Otto Naumann.MareMagnum
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Cloth bound, dusjacket, 2 vols. in 4to. 516 pp. of text, 468 illustrations, including 12 color plates. ISBN 9070288044. Frans van Mieris the Elder is one of the major seventeenth-century Dutch genre painters (1635-1681). His pictures are of remarkable quality, and they attest to his vital role in the development of painting in his time. With Gerard ter Borch, Nicolaes Maes, Pieter de Hooch, Johannes Vermeer, Gabriel Metsu and Gerard Dou, Frans van Mieris participated in the greatest era of Dutch genre painting.This study attempts first to establish the core of surviving works, setting them in chronological order based on a structure of dated paintings. Undated pictures are arranged in relationship to this core and to dated or datable paintings by other artists. Van Mieris' oeuvre is most interesting in this latter aspect: in the establishment of subjects and stylistic formulae he often precedes his contemporaries. By combining various elements from earlier pictures with his personal style Van Mieris made a significant contribution to Dutch genre painting.Van Mieris's leadership among the fijnschilders of his day contributed significantly to the development of Dutch painting towards a tighter, more refined style. Often, paintings executed in this manner during the last quarter of the seventeenth century can be seen to derive from his prototype or from a series of related paintings based on his primary example.
3 opere legate insieme, pp. 118 (2) - 18 (2) - 8 (2), legatura coeva in mezza pergamena con piatti marmorizzati, titolo a penna antica al dorso, abrasioni ai piatti, fori di tarlo alla legatura e ai bordi, occasionalmente toccando il testo, lievi fioriture
10 voll. modesta legatura coeva in mezza tela coeva con piatti marmorizzati, tagli colorati, abrasioni ai bordi dei piatti, fioriture diffuse, lieve gora di umidità al primo volume
in tedesco 2 voll. legatura editoriale in mezza pelle con angoli, titoli oro entro cornici liberty ai dorsi, tagli e sguardie marmorizzati, pp. XXVIII, 796 + 48 Verlagsverzeichnis - XLI, 1235 - rottura e mancanza alla cuffia sup. del 2° vol., lievi spellature, occasionali fioriture
Much text also in French. Features: Saint Gabriel House; The Preservation of Old Monteal; Traditional Sculpture; History of Painting; Conversion Through Pictures - An Aspect of Religious Painting in New France; Quebec's Traditional House; Early Furniture; Silver; Quebec Ceramics; Quebec Maple-Sugar Moulds; Stoves; From an 18th Century Table; French-Canadian Blankets; The First Quebec Glass Factory - Canada Glass Works; Some Museums of Quebec.. and Their Treasures; Military and Maritime Museum. Date hand-written upon front cover. Modest wear. Quality copy. Book
xviii, 260 pages. Index, bibliography, chronology and footnotes. "Investigates the multilayered social construction of femininity in the mass culture of Weimar Germany, focusing on the intriguing photomontages of the avant-garde artist Hannah Hoch." - dust jacket. Clean, bright and unmarked with very light wear. Dust jacket now preserved in archival-grade Brodart. An excellent copy of this fascinating work. Book
A magazine for collectors and others interested in times past and in articles of daily use and adornment devised by the forefathers. Features: The Daguerreotype; Boston's Carvers and Joiners - Part II - Post-Revolutionary; Earliest Signed Picture by T. [Thomas] Chambers; French Landmarks [Buildings] - Along the Mississippi; Flower Prints and Flower Printmakers of the Eighteenth Century; Kenmore - In Fredericksburg, VA; and more. Many pages of nostalgic ads from a broad assortment of prominent dealers. Profusely illustrated with excellent black and white photos. pp. 241-312. Printed upon glossy stock. Unmarked with above-average wear. Covers loosening. A worthy reference copy of this informative issue. Book
