315 résultats
1982réf. 153271982 Bucarest meridiane 1879 in4, pleinet oile grise, environ 300 pagres tres nombreuses illustrations en couleurs
Klincksieck, Bibliothèque des cahiers Archéologiques, 1977, ENVOI autographe de l'auteur à Guy Rosolato, 316 pp. + cartes et illustrations, relié, jaquette un peu fendillée, bon état général.
réf. 53535Klincksieck, Bibliothèque des cahiers Archéologiques, 1977, ENVOI autographe de l'auteur à Guy Rosolato, 316 pp. + cartes et illustrations, relié, jaquette un peu fendillée, bon état général.
1950réf. 2951950 Prague Melantrich 1950 Un volume in°4 reliure cartonnée éditeur sous jaquette 91 pp de texte et 179 reproductions hors-texte en noir et en couleurs
réf. 6584Paris. Van Oest. 1933. Grand in-4 (33x25). 109 pages et 96 planches. En feuilles sous chemise (cartons détachés).
1958réf. 597851958 In-4 relié. Bon état d’occasion.
2005réf. 59848Editions du Rocher 2005 In-4 broché 23,6 cm sur 14,2. 255 pages. Bon état d’occasion.
1980réf. 125469Multigrafica 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.
La Lettre Volée, Palimpsestes, 1996, 57 pp., broché, très bon état.
1994réf. 32883Paris Fayard, L'esprit de la Cité 1994 in-8° avec un cahier photo central
2001Cerf, 2001. In-12 carré broché de 197 pages illustrées. Bon état.
réf. 21210St Etienne, CIEREC, 1991, in 8° broché, 158 pages ; illustrations ; couvetrure illustrée en couleurs.
réf. ART4243MPARKSTONE/AURORA. 1996. In-4. Relié. 239 pages, nombreuses illustrations en noir et en couleurs dans et hors texte.
1996réf. 272431996 Parkstone Aurora, Bournemouth/Saint-Petresbourg, 1996. grand in-4°,cartonnage éditeur avec sa jaquette éditeur; 240 pages, nombreuses illustrations
2008Cerf, 2008. In-8 broché de 166 pages illustrées. Bon état
1987réf. LFA-126719797Un ouvrage de 73 pages, format 115 x 175 mm, broché couverture couleurs, publié en 1987, Editions du Lion de Juda, bon état
1967Catalogue de l'expositon présentée en 1967-1968 au Grand Palais (Paris), rédigé par Vadim ELISSEEFF: 618 n°s en classement chronologique, des origines à l'art soviétique; introduction de Mikha l Vladimirovitch ALPATOV et Dmitrii Vladimirovitch SARABIANOV; tableau chronologique; carte. Publié par l'Association française d'action artistique (Paris). Exemplaire enrichi du catalogue de la vente Drouot de mai 2003 "Icônes russes des XVIè au XIXè siècle - Orfèvrerie russe XIXè siècle" (124 n°s avec notices et vignettes en couleurs). Français
1967réf. 3043[Paris], Grand Palais, 1967 1 volume 18,2 x 23,5cm Broché sous couverture au 1er plat illustré couleurs. Non paginé (1,5cm d'épaisseur); carte, nombreuses illustrations en noir, vignettes et pleines pages, 16 planches couleurs (+ plaquette agrafée de 24 pages, vignettes couleurs). Ouvrage en bon état; couverture légèrement défraîchie (plaquette annotée à l'encre).
réf. 99467Solar Solar, 2000, 95 p., cartonnage éditeur sous jaquette, bon état.
1977réf. 16139Paris Arts et Métiers Graphiques 1977 Gd In-4° 271 pp. petit choc sur une coupe sans gravité
1977réf. EEzz6052(Amt d. N.Ö. Landesregierung 1977). gr.-8°, fast quadrat., 355 S., mit 87 Abb., dav. 32 farb., OKart. Ausstellung des Landes Niederösterreich im Stift Herzogenburg 7. Mai bis 30. Oktober 1977.
réf. 527964Wien, Niederösterreichischen Landesmuseums, 1977. In-8 carré broché, 355 pp. sur deux colonnes, 241 notices descriptives, 89 reprod. à pleine page, dont 32 en couleurs.
1630Incisione 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, circa 1630-40, lettered below the portrait, in two lines of Latin: "Judocus de Momper Pictor / montium Antverpiæ". Signed in lower margin left: "Ant. van Dyck fecit aqua forti".Portrait of Joos de Momper, half-length in front of a rocky overhang, turned to the right but looking towards the viewer; with short hair, moustache and beard, wearing a collar, buttoned doublet and cloak, his gloved right hand gesturing behind him at the level of his chest.A fine impression, printed on contemporary laid paper, with margins, very good condition.From the 'Icones principum, virorum, doctorum, pictorum, chalcographorum' by Anton van Dyck, printed for the first time in Antwerp, 1645.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. The New Hollstein (Dutch & Flemish) 6.III (Van Dyck); Mauquoy-Hendrickx 1991 7.III.
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.
