‎Icones‎

‎Icones bulgares IXe - XIXe siècle‎

‎1613 Musée du petit palais 16 mars - 13 juin 1976 - 214 illustrations‎

‎bon état‎

书商的参考编号 : 5258

‎Icons Series (Taschen) - 28 Volumes‎

‎This is a set of 28 books from the Taschen "Icons" series, most published in the early 2000's. Each book is 5 5/8"w x 7 7/8"h and around 200 pages, with many full-color illustrations on the subjects of art, photography, graphic design, advertising, etc.. The covers are made from thick, glossy vinyl-like paper. All books are in Very Good or better condition. Titles included: Alchemy & Mysticism: The Hermetic Cabinet by Alexander Roob. All American Ads, 40's by Jim Heimann. All American Ads, 60's by Jim Heimann. The American Indian by Karl Bodmer. Bizarro Postcards by Jim Heimann. Description of Egypt by Gilles Neret. Dessous by Gilles Neret. Devils by Gilles Neret. Digital Beauties: 2D and 3D CG Digital Models by Julius Wiedemann. The Grand Tour: Travelling the World with an Architect's Eye by Harry Seidler. Halloween: Vintage Holiday Graphics by Jim Heimann. Hula: Vintage Hawaiian Graphics by Jim Heimann. India Bazaar by Samantha Harrison and Bari Kumar. Japanese Beauties by Alex Gross. Karl Blossfeldt by Hans Christian Adam. Las Vegas: Vintage Graphics from Sin City by Jim Heimann. Man Ray by Manfred Heiting. Marlene Dietrich by Paul Duncan. Native Americans: Edward S. Curtis by Hans Christian Adam. Orson Welles by Paul Duncan. Photo Icons: The Story Behind the Pictures, Volume I by Hans-Michael Koetzle. Pin-Ups by Harald Hellman. Giovanni Battista Piranesi by Luigi Ficacci. Robert Doisneau by Jean-Claude Gautrand. Robots and Spaceships by Teruhisa Kitahara and Yukio Shimizu. See the World by Jim Heiman. Women Artists in the 20th and 21st Century by Uta Grosenick. 20th Century Photography, Museum Ludwig, Cologne by Simone Philippi.‎

‎Trésors de l’Art russe. Icones du XIVe au XVIIe siècle. collection de la Galerie d’Etat Tretiakov. Musée National Fernand-Léger.‎

‎Paris, 1976, 240x225mm, broché. Bel exemplaire.‎

‎photos couleurs et n/b, Pour un paiement via PayPal, veuillez nous en faire la demande et nous vous enverrons une facture PayPal‎

书商的参考编号 : 61810

‎( CATALOGUE D'EXPOSITION )‎

‎ICONES BULGARES IXe-XXe siècle‎

‎Paris Musée du Petit Palais 1976 in 4 (24x21) 1 volume broché, couverture illustrée en couleurs, non paginé, avec de nombreuses illustrations en noir et blanc, et en couleurs. Catalogue de 214 numéros décrits et pour la plupart reproduits. Les icônes de Bulgarie et la communauté culturelle Byzantino-Slave. Glossaire, bibliographie . Exposition présentée au Musée du Petit Palais du 16 Mars au 13 Juin 1976. Bel exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )‎

‎Très bon Broché‎

书商的参考编号 : 28120

‎(Collectif)‎

‎OURAL TERRE de FERVEUR‎

‎Un ouvrage de 160 pages, format 215 x 270 mm, illustré, relié cartonnage sous jaquette couleurs, publié en 2010, Thalia Edition, très bon état‎

‎Collection du Musée national des Beaux-Arts de Perm. Ouvrage édité à l'occasion d'une exposition organisée au Musée de Fouvrière (Octobre 2010-Janvier 2011)‎

书商的参考编号 : LFA-126716744

‎[Catalogue d’Exposition] ; Sous la direction de : Durand Jannic, Giovannoni Dorota ; Rapti Ioanna‎

‎Sainte Russie. L’art russe des origines à Pierre Le Grand‎

‎Musée du Louvre Éditions, Somogy Éditions d’Art 2010 In-4 cartonnage éditeur illustré sous jaquette. 30,8 cm sur 25,4. 743 pages. Nombreuses illustrations en couleurs in-texte. Jaquette en bon état. Très bon état d’occasion.‎

‎Très bon état d’occasion‎

书商的参考编号 : 121915

‎[ICONES] - COLLECTIF -‎

‎Les icones.‎

‎Paris, Fernand nathan, 1982; in-4, 415 pp., cartonnage de l'éditeur. Avec jaquette et boitage, excellent état.‎

‎Avec jaquette et boitage, excellent état.‎

书商的参考编号 : 202300579

‎[Le Supplément] E. FUCHS, M. BELLET, D. de COURCELLES, J.F. THERY, R. LABRUSSE, R. COURT, M. COCAGNAC, P. PRIGENT, N. LOSSKY, F. MARTY et L. GAGNEBIN, F. DUMAS‎

