Follower of Barna da Siena|Follower of Lippo Memmi (Italian, Sienese, active mid-14th century)Biblio.com
1 592 résultats
334757Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 14th century mid-14th century. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
334760Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 14th century mid-14th century. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
334759Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 14th century mid-14th century. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
334748Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 14th century mid-14th century. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
334745Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 14th century mid-14th century. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
334747Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 14th century mid-14th century. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
334746Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Met. Created in the 14th century mid-14th century. Professionally printed on premium fine-art paper Photo Rag 308 in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
17-3139Rome: 19th Century Italian Publisher 1800s. Original color print. 10 x 7.5 inches. Very Good. Mounted on board. Light matting. [Rome?]: [19th Century Italian Publisher], [1800s]. unknown
1997BN150133Hildesheim : Olms 1997. 1997. Saeculum tamquam aureum : Vorträge. Internationales Symposion zur Italienischen Renaissance des 14. - 16. Jahrhunderts am 17./18. September 1996 in Mainz. Akademie der Wissenschaften und der Literatur Mainz. Hrsg. von Ute Ecker und Clemens Zintzen <br/><br/>Saeculum tamquam aureum : Vorträge. Internationales Symposion zur Italienischen Renaissance des 14. - 16. Jahrhunderts am 17./18. September 1996 in Mainz. Akademie der Wissenschaften und der Literatur Mainz. Hrsg. von Ute Ecker und Clemens Zintzen Renaissance / Geschichte / Italien - Ecker Ute Hrsg. Hildesheim : Olms unknown
1633P5193Rome: Stephanus Paulinus 1633. Very Good. Notes: Set of 3 botanical prints published in De Florum Cultura. Image Size : 195x135 mm 7.68x5.31 Inches Platemark Size : Paper Size : 242x172 mm 9.53x6.77 Inches Coloring: Hand Colored Medium: Copper Engraving Categories: Natural History Botany; Stephanus Paulinus unknown
187230612Didier Et Cie. 1872. Hardcover. Very Good in No Dust Jacket dust jacket. Former owner's name in pencil to half-title. Foxing passim. Book has been rebound in 1/2 green leather boards with marbled boards. Marbling to endpapers and pastedowns. 5 raised bands to spine. Intricate tooling to spine with gilt spine. Rubbing and edgewear to spine ends and corners Some leather has flecked off. Review pasted down to front inner cover. Very attractive book.; Traduit de L'Anglais Avec des Additions et des Notes par Paul Allard. 517 pages 20 plates and folding atlas; 517 pages . Didier Et Cie hardcover
196022609Rome: NP 1960. Softcover. g. 4to. 633pp. Original wraps illustrated in color and b/w. Photographic endpapers. Interesting work published prior to the 1960 Summer Olympics in Rome to promote the Games. Profusely illustrated with color and b/w reproductions of architecture tourist attractions as well as sports stadiums and venues used in the Olympiad. Minor age wear creasing and staining on wraps. Age yellowing and slight rippling to pages due to damp exposure. Overall good to very good condition. NP unknown
188525461X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
197037925Harvard University Press. 1970. Hardcover. Very Good in Very Good- dust jacket. Former owner's name on ffep in black marker. DJ spine sunned. DJ has chipping and tears. Dustjacket is protected in plastic sleeve.; D'Arms examines the role of the towns around the Bay of Naples in ancient Roman society. From around the second century BC until the fourth century AD these Towns and private villas around the bay of Naples became the centre of fashion and decadence for the Roman aristocratic elite.; 264 pages . 0674779258 . Harvard University Press hardcover
197032383Harvard University Press. 1970. Hardcover. Very Good in Good dust jacket. Gift inscription from author to ffep in pen. Foxing to top of textblock. DJ spine sunned. DJ has chipping and a few tears. DJ is price-clipped.; D'Arms examines the role of the towns around the Bay of Naples in ancient Roman society. From around the second century BC until the fourth century AD these Towns and private villas around the bay of Naples became the centre of fashion and decadence for the Roman aristocratic elite.; 264 pages; Signed by Author . 0674779258 . Harvard University Press hardcover
