almost exclusively see as a “Muslim thing” or maybe also a Roman-catholic thing if we include nuns. But in the 15th century all respectable Eur…
Mary of Burgundy became Duchess of Burgundy after the death of her father Duke Charles the Bold in January 1477.
The British Library's current major exhibition, Anglo-Saxon Kingdoms, is a treasure-trove of marvellous manuscripts and astonishing artefacts. One of those many treasures is an 8th-century manuscript known as the Vespasian Psalter (Cotton MS Vespasian A I). Here we piece together its fascinating history. The opening of Psalm 68 (‘Salvum me...
Women and veils are nowadays something we almost exclusively see as a “Muslim thing” or maybe also a Roman-catholic thing if we include nuns. But in the 15th century all respectable Eur…
Women and veils are nowadays something we almost exclusively see as a “Muslim thing” or maybe also a Roman-catholic thing if we include nuns. But in the 15th century all respectable Eur…
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With the twin goals of our readers’ edification and entertainment forever at the forefront of our minds, we at the BL Medieval Manuscripts Blog have hatched a plan for a series of posts on saints over the coming weeks and months, timed to coincide with their individual feast days. In...
A predella of a lost altarpiece, originally installed in St. Bavo's Cathedral in Ghent, by the Vienna Master of Mary of Burgundy. It was painted somewhere between ca. 1469 and ca. 1483, the time when this Flemish illuminator/painter was active. A date around 1480 seems acceptable. Note the combination of contemporary and biblical/fanciful/all'antica armour.
