‎Peinture‎

‎[SKIRA, PEINTURE] - DUPONT (Jacques), GNUDI (Cesare ) -‎

‎La peinture gothique.‎

‎Geneve, Skira classique, 1990 ; in-4, 215 pp., br.‎

‎.‎

Riferimento per il libraio : 202402076

‎[SKIRA, ART, PEINTURE] - FOSCA (Francois) -‎

‎Le dix-huitième siècle de Watteau à Tiepolo.‎

‎Geneve, Skira, 1952 ; in-4, 145 pp., cartonnage de l'éditeur. Avec jaquette, bon état.‎

‎Avec jaquette, bon état.‎

Riferimento per il libraio : 201226395

‎[SOUTINE Chaïm/KOONING (de) Willem] BERNARDI Claire, FRAQUELLI Simonetta & al.‎

‎Chaïm Soutine/Willem de Kooning. La peinture incarnée‎

‎Paris, Hazan / Musées d'Orsay et de l'Orangerie, 2021, 25 x 31, 232 pages cousues sous couverture rempliée illustrée. Iconographie noir & blanc et couleurs. Ouvrage publié à l'occasion de l'exposition au Musée de l'Orangerie du 15 septembre 2021 au 10 janvier 2022. BILINGUE français-anglais.‎

‎Bon état.‎

Riferimento per il libraio : PEINTTTTT331224

‎[SOUTTER] - THEVOZ (Michel)‎

‎Louis Soutter.‎

‎Lausanne, Rencontre (coll. "Monographies des grands artistes suisses"), 1970. In-8° carré, 128p. Reliure pleine toile d'éditeur, sous jaquette illustrée.‎

‎Illustré de nombreuses reproductions en noir et en couleurs.‎

Riferimento per il libraio : 30858

‎[SOULAGES Pierre] CHASSEY (de) Eric, RAMOND Sylvie & al.‎

‎Soulages XXIe siècle‎

‎Lyon, Musée des Beaux-Arts, 2012, 24,5 x 28, 216 pages cousues sous couverture rempliée illustrée. Iconographie en couleurs. Catalogue publié à l'occasion de l'exposition présentée au Musée du 12 octobre 2012 au 28 janvier 2013, ainsi qu'à la Villa Médicis (Rome) du 18 février au 19 mai 2013.‎

‎Très bon état.‎

Riferimento per il libraio : PEINTUREEE63331450526

‎[SPACE MARINES, PEINTURE, LOISIRS CRÉATIFS] - WOOD (Adrian) -‎

‎Comment peindre les Space Marines.‎

‎Aix en provence, Games Workshop, 2004 ; in-4, 96 pp., br. Guide complet en parfait état.‎

‎Guide complet en parfait état.‎

Riferimento per il libraio : 202204108

‎[STAEL] - JOUFFROY (Jean Pierre)‎

‎La mesure de Nicolas de Staël.‎

‎Neuchâtel, Ides et Calendes, (1981). Gr. in-4°, 239p. Reliure pleine toile d'éditeur, sous jaquette illustrée.‎

‎Illustré de 68 planches en couleurs et de 59 reproductions en noir de dessins, de documents et de photographies. Exemplaire à l'état de neuf.‎

Riferimento per il libraio : 34474

‎[STAEL (Nicolas de)] - GREILSAMER (Laurent).-‎

‎Le prince foudroyé. La vie de Nicolas de Staël.‎

‎P., Fayard, 1998, in 8° broché, 335 pages ; couverture illustrée.‎

‎Illustrations hors-texte en noir et en couleurs. PHOTOS sur DEMANDE. ...................... Photos sur demande ..........................‎

Riferimento per il libraio : 71304

‎[STAËL (de) Nicolas] PRAT Jean-Louis & al.‎

‎Nicolas de Staël, 1945-1955‎

‎Suisse, Martigny, Fondation Pierre Gianadda, 2010, 22,5 x 24,5, 288 pages cousues sous couverture souuple illustrée. Iconographie noir & blanc et couleurs. Catalogue publié à l'occasion de l'exposition présentée à la Fondation Giannada du 18 juin au 21 novembre 2010.‎

‎Très bon état.‎

Riferimento per il libraio : PEINTUREEE65443331224

‎[STAEL] - DOBBELS (Daniel)‎

‎Staël.‎

‎Paris, Hazan, 1994. Gr. in-4°, 246p. Reliure pleine toile d'éditeur, sous jaquette illustrée.‎