A magazine for collectors and others interested in times past and in articles of daily use and adornment devised by the forefathers. Features: The Goddard and Townsend Joiners - Part I; Meissen Porcelain; Some Stars That Shone - 19th century prints from the collection of Charles G. Shaw; Notes on Early American Silver; Living With Antiques - The Illinois Home of Mr. and Mrs. Alvin E. Bastien; Save Boscobel! - plans measured and drawn, with photos; A Paper-Weight Collection; and more. Many pages of nostalgic ads from a broad assortment of prominent dealers. Profusely illustrated with excellent black and white photos. pp. 201-264. Printed upon glossy stock. Unmarked with above-average wear. Covers loose but present. A worthy reference copy of this informative issue. Book
12mo., on laid paper, small strip clipped from upper edges of blank preliminary and title, some very light age-staining; most attractively bound in contemporary half calf, back with five gilt rules, second compartment with red leather label lettered and tooled in gilt, marbled boards, marbled edges, covers very lightly rubbed else a remarkably well-preserved, crisp, clean copy. RARE
2 vols., in 1., 12mo., contemporary tree calf, sides with elaborate gilt frame border, elaborately tooled gilt back with two red leather labels, marbled edges, patterned endpapers, skilfully rebacked with original backstrip laid down, corners of upper board bruised else a very good, fresh, clean copy. With separate half-titles to each book, and the early nineteenth century trade ticket of Berard & Mondon, ('French, Spanish, Italian Books, etc') of New York. French issue of the major work of Alessandro Tassoni (Modena 1565-1635). First published in 1614 this mock-heroic poem, which translates loosely as 'the captured bucket', uses the theft of a well-bucket to satirise petty warfare between the towns of Modena and Bologna. The satire belongs to the same category as the ancient 'Battle of the Frogs and Mice', de Vega's 'Gatomaquia', Boileau's 'Lutrin' and Pope's 'Rape of the Lock'. 'The poem is pervaded by an exuberant, satirical, and often brilliant humour. There are passages in which the humour is sustained and cumulative, and others in which an apparent seriousness finds its climate in a sudden hilarious absurdity' (Wilkins, 'Italian Literature', pp. 298-9). Rare
Percaline de l'?diteur. 31 volumes sur 36. 2 volumes d?fra?chis. Un 2e plat factice.
Hardcover with dusjacket. 484 p., 121 b/w ill. + 23 colour ill., 180 x 265 mm, Languages: English. ISBN 9781909400962. On 26 February 1622, in Paris, Rubens entered into a contractual agreement to execute two series of paintings, ?by his own hand?, intended to decorate the two parallel galleries of the Parisian palace ? the so-called Luxembourg Palace ? of Maria de? Medici, widow of Henri IV and mother of Louis XIII. Completed in 1625, the twenty-four monumental paintings of the western gallery exalting the life of the Queen Mother form a universally admired ensemble, on display at the Musee du Louvre for the last two centuries. However, the second part of this grand project, envisioned for the eastern gallery of the palace, was abandoned in 1630. The suspension and then premature termination of the project after the Queen Mother?s exile in July 1631 have deprived us of a work that would have been unique, both in its magnitude and in the artistic means Rubens deployed to glorify the royal couple. The Galerie Henri IV, planned as a commemoration of the king?s military victories and a celebration of his triumphs ?in the manner of the triumphs of the Romans? (as the contract has it), remains a puzzle whose missing pieces are more numerous than what is preserved. Still, some fifteen works ? preparatory oil-sketches on panel and large canvases, more or less completed ? have survived. It is above all through the study of these works that this volume aims to arrive at a better understanding of the context, the iconography, and the political significance of the Galerie Henri IV. Despite the frustration (for us, as for Rubens himself) of its abandonment, the unfinished project remains an extraordinary feat of Baroque encomium, and one of the artist?s greatest masterpieces.
