Renda FrancescoMareMagnum
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bross. edit. ill., lieve brunitura generale
bross. edit. con titoli a due colori, minime rotture e bruniture in cop. - con dedica autografa dell'autore
bross. edit. ill. - con dedica autografa dell'autrice - alcune illustrazioni in b.n. nel testo
Cartonnage de l'?diteur. 305 pages. Rousseurs.
Broch?. 78 pages. 17x24 cm.
454 pages. Index. Footnotes. Bibliography. Profusely illustrated in black and white. "Treats construction techniques in the context of their environment and traces the history of various European and North American influences on methods of building in Upper Canada during the pioneer years... The book's emphasis on techniques of building and on details such as joints distinguishes it from glossier 'picture' books. It remains the ideal guide for everyone interested in early architecture and in the conservation of old buildings in Canada." - from back cover. Company inkstamp atop half-title page otherwise clean and unmarked with moderate wear. Tight and square. A quality copy of this acclaimed work. Book
softcover , 224 pag., 22 x 28 cm,135 ill. in color, English text ISBN 9789059973145. Painting naval battles, view of harbours and coasts, as well as detailed ?portraits? of battleships, yachts and merchant vessels was the core business of the van de Velde family firm. Father and son van de Velde had flourishing workshops, first in Amsterdam, and later in England. The present publication focuses on the development of the van de Velde firm: how it managed to distinguish itself from its competitors, how it built its clientele, and how father and son adapted to the changes in the 17th-century art market. The book is not merely about the art of painting, but also tells the story of the people behind the artefacts, the way in which the firm coped with the stormy circumstances of its time, and the importance of family ties.
softcover , 224 pag., 22 x 28 cm,135 ill. in kleur, ISBN 9789059973138. Het maken van schilderijen van zeeslagen, van havens en kustgezichten en gedetailleerde ?portretten? van oorlogsschepen, jachten en koopvaarders was de kernactiviteit van het familieatelier Van de Velde. In Amsterdam en later in Engeland hadden vader en zoon Van de Velde een bloeiend bedrijf in grote en kleine zeestukken. In dit boek staat de ontwikkeling van het bedrijf van de Van de Veldes centraal: hoe zij zich onderscheidden van de concurrenten, hoe zij klanten wierven en hoe vader en zoon zich aanpasten aan veranderingen in de kunstmarkt van de 17e eeuw. Het boek gaat dan ook over meer dan schilderkunst alleen: het is ook een verhaal over de mensen achter de kunstwerken, de manier waarop een bedrijf de stormen van zijn tijd wist te doorstaan en over het belang van familiebanden.
Acquaforte e bulino, 1635, firmata e datata in lastra in alto, a puntasecca: Rembrandt ft 1635; sotto l’ovale l’iscrizione Quem pia miarari plebes, quem castra solebant, / damnare et mores aula coacta suos. Jactatus multum, nec tantum fructus ab anni / WTENBOGARDUS sic tuus, Haga redit. HGrotius. (La corte secolare fu costretta a condannare sia l’uomo tanto ammirato, sia le sue convinzioni. L’Aja, il tuo Uytenbogaert ritorna a te dopo lungo errare, provato solo dagli anni. Ugo Grozio). Esemplare nel V stato di VI, con i margini della lastra ripuliti. Magnifica prova, impressa su carta vergata coeva priva di filigrana, rifilata al rame, leggere ossidazioni in basso, per il resto in ottimo stato di conservazione. Il ritratto raffigurato è quello del predicatore Johannes Uytenbogaert (1577-1644), all’età di settantotto anni. Personaggio illustre ed assai influente del tempo, divenne il leader della Rimostranza, una corrente liberale della chiesa calvinista che formalizzava la dottrina di Arminio. Al Concilio di Dort (1618- 1619) la Rimostranza fu condannata e i seguaci perseguitati: Uytenbogaert fu costretto all’esilio, per porter far ritorno all’Aja solo nel 1629. La didascalia di Grozio - a sua volta appartenente alla fazione dei rimostranti e esiliato nel 1635 – non si limita a rievocare questi eventi, ma intende sottolineare il ritorno di Uytenbogaert a L'Aja. È probabile che il ritratto sia ordinato per diffonderne le stampe fra gli amici e gli estimatori dell'anziano pastore. Potrebbe essere lo stesso Uy- tenbogaert a commissionarlo, ma non è detto. Due anni prima Rembrandt lo ritrae in un dipinto, su richiesta di Abraham Antonisz. Recht, un mercante favorevole ai rimostranti. In quella occasione Uytenbogaert posa per Rembrandt, mentre per l'acquaforte non è sicuro che ciò sia avvenuto: infatti, nelle due opere il viso dell'uomo è rappresentato in modo quasi identico, perfino nelle ciocche di capelli che sfuggono dallo zucchetto. Per la testa, Rembrandt deve essere partito da un disegno oggi perduto. Esemplare in cornice dorata settecentesca. Bibliografia Hind 128; Bartsch 279; White & Boon 279, V/VI; E. Hinterding, Rembrandt, Dipinti, incisioni e riflessi sul ‘600 e ‘700 italiano, p.120, 26. Etching and engraving, 1635, signed and dated at upper edge Rembrandt ft 1635. Inscribed in Latin beneath the image: Quem pia miarari plebes, quem castra solebant, / damnare et mores aula coacta suos. Jactatus multum, nec tantum fructus ab anni / WTENBOGARDUS sic tuus, Haga redit. HGrotius. Example of the fifth state of six. Magnificent work, printed on contemporary laid paper without watermark, closely trimmed to the platemark, light oxidations at lower part, otherwise in good condition. Johannes Uytenbogaert (1557-1644), an important political and theological figure of the period , was a leader of the Dutch Remonstrants and a former chaplain to Maurice, Prince of Orange. Following the views of Jacobus Arminius, the Remonstrants presented to the States-General in 1610 a 'Remonstrance', setting forth their points of divergence from stricter Calvinism. Attacked on all sides, they were expelled from the Netherlands by the Protestant Synod of Dort (1618-19), which declared Remonstrant theology contrary to Scripture. Allowed back in the Netherlands by 1630, they were officially recognised in 1798. The inscription, in Latin, is far more extensive than in Rembrandt's other prints, and was composed by the leading Remonstrant Hugo de Groot - a Remonstrant still in exile in 1635. It alludes to Wtenbogaert's piety and court service, as well as his 'comeback' to the Hague in 1629. Rembrandt had previously depicted Uytenbogaert in a painting of 1633, in which the minister stands before a table and a large opened book (the portrait survives in the Rijksmuseum). Bibliografia Hind 128; Bartsch 279; White & Boon 279, V/VI; E. Hinterding, Rembrandt, Dipinti, incisioni e riflessi sul ‘600 e ‘700 italiano, p.120, 26.
Broch?. 224 pages. Cachets.
Broch?. 289 pages.
Broch?. 572 pages.
Broch?. 78 pages. Rousseurs. Couverture l?g?rement d?fra?chie. 17x24 cm.
Broch?. 160 pages.
Broch?. 270 pages.
Reliure demi-toile. Rousseurs.
Broch?. 126 pages. 16x24 cm. D?fra?chi. Manques au dos.
Broch?. 350 pages. Rousseurs.
Broch?. 122 pages. Cachets. 16x24 cm.
Percaline de l'?diteur. 125 pages. 17x25 cm.
Broch?. 319 pages. Rousseurs.
Broch?. 234 pages. Fortes rousseurs.
Broch?. 157 pages.
Broch?. 290 pages. L?g?rement d?fra?chi.
Broch?. 313 pages.
