R. Maxwell, K. Ambrose (eds.)MareMagnum
352 résultats
XII 212 pages., 114 b/w ill., 220 x 280 mm, Languages: English,Paperback,. ISBN 9782503531656. Robert A. Maxwell and Kirk Ambrose, Introduction: Romanesque Sculpture Studies at a Crossroads - Jerome Baschet, Iconography beyond Iconography: Relational Meanings and Figures of Authority in the Reliefs of Souillac - Martin Buchsel, The Status of Sculpture in the Early Middle Ages: Liturgy and Paraliturgy in the Liber miraculorum sancte Fidis - Thomas E. A. Dale, The Nude at Moissac: Vision, Phantasia and the Experience of Romanesque Sculpture - Ilene H. Forsyth, The Date of the Moissac Portal - Dorothy F. Glass, (Re)framing Early, Romanesque Sculpture in Italy - Klaus Niehr, Sculpturing Architecture, Framing Sculpture and Modes of Contextualizing the Arts in the Eleventh and Twelfth Centuries - Jose Luis Senra, Between Rupture and Continuity: Romanesque Sculpture at the Monastery of Santo Domingo de Silos - Andrea von
pp. (viii), 312. 12mo. 200mm. Original publisher's full green cloth binding lettered in black. Corners sharp and stamping on cover is clean. Dust jacket is intact and torn with slight loss on bottom of spine. Overall dust jacket is in good shape for the age. Stated second printing. Hardbound. Very Good. NW70
pp. xviii, 262. +Plus 24 leaves of color illustrations including frontis. 12mo. 180mm. Original publisher's full cream cloth binding. Cover ornately decorated and lettered in gold gilt. Cover designed by Rachel Robinson with her monogram. Spine stamped in gilt. Top edge gilt. Corners slightly bumped. Small marking on front cover. Spine gilt dulled. Book Plate belonging to Jacob Bates Abbott on inside flyleaf. Unusual bookplate depicting a naked woman riding on a ear wearing a princess hat and a night in full armor standing at her rear. Jacob Bates Abbott (1895-1950) was a prolific book illustrator who lived in California and Pennsylvania. His son Jackson Miles Abbott (1920-1988) followed in his father's footsteps and was also an accomplished artist, best known for his bird studies. Hardbound. Very Good. NW58
344 p. 19 Illustrations. 8vo. 220mm. Clean original publisher's full blue cloth pictorial binding. Cover stamped in blue and gilt with title on spine in gilt. Bookstore label on pastedown - 'Kent Bookshop in Carlisle, PA.' Some Soiling to cover and p. 18. Hardbound. Very good. NW66
156 p. including color frontispiece. 8vo. 210mm. Clean and tight original publisher's full cloth pictorial binding in green. Cover stamped in gilt, white black, and peach with title on spine in gilt. Manuscript ownership, 'This book belongs to R. H. Stilds Only.' Slight crinkling on cover. Hardbound. Very good NW66
pp. 64 with 42 illustrations in and around the text. 12mo. 180mm. Original publisher's full maroon cloth binding lettered and decorated in gilt. Spine lettered in gilt. All edges of text gilt. Cover gilt is bright and covers are clean. Spine gilt rubbed. Corners sharp. Contents clean. Hardbound. Very Good. A lovely edition of this sweet pathetic poem of the old fireside. NW60
296p. +Plus 7 plates. 8vo. 200mm. Dust Jacket Fragile but intact. Original publisher's full dark blue cloth pictorial binding. The cover (rendered in cream, black, and light blue) shows two couples golfing. Spine lettered in bright gold gilt. A clean and tight example. Hardbound. Very Good. NW66
pp. xiii, 252 +Plus Nine full page plates. 8vo. Nearly 40 illustration in the text. Slight stain in the top corner of a few leaves. Nicely decorated full cloth binding with some wear but still attractive. Manuscript ownership of Carrie E. Meyers, 1897. 230mm. Hardbound. Very Good. NW67
[x], 321, +Plus 4 plates including frontis. 8vo. 200mm. Publisher's light green full cloth binding with cover stamped in dark green, white, and orange depicting flowers lining a path to the front door of an estate. Spine lettered in dark green. Cover slightly soiled. Authors inscription addressed to Mr. Charles Sessler (1854-1935), on inside flyleaf reading 'Mr. Charles Sessler, With most pleasant memories of falling previously into temptation- and yielding! And of pain beyond the beautiful books I have borne away. With sincere regards. Mariron Anne Taggart 1917.' Charles Sessler was a famous book seller of Phildelphia who specialized in works by Dickens. Hardbound. Very Good. NW69
