Aa. Vv.MareMagnum
ABC DECORLivre Rare Book
ABC décor N° 14. Icônes à vendre, les sièges Louis XVI - Achetez auvergnat…
1965réf. 120903Couverture souple. Revue brochée. 98 pages.
Librairie et Cætera · Belin-Beliet, France9,00 €
419 résultats
1990Mm 170x240 Brossura editoriale, 279 pagine con 108 tavole e illustrazioni in bianco e nero. Dal Sommario: MARCELLO TANCI, Un' antinomia properziana: sensualità e moralità CHIARA SANTU CCI, Le Icones Sanctae Clara e di Adriaen Collaert. DOMENICO CERULLO, La formazione religiosa tra il Sei-Settecento nelle Costituzioni sinodali assisane e il catechismo breve del Bellarmino. EMILIO VETTURINI, Settanta anni di rimboschimenti sul Subasio. ANTONIO MENCARELLI, Dov'era la fabbrica Resti e presenze industriali in Valle Umbra Nord . FRANCESCO SANTUCCI, I ma.nifesti del Passaggio del fronte ad Assisi (1943-1944). F.S., Rivotorto d'Assisi frontiera settentrionale della metafonia negli odierni dialetti. Opera in ottime condizioni, pari al nuovo
2005Mm 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.
1965réf. 120903Couverture souple. Revue brochée. 98 pages.
1997réf. 111563Editions aux Arts 1997 Editions aux Arts, 1997, 143 p., cartonnage éditeur sous jaquette, bon état.
réf. DADAX0313340285New unknown
1990réf. 60941990 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)..
1974réf. 140918Moscow, Iskusstvo 1974 In-folio 34,5 x 26,5 cm. Reliure éditeur toile rouge sous jaquette papier à l‘identique331 pp., 200 reproductions en couleurs hors-texte, notices, table des planches. Exemplaire en bon état.
réf. SONG3967041557Used: Good unknown
réf. DADAX0415875501New unknown
réf. DADAX0415956358New unknown
1964réf. 7662München, J. F. Lehmann Verlag 1964. 9 Tafeln und 3 Einleitung 9 Tafeln 57,5 X 41 cm Großfolio graues Leinen, Sammelmappe mit 9 Tafeln
197720 p., 73 fig. coul. Inv. 17253
197590 p., 62 pl. n/b, 4 coul. Inv. 17248
réf. 35256Allemagne, Artbook International, 1986. 25 x 32, 18 pp. + 48 planches en couleurs, cartonnage d'édition imprtimé, très bon état (sauf 2 cachets privés).
réf. DADAX0198234147New unknown
1969132 p., 89 ill. coul., 1 carte. Sous boîtier. Inv. 17250
2014réf. 43734London, National Portrait Gallery, 2014. (With an essay by Tim Marlow) 272 S. (34x25 cm) Großformat, illustrierter Pappband / gebundene Ausgabe
1585réf. 41026Frankfurt 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.
2009réf. 112770Pierre Gianadda 2009 Fondation Pierre Gianadda, 2009, 167 p., broché, environ 24x22cm, bords de la couverture frottés et coins des plats cornés, bon état pour le reste et intérieur propre.
1994réf. 32883Paris Fayard, L'esprit de la Cité 1994 in-8° avec un cahier photo central
1985199p. Illustrated. 8vo. Original cloth backed paper boards. Original dust jacket. As New. **PRICE JUST REDUCED! REF4
2009réf. 49599Beverly, Rockport Publishers, 2009. With many pictures. 432 S. 15 x 15 cm, Kt. Leichte Gebrauchsspuren, sonst gut erhalten.
réf. 125246Luster Publishing, Antwerp, 2020. 231 S. ; 19,5 x 14,5 cm ; Pp. ;
1645Incisione 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.
1645Incisione 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.