‎Le SUPPLEMENT‎

‎N° 180 (Mars 1992) - Revue trimestrielle d'Ethique et de Théologie Morale : 208 pages, format 135 x 210 mm, brochée, Editions du Cerf, bon état‎

‎Au sommaire : Esthétique de l'Ethique : de la morale comme art d'aimer : Le questionnement mutuel de l'éthique et de l'esthétique ; L'autre référence : de la morale comme art d'aimer ; Comment l'esthétique croise l'éthique dans l'art du théâtre ? ; Ethique et esthétique : le cinéma ; Matisse et Giacometti considérés au regard de l'esthétique byzantine ; Art et messianisme : autour de l'esthétique de Walter Benjamin ; Un art sacré ? ; Bible et beauté ; Icône et image ; Esthétique et éthique de l'écriture dans le Livre de la vie de Thérèse d'Avila ; Crise de l'art et crise de l'esthétique dans la pensée kantienne : un au-delà du scandale ; Foi et création artistique : résistance et soumission‎

书商的参考编号 : LFA-126711171

‎[MARVEL ICONS] - LEE, BENDIS - YU -‎

‎Marvel icons n°35 en piste !‎

‎St laurent du var, Marvel comics , 2008; grand in-8, 60 pp., broché, couverture illustr. Eo de l'édition française.‎

‎Eo de l'édition française.‎

书商的参考编号 : 200904004

‎A. BANK‎

‎*Byzantine Art in the Collections of the USSR‎

‎390 p., 302 pl. n/b et coul. En russe et en anglais. Découpe p. de garde. Déchirures et manques à la jaquette. Inv. 17285‎

‎Aa. Vv.‎

‎Icone Russe della Collezione Orler nella Chiesa di San Francesco a Umbertide‎

‎Mm 220x270 Catalogo dalla Mostra di Umbertide, Chiesa di San Francesco, 14 maggio - 12 giugno 2005. Volume cartonato con copertina figurata, 224 pagine profusamente illustrate a colori. Stato di nuovo. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.‎

‎ALPATOV (Mikhaïl) & RODNIKOVA (Irina)‎

‎Icônes Pskov (XIIIe - XVIe siècles).‎

‎1990 Léningrad, Aurora Editions d'art, 1990. In-4, pleine toile bordeaux d'édition sous jaq. rempliée ill. en couleurs, 321 pp., ill. en noir et en couleurs, catalogues de 152 oeuvres. Bibliographie. Comme neuf. . Sommaire : Introduction - Un siècle de découvertes et de réflexions. Première partie: évolution du monde byzantin et signes précurseurs d'un art nouveau (Le cadre historico-géographique et l'art - Un témoignage sur la société: les images des contemporains - Acheminement vers un art nouveau). Deuxième partie: les monuments (XIII°, XIV° et XV° siècles)..‎

书商的参考编号 : 6094

‎André DEGUER‎

‎*Icônes‎

‎20 p., 73 fig. coul. Inv. 17253‎

‎Annales - Economies / Sociétés / Civilisations - Revue bimestrielle publiée avec le concours du C.N.R.S et de l'Ecole des Hautes Etudes en Sciences Sociales - Ed Armand Colin‎

‎Annales Un système d'échange: la traite négrière en Afrique de l'Ouest ( R. BOtte ) - Les villes africaines, XVIème-XVIIème siècles ( C. Coquery-Vidrovitch )- Pragmatique et histoire: ce dont les sociologues sont capables ( S. Cerutti ) - Les dépenses d'enseignement et d'assistance en France au XIX ème siècle ( B. Théret ) - Les contreverses écologiques en U.R.S.S ( M.-H. Mandrillon )- Pratiques de la représentation : représentation: le mot, l'idée, la chose ( C. Ginzburg ) - Icônes et iconoclasme en Afrique ( J. Goody ) - Sur les cérémonies royales françaises ( A. Boureau )‎

‎In-8 - 46ème année N° 6 - Nov / Dec 1991‎

‎Bel état‎

书商的参考编号 : 10623

‎Athanase PAPAGEORGIOU‎

‎*Icones de Chypre‎

‎132 p., 89 ill. coul., 1 carte. Sous boîtier. Inv. 17250‎

‎Barlandus, Hadrianus Cornelius‎

‎Hollandiae comitum historia et icones: cum selectis scholiis ad lectoris lucem. Eiusdem Barlandi Caroli Burgundiae Ducis vita. Item ultraiectensium episcoporum catalogus & res gestae. Eiusdem argumenti libellus Gerardo Noviomago auctore. 2 Teile in einem Band.‎