pp. 128. 12mo. 200mm. Publisher's red cloth binding with cover stamped in Gilt and decorated with a floral design. Spine also stamped in gilt. Covers are clean and corners are sharp but gilt is slightly dulled. Gilt foil Dust Jacket present with rubbing on spine and covers. Binding tight and contents clean. Manuscript ownership on inside flyleaf 'Presented to Esther M. Neibley By Dr. H.B. Stock, Christmas 1932' Hardbound. Very Good. NW70
pp. (viii), 633. +Plus 3 illustrations including frontis. 12mo. 200mm. Original publisher's full red cloth binding lettered in gilt. Spine lettered in gilt. Gilt is bright on cover and slightly rubbed on spine. Corners slightly frayed. Book Plate belonging to Miller Robbins on inside paste down. Unusual bookplate depicting an inquisitive looking bird standing on a branch on a tree. A very nice example of the apparent first edition (1907). Hardbound. Very Good. NW58
hardback 308 p., incl. 67 colour ill. and 174 halftones, 210 x 297 mm, English Catalogue of Early Netherlandish Painting: Royal Museums of Fine Arts of Belgium (CENP 1) . ISBN 9782503505015. This catalogue includes paintings by the Master of Flemalle and Rogier van der Weyden Groups, now in the Royal Museums of Fine Arts of Belgium in Brussels, as well as thourough analyses and colour reproductions. The publication of the first in a five-volume scholarly catalogue of the 15th-century southern Netherlandish paintings in the Royal Museums of Fine Arts of Belgium in Brussels is a long awaited event. The museums' rich collection of Flemish Primitives boasts paintings by Rogier van der Weyden, Gerard David, Petrus Christus, Dirk Bouts, Hans Memling and Hieronymus Bosch. It also includes several important works by artists with provisional names from the schools of Tournai, Bruges and Brussels, such as the Master of Flemalle, the Master of the St Lucy Legend and the Master of the Life of Joseph. This multi-volume English-language catalogue will include approximately 100 paintings. Each work is the subject of a thourough analysis covering technical, historical, iconographical and stylistic aspects. The catalogue contains colour reproductions of each painting as well as other visual documentation from laboratory investigations (infrared reflectograms, ultra-violet fluorescence photographs; X-radiographs, macro photographs), photographs of related works and diagrams of the original frames. The wealth of documentation presented in this volumes makes it an indispensable reference for both scholars and amateurs interested in 15th-century painting.
hard cover, 660 p., 230 x 290 mm, Languages: English. ISBN 9782930054117. In the late Middle Ages luxurious textiles were among the most highly prized indicators of status and wealth and an essential requirement of prestigious secular and ecclesiastical life. The depiction of these sumptuous silks and gold brocades was a crucial element in the visual arts, and their realistic and recognizable representation was a challenge to every artist. Painters and polychromers strove to imitate the fashionable fabrics by using applied brocade, a highly sophisticated form of relief decoration that adhered to panel paintings, murals and sculpture and through the play of light and shadow evoked the dazzling illusion of gold-brocaded cloths. Imitation and Illusion is the result of a detailed study of applied brocade in the art of the Low Countries. Eleven fascinating and innovative chapters offer an in-depth examination of the historical, geographical, morphological and technical aspects of this cast tin relief technique. New light is also shed on artistic collaboration and workshop practice in the fifteenth and early sixteenth century. The catalogue includes 86 well known and lesser known panel and wall paintings, sculptures, altarpieces, and architectural elements produced between 1420 and 1540, decorated with applied brocade and providing stunning testimony to the visual variety and material magnificence of late-medieval art. Abundantly illustrated, Imitation and Illusion investigates the artistic production of the fifteenth- and sixteenth-century Low Countries from an intriguing and original perspective. It represents a significant contribution to our understanding of medieval polychromy and will appeal to everyone whose curiosity is aroused by the illusionistic ingenuity of the medieval artist.