‎Bel ouvrage rassemblant une importante iconographie en noir et blanc et une centaine de reproductions en couleurs. Exemplaire en excellente condition.‎

Riferimento per il libraio : 40913

‎[STUPAR (Marko)] - ROSÉ (Jean-Jacques).‎

‎Stupar.‎

‎Paris, Galerie 26, [1999] ; in-4 (31 x 25 cm). 167pp. 60 reproductions en couleurs de tableaux de l'artiste. Cartonnage de toile noire de l'éditeur toile noire, titre estampé en blanc sur le plat sup., jaquette en couleurs. Très bon état.‎

‎Edition limitée à 2000 exemplaires. Texte d'introduction de Jean-Jacque Rosé. Joints le carton d'invitation à l'exposition consacrée à l'artiste en 1999 à la Galerie 26 et et un dépliant 3 volets en couleurs d'une autre expo en 2003.‎

Riferimento per il libraio : 9943

‎[STAEL Nicolas de] COLOMB Denise‎

‎"Nature morte" photographique originale de l'atelier de Nicolas de Staël‎

‎- Paris s.d. (circa 1954), 24,2x31,1cm, une feuille. - Original view of Nicolas de Staël's atelier Paris n.d. (circa 1954), 24,2x31,1cm, one leaf. Original silver print photograph of Nicolas de Staël's atelier by Denise Colomb. Traces of folds, small pieces of paper missing in the lower left corner. Splendid "still life" in large format of the painter's Parisian atelier rue Gauguet, taken one year before his death. His masterpieces are jumbled together with firewood and numerous pots of paint. The photograph was taken by Denise Colomb, great portraitist of the 20th century, known for her portraits of Antonin Artaud, Giacometti, Picasso, Soulages and Miro in their studio. "It is said that his workshop was the cave of a palaeontological potter. With sediment, layers of paleo... A crucible, a large material well, riddled with pigments, paintbrushes, pots of plastered trowels, buckets, rags. In a strong smell of turpentine. A workshop covered, soiled, stained with dirt, with masonry clay. Its wingspan, its strength, its topsail height springs into this crater of Vesuvius. Slightly disoriented, he leans, he pours. To paint, for him, is to be prey to vertigo, to unpredictable, accidental, chance junctions. (Patrick Grainville, Les Yeux de Milos). [FRENCH VERSION FOLLOWS] Photographie de l'atelier de Nicolas de Staël en noir et blanc, par Denise Colomb, en tirage argentique d'époque. Traces de plis, infimes manques dans le coin inférieur gauche. Superbe "nature morte" en large format de l'atelier du peintre, au 7 de la rue Gauguet à Paris, prise un an avant sa fin tragique. Ses chefs d'oeuvres sont entreposés pêle-mêle avec le bois de chauffage et les nombreux pots de peinture. La photographie fut prise par Denise Colomb, grande portraitiste du XXe siècle, qui immortalisa Antonin Artaud, ainsi que les artistes Giacometti, Picasso, Soulages et Miro dans leurs ateliers. "On dit que son atelier était une caverne de potier paléontologique. A sédiments, couches du paléo... Un creuset, un grand puits matériel, criblé de pigments, de pinceaux, de pots de truelles plâtrées, de seaux, de chiffons. Dans une forte odeur de térébenthine. Un atelier gorgé, souillé, empanaché de crasses, des pâtes de la maçonnerie. Son envergure, sa force, sa hauteur de hunier s'élançent dans ce cratère de Vésuve. Légèrement déboussolé, il incline, il verse. Peindre, pour lui, c'est être en proie au vertige, à des bifurcations imprévisibles d'accident, de hasard." (Patrick Grainville, Les Yeux de Milos).‎