hardcovers with dusjacket 2 vol., approx. 560 p., 95 b/w ill. + 120 colour ill., 180 x 265 mm, 2014 Languages: English met prachtige illustraties. ISBN 9781872501710. The paintings that Rubens devoted to the theme of the youth of Christ are among the most impressive and influential examples of art that expressed Roman Catholic spirituality as reasserted at the Council of Trent. The vast majority of these works are his numerous images of the Adoration of the Shepherds and the Adoration of the Magi. The oldest sources for these and other scenes from Christ's youth are of course the accounts of the Gospels, but these were usefully completed by several supplementary descriptions, more especially the Apocrypha, patristic literature, and the pious legends woven around the birth of Christ in the course of the Middle Ages. In his interpretations of the scenes from Christ's youth, Rubens built to a large extent on a pictorial tradition that had developed in the Low Countries and Italy in the fifteenth and sixteenth centuries, in which mediaeval views and patterns originating from Northern Europe had merged with those of the Italian Renaissance. In Rubens's representations of scenes from Christ's youth, and especially in his many interpretations of the themes of the Adoration of the Shepherds and the Adoration of the Magi, the ideas of Counter-Reformation iconography found their most explicit embodiment in the clear Eucharistic connotations that are present in these works Corpus Rubenianum Ludwig Burchard
Hardback with dusjackets Languages: English 2 volumes set; , approx. 560 p., 95 b/w ill. + 120 colour ill., 180 x 265 mm Fine copy. ISBN 9781872501710. The paintings that Rubens devoted to the theme of the youth of Christ are among the most impressive and influential examples of art that expressed Roman Catholic spirituality as reasserted at the Council of Trent. The vast majority of these works are his numerous images of the Adoration of the Shepherds and the Adoration of the Magi. The oldest sources for these and other scenes from Christ's youth are of course the accounts of the Gospels, but these were usefully completed by several supplementary descriptions, more especially the Apocrypha, patristic literature, and the pious legends woven around the birth of Christ in the course of the Middle Ages. In his interpretations of the scenes from Christ's youth, Rubens built to a large extent on a pictorial tradition that had developed in the Low Countries and Italy in the fifteenth and sixteenth centuries, in which mediaeval views and patterns originating from Northern Europe had merged with those of the Italian Renaissance. In Rubens's representations of scenes from Christ's youth, and especially in his many interpretations of the themes of the Adoration of the Shepherds and the Adoration of the Magi, the ideas of Counter-Reformation iconography found their most explicit embodiment in the clear Eucharistic connotations that are present in these works.
42 pages. 6 3/4"w x 9 1/2"h. Stain on cover and tape on interior page. Printed in purple ink. No date of publication shown, probably from the 1950's. Appears to be excerpts from Oahspe ("Oahspe: A New Bible is a book published in 1882, purporting to contain "new revelations" from "...the Embassadors of the angel hosts of heaven prepared and revealed unto man in the name of Jehovih..."It was produced by an American dentist, John Ballou Newbrough (1828-1891), who reported it to have been written by automatic writing, making it one of a number of 19th-century spiritualist works attributed to that practice. Oahspe defines adherents of the disciplines expounded in Oahspe as "Faithists"."[Wikipedia]). Scarce.
pp. 23-47, iii-vii. Illustrated. Many local advertisements, some illustrated. Double column. Paper beginning to slightly brown but not brittle. Tall 8vo. Original printed wraps decorated and lettered in green. Scarce local floriculture periodical. **PRICE JUST REDUCED! PA PAMPH 19_10 BX1
This is a very good hardcover copy of the 1927 edition in tan cloth with the black smoking pistol device on the front cover. Almost no wear, completely clean inside, (faint spotting to the last two pages). Illustrated with 3 collotype plates and 38 black & white photos and line drawings. Covers the history of firearms from the beginnings in the 14th and 15th centuries on through the Renaissance and on up to the modern period, ending with the modern military rifles of World War 1. 8 appendices on individual makers like Smith & Wesson and Colt, and lists of makers in Britain and America. 4to, 10" high X 8" wide, 320 pages. A very nice copy. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
Hardback, 690 pages., 228 b/w ill., 180 x 265 mm. set in 2 volumes, fine condition. ISBN 9780905203690. Elizabeth McGrath recreates the context in which Rubens, who was familiar enough with classical writings to interpret them with originally and wit, worked and casts new light on rarely discussed and misidentified subjects. For Ruben's age, as for the ancient Romans, history was valued for the lessons it taught. Rubens was deeply interested in history, particularly the works of the ancient writers like Ovid, Plutarch and Juvenal, which were full of exemplary figures. Yet unlike many Renaissance artists who merely sought texts they could illustrate, Rubens was familiar enough with classical writings to interpret them with originally and wit - always with an eye for the visually striking aspect. He was thus uniquely qualified to respond to the requirements of particular commissions with exemplary themes like The Continence of Scipio, The Justice of Cambyses, The Devotion of Artemisia and The Courage of Cloelia. Elizabeth McGrath recreates the context in which Rubens worked and casts new light on rarely discussed and misidentified subjects. Also included is a detailed analysis of the tapestry cartoons on the life of Romulus, now in the National Museum of Wales, relating the series to all relevant studies, paintings and tapestries. Languages: English.
