Madariaga Salvador deMareMagnum
Carlo V
bross. edit. ill. - alcune cartine nel testo
Libreria Tara s.n.c. · Roma, IT5,50 €
5 533 résultats
trad. di Cesco Vian, Lucia Cerutti e Giovanni Maria Vian tela edit. con sovrac. ill., rotture e piccole mancanze in sovrac., lievi fioriture ai tagli e alle sguardie
bross. edit. ill. - alcune cartine nel testo
CONDIZIONI ACCETTABILI
tela edit. con titoli oro al dorso e sovrac. ill. - prima edizione
No marks or inscriptions. Very small crease to upper edge of rear cover, none to front or to spine. A very clean very tight copy with bright unmarked boards and no bumping to corners. 127pp. A study of the painting from the time of the Court of Charlemagne in the late 8th and early 9th centuries which spread throughout the Frankish enpire. With twenty-nine pages of introduction, bibliography and provenance of the plates plus forty-eight full-page plates and associated descriptions opposite.
Acquaforte, 1978, firmata e datata in lastra in basso al centro. Firma a matita Beppi Zancan in basso a destra. Esemplare stampato su carta cina, in perfetto stato di conservazione. Beppi Zancan nacque a Torino il 14 febbraio del 1936 da una famiglia di origine veneta di giuristi, medici e docenti universitari. Durante la guerra, riparó con la famiglia nella villa di Viverone, dove trascorse alcuni degli anni piú belli della fanciullezza insieme al fratello Giampaolo, divenuto poi uno tra i più noti avvocati penalisti italiani. Rientrato a Torino, frequentó il liceo classico presso l’Istituto Sociale dei padri Gesuiti, dove si distinse come studente brillante e geniale. Si laureó in giurisprudenza con Norberto Bobbio, del quale fu assistente, elaborando una tesi di filosofia del diritto sul concetto di giustizia in Dostoevskij, che fu molto apprezzata e che ottenne numerosi riconoscimenti. L’amore per Dostoevskij, che Beppi leggeva anche in lingua originale, rimase una costante della sua intera esistenza. Assolto il servizio militare a Casale, tornó a Torino dove, abbandonó la carriera universitaria, per una sua incompatibilitá con le formalitá piú rigide e canoniche, da artista intenso ed eccentrico qual era. Trasferitosi a Milano, incontró Arrigo Polillo, direttore della rivista Musica Jazz e direttore del personale di Arnoldo Mondadori, che, apprezzatene le doti di musicista e riconosciutone l’estro creativo, lo volle con sé come pubblicitario e creativo. É di questo periodo, nel 1967, la sua prima mostra personale di incisioni, ordinata presso la galleria L’Arte Antica di Torino. Si trattava di incisioni di grandissimo talento tecnico, strettamente correlate al lavoro del Maestro ideale di Beppi Zancan, Rembradt. Nel 1971 espose di nuovo all’Arte Antica di Torino e al Gabinetto delle Stampe di Milano e nel 1974 al Casinò di Sanremo. Nel 1974, divenne giornalista professionista e, nel 1975, gli fu affidata la direzione de Il Mago, una delle più importanti riviste di fumetti italiane, sulle cui pagine trovavano spazio tavole di giovani autori italiani esordienti così come strisce straniere, prevalentemente umoristiche. In quello stesso anno conobbe Carlotta Frattini, che divenne sua moglie l’anno successivo. Ancora nel 1976, ordinò una nuova mostra di incisioni, nuovamente presso la galleria L’Arte Antica, mentre la prima esposizione torinese di opere pittoriche avvenne soltanto nel 1981, presso la galleria Quaglino di piazza San Carlo; qui espose le sue tele, in cui l’impronta dei grandi impressionisti, tra i quali soprattutto Van Gogh e Cezanne emergeva forte ed evidente. La pennellata di Beppi Zancan rimane tuttavia personale e autonoma, pur riflettendo ardentemente l’ammirazione per quei grandi. Etching, 1978, signed and dated in plate at lower center. Signature in pencil Beppi Zancan at lower right. Example printed on china paper, in perfect condition. Beppi Zancan was born in Turin on February 14, 1936 into a family of Venetian origin of jurists, doctors and university professors. During the war, he took refuge with his family in the villa in Viverone, where he spent some of the best years of his childhood together with his brother Giampaolo, who later became one of the most famous Italian criminal lawyers. Back in Turin, he attended the classical high school at the Social Institute of the Jesuit Fathers, where he distinguished himself as a brilliant and brilliant student. He graduated in law with Norberto Bobbio, of whom he was an assistant, elaborating a thesis on the philosophy of law on the concept of justice in Dostoevsky, which was much appreciated and received numerous awards. The love for Dostoevsky, which Beppi also read in the original language, remained a constant throughout his life. After completing his military service in Casale, he returned to Turin where he abandoned his university career, due to his incompatibility with the most rigid and canonical formalities, as an intense and eccentric artist that he was. After moving to Milan, he met Arrigo Polillo, director of the magazine Musica Jazz and personnel director of Arnoldo Mondadori, who, appreciating his talents as a musician and recognizing his creative flair, wanted him with him as a publicist and creative. It is of this period, in 1967, his first personal exhibition of engravings, ordered at the gallery L'Arte Antica in Turin. These were engravings of great technical talent, closely related to the work of Beppi Zancan's ideal master, Rembrandt. In 1971 he exhibited again at the Arte Antica of Turin and at the Gabinetto delle Stampe of Milan and in 1974 at the Casino of Sanremo. In 1974, he became a professional journalist and, in 1975, he was entrusted with the direction of Il Mago, one of the most important Italian comics magazines, on the pages of which there were tables of young Italian authors as well as foreign strips, mainly humorous. In that same year he met Carlotta Frattini, who became his wife the following year. Still in 1976, he ordered a new exhibition of engravings, once again at the gallery L'Arte Antica, while the first Turinese exhibition of paintings took place only in 1981, at the Quaglino gallery in Piazza San Carlo; here he exhibited his canvases, in which the imprint of the great impressionists, among whom above all Van Gogh and Cezanne emerged strong and evident. Beppi Zancan's brushstroke, however, remains personal and autonomous, even though it ardently reflects his admiration for those great artists.