‎[STAEL Nicolas de] COLOMB Denise‎

‎Ensemble de 3 vues photographiques originales d'oeuvres de Nicolas de Staël‎

‎- Paris s.d. (circa 1954), deux nus : 33x23cm ; fleurs et nu seul : 24x30,5cm, une feuille. - Original black and white photographs of 3 Nicolas de Staël's paintings Paris n.d. (circa 1954), two nudes: 33x23cm ; flowers and nude painting: 24x30,5cm, three leaves. Set of 3 original silver prints of Nicolas de Staël's paintings by Denise Colomb. Folds and small tears to the margins of the photo featuring two nudes. Traces left by a typed paper to the margins of the flower painting. Darker traces and folds to the margins of the standing nude. Photos of de Staël's paintings taken in the painter's Parisian atelier rue Gauguet, one year before his death: a painting from his famous Flowers series (1953-1954), as well as two paintings of nudes, a subject that became a leitmotiv in his work from 1951 until his death in 1955. Taken by Denise Colomb, great portraitist of the 20th century known for her portraits of Antonin Artaud, Giacometti, Picasso, Soulages and Miro in their studios. [FRENCH VERSION FOLLOWS] Ensemble de 3 vues photographiques originales d'oeuvres de Nicolas de Staël par Denise Colomb, en tirage d'époque. Traces de plis et petites déchirures aux extrémités du cliché des deux nus. Discrète décharge d'un papier dactylographié en marge du cliché de la toile des Fleurs. Traces sombres et plis en marge du cliché de la toile représentant un nu seul. Clichés représentant trois toiles prises dans l'atelier du peintre, au 7 de la rue Gauguet à Paris, un an avant sa fin tragique. On y retrouve une toile de sa célèbre série Fleurs, réalisée entre 1953 et 1954, ainsi que deux toiles représentant des nus, un sujet devenu l'une des clés de voûte de son travail sur le rapport entre le fond et la figure à partir de 1951 et jusqu'à sa mort en 1955. Les photographies furent prises par Denise Colomb, grande portraitiste du XXe siècle, qui immortalisa Antonin Artaud, et réalisa des vues spectaculaires des ateliers de Giacometti, Picasso, Soulages et Miro. "On dit que son atelier était une caverne de potier paléontologique. A sédiments, couches du paléo... Un creuset, un grand puits matériel, criblé de pigments, de pinceaux, de pots de truelles plâtrées, de seaux, de chiffons. Dans une forte odeur de térébenthine. Un atelier gorgé, souillé, empanaché de crasses, des pâtes de la maçonnerie. Son envergure, sa force, sa hauteur de hunier s'élançent dans ce cratère de Vésuve. Légèrement déboussolé, il incline, il verse. Peindre, pour lui, c'est être en proie au vertige, à des bifurcations imprévisibles d'accident, de hasard." (Patrick Grainville, Les Yeux de Milos).‎

‎[STAEL Nicolas de] COLOMB Denise‎

‎Portrait photographique original de Nicolas de Staël assis devant une de ses toiles‎

‎- Paris s.d. (circa 1954), photographie : 17,4x20,4cm ; feuille : 18,2x24cm, une feuille. - Original photographic portrait of Nicolas de Staël sitting in front of one of his paintings Paris s.d. (circa 1954), photograph: 17.4 x 20.4cm; leaf: 18.2 x 24cm Original silver print portrait of Nicolas de Staël by Denise Colomb. Beautiful candid shot of the painter, preparing to speak, in his atelier in rue Gauget in Paris, one year before his death. Seated in front of one of his works, we see the piling up of the painter's canvases in the room behind him. The photograph was taken by Denise Colomb, great portraitist of the 20th century, known for her portraits of Antonin Artaud, Giacometti, Picasso, Soulages and Miro in their studio. "It is said that his workshop was the cave of a palaeontological potter. With sediment, layers of paleo... A crucible, a large material well, riddled with pigments, paintbrushes, pots of plastered trowels, buckets, rags. In a strong smell of turpentine. A workshop covered, soiled, stained with dirt, with masonry clay. Its wingspan, its strength, its topsail height springs into this crater of Vesuvius. Slightly disoriented, he leans, he pours. To paint, for him, is to be prey to vertigo, to unpredictable, accidental, chance junctions. (Patrick Grainville, Les Yeux de Milos). [FRENCH VERSION FOLLOWS] Portrait photographique en noir et blanc de Nicolas de Staël par Denise Colomb, en tirage argentique d'époque. Très beau cliché du peintre, pris sur le vif, s'aprêtant à parler, dans son atelier de la rue Gauguet à Paris, un an avant sa fin tragique. Assis devant une de ses oeuvres, on aperçoit les amoncellements de toiles du peintre dans la pièce derrière lui. La photographie fut prise par Denise Colomb, grande portraitiste du XXe siècle, qui immortalisa Antonin Artaud, Giacometti, Picasso, Soulages et Miro. "On dit que son atelier était une caverne de potier paléontologique. A sédiments, couches du paléo... Un creuset, un grand puits matériel, criblé de pigments, de pinceaux, de pots de truelles plâtrées, de seaux, de chiffons. Dans une forte odeur de térébenthine. Un atelier gorgé, souillé, empanaché de crasses, des pâtes de la maçonnerie. Son envergure, sa force, sa hauteur de hunier s'élançent dans ce cratère de Vésuve. Légèrement déboussolé, il incline, il verse. Peindre, pour lui, c'est être en proie au vertige, à des bifurcations imprévisibles d'accident, de hasard." (Patrick Grainville, Les Yeux de Milos).‎

