‎Icones‎

‎Stubbe Achille, Daniel-Rops‎

‎La Madone dans l'art : Par A. Stubbe,... Préface de Daniel-Rops‎

‎1958 In-4 relié. Bon état d’occasion.‎

‎Bon état d’occasion‎

Referenz des Buchhändlers : 59785

‎Sôtiriou, Geôrgios A. ; Sôtiriou, Maria G.‎

‎Icones du Mont Sinaï [ 2 volumes]‎

‎Paris, 'Institut français d'Athènes, coll. « Collection de l'Institut français d'Athènes », n° 100 1958 2 volumes. In-4 28 x 20,5 cm. Reliures éditeur, sous jaquettes illustrées, 22 pp., 237 planches en noir et en couleurs - 247 pp., notes; Exemplaires en bon état.‎

‎Texte en grec, avec un résumé en français. Bon état d’occasion‎

Referenz des Buchhändlers : 135553

‎TALBOT RICE T.‎

‎Iconen‎

‎143pp.waarvan 65pp.kleurenillustraties, gecart.band, geïll.stofwikkel, 34cm.‎

‎Tataryn, Myroslav‎

‎How to Pray with Icons‎

‎[Original title " Praying with icons: an introduction for children"] Small publication describing the religious significance of Icons in simple language. The Icons are from the Ukrainian Catholic Church of St, Sophia, in Rome. 32p. illus (col)f, Book‎

‎Texts by CYRIL MANGO.‎

‎Chora: The scroll of heaven. Photos by Ahmet Ertug.‎

‎New English Original bdg. HC. In special publisher's box. Folio. (41 x 30 cm). In English. 257 p., 107 numerous color plts. Chora: The scroll of heaven. Photos by Ahmet Ertug. First Edition. The building that was originally the Monastery of the Holy Savior in Chora is regarded as one of the most sublime examples of Byzantine art because of its early 14th century mosaics and frescoes. The level of artistic achievement attained in the Chora frescoes parallels the Pre-Renaissance movement that began in Italy and heralds the advent of a new style in Byzantine art. Chora: The Scroll of Heaven takes the reader on a scholarly and artistic journey that delves all the details of this jewel-like structure. The book's text was written by Cyril Mango, one of the most respected names today in the field of Byzantine art history, while its photographs were taken by Ahmet Ertug, an internationally recognized architect and photographer. The photographs appearing in the book were exhibited at the International Byzantine Congress held in Paris in 2002, where they received many accolades. The exhibition was repeated at the Japan Foundation in Tokyo during August 2003 and at the New York Art Institute in May 2004. 30 by 41 cms., hardbound covered with Japanese cloth, presented in a slipcase. BYZANTIUM Byzantine art Architecture Constantinople Istanbul Kariye Church Mosque History of art Mosaic Christian art Icon.‎

‎TOURNES Jean De‎

‎Insignium aliquot virorum iconesJacobi Raevardi brugensis protribunalium liber singularis‎

‎1559 Lugduni, Apud Ioan. Tornaesium (Lyon, Jean de Tournes) – 1559 – 236 pages + Index.Marque de Jean de Jean de Tournae sur le titre Reliure plein veau , dos lisse décoré . Format in-12°(16, 5 11 cm).Première édition : 145 médaillons avec les effigies de différents personnages de l’antiquité grecque et romaine, gravés sur bois , ils sont gravés par Bernars Salomon , dit le petit Bernard , célèbre artiste Lyonnais « Les notices de cet ouvrage sont attribuées soit à Jean I de Tournes, d’après la date de publication, soit à Jean II d’après l’épître dédicatoire dont l’intitulé porte « J. T. F. : Johannes Tornaesius Filius »dans ce même volume, un deuxième ouvrage relié sous le meme volume .... Jacobi Raevardi Brugensis protribunalium liber singularis , 1565, brugis Fland Goltzil‎

Referenz des Buchhändlers : 7312

‎USUN TÜKEL, SERAP YÜZGÜLLER ARSAL.‎

‎Sözden imgeye Bati sanatinda ikonografi.‎

‎New English Paperback. Pbo. Roy. 8vo. (24 x 17 cm). In Turkish. 360 p., ills. A study on Western iconographic art. Sözden imgeye Bati sanatinda ikonografi.‎

‎Various‎

‎1992 Souvenir Collection of the Postage Stamps of Canada (Bilingual English-French)‎

‎56 pages. "...the stamps of Canada are a unique form of communication. They are themselves national icons, which embody in their design, and their ubiquitousness, a representation of the country's experience that enhances everyone's understanding and pride. The philatelists know it, and I think, whenever those of us who are not stamp collectors stop to think about it, we know it too." - Patrick Watson, from front flap of dust jacket. Small faint erasure to decorated front endpaper, else unmarked. Light wear to book and dust jacket. Sorry but no actual stamps included. A very attractive volume none-the-less. Book‎