197027518Harvard University Press. 1970. Hardcover. Very Good in Very Good- dust jacket. Scholar's bookplate to inner cover G. P. Goold. DJ spine sunned. DJ has chipping and a few tears 2 repaired with cellotape.; D'Arms examines the role of the towns around the Bay of Naples in ancient Roman society. From around the second century BC until the fourth century AD these Towns and private villas around the bay of Naples became the centre of fashion and decadence for the Roman aristocratic elite.; 264 pages . 0674779258 . Harvard University Press hardcover
1735038060Rome Cira 1735 1735. 1st Edition 1st Printing. No Binding. Very Good. Original Engraving Colored In Shades Of Gray. Trimmed To Margins All Around. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Arthur Pond C.1705-1758 Was An English Painter And Engraver. He Was Educated In London And Stayed For A Time In Rome Studying Art In Company With The Sculptor Roubiliac. He Became A Successful Portrait-Painter. He Was Elected A Fellow Of The Royal Society In 1752 And Died In Great Queen Street Lincoln's Inn Fields 9 September 1758. His Numerous Original Portraits Include Alexander Pope William Duke Of Cumberland And Peg Woffington. Pond Was Also A Prolific Etcher And Used Various Mixed Processes Of Engraving By Means Of Which He Imitated Or Reproduced The Works Of Masters Such As Rembrandt Raphael Salvator Rosa Parmigianino Caravaggio And The Poussins. In 1734-5 He Published A Series Of His Plates Under The Title Imitations Of The Italian Masters. He Also Collaborated With George Knapton In The Publication Of The Heads Of Illustrious Persons After Jacobus Houbraken And George Vertue With Their Lives By Thomas Birch London 1743-52; And Engraved Sixty-Eight Plates For A Collection Of Ninety-Five Reproductions From Drawings By Famous Masters In Which Knapton Was Again His Colleague. Another Of His Productions Was A Series Of Twenty-Five Caricatures After Pier Leone Ghezzi Republished In 1823 And 1832 As Eccentric Characters. <br/> <br/> unknown
1735038059Rome Circa 1735 1735. 1st Edition 1st Printing. No Binding. Very Good. Original Engraving Colored In Shades Of Red-Brown. Trimmed To Margins All Around. One Of A Large Collection Of Original Antique Engravings Formed By A Southern California Artist In The Early To Middle Twentieth Century. Each Plate Has Small Glue Marks On Reverse Where They Were Tipped In To An Album. Arthur Pond C.1705-1758 Was An English Painter And Engraver. He Was Educated In London And Stayed For A Time In Rome Studying Art In Company With The Sculptor Roubiliac. He Became A Successful Portrait-Painter. He Was Elected A Fellow Of The Royal Society In 1752 And Died In Great Queen Street Lincoln's Inn Fields 9 September 1758. His Numerous Original Portraits Include Alexander Pope William Duke Of Cumberland And Peg Woffington. Pond Was Also A Prolific Etcher And Used Various Mixed Processes Of Engraving By Means Of Which He Imitated Or Reproduced The Works Of Masters Such As Rembrandt Raphael Salvator Rosa Parmigianino Caravaggio And The Poussins. In 1734-5 He Published A Series Of His Plates Under The Title Imitations Of The Italian Masters. He Also Collaborated With George Knapton In The Publication Of The Heads Of Illustrious Persons After Jacobus Houbraken And George Vertue With Their Lives By Thomas Birch London 1743-52; And Engraved Sixty-Eight Plates For A Collection Of Ninety-Five Reproductions From Drawings By Famous Masters In Which Knapton Was Again His Colleague. Another Of His Productions Was A Series Of Twenty-Five Caricatures After Pier Leone Ghezzi Republished In 1823 And 1832 As Eccentric Characters. <br/> <br/> unknown
198632401Vermont: The Marlboro Press 1986. Hardcover. First Edition First Printing. 5.5 x 8.75in. 134pp. Publisher's cloth boards. FINE/AS NEW in Near Fine dust jacket protected in a removable archival cover. The book itself is flawless. The dust jacket is price-clipped otherwise remains Fine/As New. As pictured. The Marlboro Press hardcover
63-7104Rome: 1716. Engraving 5.3 x 6 cm. Very Good. From the Collection of Hon. Gerald Henry Brabazon Ponsonby 1829 - 1908 Private Secretary to the Lord-Lieutenant of Ireland; son of the 4th Earl of Bessborough. [Rome: 1716]. unknown
199026769Laterza. 1990. Hardcover. Very Good in Very Good- dust jacket. Very Minor shelfwear to book. DJ has some tears and chipping.; Collezione storica; 374 pages . 8842036951 . Laterza hardcover