11p. Tall 8vo. Original pale green printed wraps, extremities soiled. Once folded in middle. PA PAMPH 19_1 BX1
IN 4. BR [MOY]. 44 PP. 21 PPL DONT 1 EN COULEURS. [BE]. CIRCA 1910
IN 12. BR [BE]. 260 PP. 87 ILL DONT 24 EN COULEURS. [TBE]
Cloth bound with dusjacket, as new !!, 2002. 4to., 542 pp. text, 378 ill. (33 full-page colourplts). ISBN 9070288370. Caspar Netscher (1635/6-1684) was one of the most acomplished and successful artists active in the Netherlands during the latter part of the seventeenth century. Paradoxically, however, the same factors that made him so successful during his lifetime and into the eighteenth century also occasioned his exclusion from the modern canon of seventeenth-century Dutch painting, for his art represents a decisive move away from the hearty egalitarian aesthetic that prevailed during the earlier part of the century. Responding to (and helping define) his patrons' desire for international style and sophistication, Netscher's exquisite portraits and subject pieces are unmistakably Dutch, yet are imbued with an elegance more in keeping with progressive pan-European tastes.This is the first full-length study to examine the work of this important Dutch artist The text is complemented by an appendix of documents relevant to the artist (most previously unpublished), and concludes with an exhaustive catalogue raisonne of the paintings. The latter contains detailed information on 220 accepted paintings by the artist, 44 problematic attributions (including some compositions known only through copies and works that involve a significant amount of studio assistance); 470 rejected works; and 388 paintings mentioned in the literature prior to 1800 but presently untraced.
1st edition. 8vo, 455 pages, colour frontispiece. Hardback in very good condition, repair to rear hinge, dust jacket fine condition. 39289. eng
bross. edit. ill., minime fioriture ai tagli - tabelle e piantine in b.n. nel testo, una cartina in b.n. ripiegata fuori testo
This is a very good softcover copy with light wear to the spine tips of the cover. Very clean inside and out. Though a softcover, the book has a dust jacket. The covers of the book itself have light foxing. Text and plates clean. Text in Spanish. 821 pieces in the exhibition and catalog. All pieces fully described with provenance and bibliography. 48 black & white plates. 9" high X 8" wide. 14 page introduction by Ribera. This book will be securely packed and shipped with tracking.
in testa al front.: Biblioteca del Senato del Regno (vol. I); Biblioteca del Senato della Repubblica (voll. II-VIII) - vol. I A-B (Tipografia del Senato 1943); vol. II C-E (Tipografia del Senato 1950); vol. III F-K (Leo S. Olschki Editore 1955); vol. IV L-M (Leo S. Olschki Editore 1958); vol. V N-Q (Leo S. Olschki Editore 1960); vol. VI R (Leo S. Olschki Editore 1963); vol. VII S (Leo S. Olschki Editore 1990); vol. VIII T-U (Leo S. Olschki Editore 1999) - otto volumi in 4°, bross. edit con titoli a due colori - numerose tavole in b.n. anche con velina protettiva
IN 4. BR [MOY]. ENV 100 PP. ENV 50 ILL EN NOIR. [BE]
AVEC LES RESULTATS DE LA VENTE
IN 8 CARRE. BR [MOY]. 150 PP. ENV 200 ILL EN NOIR. [BE]
IN 4. BR [MOY]. 16 PP. ENV 20 ILL EN NOIR. [BE]
16 pages photocopi?es. 12x17 cm.
IN 8. REL[MOY]. 12 PP + 12 PP . 240 PPL + 244 PPL EN NOIR [BE]
IN 4. BR [BE]. 47 PP. 22 HT EN COULEURS. [BE]