hardcover, XIV 717 p., 43 b/w ill., 178 x 254 mm, English Hanno Wijsman is Researcher in Medieval History at Leiden University, focusing on the cultural history of the fourteenth to the sixteenth century, with special attention to books and libraries in the Low Countries and France. ISBN 9782503525587. This interdisciplinary study presents a two-part survey of the production and ownership of luxury manuscripts in the late-medieval Netherlands. Part I analyses a corpus of 3,700 illustrated manuscripts produced between 1400 and 1550 in the Low Countries. The result is a cornucopia of information about many aspects of manuscript production: chronological, geographical and gender distribution, the genres of texts, the languages used, the dimensions of books, the number of illustrations, and the relationship between the making of hand-written and printed books. Part II examines the libraries of the pre-eminent owners of illustrated manuscripts in the Netherlands: the ducal family and the noble elite. The great bibliophile Philip the Good set an example of book collecting that was emulated by the nobles of the court, creating a typical ?Burgundian? fashion in book ownership by which a small elite demonstrated a well defined group identity. Luxury Bound charts this new vogue in books and reading, an important aspect of cultural change in the late-medieval Low Countries.
365 pages. Reprint of the 1902 first edition. Black and white illustrations. Above-average wear and soiling with numerous defects and school markings. Not pretty but a worthy reading copy of this old-time favorite. Book
hardcover, 205 p., 68 b/w ill. 22 colour ill., 210 x 280 mm, English. ISBN 9781905375042. The Flemish artist Peter Paul Rubens is probably the most important foreign artist to have worked in England. The story of how this came to be, of what he did when he was in England and what he painted for King Charles I is the story of this book. Charles and his father, the first Stuart monarchs of Great Britain, led and promoted a great wave of interest in the arts, in particular the visual arts, that culminated in Rubens painting nine large canvases to decorate the ceiling of Inigo Jones?s Banqetting Hall, the ceremonial centre of the Court in Whitehall - a monument that is still intact today. It is this cycle, an hitherto unappreciated masterpiece of Baroque state art, that is the focus of this book. How Rubens came to obtain the commission is a tale of international politics and diplomacy in which the artist himself played a significant role. The author relates these complex political relationships and missions with great insight and clarity, and in doing so also describes the cultural and social setting in which Rubens found himself while in London. The illustrations that accompany the text include not only many of Rubens's own paintings and drawings made when he was in London, but also some of the now well-known works by the Italian and North European Renaissance masters that Rubens would have seen in the magnificent art collections of the King and the English aristocracy. Foremost however among the illustrations are the reproductions of the Banqueting Hall ceiling itself: these are mostly in colour, showing each of the three central scenes both complete and with striking details that would be difficult to see in the Hall itself. Also the corner oval painting as well as the long, celebratory, exuberant processions on either side are reproduced in colour and in detail, so that the reader, guided by the author's full descriptions and interpretations, can experience a unique viewing and understanding of Rubens's masterpiece. The Author, Gregory Martin, has been interested in the ceiling paintings of the Banquetting Hall ever since he worked at the National Gallery in the 1960s, when he wrote the catalogue of the Gallery's Flemish paintings. Towards the end of his subsequent career at Christie's, where he was a director concerned with old master paintings, he was commissioned to write the Corpus Rubenianum volume on the ceiling decoration of the Banquetting Hall which was published in 2005. In the present book he returns to the subject, treating it and the related matter of Rubens in London in a way designed to appeal to a wider readership.