21423Leipzig: Verlage der Serbe'eschen Buchhandlung. N.D. Hardcover. Good in No Dust Jacket dust jacket. Bound in gilt-decorated green cloth. Binding rubbed and a bit edgeworn at extremities backstrip discolored and spotted some tears to cloth at spine ends. Text browned plates Very Good contents unmarked except for old ink price on ffep.; C. 1870s/1880s. Viii 164pp 46pls.; 164 pages . Verlage der Serbe'eschen Buchhandlung hardcover
31618Stuttgart Philipp Reclam jun. Verlag 1962. 597 S. mit 54 Abb. und 64 Bildtafeln sowie 3 Karten. Ln. Einband mit leichten Gebrauchsspuren 'Reclams Kunstführer Italien V' unknown
25818Stuttgart Philipp Reclam jun. Verlag 1969. 2. Aufl. 597 S. mit 54 Abb. und 64 Bildtafeln sowie 3 Karten. Ln. 'Reclams Kunstführer Italien V' unknown
21957Earlier letters on letterheads of his Helsinki publishing house Eurographica; later letters on his personal Helsinki letterhead. Between 1984 and 1996. 43 letters in 8vo and 12mo making a total of 44 pp. Signed 'Rolando Pieraccini' and latterly 'Rolando'. Thirteen of the letters 1984-1986; all 8vo on 'Eurographica' letterhead the others 1986-1996; 27 in 12mo and 3 in 8vo on Pieraccini's personal letterhead. Also present is a carbon copy of a two-page letter from Pieraccini to Penny Eckley of Oxford University Press regarding copyright matters. The collection in good condition lightly-aged. Pieraccini published several limited editions of Fry's works for the Finnish market and the correspondence is by turns businesslike courteous and personal. Pieraccini begins by introducing himself: 'I am a publisher of art books. During recent years I have also started publishing a series of short stories in different languages in Signed Limited Editions 350 copies printed in Italy on special hand-made paper. I have already published a Play in one act by Graham Greene short stories by Erskine Caldwell Alan Paton Leonardo Sciascia Norman Mailer also a play Luise Rinser and am now working on short stories and plays by Ionesco Heinrich Böll John Updike Italo Calvino Halldor Laxness Anthony Burgess etc.' He explains that he will be 'very pleased and honoured to publish any play or short story' if Fry has 'something suitable for my project'. He explains the specifications including the way in which the 'signing operation is made simple'. On 23 December 1984 he writes in response to Fry's reply stating that he has 'read the three plays with great interest and curiosity and that 'A Phoenix Too Frequent' will make a beautiful and valuable book'. He discusses the terms noting that Fry is 'very generously not overvaluing your signature and the time you will need to sign 350 frontispiece pages which with no hurry should not be more than two hours'. Regarding his 'outright fee' he states: 'I must tell you that only in one case I have paid $3.00 per copy but it was in the case of perhaps the greatest contemporary author Graham Greene who is among other things giving a very high value to his signature.' Subsequent letters discuss the practicalities of printing and publishing: proofs payment arrangement with Fry's British publisher Oxford University Press difficulties with Italian customs and other matters. On 15 January 1985 following a mix-up over payment in dollars rather than pounds he writes: 'I hope you and your agent will be satisfied with my offer anyway if you like I am prepared to print 12 extra copies of the book for your personal use as I have done for Mr. Graham Greene. Have you perhaps still the original manuscripts of this play It would be a wonderful idea to have a few pages of it reproduced as well in my Signed Limited Edition as again I have done in the case of Mr. Greene play YES AND NO.' In March 1985 he asks Fry to inscribe copies 'one for Mrs. Tellervo Koivisto wife of the President of the Republic of Finland; one for the Helsinki University or Helsinki University Library and one for myself'. In April 1985 he asks if it might be possible for him to have a signed photograph as 'Every year in December I hold an exhibition of the books I have published during the year together with manuscripts proofs photographs etc. relating to the authors published during the year'. Three months later he asks for another signed photograph 'that I could have kept after the exhibition for myself the greedy collector'. On 27 May 1985 he asks him 'to write for me by hand on one of your small letterheads a few lines from A Phoenix Too Frequent For instance what Dynamene says at the very end of the comedy This short “manuscript†would go very well on the exhibition together with the photograph.' Letters between 1986 and 1987 relate to a similar edition of 'The Lady's Not for Burning' and on 8 June 1987 he explains difficulties