The outstanding Lygo Collection of Qur’an manuscripts, which date from around a century after the Prophet Muhammad’s death in 632 CE to the middle of the 16th century, includes pages from some of the most celebrated manuscripts of the period as well as lesser-known ones, and provide a comprehensive overview of stylistic developments in Qur’anic calligraphy and illumination. More
Andre Beauneveu: 'No Equal in Any Land' - Artist to the courts of France and Flanders
216 pages, hardback, 270 x 220 mm, 160 colour illustrations
ISBN: 978 1 903470 66 4
Edited by Susie Nash. With essays by Till-Holger Borchert and Jim Harris
This catalogue accompanied an exhibition at the Groeninge Museum, Bruges, which celebrated one of the greatest European artists of the late fourteenth century, André Beauneveu, apparently born in Valenciennes c. 1335. Active throughout the Southern Netherlands, his reputation grew swiftly and in 1364 he was commissioned by the King of France, Charles V, to create a group of royal tombs at St Denis. In the 1370s he oversaw another ambitious funerary project, for Louis de Mâle, Count of Flanders, at Courtrai, whilst continuing to undertake major civic commissions at Ypres, Mechelen and his home town of Valenciennes. Beauneveu spent the last years of his career in Bourges working for the most celebrated royal patron of all, Jean, Duc de Berry.
The extraordinary scope of Beauneveu's talent was fully exploited by Jean de Berry, for whom he produced manuscript illuminations, made designs for stained glass and oversaw the construction of his château at Mehun-sur-Yevre. However, it is primarily his unrivalled skill in the handling of stone which gives Beauneveu such significance, not only in the context of Northern sculpture but also for the arts of Europe as a whole.
The known sculptural oeuvre of Beauneveu, however, is not substantial. The reappearance of the Virgin and Child once in the collection of Eduoard Aynard at the Abbey of Fontenay and its new attribution to this sculptor "who had no better nor equal in any land" dramatically increases our knowledge of his work and must entail a rethink of many histories of French and Flemish art in the fourteenth century, for we now have not two but three life-sized figures from which our view of his style and achievements can be formed.
Published for the Groninge Museum, Bruges
Given the status of the Qur‘an as the eternal and uncreated word of Allah, the art of the pen became the focus of an extraordinary energy in the Muslim world. Ink and Gold charts the development of Islamic calligraphy – the noblest, most stylized and original of the Islamic arts – over a period of some 1200 years, from its beginnings in the Arabian Peninsula. More
The selection consists of Qur’ans, illustrated Islamic manuscripts and scientific and religious manuscripts. All are handsomely illustrated and fully discussed. The manuscripts are from all parts of the Islamic world and represent the finest achievements of the form. More
Amorous Delight: The Amarushataka Palm-Leaf Manuscript. Illustrated by the Master of Sharanakula in the 19th Century (Orissa, India)
Around 1800, an anonymous engraver in Sharanakula, a small temple place on the southern coast of Orissa, illustrated a palm-leaf anthology of love poems. The one hundred Sanskrit quatrains, which are said to be the work of the 7th-century poet Amaru, describe the behaviour of enamoured couples, their longing for each other, the lovers’ anxieties, their ecstatic joy as well as their doubts and sorrows. More
Produced for the Association Internationale de Bibliophilie, this book traces the development of the early Ottoman style under influence from their neighbours; the impact of the patronage of Sultan Mehmed the Conqueror; and the development of the ‘classical’ style under his successor Bayezid II. A catalogue section provides beautiful illustrations of 41 masterpieces of bookbinding; with technical appendices, bibliography, concordance and index. More
Illuminator, painter, scribe, clerk, teacher, doctor of theology, restorer and binder, Mesrop was one of the greatest Armenian artists of his and following generations. He was prolific, working for at least forty-two years in Sos (New Julfa) from 1608 to 1651. This book will be the first serious study of the 46 of his manuscripts that have survived. The focus of the book, however, is The Four Gospels, one of the few manuscripts painted entirely by Mesrop’s hand and one of the most extensively illuminated in his oeuvre. More