MareMagnum
7 531 résultats
A cura di Marco Collareta e Antonella Capitanio. Firenze, 1990; ril., pp. 316, ill. e tavv. b/n e col., cm 23x31,5. italiano ril.
A cura di Dardanello Giuseppe. Torino, 2012; br., pp. 240, ill. col., tavv. col., cm 23x27.
199791699Alte-Vicenza, Bisazza, [1997]. 28 S. mit Farbfotos sowie 2 Einfalttaf. (Abbild. v. Farb- und Steinmustern). 30,5 cm. OPp.
Acclude la riproduzione anastatica del volume "Tavole storiche dei mosaici di Ravenna, XXI-XXXIII. Sant'Apollinare Nuovo", di Corrado Ricci (Roma, Istituto Poligrafico dello Stato, 1933). Edizione limitata a 3000 copie numerate. Ravenna, 1997; br., pp. 143, ill. e tavv. b/n e col., cm 24x34. italiano
Atti del Convegno Internazionale, Ravenna, 22 ottobre - 24 ottobre 2009. A cura di Fiori C., Vandini M. Bologna, 2010; br., pp. 576, ill. b/n, cm 17x24.
A cura di Daila Radeglia. Firenze, 2009; br., pp. 336, ill. b/n e col., cm 21x28. (Restauro).
Roma, MUSEO MARIO PRAZ, 15 dicembre 2011 - 10 giugno 2012. Roma, Museo Mario Praz, 16 dicembre 2011 - 10 giugno 2012. Ravenna, Museo d'Arte della città di Ravenna, 30 giugno - 16 settembre 2012. A cura di Stefani C. Roma, 2012; br., pp. 120, ill. col., tavv. col., cm 17x24.
Testo di Barry Cunliffe. Milano, 1981; ril., pp. 320, ill. b/n e col., cm 24,5x30,5. italiano
Texts by Otto Demus, Wladimiro Dorigo, Antonio Niero, Guido Perocco and Ettore Vio. Spanish text. Milan, 1990; hardback in a case, pp. 228, col. ill., cm 34x31. espanol Enel. Luce per l'Arte
Texts by Maria Andaloro, Maria Da Villa Urbani, Ivette Florent-Goudouneix, Renato Polacco and Ettore Vio. Spanish text. Milan, 1991; hardback in a case, pp. 251, col. ill., cm 34x31. espanol Enel. Luce per l'Arte
Ravenna, Chiesa di San Nicolò, 4 marzo - 8 ottobre 2006. A cura di Carlo Bertelli e Andrea Augenti. Milano, 2006; br., pp. 224, ill. b/n e col., tavv. col., cm 24x28. Acclude DVD. (Arte Antica. Cataloghi). italiano 88-7624-67 Arte Antica. Cataloghi
A cura di Panzetta A. Firenze, 2014; br., pp. 176, ill., tavv. col. (Cataloghi).
A cura di Vittorio Sgarbi. Cornuda, 2012; br., pp. 168, 136 ill. col., cm 23,5x27,5.
A cura di Valentina Cantone. Testo Italiano e Inglese. Roma, 2019; br., pp. 128, ill. b/n, cm 17x24. (I Libri di Viella. Arte).
192623480Paris Librairie Paul Geuthner 1926 in-4° paginé 1-104 pp, + planches hors texte
Fasano, 1989; br., pp. 108, ill. b/n e col., cm 17x24.
Ravenna, 1995; br., pp. 104, 22 ill. col. (Volumi tecnico-storici sul mosaico).
A cura di Rosa Barovier Mentasti. Testi di Rosa Barovier Mentasti, Elena Casotto, Caterina Limentani Virdis, Sergio Marinelli e Roberto Pancheri. Verona, 2006; ril. in cofanetto, pp. 310, tavv. col., ill. b/n e col., cm 24x32. italiano
1962120600New York Graphic Society, coll. « Unesco de l’art mondial », n° 18 1962 In-folio reliure éd. sous jaquette 48 cm sur 34,2. Jaquette déchirée, reliure légèrement passée, intérieur frais. Jaquette en mauvais état. Bon état d’occasion.
Milano, 1990; br., pp. 260, ill. b/n e col., tavv., cm 24,5x30. (I Grandi Paesi). italiano 88-365-040 I Grandi Paesi br.
A cura di G. Montevecchi. Ravenna, 2003; br., pp. 194, ill. b/n e col., cm 22x24. (Viaggio nei siti archeologici della provincia di Ravenna. 35. Collana diretta da Giovanna Montevecchi).
Milano, T.C.I., 1951, in-8, br. edit., pp. 120. Copertina a col. e numerose ill. in b.n.