Cloth bound with dusjacket, as new !! 1999. 4to. 400 pp. text. 500 plates and ills. from which 39 color plates. ISBN 9070288060. This publication discusses the life and work of Gerrit van Honthorst (1592-1656) who was a major innovator for Dutch art during the first half of the seventeenth century. His work consists of two distinct categories; on the one hand his religious, mythological and genre subjects, and on the other, his numerous portraits. This long awaited study discusses the entire career and work of the artist. It includes a complete catalogue raisonne of Honthorst's extensive oeuvre. His accepted works are illustrated in black and white, some in color as well. The major collateral material is also reproduced.
Hardcover with dusjacket, 484 p., 121 b/w ill. + 23 colour ill., 180 x 265 mm, 2017 Languages: English. ISBN 9781909400962. On 26 February 1622, in Paris, Rubens entered into a contractual agreement to execute two series of paintings, ?by his own hand?, intended to decorate the two parallel galleries of the Parisian palace ? the so-called Luxembourg Palace ? of Maria de? Medici, widow of Henri IV and mother of Louis XIII. Completed in 1625, the twenty-four monumental paintings of the western gallery exalting the life of the Queen Mother form a universally admired ensemble, on display at the Musee du Louvre for the last two centuries. However, the second part of this grand project, envisioned for the eastern gallery of the palace, was abandoned in 1630. The suspension and then premature termination of the project after the Queen Mother?s exile in July 1631 have deprived us of a work that would have been unique, both in its magnitude and in the artistic means Rubens deployed to glorify the royal couple. The Galerie Henri IV, planned as a commemoration of the king?s military victories and a celebration of his triumphs ?in the manner of the triumphs of the Romans? (as the contract has it), remains a puzzle whose missing pieces are more numerous than what is preserved. Still, some fifteen works ? preparatory oil-sketches on panel and large canvases, more or less completed ? have survived. It is above all through the study of these works that this volume aims to arrive at a better understanding of the context, the iconography, and the political significance of the Galerie Henri IV. Despite the frustration (for us, as for Rubens himself) of its abandonment, the unfinished project remains an extraordinary feat of Baroque encomium, and one of the artist?s greatest masterpieces.
Hardcover with dusjacket,464 p., 130 b/w ill. + 70 colour ill., 180 x 265 mm,. ISBN 9780905203737. This volume catalogues the paintings and drawings that Ludwig Burchard (1886?1960) gathered under the heading ?Genre Scenes? when planning his catalogue raisonné of Rubens?s oeuvre. Not that Rubens has ever been thought of as a genre painter in the conventional sense of the term. Besides, even the individual works assembled here do not accord with the customary definitions of genre painting, a category of subject-matter that was introduced relatively late in the history of art. The famous Garden of Love in the Prado, for example, with its fluttering amoretti, is more accurately described as an allegory. Even the picture in the Louvre frequently referred to as the Kermesse clearly does not reproduce an actual kermis or any other such event as witnessed by the artist, but is a fictional construct in which precisely observed details are designed to convey a message that is more symbolic than realistic in content. Yet no history of genre painting can fail to include Rubens. His pictures occupy a firm place in the relevant section of any imaginary museum of European art, whatever strictures the guides to that museum may apply. The works discussed in this volume belong to the most famous creations of the painter. They are also among the most personal of his inventions. Most of them were never sold by Rubens, but remained in his possession, a circumstance that suggests they should be viewed as a particular artistic legacy. That is not to say that they did not offer contemporaries a wide range of possible interpretations unconnected with the artist?s own life. For a historically appropriate interpretation it is essential to examine closely not only the artistic process of creation, but also the former contexts of the pictures. Establishing the most complete provenance possible not only for the primary version of a composition but for all the various copies plays an important part in this process.
GRAND IN 4. REL TOILE EDIT AVEC JAQ ET EMBOITAGE [BE]. 254 PP. 230 ILL DONT 10 EN COULEURS. [BE]
IN 8 CARRE. BR [BE]. 244 PP. 128 ILL EN NOIR ET EN COULEURS. [BE]
