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327 pages including index. "Probably as romantic a figure as contemporary American literature affords, is that of Anzia Yezierska, who landed at Ellis Island as a frail, young Polish-Jew immigrant girl, and who has now won her way through dreary hours in a sweatshop and scullery to a place among the successful authors of the day." - New York Tribune. Average wear. Usual library markings. Solid copy. Book
Broch?. 244 pages.
Broch?. 318 pages.
Broch?. 309 pages.
Acquaforte, siglata in lastra con il monogramma di Salvato Rosa. Copia in controparte del lavoro del Rosa. Bellissima prova, impressa su carta vergata coeva, con ampli margini, in perfetto stato di conservazione. Etching, signed with Salvator Rosa monogram. A fine impression, with margins, in very good conditions.
softcover, 21 x 14,8 cm, 88 pagina's, Nederlandstalige editie . ISBN 9789082829082. Phoebus Focus VIII. In dit boek staat een voorstelling van Phoebus Apollo centraal, geschilderd door de barokke meester Jan Boeckhorst. Phoebus is de zonnegod naar wie The Phoebus Foundation is genoemd. Hij is de beschermer van de muzen en dus van de kunsten. Hij staat ook symbool voor het licht en de zon, en is intens verbonden met de ?gouden tijd?: een mythisch tijdperk vol eindeloze overvloed en rechtvaardigheid..
425 paginated pages. Some creases to edges and surface rubbing of covers. Numerous illustrations.
Broch?. 219 pages.
Broch?. 270 pages.
Softcover , cartonnage d'editeur illustre, 240 x 300mm., 335pp., copieusement illustre en couleurs et en b/n. ISBN 9058460177. Edite a l'occasion de l'exposition du meme nom a l'Hessenhuis / Stadsbibliotheek, Nottebohmzaal / Volkskundemuseum, Antwerpen, 15 mai - 31 octobre 1999. En cette annee, Anvers se voulait le digne ambassadeur d'Antoine Van Dyck et elle fetait l'evenement aved des multiples expositions et de multiples manifestations. Etat nouveau.
IN 8 CARRE. BR AVEC JAQ [MOY]. 48 PP. 10 ILL EN NOIR. [BE]
IN 4. BR AVEC JAQ [BE]. ENV 100 PP. ENV 100 ILL EN NOIR ET EN COULEURS. [BE]
Eight Volumes. Volumes 5, 6, 7 and 8 are plate volumes. Wonderfully illustrated. Bookplate of R. B. Wardlaw Ramsay. 8vo. Original full cloth bindings embossed in blind. Volume one missing spine. Hardbound set. Second edition. The Scotsman, John Claudius Loudon (1783-1843), was the most eminent early 19th century expert on landscapes, gardening, and agriculture. At the age of 20 he visited London and was shocked by the gloomy trees and plantings in the public squares. He published an article, Observations on Laying out the Public Squares of London" in the Literary Journal, in which he recommended the Oriental plane, almond, sycamore, and other lighter trees, instead of the lugubrious plantings that had hitherto been in vogue. His advice gradually prevailed, and the effect is still to be seen in London and throughout the kingdom. Now he was an author, as well as practical workman, and his pen went onward with little intermission for forty years. , until his life terminated. Many of his works were enriched with copperplate engravings of landscape scenery, drawn by himself. He became a successful practitioner and instructor in agriculture, gardening, architecture, botany, etc. His greatest work, which would of itself have been sufficient for any ordinary lifetime, was this Arboretum et Fruticetum Britannicum," in which he gave an account, with pictorial illustrations, of all the trees, wild or cultivated, that grow in Great Britain. This production, which was published in 1838, at his own risk, was so unsuccessful, that after paying artists and other persons engaged in it, he found himself in debt to the amount of L10,000 to the printer, stationer, and wood-engraver, while the sale of such a splendid publication was so slow, that there was no prospect that it would ever pay its own expenses. Though sick of heart and body, he went on to publish other enormously significant works that are valued today by collectors, historians, scientists, and all who work with plants in any capacity. **PRICE JUST REDUCED! PLANTS W133
Broch?. 250 pages. Rousseurs.
