Olga POPOVA et al.MareMagnum
Neret, GillesMareMagnum
Icons. Erotica, 20th Century, Volume II
A clean, unmarked book with a tight binding. 5 5/8"w x 7 7/8"h. 192 pages.
Bookshop Pistil Books Online · Seattle, US23,18 €
127 résultats
192 p., nbr. fig. coul. Inv. 17290
[16]pp. + 38 buitentekstplaten, 23cm., tentoonstellingscatalogus (Aartsbisschoppelijk Museum, Utrecht, 18 februari - 16 april 1963), S68696
148pp., 21cm., softcover, good condition, [also contains a German translation], S107633
A clean, unmarked book with a tight binding. 5 5/8"w x 7 7/8"h. 192 pages.
A clean, unmarked book with a tight binding. 5 5/8"w x 7 7/8"h. 192 pages. Full of art depicting women and their.... bodies.
A clean, unmarked book with a tight binding. 5 5/8"w x 7 7/8"h. 192 pages.
Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1640. Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti. L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare”, con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked. Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed. The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates). Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.
[Masterpieces in colour series] Exceptionally neat closeup images of fine mosaics from Ravenna- one on the front cover+11 plates tipped in [suitable for framing] with accompanying notes and introduction by Bernard Myers. 10p.+11 pates. NOTE : Large format [38x28x1 cm] Book
In-4, 255p. Edition originale numérotée. Tirage non précisé, cet exemplaire porte le numéro 805. Illustré de 56 planches en noir et de 4 planches en couleurs contrecollées. Tampon de possesseur en page de garde, sinon en parfait état. Bel ouvrage.
64 p., nbr. ill. coul. Inv. 24910
Incisione tratta dalla celebre Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa nel 1645. Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto econ i quali aveva avuto importanti rapporti. L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked. Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed. The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates). Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.
Andrei Rublev and Rublev's School. Text in Russian. 169 pages plus 194 plates in black and white. Appears to have a page missing before title page.
No marks or inscriptions. A very clean very tight copy with bright unmarked boards, very minor rubbing around lower board edges, a trace of dustiness to top of page edges and no bumping to corners. Dust jacket not price clipped or marked or torn or creased with very minor traces of storage. 290pp. A detailed study of Russian mosaics and frescos from the 11th to the 16th century with 265 illustrations. A heavy book.
Mm 270x340 Volume originale rilegato in tela, sopracoperta editoriale con alcuni piccoli strappi ai margini, 200 pagine profusamente illustrate a colori nel testo redatto in lingua russa ed inglese - russian-english texts. Buona copia. Spedizione in 24 ore dalla conferma dell'ordine.
Cerf, 2008. In-8 broché de 166 pages illustrées. Bon état
A clean, unmarked book with a tight binding. 5 5/8"w x 7 7/8"h. 192 pages.
No marks or inscriptions. No creasing to covers or to spine. A lovely clean very tight copy with bright unmarked boards. 118pp.
Exhibition catalogue of the artifacts from the Byzantine and Christian Museum of Greece which presented " works of art from the collection that represent the survival of Byzantine artistic tradition after the Fall of Constantinople in 1453 as well as the cultural achievements of Hellenism during the centuries when it was living and creating under foreign domination It was displayed at the Onassis Cultural Center, New York November 7,2002-February 8 - 2003. Colour and b&w illustrations + 54 objects with full-page, colour plates and descriptions.220p.bibliography Book
Fine Greek, Modern (post 1453) Paperback. Roy. 8vo. (24 x 17 cm). In Greek. 91, [3] p., with CD. Leitourgikon. Periechou ta upo te tou diakouou tou Ierou kai tou Ieropsaltou eu ie agia kai iera Leitourgia psallomeua. Edited by H. Redias-Toubas. [With a CD]. Functional. I contained the sacred and holy Liturgy by the Divine and the Holy Ghost.
This is a very good hardcover copy in the original publisher's black decorated cloth boards. Text in Swedish. This copy belonged to an American medievalist and has his name in small handstamps and elegant calligraphic signature on the endpapers and inside front cover. Also a handmade brown paper dust jacket with titles in red and black. 52 tipped-in colour reproductions and 148 plain text illustrations.This is a descriptive catalogue of 52 Russian icons in Swedish and Norwegian public and private collections. Bibliography. Indices. 13" high X 10" wide, 332 pages. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
A clean, unmarked book with a tight binding. 5 5/8"w x 7 7/8"h. 192 pages.
This is a very good hardcover copy with a very good dust jacket with just light wear. Completely clean inside and out. Text completely in Russian. Russian Moscovite icon painting from the 14th and 15th centuries featuring Theophanes the Greek and Andrei Rublev. 98 plates including 26 full-page color plates. 11" high X 8" wide, 173 pages. This book will be securely packed and shipped with tracking.