21021Venise Imprimerie Joseph Antonelli 1878 in 8 (23x15) 1 fascicule broché, couverture imprimée, 22 pages. Catalogue des objets exposés. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
1901101718London: Printed by Edward Arnold for the Essex House Press under the care of C. R. Ashbee 1901. No. 229 of 250 copies. 12mo 6 x 4-1/2 inches. Title-page woodblock by T. Sturge Moore engraved initials. xiv 257 1 pp. text in black and red. Fine mosaic binding covers and four spine panels filled by a complex pattern of curved morocco inlays in four colors t.e.g. doublures with gilt-ruled inlaid borders silk endleaves by Curtis Walters signed on rear turn-in; fine in a custom half morocco chemise and morocco-tipped slipcase some old tape-strengthening to slipcase. A stunning perfectly preserved mosaic binding by the American binder Curtis Walters who specialized in such intricate and colorful mosaic bindings executed with an astonishing level of precision. This is one of a group of such bindings consigned by Walters to Parke Bernet and sold there 10 December 1957 lots 13-35 this lot 27.From the Park Bernet catalogue: "Mr. Walters was influenced to take up bookbinding around 1900 by the late George D. Smith eminent bookseller. Later he studied with Matthews the Club Bindery and Stikeman. He conceived his ideas about mosaic bindings as early as 1904 but between 1907 and 1928 he remained inactive. He has invented and brought to perfection a new technique whereby the most intricate inlaid designs can be achieved by a few simple tools without the use of dies or punches; gilt dots circlets and fillets are generally applied with restraint. Mr. Walters work has received wide recognition. Some of his early bindings are included in the Henry W. Poor collection and almost all of those offered for sale here have been exhibited in Paris 1930 New York Columbia University 1935 Hamburg Kunstgewerbeschule 1933-36 and Berlin 1936." Lawrence Thompson heaps further praise on Walters from "Hand Bookbinding in the United States Since the Civil War": "The infinite variety of design permitted by mosaic work is combined with Walters' marvelous delicacy in color schemes finely conceived geometric patterns and tasteful use of gold leaf to produce books that no Americans save perhaps the artists of the Club Bindery could have matched. The utter simplicity of Walters' methods he used but four tools belies his perseverance and devotion to his art. Only infinite patience and consummate skill could have produced Walters' bindings."Walter's bindings appear infrequently on the market this is a choice example of his artistry. Printed by Edward Arnold for the Essex House Press, under the care of C. R. Ashbee unknown
1926ST20086Boston: Little Brown & Co 1926. First Trade Edition. 228 x 160 mm. 9 x 6 1/4". 8 p.l. 316 pp. 1 leaf. <br/> SPECTACULAR MOSAIC MOROCCO BY CURTIS WALTERS signed in gilt on rear turn-in covers with animated repeating ogival pattern inlaid in several hues of morocco black navy blue light blue light brown and orange separated into three panels by thin strips of red morocco and gilt rules THE COVERS WITH APPROXIMATELY 662 INLAYS IN TOTAL raised bands spines compartments ruled in gilt and inlaid with a similar design gilt titling NAVY BLUE MOROCCO DOUBLURES bordered with strips of eggplant and red morocco and four gilt rules navy blue watered silk endleaves top edge gilt others trimmed on the rough. Housed in a marbled paper chemise with red morocco back and matching slightly worn slipcase.<br /> With color frontispiece and printed tissue guard 48 black & white plates one double-page specimen reproduction and numerous in-text illustrations and specimen page reproductions. With tipped-in "Compliments of the Author" leaf SIGNED by Orcutt. Clizbee "Curtis Walters American Binder" in "The American Book Collector" August September 1932 pp. 124-34 this binding pictured in the second plate. Copy included with this item. Very slight offsetting from plates and the odd trivial imperfection internally otherwise a fine copy IN AN IMMACULATE BINDING.<br/> <br/> This splendid mosaic binding is a tour-de-force of design and craftsmanship from an underappreciated American binder who specialized in this technique. The foreword to the 10 December 1957 sale catalogue of his bindings at Parke Bernet says that they "constitute a splendid group of American mosaic bindings such as have never been offered for sale before. . . . The description of bindings is always a difficult matter; it becomes practically impossible when one is faced by the stunning variety of complex patterns of colored mosaic inlays which Mr. Walters has assembled with infinite patience extraordinary skill and sophisticated taste . . . He has invented and brought to perfection a new technique whereby the most intricate inlaid designs can be achieved by a few simple tools without the use of dies or punches; gilt dots circlets and fillets are generally applied with restraint. . . . It need hardly be added that all of Mr. Walters' bindings are made of the very finest leathers available and that their workmanship reveals consummate craftsmanship down to the smallest detail." The present item was lot #25 in that sale. Walters became interested in bookbinding around 1900 and studied with such prestigious workshops as William Matthews the Club Bindery and Henry Stikeman. In "Hand Bookbinding in the United States Since the Civil War" Thompson tell us of Walters' work: "The infinite variety of design permitted by mosaic work is combined with Walters' marvelous delicacy in color schemes finely conceived geometric patterns and tasteful use of gold leaf to produce books that no Americans save perhaps the artists of the Club Bindery could have matched. The utter simplicity of Walters' methods he used but four tools belies his perseverance and devotion to his art. Only infinite patience and consummate skill could have produced Walters' bindings." The article by Azalea Clizbee in the accompanying copy of "The American Book Collector" describes Walters' technique for creating his mosaic bindings using only the simplest tools with plates depicting eight of his bindings including this one. Although very secondary here the text is appropriately a celebration of book arts--printing binding and illustration--by William Dana Orcutt 1870-1953 typographer printer and book designer. After graduating from Harvard in 1892 he went to work for the University Press there. He created several typefaces most notably "Humanistic" based on the humanist hand of 15th century scribe Antonio Sinibaldi. With Daniel Updike and Bruce Rogers he established the Boston Society of Printers in 1905. He was the author of several works on printing typography and the making of beautiful books. Little, Brown & Co unknown