192 pages. Features: Villa de Balbianello - the late Count Guido Monzino's estate on Lake Como; Villa La Pietra - Sir Harold Acton's Florentine Aesthetic; A visit with Luciano Pavarotti; Gae Aulenti's Milan; The Villa Marcello - a 16th century treasure in the veneto; Greppo alla Fendi - reclaiming a hillside village in Umbria; I Tatti - Bernarad Berenson's renaissance villa near Florence; Alberto Burri's Umbrian Collage - the artist's multifaceted realm near Perugia; Puccini's Torre del Lago - the composer's villa near the Tuscan coast; A Fornasetti Original - the late designer's villa outside Varenna; Sandro Chia in Tuscany - the artist's Castello Romitorio studio; The Villa Rotonda - restoring Andrea Palladio's masterpiece in Vicenza; Noted antiques dealer Bernard Steinitz takes on the 16th century. Unmarked with moderate wear. A sound copy. Magazine
Cloth bound, 4to., 154 pp. text and 130 plates (14 in color). ISBN 9789070288112. Architectural Painting in Delft is a thorough study of the pictures of church interiors painted in Delft by Gerard Houckgeest, Hendrick van Vliet and Emanuel de Witte. Their sources in earlier artists like Pieter Saenredam and Bartholomeus van Bassen, their influence on contemporaries like Anthony de Lorme, Daniel de Blieck and the Berckheyde brothers, and the entire Amsterdam career of Emanuel de Witte are also discussed. A very different view of De Witte's work is taken than that found in the standard monograph (Manke, 1963), particularly in respect to the attribution, dating, and relationship to Houckgeest of De Witte's earliest church interiors. Revisions to Manke's catalogue, a catalogue of the pictures of actual churches painted by Houckgeest, and a long oeuvre list of the church interiors painted by Van Vliet are appended to the five chapters of text. Finally, a discussion and list of the church interiors painted by Cornelis de Man take into account pictures that have very recently come to light or are here attributed to him. The book is based on the author's doctoral dissertation completed at the Courtauld Institute in 1974, but it is completely rewritten and revised, and considers literature published and pictures known by January, 1982.
This is a very good hardcover copy in a very good dust jacket. The jacket has light soil and a small chip out of the top edge just affecting the title. Also price-clipped jacket flap. Endpapers offset (from jacket) and a short neat name to the front endpaper. Text and plates clean. Text by Shaw. Introduction by Bryan & Norman Westwood. Illustrated in black & white with 111 photographs of bold old and new architecture. Many classic photographs. Notes on cameras used and lighting tips. 10" high X 7 1/2" wide, 191 pages. This book will be securely packed and shipped with tracking.
Hardcover with dusjacket, 380 pages ., 132 b/w ill. + 49 colour ill., 180 x 265 mm, Languages: English. ISBN 9781912554317. Painted altarpieces form an important and familiar part of Peter Paul Rubens?s substantial oeuvre. Much less widely known is the fact that Rubens's involvement in such commissions sometimes went beyond the paintings themselves, and that he also designed sculptural framing and decorative surrounds for his patrons. There are several examples of designs by Rubens for sepulchral monuments too. These altar surrounds and tombs belong to the category of architectural sculpture . comprising the elements of the orders of architecture and their free application on the one hand, and monumental figurative or ornamental sculptural elements on the other. This was a visual language in which Rubens was especially well versed, and he drew on it not only in his paintings but also in his designs for tapestries, title-pages, book illustrations and ephemeral decorations. Rubens?s designs for architectural sculpture were more than just a natural extension of his own artistic activities: they fulfilled a need in the design practice of the sculptors and architects of the period who executed the works. Hans van Mildert, for example, regularly turned to designs by his friend Rubens. Evidence is found in both Van Mildert?s own work and that of Rubens himself of a design and workshop practice with, at its core, a collection of models that represented the intellectual capital of each of the artists concerned. The architectural sculpture that Rubens designed is also an expression and application of his personal views on art theory, which centred on the study of sculpture by painters and defined how they ought to render it in their own work. As elsewhere in his oeuvre, Rubens?s inspiration for the visual language he brought to bear in this area was frequently drawn from celebrated examples from antiquity and sixteenth-century Italy.
