D. Vanwijnsberghe (edMareMagnum
5 533 résultats
Hardback 307 pages,Size:230 x 290 mm, Illustrations:463 b/w Language(s):French. neuf!. ISBN 9782930054094. Décembre 1920. Le banquier et collectionneur brugeois Émile Renders achète dans une vente publique un tableau en très mauvais état. Il s'agit de la copie d'un des joyaux du Louvre : la fameuse Madeleine du Triptyque Braque de Rogier van der Weyden. Six ans plus tard, lorsqu'elle refait surface, la croûte est mystérieusement devenue un superbe tableau de maître, attribué à l'entourage de Hans Memling. Comment expliquer cette étrange métamorphose ? Ce livre démonte la stratégie mise au point par Renders pour se constituer, en un temps record, la plus belle collection belge de Primitifs flamands de l'entre-deux-guerres. Il dévoile comment le banquier s'associa à un homme de l'ombre, le restaurateur Jef Van der Veken, pour « remettre en état » des tableaux anciens de faible valeur qu'il dénichait dans de petites collections privées belges. Il montre enfin comment l'incomparable savoir-faire technique de Van der Veken, allié au génie financier de Renders, allait conduire à l'une des plus magistrales supercheries artistiques du vingtième siècle. Un piège dans lequel tomba l'un des principaux dirigeants nazis, Hermann Goering, satrape aveuglé par sa mégalomanie, qui acquit la collection Renders en bloc et au prix fort. Sans le travail interdisciplinaire d'historiens, d'historiens d'art, de restaurateurs, et l'apport essentiel des laboratoires, cet incroyable jeu de dupes n'aurait pu être démasqué. Un « catalogue raisonné » de l'?uvre de Jef Van der Veken est également publié ici pour la toute première fois... plus de 300 tableaux retouchés, restaurés, voire entièrement peints de sa main.
PETIT IN 4 CARRE. BR [BE]. ENV 60 PP. 44 ILL EN NOIR ET EN COULEURS. [BE]
bross. edit. ill., lievi fioriture ai tagli - trad. di Bernardo Jasink
Broch?. 199 pages. Rousseurs.
Broch?. 187 pages.
41 pages. Black and white illustrations and maps. Unmarked with moderate wear. Minor moisture exposure. A sound copy of this informative local Ontario cottage country history. Book
New Turkish Paperback. Folio. (32 x 24 cm). In Turkish. 446 p., color ills. Aydin Ayan: Mystery and magical reality.= Sir ve büyülü gerçek. [Exhibition catalogue]. Texts by August Wiedmann, Turan Erol, Burcu Pelvanoglu, Ahmet Oktay. A leading light at Istanbul's venerable Fine Arts Academy (now part of Mimar Sinan University), Ayan's work has most fittingly been described as modern symbolic realism.
New Turkish Paperback. 4to. (30 x 22 cm). In Turkish. 239 p., color ills. Ayten Yetis Dogu. [Catalogue of the artist]. Ayten Yetis Dogu, attended the Department of Painting of Istanbul State Academy of Fine Arts and worked at the studios of Adnan Çoker and Özdemir Altan. She graduated from the studio of Nurullah Berk in 1966. She continued her studies in Vienna from 1967 to 1970 and in Germany from 1972 to 1975. The Artist had twenty solo exhibitions, two of which were abroad and participated in numerous joint exhibitions. The artist who describes her art as expression of color, light and shadow, is currently working in her own studio in Istanbul. (Source: Turkish paintings).
Very Good Russian Paperback. Cr. 8vo. (20 x 14 cm). In Russian. 57, [3] p. Azerbaidjanskaya poeziyu i Etim Emin. Azerbaijan poetry and Etim Emin (Yetim, Magomed Emin), (1838-1884). TURCOLOGY Turkish literature Azerbaijani poetry 20th century Lezgian poetry History and criticism Biography.
