‎Icones‎

‎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

書籍販売業者の参照番号 : 59853

‎Brissonneau Daguerre‎

‎Vente à l'Hôtel Drouot le 8 juin 2007. Résultats joints. Broché sans couverture illustrée Très bon Paris Brissonneau Daguerre 2007 1 volume in-4°‎

‎édition originale‎

書籍販売業者の参照番号 : 12824

‎Catalogue of Icons‎

‎Sotheby's Catalogue of Icons.‎

‎Sotheby's. auction catalogue 37pp black and white and colour illustrations printed paper wrappers G . Very Good. paperback. 1984. Sotheby's paperback‎

書籍販売業者の参照番号 : 13541

‎Catalogue de vente‎

‎Bijoux, argenterie, icones, haute époque, objets de vitrine, extrème orient, mobilier, objets d'art des XVIIIe et XIXe siècles, Tapis. Drouot-Richelieu, Mercredi 26 juin 1991 à 14 heures, par le ministère de Maître Claude Boisgirard.‎

‎4pp, 1991.‎

‎Bon ex.‎

書籍販売業者の参照番号 : 5493

‎CHASTEL, André‎

‎L'Art français. Tome I : Pré-Moyen Age, Moyen Age. Tome II : Temps modernes 1430-1620. Tome III : Ancien Régime 1620-1775. (3 volumes)‎

‎1993 Editions Flammarion - 1993 - Trois volumes in-4, cartonnage toilé noir, sous jaquette illustrée en couleurs - 367 p. + 335 p. + 400 p. - Riche iconographie en couleurs in et hors-texte‎

‎Bon état - Légers frottements sur les jaquette - 3 volumes sur les 4 parus.‎

書籍販売業者の参照番号 : 115273

‎CHRISTOPHE WALTER‎

‎ICONES / L'ORIGINE DU GENRE ET LES PREMIERES ICONES POUR ET CONTRE LE CULTE DES IMAGES DIFFERENTES CATEGORIES D'ICONES PRINCIPALES ECOLES L'ICONE ET LA SPIRITUALITE / 56 ILLUSTRATIONS EN COULEURS ET 1‎

‎NAGEL 1976 In-4 relié. Bon état d’occasion.‎

‎Bon état d’occasion‎

書籍販売業者の参照番号 : 81577

‎Claude BOISGIRARD‎

‎*Vente aux enchères. Hôtel drouot. Arts d'Orient 19 décembre1997‎

‎43 p., ill. n/b et coul. Quelques annotations Inv. 24977‎

‎Collaert, Adrian‎

‎Parix Aquila, Turtur. -‎

‎Amsterdam:, [um 1620]. Kupferstich 13 x 19 cm Bildgröße, 17 x 22,5 cm Blattgröße.‎

‎Der Kupferstich von Adriaen Collaert zeigt neben dem Parix einen Adler und eine Taube, im Hintergrund eine Landschaftsdarstellung. - Aus: Avium Iconum. - Adriaen Collaert 1560 ? 1618, flämischer Maler und Graphiker. AKL 20,272. - Bis an den Bildrand beschnitten, von der Rückseite fachmännisch ein dünnes Passepartout hinterklebt. Der Druck satt und klar, ein schönes Blatt.‎

書籍販売業者の参照番号 : 902693AG

‎Collectif‎

‎Icones Bulgares IXe-XIXe siècle‎

‎Les Presses Artistiques - Musée du Petit Palais 1976 Petit in-8, broché couv. illustrée, photographies en noir et en couleurs. Etat moyen.‎

‎Exposition présentée au Musée du Petit Palais du 16 mars au 13 juin 1976. Bon état d’occasion‎

書籍販売業者の参照番号 : 19403

‎COLLECTIF‎

‎Icones Bulgares. IX - XIXe siècles‎

‎Musée du Petit Palais 1976. In-8 carré broché, 209 pages. Nombreuses photos. Catalogue d'exposition. Bon état.‎

‎COLLECTIF‎

‎Icônes grecques, melkites, russes. Collectio Abou Adal‎

‎Skira, 1993. In-4 relié toile sous jaquette de 410 pages. Nombreuses reproductions en noir & blanc et en couleurs, dans et hors-texte. Très bon état‎