hardcover, 392 p., 223 b/w ill. 140 colour ill., ills., 210 x 297 mm, English. ISBN 9782503512297. The third volume comprises investigations on seventeen paintings by a final group of preeminent, identified artists from the period of transition at the end of the fifteenth and the beginning of the sixteenth century, to which the authors adjust various attributions and interpretations. The third volume includes a final group of preeminent, identified artists from the period of transition at the end of the 15th and the beginning of the 16th century. Artistic production at this time was still rooted in late medieval thought, yet more and more seized with new renaissance developments, and at a permanent state of ferment with constantly changing needs of society. The catalogue deals with correspondingly complex issues of interpretation through the works of Hieronymus Bosch, Albrecht Bouts, Gerard David, Colijn de Coter and Goossen van der Weyden. It comprises a technical, stylistic and iconographical investigation of seventeen paintings on the basis of a scientific research method, which has been fully established over the years. The authors have been able to adjust various attributions and interpretations. At the same time most valuable discoveries have been made with regard to the provenance of some work belonging to the Albrecht Bouts and Colijn de Coter Groups. "Fur die weitere Forschung zu den betreffenden Kunstlern oder den fraglichen Werken wird der Band eine unverzichtbare Basis darstellen." (S. Kemperdick in Sehepunkte, 3 (2003), nr. 1, 15.01.2003)
Hardcover, 351 pages, 89 illustrations de couleur, Texte en Francais, 275 x 220 mm, tres bon etat, . ISBN 9782503586069. Une interprétation novatrice de l?atlas de Jacques de Deventer et de sa place au sein de l?histoire de la cartographie. Dans la seconde moitié du XVIe siècle, Jacques de Deventer a réalisé, à la demande de Philippe II, les plans de plus de 250 villes des Pays-Bas espagnols. Cette collection est exceptionnelle par son ampleur, son homogénéité et sa précision. De plus, pour la plupart des localités, il s?agit de la plus ancienne représentation cartographique conservée. Enfin, ces plans de «?villes?» figurent également une partie des terres alentour. Depuis leur redécouverte au XIXe siècle, ces documents ont suscité de nombreuses recherches. Cependant, la plupart les considéraient comme des instruments militaires ou comme le pur produit d?une «?cartographie?scientifique?». Mais, est-ce réellement la seule manière de les comprendre?? Grâce à une déconstruction approfondie d?une série de plans, la présente étude cherche à comprendre ce caractère exceptionnel. Vision de la ville, perception de l?espace, rôle de l?hinterland, procédés de représentation ou profil du cartographe sont autant d?aspects analysés. Ils permettent de comprendre que, malgré un résultat troublant de modernité, cette collection est largement tributaire des codes de son époque et relève plus du document politique que militaire. Plus largement, il s?agit de voir ce que cette réévaluation apporte à l?histoire du développement de la cartographie au XVIe siècle.