37 pages. Features: One Room Schools of fifty years ago; The Hope-Nicola Trail; Book Reviews of: Schooling and Society; Caledonia -100 Years Ahead; Railway Stations; The Court House of New Westminster; Historical Portraits of Trail; God's Galloping Girl; One Century Later. Average wear. Book
Acquaforte e bulino, 1650 circa, numerata 11 nell’angolo superiore sinistro. Questa tavola appartiene alla suite di Baccanalia descritte da Robert- Dusmenil (IV, 12-17) il cui frontespizio, inciso da Nicolas Cochin il Vecchio recita “Recueil de diverses Baccanales de Poussin, Chapperon, D’origny et autres”. Tutte le stampe della serie contengono gli indirizzi dei rispettivi editori ma non i nomi dei disegnatori e degli incisori, il che rende difficile attribuire definitivamente le opere ad artisti specifici. Le stampe furono probabilmente pubblicate per la prima volta dagli editori François Langlois, noto come 'il Ciartres' (1589 Chartres - 1647 Parigi), e Philippe Huart (attivo intorno al 1639-1648) e furono seguite da una seconda edizione pubblicata da Pierre Mariette. I disegni per le incisioni potrebbero provenire da Nicolas Chaperon o dallo stesso Dorigny. Sei tavole della suite, benchè prive della firma dell’autore, per ragioni stilistiche, sono riconducibili a Dorigny, autore di un’altra suite di Baccanalia, composta anch’essa da sei lastre, tutte recanti la sua firma (Robert-Dusmenil, IV, 6-11). Incentrate sulle attività di Bacco, Sileno e la loro allegra compagnia, queste due serie di affascinanti composizioni all'acquaforte dimostrano la ricchezza e la destrezza dei poteri di invenzione di Dorigny. In contrasto con la maggior parte delle sue prime interpretazioni delle opere di Vouet e altri, dove spesso usava il bulino per aumentare leggermente la sua vigorosa acquaforte (vedi cat. 102), alcune delle stampe successive di Dorigny, in particolare queste due suite di baccanali, si affidano ancora di più al bulino. Questa tendenza è parallela a un graduale cambiamento nel suo disegno, che rivela una crescente tendenza verso contorni pronunciati e figure più scultoree. Dopo essersi formato per cinque anni sotto Georges Lallemand a Parigi, Michel Dorigny si unisce presto alla cerchia del pittore Simon Vouet, con il quale stringe un'amicizia stretta e duratura. Dorigny divenne in seguito uno dei principali interpreti in campo tipografico dell'opera pittorica di Vouet e fu anche coinvolto come pittore in diversi progetti artistici del maestro. Le sue stampe comprendono opere su temi religiosi e mitologici così come stampe singole e serie su temi dionisiaci. Le suite probabilmente risalgono agli anni ’50 del XVII secolo quando, dopo la morte di Vouet. Bellissima prova, ricca di toni, impressa su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Robert-Dusmenil, IV, p. 254, 14: Reed, French Prints from the Age of the Musketeers, p. 233. Etching and engraving, 1650 circa, numbered 11 at lower left. After training for five years under Georges Lallemand in Paris, Michel Dorigny soon joined the circle around the painter, Simon Vouet, with whom he struck up a close and lasting friendship. Dorigny subsequently became one of the main printmaking interpreters of Vouet’s painted oeuvre and was also involved as a painter in several of the master’s artistic projects. His prints include works on religious and mythological themes as well as individual prints and series on Dionysian topics. It is to this latter category that six etchings belong which Dorigny produced together with Nicolas Chaperon and other artists for the series entitled Recueil de diverses Bacchanales (Robert-Dumesnil, vol. IV, p. 254, nos. 12–17). All the prints in the series contain the addresses of the respective publishers but not the names of the designers and engravers, which makes it difficult to definitively ascribe the works to specific artists. The prints were probably first issued by the publishers François Langlois, known as ‘il Ciartres’ (1589 Chartres – 1647 Paris), and Philippe Huart (active around 1639–1648) and were followed by a second edition published by Pierre Mariette. The designs for the etchings may well stem from Nicolas Chaperon or from Dorigny himself. Another suite of six bacchanals (Robert – Dusmenil 6-11) bears on each plate the name of D’Origny as engraver. Both suites probably date to the 1650 when, after Vouet’s death, Dorigny became one of the most important decorative painters in Paris. Focused on the activities of Bacchus, Silenus, and their merry band of associates, these two etched sets of charming compositions demonstrate the wealth and dexterity of Dorigny's powers of invention. In contrast to most of his earlier interpretations of the works of Vouet and others, where he often used engraving to lightly augment his vigorous etching (see cat. 102), some of Dorigny's later prints, espe- cially these two suites of bacchanals, rely even more on engraving. This trend parallels a gradual shift in his draftsmanship, which reveals an increasing tendency towards pronounced contours and more sculptural figures. A fine impression, printed with tone on contemporary laid paper, with margins, very good condition. Bibliografia Robert-Dusmenil, IV, p. 254, 14: Reed, French Prints from the Age of the Musketeers, p. 233.