‎[STAEL Nicolas de] COLOMB Denise‎

‎Vue photographique de l'atelier de Nicolas de Staël avec deux toiles‎

‎- Paris s.d. (circa 1954), photographie :17,3x12,2cm ; feuille : 24x18,2cm, une feuille. - Original view of Nicolas de Staël's atelier with his palette and three paintings Paris n.d. (circa 1954), photo:17,3x12,2cm ; leaf: 24x18,2cm. Original silver print photograph of Nicolas de Staël's atelier by Denise Colomb. Small trace of rust on the upper right corner. Charming view of the painter's atelier, 7 rue Gauguet in Paris, taken one year before his death. Featuring his palette as well as two paintings from his Flowers series (1952-1953), and an abstract composition on the right. Taken by Denise Colomb, great portraitist of the 20th century known for her portraits of Antonin Artaud, Giacometti, Picasso, Soulages and Miro in their studios. "It is said that his workshop was the cave of a palaeontological potter. With sediment, layers of paleo... A crucible, a large material well, riddled with pigments, paintbrushes, pots of plastered trowels, buckets, rags. In a strong smell of turpentine. A workshop covered, soiled, stained with dirt, with masonry clay. Its wingspan, its strength, its topsail height springs into this crater of Vesuvius. Slightly disoriented, he leans, he pours. To paint, for him, is to be prey to vertigo, to unpredictable bifurcations of accident, of chance. (Patrick Grainville, Les Yeux de Milos) [FRENCH VERSION FOLLOWS] Photographie de l'atelier de Nicolas de Staël par Denise Colomb, en tirage d'époque. Petite trace de rouille au coin supérieur droit. Beau cliché de l'atelier du peintre, au 7 de la rue Gauguet à Paris, prise un an avant sa fin tragique. On peut apercevoir sa palette ainsi que deux de ses toiles : une issue de sa célèbre série d'une vingtaine d'huiles intitulée Fleurs, réalisée de 1952 à 1953, ainsi qu'une composition abstraite sur la droite. La photographie fut prise par Denise Colomb, grande portraitiste du XXe siècle, qui immortalisa Antonin Artaud, ainsi que les artistes Giacometti, Picasso, Soulages et Miro dans leurs ateliers. "On dit que son atelier était une caverne de potier paléontologique. A sédiments, couches du paléo... Un creuset, un grand puits matériel, criblé de pigments, de pinceaux, de pots de truelles plâtrées, de seaux, de chiffons. Dans une forte odeur de térébenthine. Un atelier gorgé, souillé, empanaché de crasses, des pâtes de la maçonnerie. Son envergure, sa force, sa hauteur de hunier s'élançent dans ce cratère de Vésuve. Légèrement déboussolé, il incline, il verse. Peindre, pour lui, c'est être en proie au vertige, à des bifurcations imprévisibles d'accident, de hasard." (Patrick Grainville, Les Yeux de Milos).‎

‎[STAEL] -‎

‎Nicolas de Stael.‎

‎In-4, non paginé. Bel ouvrage illustré de nombreuses planches en couleurs contrecollées. Contient également des textes de Nicolas de Stael tirés de notes et de lettres de l'artiste. Exemplaire à l'état de neuf.‎

‎[STEINLEN] - PIANZOLA (Maurice)‎

‎Théophile-Alexandre Steinlen.‎

‎In-8 carré, 127p. Illustré de nombreuses reproductions en noir et en couleurs. En parfaite condition.‎