‎Frankfurt a. M., J. Wechel für Sigismund Feyerabend, 1585. 8°. Mit Titelholzschnitt (Portrait der Gertrud von Sachsen; auf S. 25 wiederholt), einigen Holzschn.-Vignetten bzw. -Initialen, 37 ca. halbseitigen Holzschn.-Portraits (darunter, abgesehen von den ersten drei, mit den dazugehörigen Wappen) von Jost Amman u. 2 Holzschn.-Druckermarken (am zweiten Titel u. am Ende). 8 Bll., 393 (recte 391); 109 (1) S., Pgmt. d. Zt. m. durchzogenen Bünden, handschriftl. Rückentitel, goldgepr. Deckelfleurons u. dreiseitigem Farbschnitt.‎

‎Hübsche Frankfurter ?Taschenausgabe? mit den Portraits der Grafen von Holland nach der im Jahr zuvor erschienen Folio-Ausgabe von Plantin. - Deckeln leicht verzogen. Rücken m. alter Bibl.-Signatur. Schließbänder fehlen. Vereinzelt winzige Wurmspuren. Tlw. schwach gebräunt bzw. fleckig. - Insgesamt schönes Exemplar. - VD16, B 375; Adams B 212; IA 113.114; Graesse I, 294; Bibl. Belg. I, B 258; Jöcher I, 792.‎

书商的参考编号 : 41026

‎Blackcoffee‎

‎1000 Icons, Symbols + Pictograms. Visual Communication for every language.‎

‎Beverly, Rockport Publishers, 2009. With many pictures. 432 S. 15 x 15 cm, Kt. Leichte Gebrauchsspuren, sonst gut erhalten.‎

书商的参考编号 : 49599

‎BOLSWERT Schelte Adam (Bolswert 1586 – Anversa 1659)‎

‎Adriaen van Ertvelt‎

‎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.‎

‎BOLSWERT Schelte Adam (Bolswert 1586 – Anversa 1659)‎

‎Ritratto di Willelm de Vos‎

‎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 the 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. "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.‎

‎Bornheim (Bernhard)‎

‎Icônes. Miniatures Russes. Une histoire de la culture en images‎

‎L’Amateur 1999 In-4 reliure éditeur sous jaquette, 480 pp. Illustrations noir & couleurs‎

‎Très bon état d’occasion‎

书商的参考编号 : 2275

‎Bouchard, Aurelian [Director]‎

‎To write an icon : an introduction to the process of creating Icons - Box 2‎

‎Produced by the Metropolitan Andrey Sheptytsky Institute of Eastern Christian Studies. BOX 2 of a set of 6 VHS video cassettes, each with a full hour of instruction. [Will NOT be sold separately] "A step-by step instructional tool on the process of creating traditional Byzantine icons from the preparation of the wood panel, through the gesso process, gilding, egg-tempera painting to the preservation of the icon. Learn not only the technique but also the theological implications of every step of the process.Invaluable tool for students of art and iconography" Instructor : Schemamonk Damian. These are ex-libary, with usual marks and labels, but but look as though they have never been used . Electronic Book‎

‎Bouchard, Aurelian [Director]‎

‎To write an icon : an introduction to the process of creating Icons - Box 4‎

‎Produced by the Metropolitan Andrey Sheptytsky Institute of Eastern Christian Studies. BOX 4 of a set of 6 VHS video cassettes, each with a full hour of instruction. [Will NOT be sold separately] "A step-by step instructional tool on the process of creating traditional Byzantine icons from the preparation of the wood panel, through the gesso process, gilding, egg-tempera painting to the preservation of the icon. Learn not only the technique but also the theological implications of every step of the process.Invaluable tool for students of art and iconography" Instructor : Schemamonk Damian. These are ex-libary, with usual marks and labels, but but look as though they have never been used . Electronic Book‎

‎Bouchard, Aurelian [Director]‎

‎To write an icon : an introduction to the process of creating Icons - Box 6‎

‎Produced by the Metropolitan Andrey Sheptytsky Institute of Eastern Christian Studies. BOX 6 of a set of 6 VHS video cassettes, each with a full hour of instruction. [Will NOT be sold separately] "A step-by step instructional tool on the process of creating traditional Byzantine icons from the preparation of the wood panel, through the gesso process, gilding, egg-tempera painting to the preservation of the icon. Learn not only the technique but also the theological implications of every step of the process.Invaluable tool for students of art and iconography" Instructor : Schemamonk Damian. These are ex-libary, with usual marks and labels, but but look as though they have never been used . Electronic Book‎

‎Bouyer Louis‎

‎Vérité des icônes‎

‎Critérion 1993 In-8 relié 26 cm sur 19. 142 pages. Très bon état d’occasion.‎

‎Bon état d’occasion‎

书商的参考编号 : 59853

‎Brenske, Stefan‎

‎Ikonen und die Moderne. = Icons and modern art.‎

‎Regensburg, Schnell & Steiner, 2005. 1. Aufl. 310 mm x 230 mm. 118 S. zahlr. Ill. OPappband, mit Schutzumschl. Seiten mit geringer randl. Bräunung. 1‎

书商的参考编号 : 36434BB