[Galle, Joan ; Théodore et Cornelius le Vieux]Livre Rare Book
16 résultats
163011321Antverpiae, Joan Galle, (circa 1630) ; F. Ioannes Nys invenit, Peter de Jode figuravit, Theodor Galle sculpsit et excudit ; titre gravé, portrait et 32 planches légendées. SUIVI de 4 planches gravées par JOAN GALLE : I- Prudentia, II- Justitia, III- Fortitudo, IV- Temperantia (les 4 vertus cardinales). SUIVI de 14 planches de sujets religieux, gravées par CORNELIUS GALLE le Vieux : Silva sacra, Fugit familia sacra, S. Barbara, S. Ianvarius Neapolis patronis, S. Lucia, S. Leontius martyr miraculis gloriossus in Muris Helvetiorum, S. Iacobus Maior, Benedicite omnes bestiae et pecora domino, S. Hieromymus, Vierge à l'Enfant, etc. Soit en tout 52 planches, reliées en 1 volume petit in-4 ; plein vélin ivoire, titre au dos, tranches rouges (reliure du XIXe).
16502105Dutch mid-17th century drawing possibly by Rembrandt pupil Willem Drost. Depicted is Diogenes in robes with his lantern in his left hand and a staff in his right and a group of four figures. Diogenes the Cynic 4th cent. BC renounced material possessions and lived in poverty. He would go out with a lighted lantern in broad daylight to look for an honest man instead he would only find that everyone around him was morally corrupted. He would scare passersby with his lantern causing them to lose their mask and reveal their true intentions.In the present drawing the group of four is clearly scared by the lantern of Diogenes who seems to be towering over them. In fact the artist has placed Diogenes on a higher plane than the passersby an invention that effectively enhances the morality of the scene. This is not found in other contemporary depictions of the same story by artists like Rubens Sandrart Castiglione and Jordaens.The artistdisplays a masterful understanding and application of chiaroscuro. Not only does he use it for the composition he also applies it to benefit the narrative. Light is literally and figuratively at the center of the scene. The artist from the "Rembrandt school" who made most use of stark chiaroscuro in his drawings was Willem Drost 1633-1659. He became a student of Rembrandt around 1650 which corresponds with the dating of the watermark. The style of drawing is also close to drawings attributed to Drost. The facial type of Diogenes in particular the pointy nose corresponds with that found in each of Drost's drawings in the Rijksmuseum. Also the hatchingsmatch those in other works by Drost who made much use of individual lines instead of a continuous zig-zagging stroke and penstrokes of varying thickness to create depth in his compositions Bonny van Sighem 2000.<i>Condition: Number 3 in pencil at the bottom previous attribution to Ferdinand Bol written in pencil on the back. Several small brown spots and a couple minor defects including one on the face of the central figure in the group top edge slightly frayed and creaded. Old repair with tape on the back at the top.Literature: B. van Sighem 'attributed to Willem Drost David Prevents Abishai from Killing Saul Amsterdam c. 1650 - c. 1655' in J. Turner ed. Drawings by Rembrandt and his School in the Rijksmuseum online coll. cat. Amsterdam 2000 Bonny van Sighem 2000; for the watermark cf. Churchill fig. 305; Heawood 305 & 307.</i>
1668676Paris Chez Georges Losse 1668 1 vol. in - 8 ( 18 x 11,5 cm ) T., (3) ff. n. ch. , 475 , (2) pp. , (20) ff. n. ch. , 4 pp. . Contient : Table du contenu ; Approbations des Docteurs ; huit traités sur le baptême , la confirmation , la pénitence et la confession , l' Eucharistie , le sacrifice de la messe , l' extrême-onction , le mariage et l' éducation des enfants ; Privilège du Roy ( 1655 ) ; Table des matières ; Privilège du Roy ( 1676) . Bandeaux , culs-de-lampe . Plein vélin de l' époque . Ex-libris à l' encre daté de 1668 au titre . Bon état .