‎[STRAWINSKY] - ZERMATTEN (Maurice)‎

‎Théodore Strawinsky, l'oeuvre monumentale.‎

‎In-4, 165p. Edition limitée et numérotée 1/1000 exemplaires sur papier couché. Bel ouvrage recouvrant l'oeuvre murale, les tapisseries et les vitraux de l'artiste. Nombreuses reproductions en couleurs. A l'état de neuf.‎

‎[SYMBOLISME].-‎

‎Catalogue de l'exposition à Paris au Grand Palais en Mai-Juillet 1976. Le SYMBOLISME en EUROPE.‎

‎1976 Paris, Musées Nationaux, 1976, in 4° broché, 274 pages.‎

‎Plus de 260 numéros décrits et reproduits en noir, certains en couleurs. ...................... Photos sur demande ..........................‎

Riferimento per il libraio : 47569

‎[TAYLOR (Julian)].‎

‎Julian Taylor de métamorphose en métamorphose.‎

‎P., Galerie 26, 2001 ; in-4 (32 x 24 cm). 2ff.-128pp.-1f. Cartonnage illustré en couleurs de l'éditeur, sous étui illustré. Parfait état.‎

‎Préface de Jean DUTOUR (en français et en anglais). 120 pages entièrement consacrées à des reproductions pleines pages en couleurs, quelques dessins en noir, biographie, liste des expositions, quelques reproductions d'affiches. Artiste anglais installé en France depuis 1975, son oeuvre est largement inspiré par les lieux où il réside (la Bretagne, la Dordogne...) et où il voyage (L'Espagne, l'Italie, l'Irlande...). Ces tableaux reflètent son soucis du détail, la maîtrise du rendu de la lumière, du mouvement de l'air dans les nuages et l'herbes des pairies, le mouvement de l'eau qui jaillit en gerbes contre les phares, qui fait rouler les navires amarés... Même dans les vues calmes de villages, de tois et de ruelles se dégage une tension violente qui est presque en contradiction avec la simplicité des motifs qu'il peint. On joint un carton d'ivitation au vernissage de l'exposition que lui a consacré la Galerie 26 à Paris en 2000, et la plaquette diffusée par la même gallerie pour l'exposition de 2005.‎

Riferimento per il libraio : 8498

‎[TALLER]. - BERGALLO (Armando) et VILCHE (Hector).-‎

‎Taller. Amsterdam, 1963-1988.‎

‎La Hague, SDU Publishers, 1989, in 8° oblong broché, 112 pages ; très importante iconographie, en noir et en couleurs ; couverture illustrée en couleurs.‎

‎PHOTOS sur DEMANDE. ...................... Photos sur demande ..........................‎

Riferimento per il libraio : 32508

‎[TANGUY (Yves)].-‎

‎Yves Tanguy. Rétrospective, 1925-1955.‎

‎1982 Paris, Centre Pompidou, 1982, in 4° broché, 239 pages ; nombreuses reproductions en noir et en couleurs ; couverture illustrée.‎

‎Catalogue de l'exposition au Centre Pompidou du 17 juin au 27 septembre 1982. Textes de Jean Maurel, Roland Penrose, Robert Lebel, José Pierre. Catalogue des oeuvres exposées - Biographie - Expositions - Bibliographies. ...................... Photos sur demande ..........................‎