hardback, 792 p., 406 colour ill., 230 x 315 mm francais. ISBN 9782930054124. Ce sixieme volume de la serie des repertoires est consacre aux vitraux de la seconde moitie du XVIe siecle et de la premiere moitie du XVIIe siecle qui subsistent en Wallonie, dans les provinces du Brabant wallon, du Hainaut, de Liege et de Namur. L'auteur, Isabelle Lecocq, s'est attachee depuis plusieurs annees a l?etude de ces vitraux monumentaux qui ont trop peu retenu l'attention des chercheurs jusqu'a present. Ces ?uvres s?inscrivent en effet dans une periode particulierement sombre et troublee de l'histoire des anciens Pays-Bas meridionaux, qui commence avec le regne de Philippe II et qui coincide avec la ?« Guerre de Quatre-Vingts Ans ?» (1568-1648). Elles meritent neanmoins une attention particuliere car elles sont l?expression concrete de la mutation generalisee qui se produisit dans l?art entre la Renaissance et le Baroque. L?auteur a realise sur place un examen minutieux et une abondante documentation photographique. L?ouvrage presente pour chaque verriere une etude systematique d?authenticite completee par une recherche approfondie des archives ainsi que par toutes les autres demarches de l?histoire de l?art. Elle a pu confirmer de maniere etayee l?evidence d?une continuite de la production de vitraux dans l?espace wallon, malgre la situation tourmentee de l?epoque. Toutes les ?uvres sont replacees dans leurs contextes artistique, technique, politique, etc., ce qui eclaire aussi l?evolution de leurs concepteurs, de leurs realisateurs et de leurs commanditaires. Le volume a ete publie avec le concours de l?Institut royal du Patrimoine artistique et le soutien du Fonds Courtin-Bouche gere par la Fondation Roi Baudouin.
Hardback 400 pages ., 180 x 265 mm, Languages: English, ISBN 9781905375868. In 1622, Rubens designed his second tapestry series, The Story of Constantine, for which he executed twelve oil sketches, all of which are currently preserved in public and private collections in America and Europe. Tapestries produced after the lost cartoons, which were in turn painted after the oil sketches, were woven in the tapestry factories in the faubourgs of Saint Marcel and Saint Germain in Paris. Based on new archival research and a critical examination of the literature on the Constantine series, this book firmly embeds the genesis, and iconographical and stylistic features of the set in its specific artistic, manufactural, and commercial matrix, and thus develops the first truly inclusive approach to Rubens's Story of Constantine. Analysis of the entrepreneurial strategy of Marc Comans and Francois de la Planche, directors of the factory in the faubourg of Saint Marcel, the correspondence between Rubens and Peiresc, the provenance of the twelve oil sketches, and the iconographical programme reveals that the series was not commissioned by the French king Louis XIII, as has long been believed, but by Comans and de la Planche. A close reading of Rubens?s primary literary source, Caesar Baronius?s Annales Ecclesiastici, shows that the artist must have intended the twelve scenes to hang in a sequence different from the generally accepted one, though seventeenth-century buyers and viewers could have seen and interpreted the Constantine series quite differently, as their view was distorted by the jumble of Constantinian legends and motifs that had lodged in the cultural memory of Latin Christianity. Finally, the book explores the area of tension between the set?s austere monumentality and highly sophisticated aesthetic, which was rooted in Rubens?s profound knowledge of classical and Renaissance art and in his earlier forays into the free and creative application of these sources, contemporary French and Brussels tapestry sets, and the pictorial and decorative qualities, possibilities and challenges inherent in the medium itself
Hardcover, 358 pages with 122 coloured illustrations, English, 275 x 220 mm, perfect condition, . ISBN 9782503585482. This books describes the life of Elisa ben Abraham Cresques, known to many as the author of the Catalan Atlas, and focuses on the Jewish aspects of his fascinating career, his professional profile, and his scholarship. This book presents a small chapter in the intellectual history of the Jews of Majorca. Its key figure is Elisha ben Abraham Bevenisti Cresques (1325?1387) a cartographer in the service of King Peter IV of Aragon and a scribe and illuminator of Hebrew books. Elisha Cresques? career evolves at a point in time when some of the most fascinating threads of methodological interests relevant to intellectual history meet. He emerges as a hub, so to speak, where mapmaking converged with scribal work, miniature painting with scientific knowledge, and the culture of a minority with that of the majority. How he was able to negotiate his patron?s expectations and his own cultural identity and frame them within the political, cultural, and religious discourses of his time is the subject of this book.