‎Vavala Sandberg E.‎

‎La Croce Dipinta Italiana e l’Iconografia della passione‎

‎Multigrafica Editrice 1980 Un des 300 exemplaires numérotés. Livre en italien. In-4 reliure toile orange. 29 cm sur 23. Ouvrage comprenant 585 illustrations et 4 planches hors-texte en noir et blanc / 585 illustrazioni e 4 tavole fuori testo in bianco e nero. XIII-941 pages. Jaquette légèrement frottée avec déchirures marginales. Tranches, gouttière et page de titre avec quelques rousseurs / Sovraccoperta leggermente rovinata con strappi marginali. Bordi, grondaia e frontespizio con qualche fioritura. Bon état d’occasion.‎

‎Réimpression de l’édition de 1929 / Ristampa dell'edizione originale Verona 1929 in 300 esemplari numerati. Bon état d’occasion‎

Referenz des Buchhändlers : 125469

‎Velmans Tania‎

‎La Fabuleuse Histoire de l'icône‎

‎Editions du Rocher 2005 In-4 broché 23,6 cm sur 14,2. 255 pages. Bon état d’occasion.‎

‎Bon état d’occasion‎

Referenz des Buchhändlers : 59848

‎Verdon Timothy‎

‎Mary in Western Art‎

‎Pope 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.‎

‎Bon état d’occasion‎

Referenz des Buchhändlers : 59794 ISBN : 97129819

‎VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)‎

‎Antonius Cornelissen‎

‎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.‎

‎VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)‎

‎Cornelis Sachtleven‎

‎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.‎

‎VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)‎

‎Jacobus De Cachopin‎

‎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.‎

‎VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)‎

‎Johannes van Mildert‎

‎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.‎

‎VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)‎

‎Nicolaus Fabricius De Peirese‎

‎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.‎

‎VOSTERMAN Lucas (Bommel, 1595 - Anversa, 1675)‎

‎Theodor Galle‎

‎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.‎

‎WEITZMANN (Kurt) et al.‎

‎Icônes. Sinaï - Grèce - Bulgarie - Yougoslavie.‎

‎Grenoble, Artaud, (1966). In-4° carré, CX-220p. Reliure pleine toile d'éditeur, sous jaquette illustrée.‎

‎Très bel ouvrage illustré de 58 planches en couleurs contrecollées et de 116 planches en noir reproduites en héliogravure. Très bel exemplaire.‎

Referenz des Buchhändlers : 36903

‎WEITZMANN (Kurt), M. CHATZIDAKIS, S. RADOJCIC.‎

‎Le Grand livre des icônes.‎

‎P., Aux Quais de Paris, G. Kogan, éditeur, 1979, gr. in-4°, 238 pp, avant-propos de Manolis Chatzidakis, 215 illustrations contrecollées en couleurs ou en héliogravure, la plupart à pleine page, notices sur les illustrations, glossaire, notes hagiographiques, biographies des auteurs, reliure toile éditeur, dos lisse avec titres dorés, jaquette illustrée (très lég. abîmée), bon état‎

‎Bel ouvrage. –Les icônes du Sinaï. La peinture d'icônes du VIe au XIIe siècle (Kurt Weitzmann) ; Les icônes de Grèce (Manolis Chatzidakis) ; Les icônes de Yougoslavie du XIIe à la fin du XVIIe siècle (Svetozar Radojčić).‎

Referenz des Buchhändlers : 93145

‎WEITZMANN (Kurt) et al.‎

‎Icones. Sina• - Grèce - Bulgarie - Yougoslavie.‎

‎In-4 carré, CX-220p. Très bel ouvrage illustré de 58 planches en couleurs contrecollées et de 116 planches en noir reproduites en héliogravure. Très bel exemplaire.‎

‎Wiedemann J.‎

‎Web design best studios. Ediz. italiana, spagnola e portoghese‎

‎Wiedemann J. Web design best studios. Ediz. italiana, spagnola e portoghese. , Taschen 2005-06-28, Piatti e dorso segnati dal tempo, con qualche macchia. Interno in buono stato. Buono (Good) . <br> <br> Copertina flessibile <br> 192<br> 3822840424‎

‎WILD Doris‎

‎Les Icones - Art Religieux De L'orient‎

‎Lausanne Payot In12 sans date - broché - 44 pages dont 22 planches couleurs - bon etat‎

‎Bon‎

Referenz des Buchhändlers : RES24L5

‎Wild (Doris).‎

‎Les Icones . Art religieux d'Orient.‎

‎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

‎Zhen, Lian Quan; Derwenskus, M; James, G.; Feliciano, K.; Agar, E.; Baier, G.; Goldman, B.; Tully, J.; Stanger, K; Tennant, D.; Doherty, M.; Van Gelder, P.‎

‎Watercolor94 (Watercolor '94) - An American Artist Publication, Spring 1994 Issue‎

‎128 pages. Features: Combining Eastern and Western Techniques; Creating Personally Significant Images; Discovering the Creative Possibilities of Synthetic Paper; An Alternative to the Conventiaonal Painting Excursion; Watercolor Societies; Maurice Brazil Prendergast's Pivotal Watercolors; The Color Red - Part One; The Color Red - Part Two - replacing fugitive reds; Tangling with the Cyclops; Creating Icons on Paper; Floral Painting; Achieving Detailed Realism with Gouache; Telling Tales; Wildlife in Color; Composing with Stripes. Average wear. Prior owner's name atop page 3. A sound reference copy. Magazine‎