Riferimento per il libraio : 81487

‎[TANI, Buncho]. [A Tribute Painting]‎

‎GATHERING OF LITERATI SCHOLARS AND PAINTERS: Painted in the Nanga Style‎

‎Japan ca. 1800. Kakemono hanging scroll: size 66.4 x 1m.26 painting size: 54.5 x 41.7 cm. an excellent example brush signed by the artist with his red Hanko seal beautifully mounted on brocade silk DeLuxe size. A RARE EXAMPLE . . . . AN EXCEPTIONALLY FINE ORIGINAL PAINTED SCROLL . . . A TRIBUTE TO TANI BUNCHO . . . JAPAN'S MOST CELEBRATED PAINTER . . . CONSIDERED ONE OF JAPAN'S BEST 10 ARTISTS OF ALL TIME . . A TRIBUTE TO THE ARTIST TOSA Mitsunari 1646-1710: This painting is a later tribute to Tani Bucho. . WHO WAS TANI BUNCHO PAINTER & POET 1763-1840: Buncho was a Japanese painter who founded an eclectic school influenced by Chinese Japanese and Western styles. . Buncho was an the most famous of Japan's Bunjin literati painters and poets of the late 18th and early 19th centuries. . He was the son of the respected Samurai-poet TANI Rokkoku 1729-1809 retainers to the Tayasu family descendents of the Tokugawa Shogun. . ARTISTIC STUDY: Bunsho first studied first with under KATO Bunrei 1706-82 a master of the Kano school stressing Chinese themes & techniques. After Bunrei's death Buncho worked with school masters such literati painter KITAYAMA Kangen 1767-1801 where he developed a broad stylistic range. He continued with a painter of the Hoku-ga or Northern school of Chinese art. . He was also influenced by Nan-ga The Southern school of Chinese art also known in Japanese as the Bunjin-ga or "Literati Painting" as well as of Yamato-e traditional Japanese paintings of scenes from daily life. He founded a new school of painting called "Nanboku Goitsu" or "The South and East school" and he introduced the use of Western perspective a technique further refined by his most famous pupil Watanabe Kazan. . His technique was outstanding and his knowledge of Chinese Japanese and European art had a major influence on him. Extracted from Encyclopedia Britannica see below. . . BUNCHO'S STYLES OF PAINTING: Buncho is best known for his literati style "Nanga" a a Japanese interpretation of Chinese paintings. And "Bunjin-ga" or literati idealized landscapes. Unlike other contemporary "Bunjin-ga" painters Buncho was an exceptionally eclectic artist painting idealized Chinese landscapes our example Japanese examples based on real places and poetically-inspired traditional scenery. . PORTRAITS: He painted portraits of his contemporaries such as Ono Ranzan and Kimura Kenkado as well as imagined images of such famous Chinese literati and historic heroes as Su Shi and Tao Yuan-ming. . TRAVEL AND EXPOSURE: During his lifetime Buncho like all Japanese were not allowed to travel abroad being forbidden by the Tokugawa Shogunate. He did however spent many years traveling throughout Japan eventually going to Nagasaki. . NAGASAKI EXPOSURE TO CHINESE & DUTCH ART: In Nagasaki Bunsho saw Dutch imported Chinese classic painting manuals like the Ten Bamboo & Mustard Seed Garden. During his sojourn in Nagasaki he studied under a Chinese painter. While there His studied the "Nagasaki School" as well as "Dutch Painting" styles and was exposed to other imported European art works "You-Ga" were a major influence on his painting techniques and career. See Murase p.374 below. . HIS DISCIPLES: Watanabe Kazan Sakai Hoitsu and Takaku Aigai were among his disciples. One of his most famous pupils was the renowned painter Okuhara Seiko. Above liberally extracted & re-edited from Wikipedia see below. . "NANGA" OR LITERATI SCROLL SUBJECTS: . The subject portrays some of the typical literati-style "Yama to Mizu" "Mountains & Water" or "Shan-Sui" in Chinese stylized water & landscape features. Lovely examples of unique mountains waterfalls landscapes groups of scholars or literati Bunjin/intellectuals at their favorite pastimes. . The Literati are reading writing poetry painting carrying books & scrolls discussing arguing debating the literary and salient artistic points. . The top of the scroll painting begins with some very lovely and attractive mountains with evergreen trees. There is also a fast downward flowing river which originates behind the upper-most green and brown mountains. . At the upper right is a waterfall which creates its own tributary river joining the larger river flow. Along the shores on both sides are groups of literati. They are engaged in reading writing poems reflecting inspired by the stunning landscape and lavish scenery. . There is a small pavilion on the right shore adjacent to a forest with lush-green trees. In the pavilion appears a grand-master literati seated before his writing desk with ink stone brush and paper at the ready. He is accompanied by two attendants in