Leipzig, No Publisher, 1862. Quarter-leather, Square 8vo, xx, 107 leaves. 23 cm. In Hebrew. Includes nice frontis lithograph of Menasse. SUBJECT(S): Philosophy, Jewish. OCLC lists 2 copies worldwide (Harvard, Vanderbilt). Foxing throughout. Tiny bit of worming to gutter margin, wear to 19th century covers especially at corners, corners folded on last 30 leaves, not affecting text. Internal binding starting but intact. Otherwise Good Condition. Somewhat scarce edition. (k-sef-1-1)
hardcover XI 748 p., 3 b/w ill., 7 b/w line art, 156 x 234 mm Languages: English, Latin, French . ISBN 9782503531809. The first comprehensive survey of the major - but much neglected - contribution made by holy women to the religious culture of the later Middle Ages. Medieval Holy Women in the Christian Tradition offers the first wide-ranging study of the remarkable women who contributed to the efflorescence of female piety and visionary experience in Europe between 1100 and 1500. This volume offers essays by prominent scholars in the field which extend the boundaries of our previous knowledge and understanding of medieval holy women. While some essays provide new perspectives on the familiar names of the unofficial canon of mulieres sanctae, many others bring into the spotlight women less familiar now, but influential in their own time and richly deserving of scholarly attention. The five general essays establish a context for understanding the issues affecting female religious witness in the later Middle Ages. The geographical arrangement of the volume allows the reader to develop an awareness of the particular cultural and religious forces in seven different regions and to recognize how these influenced the writing and reception of the holy women of that area. Seventeen major figures have essays devoted exclusively to each of them; in addition, the survey chapters on each region introduce the reader to many more. The extensive bibliographies which follow each chapter encourage further reading and study. Alastair Minnis was Director of the Centre for Medieval Studies and Head of the Department of English at the University of York, and is currently Douglas Tracy Smith Professor of English at Yale University. A Fellow of the Medieval Academy of America and of the English Association, he is the author of six monographs and the editor or co-editor of fifteen further volumes. Rosalynn Voaden (D.Phil., University of York, UK) is the author of God?s Words, Women?s Voices: The Discernment of Spirits in the Writing of Late-Medieval Women Visionaries, and is the editor or co-editor of several volumes in the field. She was a Research Fellow at St Anne?s College, Oxford, and is currently Associate Professor of English at Arizona State University.
Hardback with dusjacket, 312 p., 237 b/w ill. 48 colour ill., 210 x 297 mm, Languages: English. new, fine condition !. ISBN 9782503525693. This monograph introduces the sixteenth-century Louvain artist Jan Rombouts (c. 1480 ? 1535), whose oeuvre was previously assigned to Jan van Rillaer. Debates concerning Rombouts?s identity are explored in detail by means of reinterpretation of published archival documents and the discovery of numerous new documents. The publication of the sources, most with full transcriptions, provides a sound basis for the author?s arguments supporting the new identification.The remaining oeuvre of the artist, as it is known today, comprises engravings and paintings. This monograph argues for the expansion of Rombouts?s oeuvre with some dozen stained-glass windows, roundels and a drawn design for a church window, while suggestions are put forth for other possible attributions. Attention is given to the historical context for Rombouts?s activity as a glass painter, and the attributions of these works, none of which are monogrammed, are made by comparing their style with that of works securely attributed to the artist. This section is backed up by numerous illustrations of the windows, many of which are quite inaccessible. Finally, a discussion of archival sources concerning the Louvain confraternity of St Luke and commissions for works of art to local artists in the period covered by the book, form the rich historical background against which Jan Rombouts executed his oeuvre of engravings, paintings, roundels and stained-glass windows. The size, individuality, diversity and craftsmanship of this oeuvre enable us to finally identify and place him securely within the history of south Netherlandish art of his time.
This is a fine hardcover copy with a fine dust jacket with no wear at all. Completely clean. Stated first edition. Limited edition of 3000 copies. Introduction by Chris Verene. Illustrated in color with many reproductions of Chris Verene's family in Galesburg, Illinois and later in Georgia. 14" high X 12" wide, unpaginated. Large heavy book, foreign shipping will be extra. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