in typesetting the text. Subsequent letters discuss the practicalities of printing and publishing: proofs payment arrangement with Fry's British publisher Oxford University Press difficulties with Italian customs and other matters. On 15 July 1987 he suggests delivering Fry's copies in person on 'a short afternoon visit' to Chichester but it is only in 1991 that such a visit takes place with Pieraccini thanking Fry 30 July 1991 for his hospitality and adding: 'You live in a most beautiful place in a very charming village a real discovery for me.' In 1989 an edition of 'The Dark is Light Enough' is mooted but plans have still not been finalised two years later. On 30 December 1990 he asks Fry whether he would like to contribute to 'another important project' a book 'as a tribute/homage to Julian Symons on the occasion of his 80th birthday May 1982'. He lists the numerous contributors he has lined up 'I have just started enquiring'. On 30 July 1991 he writes regarding another of Fry's plays: 'I have read Venus Observed and enjoyed it very much. It would certainly make a good book. However as I have already mentioned to you when I first saw it it is a rather long play and it would need even more pages than The Lady's which was itself a little bulky with the kind of paper we use. If only possible I would really like to do something else with you this time particularly in consideration of the special occasion next year we know. i.e. Fry's 85th birthday' As there is no time for a 'larger project' previously discussed he asks: 'Could we think of something different A selection of poems for instance a short story a collection of thoughts or “philosophical†notes or similar something you have already written or you might have time to write by February-March next year'. An edition of Venus Observed is planned and then dropped at the beginning of 1994 due to 'such economic difficulties that the kind of books I produce do not sell anymore at all. I think the many thousands I still have in stock will suffice at least for my next three lives' 23 January 1994. He asks Fry if he would consider leaving the typescript of the play 'with my archives and book collection which will one day go to the Helsinki University Library'. On 22 March 1994 Pieraccini thanks Fry for being allowed 'to keep the manuscript of Venus Observed a most valuable contribution to my collection'. Following another meeting at Fry's home The Toft Pieraccini gives 22 April 1996 three suggestions for 'another project' to celebrate Fry's forthcoming ninetieth birthday including 'A story of The Toft which could also mention East Dean and its inhabitants. With one/two photographs of the house and/or an etching by your artist-friend I've forgotten his name the one you collect'. In the last letter 13 July 1997 he expresses regret that 'our exciting project has fallen. It sounded so nice: 90 copies of 90 lines for your 90th birthday. Well it will be for your 100th. With some inspiration and a little more time to spare I am sure you can write 100 beautiful verses.' Several letters veer into the personal. On 8 September 1986 he explains that his 'real first name the one I still have in my Italian passport is Rolando; but having spent almost half of my life 20-22 years abroad I got used to and I actually prefer to use the more European version of it Roland'. On 8 January 1987 'a lot of snow -30º' Pieraccini writes of one of his art books: 'Onni Oja Finnish artist 1909-2004 was very pleased to know that you liked his work. Your good and generous words were also the best reward for me as editor and publisher of the book. To complete one of such volumes I usually need about two years. Well yesterday I have mailed to you the other volume published in the same series dedicated to the work of Veikko Vionoja one of the greatest contemporary Finnish artists. I hope you like it as well and I'll be curious to know which of the two you and your family prefer.' On 27 November 1987 he complains of 'a hard autumn which besides the usual business rush included also a painful illness kidney stones or renal calculus which took me to hospital'. On 5 December 1988 he states that he has 'recently attended a lecture on Peter Brook here in Helsinki' ad that he 'had the opportunity of mentioning his production of your play The Dark is Light Enough in 1954. Although he had already proved his talent Peter Brook was still quite young then'. He asks 'what kind of experience' it was to work with Brook. Earlier letters on letterheads of his Helsinki publishing house Eurographica; later letters on his personal Helsinki letterhead. unknown