the background and a young child carrying a bowl of food. He has an excellent view of the other scholars on both sides of the river and the activities of other groups just below him. . The small groups of scholars and literati are reading recitations writing or discussing. Some carry books tied by silken cords suspended over their shoulders. Most all are engaged in some form of artistic or literary activity some carry books and scrolls. . At the bottom left where the artist's brushed signature and red cinnabar Hanko seal/chop appears there is a small bridge over the river. A young disciple carries a long paper rolled into a scroll just behind two elder scholars and literate who are about to cross the bridge. Above them are some pairs of literati pouring over scrolls large papers and blue-bound books. Nearby above them is a young disciple who carries two large sets of similar blue-bound books in cases over his shoulder tied with a white silk cloth. He attends to the two elder literati above and to his right. They also carry identical blue-bound sets of books. . Above this young disciple noted above we see other groups of young disciples attending the elder literati to their rear. These young people also carry more books a red bound text and his companion a brown bound book. . The painting shows a lively and large group of scholars and literati with their disciples and attendants at what appears to be an extraordinary grand yet unnamed meeting and celebration. The majority of the those present are actively engaged in literary or artistic activities. . Though there is no text the visual graphic messages convey the story the artist created. . Scholars and painters have come together to create write share discuss and argue the finer points of poetry literature and paintings. Although we can not find or read any of the creations held in member hands based on the stunning landscape and festive mood on the faces of the participants one can assume the reason for this gathering is to share their thoughts & compositions with their community. . THE MEANING OF THE GATHERING OF SCHOLARS & PAINTERS IS REVEALED: A fascinating and illuminating article reveals who the people are in this scroll painting. . Per the above please see Paget's article citation below where she talks about "Buncho's circle." . She states: ".collaborative works and other objects give intimations of the creative exchange and gregarious atmosphere of Buncho’s extensive circle which encompassed such cultural luminaries as Sakai Hoitsu 1761-1828 Kameda Bosai 1752-1826 and Kimura Kenkado 1736-1802" all of whom were part of his "extensive circle." . From this article we can derive the meaning of our painting which clearly represents the "creative exchange and gregarious atmosphere of Buncho’s extensive circle." His "extensive circle.with "cultural luminaries" that he thought worthy of executing "collaborative works" with. Who would challenge this idea given the large number of "cultural luminaries" portrayed in this painting. . We can firmly understand who the large numbers of literati were. They are his colleagues his "cultural luminaries" and "collaborators" who shared in the production of some of his paintings. In this painting Buncho faithfully and expertly illustrates his respect for and to honor to his fellow "master painters" from his "extensive circle" and "Bunjin" genre. . SIZE AND FORMAT: DELUX GRAND SIZE PAINTING: . This is an extraordinary wide and long hand-painted Kakejiku hanging scroll in full vivid color. . The scroll overall is 1 m. 2 cm. wide. The painting is 87 cm. wide. . The length of the entire scroll is 2 m. 26 cm. long. The painting is 1 m. 69.2 cm. long. . THE ELEGANT & STUNNING SCROLL MOUNTING: . SKILLED WORK OF A MASTER HYOGUSHI: . The work is superbly elegantly and lavishly mounted by a master Hyogushi a scroll maker using the finest contemporary materials of the highest quality. . Stunning contemporary period gold-brocade silk is used at the top sides and bottom. Use of this extravagant and superbly elegant high-quality silk is indicative of very important and high-value painting. This use of lavish embroideries and materials show appropriate respect and honor to TANI Buncho's painting. . Gold-silk textiles of this high quality and caliber were hand-woven and took great skill to create. . The scroll ends Jiku are "Zogejiku" or ivory of the highest quality. . Add to the above the use of a great and skilled master Hyogushi to mount all of the precious materials. This results in a stunningly beautiful elegant and marvelous mounting. The mounting combines with the superb painting to celebrate the master work by the celebrated TANI Buncho. . CONDITION: The Painting: The painting is in excellent condition with lively