324 résultats
réf. 48326760-nnew. unknown
1979réf. 026994Kortrijk 1979 Van Ghemmert publishing co Hardcover Good
réf. 13979349Paris: SVV Farrando & Lemoine, 2010 in-8. Broché.
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.
2007réf. 008980Nürnberg, Syntax666, 2007. Broschiert DINA4
2010réf. LFA-126716744Un ouvrage de 160 pages, format 215 x 270 mm, illustré, relié cartonnage sous jaquette couleurs, publié en 2010, Thalia Edition, très bon état
1966No marks or inscriptions. A very clean very tight copy with bright unmarked boards, very minor rubbing around lower board edges, a trace of dustiness to top of page edges and no bumping to corners. Dust jacket not price clipped or marked or torn or creased with very minor traces of storage. 290pp. A detailed study of Russian mosaics and frescos from the 11th to the 16th century with 265 illustrations. A heavy book.
1746réf. 5529Trnava Nagyszombat in Hungarian: Typis Academici Societatis Jesu 1746. FIRST EDITION. Hardcover. Fine. Bound in full original sponged sheepskin the spine tooled in gold and with a later black label small defects and light wear to the binding gilding muted. A very good copy complete with the engraved frontispiece showing the icon. The opening leaves are slightly worn at the edges; the engraving has some light spotting; there is slight worming to inner blank margin of front half-title engraved leaf and title not affecting the image or text. Very rare I have located only one copy in North America Dayton. A rare history of a miraculous statue of the Virgin Mary as Our Lady of Sorrows at Sasvár in western Slovakia featuring dramatic accounts of supernatural cures attributed to the icon scenes of witchcraft apparitions visions disembodied voices and miracles. The book was printed at the Jesuit Academic Press in Trnava in present-day Slovakia. The engraved frontispiece of the icon is by Joseph Jäger Jozef Jáger active in Prague and Trnava from at least 1728 who specialized in devotional prints such as this one. In the engraving the icon is surrounded by small votive offerings of the sort left by those who hoped to be cured of their afflictions: models in wax or silver of ears eyes hearts breasts limbs and pistols symbolizing gunshot wounds. The text includes a number of descriptions of these sorts of votives. In one instance a father presents a bone encased in silver following his daughter's reported recovery while others offer representations of afflicted body parts clothing devotional images or money. The author the Pauline monk Gellért Jankovich organized the miraculous cures by year and affliction. The subjects include children suffering from seizures smallpox and witchcraft; difficult childbirths wounds dangerous falls and near drownings. These accounts commonly specify places family members and circumstances. Some accounts describe unsuccessful medical treatment before the sufferer appealed to Our Lady of Sorrows sometimes identifying the physicians or surgeons involved and their fees; in one case a kidney stone is cut out by a surgeon yet the compiler credits the boy's recovery to the Virgin. 252-253 Witchcraft: The chapter "Maleficium Mariana potestas destruit" "The Power of Mary Destroys Witchcraft" recounts the supposed bewitchment of Anna Kurill a Moravian who lost the use of her legs. After numerous remedies failed Kurill appealed to Our Lady of Sorrows at Sasvár. According to the author the diabolical influence vanished and she regained the ability to walk. Kurill subsequently made the pilgrimage to Sasvár accompanied by two witnesses where she testified to her recovery before a Pauline priest. 161-162 The statue Our Lady of Sorrows at Sasvár was erected following a quarrel between Count Imre Czobor and his wife Angelina Bakvics in 1564. After her husband ordered her and her attendant out of their carriage stranding them Angelina prayed to Our Lady of Sorrows and vowed to erect a statue in her honor if they were rescued. Count Czobor sent his carriage back for Angelina and she fulfilled her vow by having a Pietà placed on a triangular column beside Sasvár Castle 2-3. Following reports of miraculous cures attributed to the Pietà a cult developed around the statue and pilgrimages to the shrine began in the 16th and 17th c. In 1718 access to the statue was restricted but in 1732 the townspeople broke into the enclosure during a procession to reach the column. Reports of recoveries and extraordinary lights led the local Archbishop to order the statue removed to ecclesiastical custody and the reports investigated under oath. This book summarizes testimony given during the investigation and reproduces the archiepiscopal decision authorizing restoration of the image to public veneration 6-25. The following November a procession reportedly attracted more than 25000 people. The shrine required a larger church and better facilities and construction began in 1736. It was consecrated in 1762 in the presence of Empress Maria Theresa who had contributed to its development. The final chapter recounts punishments attributed to the Virgin for unfulfilled vows and the misuse of offerings: a woman who gave the chapel only three of the ten florins her husband had told her to give was seized with anxiety on her way home and could not rest until she returned and paid the rest and a woman from Skalica who stole a coin or medal hanging from the Virgin's rosary was struck with trembling and weakness until she brought it back. 324-326. Typis Academici Societatis Jesu hardcover books