‎Collectif‎

‎Les icones‎

‎Nathan 1987 Jaquette différente.‎

‎Bon état d’occasion‎

書籍販売業者の参照番号 : 59836 ISBN : 2092905333

‎COLLECTIF‎

‎Tresor Des Musées Du Kremlin‎

‎A Reunion Des Musées Nationaux Edition Du Musee De Paris 1980 21 x 24 Cm 212 pages , catalogue de l'exposition qui s'est tenue au grand palais du 12/10/79 au 14/01/80 tres nombreuses photographies‎

‎Bon Pas de jaquette‎

書籍販売業者の参照番号 : 46Ab

‎COLLECTIF (revue),‎

‎Dédale n° 1-2, automne 1995 - LE PARADOXE DES REPRESENTATIONS DU DIVIN: L'image et l'invisible,‎

‎Maisonneuve & Larose, revue Dédale n° 1-2, automne 1995, 257 pp., broché, légères traces d'usage, bon état.‎

書籍販売業者の参照番号 : 58159

‎Collectif .‎

‎Icones Bulgares. Catalogue de l'exposition au Musée du Petit Palais du 16 mars au 13 juin 1976.‎

‎1976 Paris, Petit Palais, 1976. Un volume broché de format in 8° carré reproduisant 214 photographies en noir et 68 en couleurs.‎

‎Tranches un peu brunies, bon état;‎

書籍販売業者の参照番号 : 6867

‎Collectif : direction MEZARD (Brigitte) et SAUNIER (Bruno)‎

‎Les Majestés du Cantal - Image de la Vierge en Haute-Auvergne‎

‎Aurillac, Imp. Champagnac, 1992. In-8 broché noir, ill. sur couv., carré, 201 p. Nombreuses ill. noir et couleur. Très bon état.Catalogue d'exposition édité par le Conseil général du Cantal et l'association des Amis du patrimoine de Haute-Auvergne.‎

書籍販売業者の参照番号 : 15069

‎Comiled by Brian Harrigan and Malcolm Dome‎

‎The bible of heavy metal. Encyclopedia Metallica. Tells the story of heavy metal from Cream and The Jimi Hendrix Experience to today's bands. Packed with action photos of Rainbow, Rush, UFO, AC/DC and many more.‎

‎1998 Editions Bobcat Books - 1998 - In-4, broché, couverture illustrée - 77 p. - Très nombreuses reproductions photographiques in texte et pleine page en N&B - Ouvrage en anglais‎

‎Bon état - Couverture frottée - Plis sur la couverture‎

書籍販売業者の参照番号 : 118806

‎CONVENT Marie-Sophie‎

‎Le millénaire du Saint Baptème de la Rous' de Kiev 988 - 1988‎

‎202 pp., nombreux h.-t. coul. reproductions d'icônes représentant la Vierge Marie.‎

‎Corinna Thierolf und Johannes Vogt‎

‎Dan Flavin und Icons.‎

‎München, Schirmer/Mosel Verlag, 2009. Origi.Pappband mit Schutzumschlag, 4°,‎

‎Schutzumschlag bestossen sonst guter Zustand.‎

書籍販売業者の参照番号 : 68944

‎CROIX Agnès-Mariam de la - ZABBAL François‎

‎Icones arabes. Art chrétien du Levant. Exposition présentée à l'Institut du Monde Arabe du 6 mai au 17 août 2003‎

‎Grégoriennes Grégoriennes, 2003. Grand In-8 carré relié toile rouge éditeur sous jaquette illustrée. Nombreuses reproductions. Très bon état.‎

‎Toutes les expéditions sont faites en suivi au-dessus de 25 euros. Expédition quotidienne pour les envois simples, suivis, recommandés ou Colissimo.‎

書籍販売業者の参照番号 : 170377

‎DANCO, Juliana - DANCO, Dumitru‎

‎La peinture populaire sur verre de Roumanie‎

‎1982 Editions Meridiane - 1982 - In-8, cartonnage toilé bleu avec titre doré sur le dos, jaquette illustrée en couleurs - 177 p. - Illustrations en couleurs et en N&B in-texte‎

‎Bon état‎

書籍販売業者の参照番号 : 110588

‎De JODE Pieter (1572/3-1634)‎

‎Adam De Coster‎

‎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.‎

‎De JODE Pieter (1572/3-1634)‎

‎Albert. Dux. Fritland…‎

‎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.‎

‎De JODE Pieter (1572/3-1634)‎

‎Henricus Liberti‎

‎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.‎