colors and no damage or issues. There is a small scratch just near the signature and artist's seal. Otherwise an excellent example. The verso remains clean without mark or issues. . The Kakejiku or Hanging Scroll Mounting: The gold-silk brocade is original and has some of the usual surface rubbing. The lower cloth at the bottom by the "Jiku" lower roll hinge has some wear and is restored from the verso. There is also a bit of wear to a small place that covers part of the Jiku where there are loose threads. There are no other major issues which detract greatly from the mounting. . KIRI BAKO: THE CRYPTOMERIA PAULOWNIA WOOD CUSTOM BOX: This Kakejiku is contained in a lovely Kiri box with black lacquered edges on the top. The box is nicely intact and in very good to excellent condition. There are a few of the usual very minor bumps dings and other colorless marks typical of the attrition to such soft-wood boxes from a bygone era. . It has two typical convex cradles to hold the Jiku scroll ends at each end. The cover closes tightly omitting air and insects. The scroll has been housed in its container since 1952. The box has properly protected the contents for which it was designed. . The age of the box is difficult to determine it has bamboo pegs instead of metal nails which again is typical of Kiri boxes from early periods. The top lid/cover has no artist or title brushed on it and likewise the "Gedai" exterior scroll author/title slip does not indicate a title or artist. An educated guess is the box was made about 1850-1900. . PRECIOUS PROTECTION: It has been a Japanese custom for centuries to place precious objects of all varieties in Kiri boxes. Because of Japan's sultry and high-humidity weather in addition to a large number of paper-loving insects Kiri Bako has protected vulnerable items like silk clothing paper books paintings scrolls and others from the ravages and attrition rate. Items of innate value were and are still placed in Kiri Bako. . REFERENCES: . TODA Kenji.: DESCRIPTIVE CATALOGUE OF JAPANESE AND CHINESE ILLUSTRATED BOOKS IN THE RYERSON LIBRARY OF THE ART INSTITUTE OF CHICAGO p.292-393 for an excellent biography. ROBERTS Laurance P.: A DICTIONARY OF JAPANESE ARTISTS: PAINTING SCULPTURE CERAMICS PRINTS LACQUER p.10. He states: of Tani Buncho: "One of the most important painters of his period with a tremendous influence on his contemporaries." Buncho is exceptionally well-collected by world museums Brenda G. Jordan: ed. et al. : COPYING THE MASTER AND STEALING HIS SECRETS: Talent and Training in Japanese Painting. University of Hawaii Press pp.47 116-118. Co-editor was Victoria Weston.6 Murase Miyeko.: BRIDGE OF DREAMS: The Mary Griggs Burke Collection of Japanese art. A catalog from The Metropolitan Museum of Art Libraries. Contains material on Tani Buncho see pp.113 310 314 374. Page 405 shows a Tani Buncho signature and seal exhibit 168. Available on line: http://libmma.contentdm.oclc.org. KOYANO Masako.: JAPANESE SCROLL PAINTINGS:A Handbook of Mounting Techniques. MITCHELL C.H. et al.: THE ILLUSTRATED BOOKS OF THE NANGA MARUYAMA SHIJO AND OTHER RELATED SCHOOLS OF JAPAN: A Bibliography Tani Buncho: pp.21-22. Per Mitchell p21: "He Buncho considered by some as throne of the ten greatest painters of Japan of all time." . BUNCHO was also a woodblock printed book illustrator Ehon for a copious list of his title see Mitchell pp.23-24 Christine Guth.: ART OF EDO JAPAN. Yale University Press 1996 Timon Screech.: OBTAINING IMAGES. University of Hawaii Press 2012 pp.124 317-319. Frank L. Chance.: "Tani Buncho and the Edo School of Japanese Painting" Ph.D. Dissertation University of Washington 1986. Rhinnon PAGET.: THE DIFFERENT BRUSH STROKES OF TANI BUNCHO. Japan Times article: http://www.japantimes.co.jp/culture/2013/07/17/arts/the-diff erent-brush-strokes-of-tani-buncho/#.V5lCpLaANBc SUNTORY MUSEUM OF ART. "Tani Buncho: Commemorating the 250th Anniversary of his Birth." 2013. www.suntory.com/sma TANI BUNCHO: https://en.wikipedia.org/wiki/Tani_Bunch%C5%8D . //www.britannica.com/biography/Tani-Buncho . hardcover‎

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‎[TENA Consuelo Luca de et MENA Manuela].‎

‎La clé du Prado.S.l., Silex, 1982. In-8° broché.‎

‎Guide illustré.‎

Riferimento per il libraio : EXE00bBS

‎[TERRA (Daniel J.)].-‎

‎Regard sur cinq années d'expositions. Five years of Exhibitions at a Glance. A la mémoire de Daniel J. Terra, 1911-1996. Dedicated to the memory of Daniel J. Terre, 1911-1996.‎

‎Giverny, Musée d'Art Américain, 1997, grand in 8° carré broché, 119 pages ; illustrations en couleurs.‎

‎Texte français avec la traduction américaine. PHOTOS sur DEMANDE. ...................... Photos sur demande ..........................‎

Riferimento per il libraio : 32640