16492092902141401813Nakano Kozaemon version 1649. Soft Cover. Fine. Number of books: 8 Nakano Kozaemon version paperback
170013751700. Red chalk on cream laid paper 6 3/8 x 7 inches 160 x 176 mm the full sheet. In very good condition with minor toning and some modern notations in pencil on the verso as well as a rudimentary sketch of the top of a foot with toes also in red chalk. unknown
170013741700. Red chalk on cream laid paper 7 1/4 x 9 3/8 inches 182 x 236 mm the full sheet. In very good condition with minor toning and two small nicks in the top sheet edge. Some modern notations in pencil on the verso as well as one early inscription with the numeral "10" ink in the top left corner verso. A beautiful study of a dainty hand. unknown
170013721700. Red crayon on lightweight laid paper with a partial Pro Patria watermark with Hollandia and a rampant lion 5 5/8 x 7 1/2 inches 142 x 190 mm the full sheet. Scattered surface soiling staining and light handling wear. There is a cluster of ink dots in the lower margin of the period an edge tear at the lower left corner and a corner loss at the upper right corner. unknown
1630est110t3Dimension extérieur 30,4 x 45,2 et cuvette 25,4 x 33,4 cm. Eau-forte réalisée par Giovanni Benedetto Castiglione, célèbre peintre, graveur et imprimeur italien de l'école génoise Baroque, sa ville de naissance. Gravure sur papier vergé datant environ de 1630, travail considéré comme l'un des premiers de l'artiste. En très bon état pour une œuvre de cette époque, on peut simplement noter une déchirure restaurée en bas au milieu.
16922110502150908008Seo Genbei Other Collections Edition 1692. Soft Cover. Fine. Number of books: 22 Seo Genbei Other Collections Edition paperback
169025001690. Pen and brown ink on cream laid paper 3 x 8 inches 76 x 230 mm the full sheet. In good condition with some edge wear and losses at all but the lower right corner. Adhered to a 19th century laid paper matrix at the corners. During Medici festivals it was common to have a credenza-a massive tiered sideboard displaying hundreds of pieces of silver and gold plate to signal the wealth of the family to visiting dignitaries. These objects are piled together in a "horror vacui" style filling all available space which suggests that they are either meant to be seen as a pile of "spoils" or riches on a parade float. This image may also be a pattern sheet for an engraver. unknown
169025011690. Pen and brown ink on cream laid paper 3 x 8 inches 76 x 230 mm the full sheet. In good condition with some edge wear and losses at all but the lower right corner. Adhered to a 19th century laid paper matrix at the corners. On the verso is a similar decorative design in brown ink. This work is a classic example of an "apparato" design. In the 16th and 17th centuries artists were frequently commissioned to design ephemeral architecture and "festival machines" for royal entries weddings or religious processions. These festival machines were often made of temporary materials like wood plaster and gilded papier-mâché to be used once during a city-wide celebration and then dismantled. This image may also be a pattern sheet for an engraver. unknown
167334321Zaragoca: : Por Agustin Verges Y Iuan De Ybar. Very Good with no dust jacket. 1673. Vellum. 4to 11" - 13" tall; El cordero vivo y muerto : vestigios sangrientos. By Jeromimo Escuela El cordero vivo y muerto : vestigios sangrientos del Redentor con la Cruz mansiones del Agnus Dei en su jornada al sacrificio passos a la vida por el camino de la muerte enpleos seraficos de la tercera orden de N. S. P. S. Francisco en la Estaciones de la Via Sacra. Provenance- Michael A Spencer small bookplate. 11" x 8.5". Collation: title 7 other prelim leaves a-e4 A-2B4 2C-2E8 2F-3H4 3L-3P4 3Q6 10 index leaves. Text portion of the volume is paginated from page 1-432 and 445-496 except for the 3 8-leaf signatures 2C 2D and 2E which are numbered by leaf from 201 to 224. Page 432 is the last page of "Via Crucis XI" and p445 is the first page of "Via Crucis XII." Despite the gap in signings the catchword between p432 and p445 matches "Via". Pages 149 353-354 459 mis-paginated 349 343 344 and 229. 3H2 and 3H4 mis-signed. Woodcut letters several woodcut tailpieces printed marginalia. Old limp vellum. Wrinkled owners rubber stamp and notation at lower corner of front pastedown front hinge cracked. Corners of prelims and last leaves and lower corner of front cover have some dog-earing/creasing also occuring in the text thereafter some edgewear to first/least leaves. Minor worming to lower margin resulting in chipping to base of a few leaves inner margin. Occasional old ink marks. Old neatly written paragraph of commentary on back fly leaf in Spanish. Presumed 1st as I can locate no earlier copies. WorldCat locates but 6 copies of this book. Contemporary and possibly original covers. Jesucristo ---Pasión Via Crucis . : Por Agustin Verges Y Iuan De Ybar, hardcover
1652144351652 Broché - 16,5 x 24 - 351 pp - année 2001 - éditions Cêtre - illustrations
16512090502130301947Not Available 1651. Soft Cover. Fine. Number of books: 1 Not Available paperback
16722090202120415118Gekkouzanzo Kikuchi Kosai Yatsuo Tomoharu Azusa 1672. Soft Cover. Fine. Number of books: 1 Gekkouzanzo Kikuchi Kosai Yatsuo Tomoharu Azusa paperback
16502091202133203518Suharaya Mohei 1650. Soft Cover. Fine. Volume: 1 Suharaya Mohei paperback
