MURATOV (P. P.)Livre Rare Book
323 résultats
36718Paris, Editions de La Pléiade - J. Schiffrin, 1927. In-4°, 255p. Broché, couverture illustrée rempliée.
2003LFA-126714766Un ouvrage de 192 pages, format 150 x 250 mm, illustré, relié cartonnage sous jaquette couleurs, publié en 2003, bon état
198810076Suyat 1988 In 4 cartonnage éditeur, jaquette
68826aafParis, Presses de la Renaissance, 1971, in-4to, XXIV + 60 planches en couleurs, reliure en toile originale.
19711125721971 Editions Presses de la Renaissance - 1971 - In-4, cartonnage toilé beige, sous jaquette illustrée en couleurs - sans pagination - 60 planches illustrées en couleurs et contrecollées hors-texte
RES24L5Lausanne Payot In12 sans date - broché - 44 pages dont 22 planches couleurs - bon etat
RES24L5Lausanne Payot In12 sans date - broché - 44 pages dont 22 planches couleurs - bon etat
Paris, Médiaspaul 1982. In-12 broché de 126 pages illustrées. Etiquette de bibliothèque de congrégation en dos sinon bon état
Lausanne, Payot, vers 1960. Collection "Orbis Pictus". Un volume cartonné de format petit in 8° de 10 pp. De texte, et XXII planches en couleurs avec notices au dos. Bel état
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.
Artia, Prague et Paris, Presses de la Renaissance, 1971. Un volume de format in 4° de XXVIpp. Suivies de 60 planches en couleurs contrecollées, avec une page explicative en regard. Reliure de l'éditeur en pleine toile grise. Titre doré. Jaquette illustrée en couleurs. Etui carton. Petit manque de papier à la jaquette, sinon état de neuf.
Neuchatel, Edit. Ides et Calendes, s/f. Numerosas ilustraciones en color fuera texto. 76p. 8º. Cartoné editorial con sobrecubierta ilustrada. Bordes algo rozados. Buen ejemplar. Livre en français. 2ème volume de la collection Le monde des icônes dirigée par Martin Winkler, jaquette illustrée en couleurs, 16 planches couleurs, traduction française de Jean-Philippe et Brigitte Ramseyer.
in-4° 87 pp., 10 gravures in-texte et carte de la Russie Chretienne, broche, couv. illustree. Bon etat general. [P-41] [F] Essai de synthese pour les faire comprendre et aimer.
86pp. avec illustrations dans et hors texte (dont 2 en couleurs), signé avec dédicace (autographe) par l'auteur à Mgr. Huybers Evèque de Haarlem, 2e édition entièrement refondue augmentée et illustrée, 29cm., brochure originale illustrée, pour la plupart non coupé, bon état, R96656
1992LFA-126732639Un ouvrage de 94 pages, format 240 x 165 mm, illustré, broché couverture couleurs, publié en 1992, Editions Saint-Paul, bon état
199363809Amherst, New York: Prometheus Books 1993. 253, (1) Seiten. Mit 17 photographischen Abbildungen auf 8 Tafeln. Gr. 8° (23,5 x 15,5 cm). Orig.-Pappband mit goldgeprägtem Rückentitel sowie Orig.-Schutzumschlag. [Hardcover / fest gebunden].
19933110573Amherst, New York: Prometheus Books 1993. 253, (1) Seiten. Mit 17 photographischen Abbildungen auf 8 Tafeln. Gr. 8° (23,5 x 15,5 cm). Orig.-Pappband mit goldgeprägtem Rückentitel sowie Orig.-Schutzumschlag. [Hardcover / fest gebunden].
19933132828Amherst: Prometheus Books 1993. 253, (1) Seiten. Mit 17 photographischen Abbildungen auf 8 Tafeln. Gr. 8° (23,5 x 15,5 cm). Orig.-Pappband mit goldgeprägtem Rückentitel sowie Orig.-Schutzumschlag. [Hardcover / fest gebunden].
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 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. 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.
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.
1983S107634München, Slavisches Institut 1983 211pp., 21cm., softcover, good condition, [contains the German translation], S107634
211pp., 21cm., softcover, good condition, [contains the German translation], S107634
200904004St laurent du var, Marvel comics , 2008 ; grand in-8, 60 pp., broché, couverture illustr. Eo de l'édition française.
200904003St laurent du var, Marvel comics , 2007 ; grand in-8, 60 pp., broché, couverture illustr. Eo de l'édition française.
200559794Pope John Paul II Cultural Center 2005 In-4 cartonnage éditeur, jaquette légèrement fendillée. 32,5 cm sur 25,4. 230 pages, illustrations en couleurs. Bon état d’occasion.