Artbook International 1986, In-4 cartonnage éditeur. 18 pages de texte + 48 planches couleurs légendées. Très bon état.
This is a fine softcover copy, with no wear. Completely clean. Text in English and Norwegian. This catalog was prepared to accompany the exhibition in New York in 2014 at the Open House Gallery in Soho. Comprehensive survey of mid-century (20th) Norwegian design. Illustrated in color and black & white, lots of works by lesser known designers. There is a small (4" X 7") illustrated gallery invitation card for Open House at 201 Mulberry Street, New York on May 23, 2014, laid in. 10" high X 8" wide, 345 pages. Heavy book, foreign shipping will cost extra. (Shipping to Europe, as of summer 2020, will be $62.) This book will be securely packed and shipped with tracking.
Incisione tratta dalla celebre raccolta Icones principum, virorum, doctorum, pictorum, chalcographorum, di Anton van Dyck, edita per la prima volta ad Anversa verso il 1640. Opera celebre ed importante, vero monumento dell’arte incisoria fiamminga del sec. XVIII, contiene le biografie ed i ritratti degli uomini illustri che Van Dyck aveva conosciuto e con i quali aveva avuto importanti rapporti. L’artista ne eseguì le effigi in numerosi dipinti e disegni che poi decise di pubblicare, affidandone la trasposizione calcografica ai migliori incisori del suo tempo, come Bolswert, Pontius, Vorsterman, de Jode, Hollar, molti dei quali aveva avuto come condiscepoli nell’atelier di Rubens. "Sir Anthony Van Dyck stands out as the solitary great etcher of the school. Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art" (Hind, p. 165). "The plan of this publication took shape after Van Dyck returned from Italy (1626) and before he went to England (1632). He made careful preparatory drawings in chalk and brush for the publication. He directed and revised the work of the engravers, the best of the Rubens circle; he collaborated with his etching needle in some of the plates and himself etched the most beautiful set, mainly portraits of artists. One of the most brilliant in human characterization is the portrait of Peter Brueghel the Younger, son of the great Peasant Brueghel. It is remarkable that the etching appeared in this sketchy form in the book, proving that the master regarded it as finished. All interest is focussed on the wonderful had. The first edition was published in Antwerp in 1635-1636. Yet it was not complete, and the title-page did not appear before the Gillis Hendricx edition of 1645, engraved by Jacob Neels" (Benesch, Artistic and Intellectual Trends, p. 32.) Hofer, Baroque Book Illustrations 132. Acquaforte con ritocchi al bulino, stampata su carta vergata coeva, filigrana del “giullare”, con margini, in ottimo stato di conservazione. Etching and engraving, circa 1645, signed on plate at lower edge. A fine impression, printed on contemporary laid paper, with margins, very good condition. From Icones principum, virorum, doctorum, pictorum, chalcographorum by Anton van Dyck, printed for the first time in Antwerp, 1645. A famous and important work, a real monument of the Flemish engraving art of the XVIII century, containing the biographies and portraits of the famous artists Van Dyck had met and with whom he had worked. Following the success of his portrait paintings and in the tradition of Italian and Flemish portrait series, Van Dyck decided to organise a print publication containing portraits of the most prominent men during his lifetime, divided into three categories: princes, politicians and soldiers (16), statesmen and scholars (12), artists and art connoisseurs (52). The initial idea could have been that Van Dyck would etch the faces (a process possibly learnt from Vorsterman) while others would finish the plates in engraving. Designs were needed for the plates and several drawings and oil sketches (grisailles, sometimes in different versions) have survived. Van Dyck only etched 17 plates himself, while he commissioned others to complete the set, overseen by Lucas Vorsterman I (especially after Van Dyck settled in England in the Spring of 1632). Although this project was started by Van Dyck around 1630, he never saw it completed. The Antwerp publisher Maarten van den Enden may have been involved from the start as eighty early impressions bear Van den Enden's address. They are engraved by Paulus Pontius (30 plates), Lucas Vorsterman I (22), Pieter de Jode II (12), Schelte a Bolswert (7), Robert van Voerst (4), Willem Hondius (2), Willem Jacobsz Delff (1), Cornelis Galle (1), and Nicolaes Lauwers (1). It is known that Van den Enden was in debt to Gillis Hendricx around 1644, the Antwerp publisher who must have obtained Van den Enden's plates which he published in 1645 in the first edition of these plates (containing between 100 and 104 portrait plates). Hendricx continued to publish these plates until his death in 1677 when they were auctioned off by the St Luke guild (keeping the Iconography plates together). It is not clear who bought these plates but they re-appeared around 1720 when they were published by Hendrick and Cornelis Verdussen in Antwerp.