Hardcover with dusjacket, 370 p., 110 b/w ill. + 44 colour ill., 180 x 265 mm, Languages: English; Corpus Rubenianum Ludwig Burchard. ISBN 9781909400979. By the time of its completion in 1621, the former Jesuit church in Antwerp was one of the most brilliant achievements in the Southern Netherlands, particularly due to the ceiling paintings after Rubens? designs and his two altarpieces. Nevertheless, from the seventeenth century to the present day, the precise extent of Rubens? involvement in the architecture and the architectural sculpture of the church has been a point of discussion. Rubens was in close contact with the Jesuit Francois de Aguilon, designer of the ground plan of the Antwerp Jesuit church, and with lay brother Pieter Huyssens who made most of the drawings for the church. Known to be by Rubens? hand are a limited number of drawings and a sketch in oil for architectural ornaments and sculptures that relate both to the exterior and to the interior of the structure. Despite its numerous restorations, the iconographic scheme of the church is even today visibly influenced by Rubens? jaunty visual language which goes back to examples of ancient antiquity and its Christian interpretations in early Baroque churches in Rome. Some of the church?s decorative designs were also modelled after works by contemporary Italian artists such as Cherubino Alberti. In this critical catalogue, the design drawings and oil sketches attributed to Rubens, a number of which later served as models for religious as well as profane architectural decoration, including that of Cardinal-Infant Ferdinand's Pompa Introitus in 1635, are extensively discussed.
This is a very good hardcover copy in a very good dust jacket. The jacket just a little worn at the top of the spine. Very clean inside and out. No marks anywhere. Text in English, French and German. This volume was compiled by Peter Haiko, from the early 20th century German architecture magazines published by Ernst Wasmuth in Berlin, which thoroughly documented the modern architecture of the period. Introduction by Haiko. Text + 216 black & white plates. Also many plans in the text. 13" high X 10" wide, 312 text pages + plates. Large heavy book, foreign shipping will be extra. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
This is a very good hardcover copy with almost no wear. Completely clean inside and out. Documentation of the author's work in Tel Aviv. Illustrated throughout in black & white, with photographs, drawings, plans and elevations. 4to, 9" high X 9.5" wide, 119 pages. This book will be securely packed and shipped with tracking.
