English Coats of Arms, 1550

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English Coats of Arms, 1550

99.99

English Coats of Arms

Author: unknown

Date: 1540-1560

Language: French

Pages: 130

Price: $99.99

Description:

In the mid-16th century, tradesmen working for the Fugger mercantile and banking empire and commissioned by the Augsburg patrician and book lover Johann Jakob Fugger were busy acquiring new treasures, from sources near and far, for Fugger’s huge collection of books. To enlarge his collection of European dynastic history and heraldry, a special interest of Fugger’s in 1545–50, he procured this work, the latest version of the armorial of the English nobility. The collection opens with a magnificent coat of arms of King Henry VIII (reigned 1509–47) in gold and silver and shining colors. Among the coats of arms are also the king’s heraldic badges (personal devices), including the Tudor rose and the blue sash of the Order of the Garter with golden edgings and embroidered with the golden motto: Honi soit qvi mal y pense (Evil to him who evil thinks). This is followed by the coats of arms of the families of Henry’s six wives, of the 12 most important peers of England and Ireland, and of the members of the Order of the Garter. Then come the arms of the English royal family, of the English nobility, of English bishops, and of other English families. In 1571 business difficulties forced Johann Jakob to sell his book collection to Albert V of Bavaria. The armorial together with Fugger’s entire library came into the Munich Court Library, predecessor to the Bavarian State Library.

Reproduction Details: The hardcover books are made with two pieces of real wood on the inside. The leather is a 4 oz cowhide, from a small supplier in New York state. The Glue we use to attach the leather to the wood is made at our facility, and is a period correct wheat glue. Along the spine, we use a modern perfect binding, with modern glue, to make the binding last longer. Then we each signature is sewn into the book block. We also add three layers of mull cloth to the outside of the perfect binding, drying in between each layer, a traditional way to make the binding stiff, strong, and resilient.


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