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Jane Geddes

Deluxe manuscript (Aberdeen, U. Lib., MS. 24) made in England around 1200. It is remarkable for its lavish illustrations, amply covered in gold leaf; for the wealth of its codicological data and for its close relationship to the Ashmole Bestiary. The book was left unfinished, so sketches and the detailed instructions for its colouring and assembly remain visible. The last few pages were completed in the 14th century. The book begins with a Creation cycle of full-page miniatures culminating in Adam Naming the Animals and Christ in Majesty. A portrait or narrative illustration of each animal precedes every text description.

The manuscript contains the press mark of King Henry VIII’s library, mainly assembled after the dissolution of the monasteries, but its provenance before 1542 is not known. Muratova (1986, pp. 118–144) uses cumulative information from a group of related manuscripts to suggest a provenance in the north-east Midlands; Geddes (...


Brian North Lee


Engraved or printed mark of ownership affixed to a book. The earliest, woodcuts from c. 1470, were for Hans Igler, called Knabensberg, with a hedgehog as a pun on his name, and two that recorded gifts to the Carthusian monastery of Buxheim by Wilhelm von Zell and Hildebrand Brandenburg. Usage spread quickly in Germany, encouraged by the participation of Albrecht Dürer, Lucas Cranach (i), the Little Masters of copper-engraving and others. Their works inspired some fine bookplates of later centuries; but though many distinguished artists have subsequently lent their talents to bookplate-making, until the latter part of the 19th century most bookplates were the work of trade engravers.

In the 16th century, although western Europe adopted bookplates, significant contemporary styles emerged only as usage developed, from c. 1650 in France and c. 1700 in Britain and elsewhere in Europe. Earlier, notably in France, gold or blind stamping of bindings was more favoured. Many early ...


Laurence Guilmard Geddes

French family of miniature painters. Alexandre du Guernier I (c. 1550–c. 1628) worked in Paris as a painter on vellum, decorating devotional books. His son Louis du Guernier I (b Paris, 14 April 1614; d Paris, 16 Jan 1659) was probably his father’s pupil but also studied with Simon Vouet. In 1648 he was one of the founders of the Académie Royale de Peinture in Paris. In 1655 he was appointed professor, and he became conseiller the following year. His portrait by his brother-in-law Sébastien Bourdon was engraved by his pupil Jacques-Samuel Bernard. Du Guernier’s surviving miniatures reveal a delicate and flowing hand and include portraits of Louise Henriette of Orange (1643; Dutch Royal Col.), John Cecil, 4th Earl of Exeter (Burghley House, Cambs) and James, Duke of York (1656; Amsterdam, Rijksmus.), the future James II, King of England (reg 1685–8). Also attributed to du Guernier is a portrait miniature of ...