Acquaforte, 1700 circa. Da un disegno di Ferdinando Galli Bibiena. Magnifico esemplare, ricco di toni e ben contrastato, impresso su carta vergata coeva filigranata - “cerchio sormontato da trifoglio - rifilato alla linea marginale, nel complesso in ottimo stato di conservazione. Della serie: Varie opere di Prospettiua inventate da Ferdinando Galli d:o il Bibiena Bolognese Pittore, et Architetto dell A: SS.ma del Sig:re Duca di Parma Raccolte da Pietro Abbati, et intagliate da Carlo Antonio Buffagnotti. ‘Le diede in Luce, e Stampò Giacomo Camillo Mercati in Bologna’ 1701. Le Varie opere di Prospettiua sono una raccolta di 72 tavole, per lo più di grande formato, che documentano la prima attività di Ferdinando Galli Bibiena come disegnatore di scenografie teatrali e architetture effimere. Fu assemblata da Pietro Giovanni Abbati (fl. 1683-1745), allievo di Ferdinando Bibiena durante il suo mandato di "Pittore di Corte" dei Farnese Duchi di Parma, in collaborazione con Carlo Antonio Buffagnotti, un operoso stampatore bolognese. Un oscuro stampatore, Giacomo Pelegrino Longhi, fu responsabile della ristampa, che incorpora undici stampe di scenografie disegnate da Bibiena ed eseguite da Abbati per spettacoli rappresentati a Torino nel 1699. Bibliografia M. Pigozzi, F. G.B.: varie opere di prospettiva. Traduzione e diffusione di modelli e tipologie in centri e periferie, in “Il barocco romano e l'Europa”, Atti del Corso internazionale di alta cultura (1987), a cura di M. Fagiolo - M.L. Madonna, Roma 1992, pp. 637-642. Etching, 1700 circa, unlettered. After a drawing by Ferdinando Galli Bibiena. Magnificent example, rich in shades and well contrasted, printed on contemporary watermarked laid paper (circle surmounted by trefoil), trimmed at the marginal line, overall in excellent condition. From the series: Varie opere di Prospettiua inventate da Ferdinando Galli d:o il Bibiena Bolognese Pittore, et Architetto dell A: SS.ma del Sig:re Duca di Parma Raccolte da Pietro Abbati, et intagliate da Carlo Antonio Buffagnotti. ‘Le diede in Luce, e Stampò Giacomo Camillo Mercati in Bologna’ 1701. The Varie opere di Prospettiua is a collection of 72 mostly large-format plates documenting Ferdinando Galli Bibiena’s early activity as a designer of theatrical scenery and ephemeral architecture. It was assembled by Pietro Giovanni Abbati (fl. 1683-1745), a pupil of Ferdinando Bibiena during his tenure as “Pittore di Corte” to the Farnese Dukes of Parma, in collaboration with Carlo Antonio Buffagnotti, an industrious printmaker from Bologna. An obscure printseller, Giacomo Pelegrino Longhi, was responsible for the reissue, which incorporates eleven prints of scenery designed by Bibiena and executed by Abbati for spectacles performed in Turin in 1699. Bibliografia M. Pigozzi, F. G.B.: varie opere di prospettiva. Traduzione e diffusione di modelli e tipologie in centri e periferie, in “Il barocco romano e l'Europa”, Atti del Corso internazionale di alta cultura (1987), a cura di M. Fagiolo - M.L. Madonna, Roma 1992, pp. 637-642.
si pubblicano gli interventi al seminario «La presenza ebraica nel Lazio: fonti e studi» organizzato dal Laboratorio di Storia economica regionale dell'Università di Cassino e dall'Archivio della Comunità Ebraica di Roma l'11 giugno 2008 nella sede della facoltà di Economia dell'Università di Cassino - bross. edit. ill. con sovrac. ill., scoloritura al retro della sovrac., minime fioriture al taglio davanti - illustrazioni in b.n. nel testo
Cloth bound, 4to., 286 pp., introduction and catalogue raisonne with 342 plts. and ills. from which 42 in color. FINE! ISBN 907028815X. Edited by Kristin Belkin. With chapters by Alan Chong and Christian Tumpel. Documents by Gabriel Pastoor. Arent de Gelder was Rembrandt's last pupil. He started his career as a painter when the "Golden Age" of Dutch Art had come to its end. Arent de Gelder seems to have carried on the tradition of Rembrandt's approach to color far into the beginning of the 18th century. A careful analysis of Arent de Gelder's paintings will reveal that in truth he had a different understanding of the function of color within the conception visualized by him. Arent de Gelder's natural talent to use color in all its splendor is a constant source of joy when studying his work even if he is carried away by it to such a degree that at times he is neglecting the precision of basic design. Arent de Gelder, in a way an outsider within Dutch Painting of the Post-Rembrandt period, was completely unconcerned about the artistic aims and intentions of his contemporaries and he went his own way. As new.
IN 8 CARRE. BR [BE]. ENV 50 PP. 10 ILL EN NOIR. [BE]