This is a fine softcover copy with no wear at all. Completely clean. This was the Second Sotheby Fitzwilliam Exhibition held at the Fitzwilliam Museum Cambridge, from May 3 to July 3, 1988. All drawings selected and catalogued by Roger Ward. Illustrated in black & white with 85 plates. Bibliography. 9" high X 7" wide, 180 pages. This book will be securely packed and shipped with tracking.
paperback,324 p., 265 colour ill., 180 x 250 mm, Languages: English. ISBN 9782503525990. Back to the Schoolyard The Daily Practice of Medieval and Renaissance Education After about 1300, most schools in the Netherlands came under secular rule. It managed to create good and accessible schools, causing a hey-day for education in the 14th, 15th and 16th century. As a result, more than half of the children participated in basic instruction and literacy rate went relatively high. A contemporary Italian visitor noted with awe that ?in the Low Countries everybody could read and write, even the peasants?. In the 16th century, the curriculum changed because of the Reformation and the availability of printed texts. In this book, the favourable situation in the Netherlands is compared with the rest of Western Europe. Medieval and Renaissance schools have been studied before, but never from the perspective of those who experienced it on a daily basis. Recent excavations on the sites of late-medieval schools and boarding houses revealed the objects used by pupils and teachers for reading, writing, mathematics, and school life in general. Combining those finds with texts and hundreds of depictions of school scenes in manuscripts, frescoes, sculpture, stained glass and early prints, the practice of education could be reconstructed. The book gives a detailed overview of the material school culture, allowing a rare glimpse into a late-medieval classroom
350 pages including index and 150 photographs. Signed and inscribed by author upon verson of half-title page. The first narrative of this popular game in British Columbia. Veteran Vancouver Sun writer Arv Olson traces a century of the game from its grassroots at Jericho Beach and Victoria, through the good and the bad times of growth, depression, wars and important tournaments. Un unprecedented reference book of tournaments, competitors and courses in British Columbia. Moderate wear to book which has bump to lower corner of front board. Some moisture-induced rippling to bottom edge of text. Dust jacket shows moderate wear with half-inch tear to base of front panel at fore-edge. Light moisture stain to base of dust jacket back panel. Book
Neat name/date to front end paper. No other marks or inscriptions. A very clean very tight copy with bright unmarked boards and no bumping to corners. Dust jacket not price clipped or torn or creased with very tiny spot mark to rear. Large fold-out map at front in excellent condition. 609pp. Facsimile edition of the Baedeker guide of 1890 with seventy-two tours to guide the traveller from the Scilly Isles to Shetland at the the end of the 19th century with advice on money, travel, hotels etc , coloured maps, street plans and a large double-sided fold-out map of the entire railway network.
Very Good English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 23 p. text in Turkish, [104] p. facsimile in Ottoman script. Bahrü'l-hakayik. Prep. by Ismail Hikmet Ertaylan.
This is a near fine hardcover copy in a very good dust jacket with just light wear. Completely clean inside and out. No foxing or other marks. Binding firm. With 600 illustrations, including 200 color plates, and 190 in duotone. Chronology. List of Manufacturers. Balenciaga exhibition history. 12" high X 9" wide, 345 pages. Large heavy book foreign postage will be extra. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
A book to accompany exhibitions at Tate St Ives and Yorkshire Sculpture Park 24th May to 14 September 2003. Edited by Chris Stephens. Numerous illustrations. Includes Index. 160 pages
trad. di Giorgio Agosti bross. edit. ill.