1746réf. 5529Trnava Nagyszombat in Hungarian: Typis Academici Societatis Jesu 1746. FIRST EDITION. Hardcover. Fine. Bound in full original sponged sheepskin the spine tooled in gold and with a later black label small defects and light wear to the binding gilding muted. A very good copy complete with the engraved frontispiece showing the icon. The opening leaves are slightly worn at the edges; the engraving has some light spotting; there is slight worming to inner blank margin of front half-title engraved leaf and title not affecting the image or text. Very rare I have located only one copy in North America Dayton. A rare history of a miraculous statue of the Virgin Mary as Our Lady of Sorrows at Sasvár in western Slovakia featuring dramatic accounts of supernatural cures attributed to the icon scenes of witchcraft apparitions visions disembodied voices and miracles. The book was printed at the Jesuit Academic Press in Trnava in present-day Slovakia. The engraved frontispiece of the icon is by Joseph Jäger Jozef Jáger active in Prague and Trnava from at least 1728 who specialized in devotional prints such as this one. In the engraving the icon is surrounded by small votive offerings of the sort left by those who hoped to be cured of their afflictions: models in wax or silver of ears eyes hearts breasts limbs and pistols symbolizing gunshot wounds. The text includes a number of descriptions of these sorts of votives. In one instance a father presents a bone encased in silver following his daughter's reported recovery while others offer representations of afflicted body parts clothing devotional images or money. The author the Pauline monk Gellért Jankovich organized the miraculous cures by year and affliction. The subjects include children suffering from seizures smallpox and witchcraft; difficult childbirths wounds dangerous falls and near drownings. These accounts commonly specify places family members and circumstances. Some accounts describe unsuccessful medical treatment before the sufferer appealed to Our Lady of Sorrows sometimes identifying the physicians or surgeons involved and their fees; in one case a kidney stone is cut out by a surgeon yet the compiler credits the boy's recovery to the Virgin. 252-253 Witchcraft: The chapter "Maleficium Mariana potestas destruit" "The Power of Mary Destroys Witchcraft" recounts the supposed bewitchment of Anna Kurill a Moravian who lost the use of her legs. After numerous remedies failed Kurill appealed to Our Lady of Sorrows at Sasvár. According to the author the diabolical influence vanished and she regained the ability to walk. Kurill subsequently made the pilgrimage to Sasvár accompanied by two witnesses where she testified to her recovery before a Pauline priest. 161-162 The statue Our Lady of Sorrows at Sasvár was erected following a quarrel between Count Imre Czobor and his wife Angelina Bakvics in 1564. After her husband ordered her and her attendant out of their carriage stranding them Angelina prayed to Our Lady of Sorrows and vowed to erect a statue in her honor if they were rescued. Count Czobor sent his carriage back for Angelina and she fulfilled her vow by having a Pietà placed on a triangular column beside Sasvár Castle 2-3. Following reports of miraculous cures attributed to the Pietà a cult developed around the statue and pilgrimages to the shrine began in the 16th and 17th c. In 1718 access to the statue was restricted but in 1732 the townspeople broke into the enclosure during a procession to reach the column. Reports of recoveries and extraordinary lights led the local Archbishop to order the statue removed to ecclesiastical custody and the reports investigated under oath. This book summarizes testimony given during the investigation and reproduces the archiepiscopal decision authorizing restoration of the image to public veneration 6-25. The following November a procession reportedly attracted more than 25000 people. The shrine required a larger church and better facilities and construction began in 1736. It was consecrated in 1762 in the presence of Empress Maria Theresa who had contributed to its development. The final chapter recounts punishments attributed to the Virgin for unfulfilled vows and the misuse of offerings: a woman who gave the chapel only three of the ten florins her husband had told her to give was seized with anxiety on her way home and could not rest until she returned and paid the rest and a woman from Skalica who stole a coin or medal hanging from the Virgin's rosary was struck with trembling and weakness until she brought it back. 324-326. Typis Academici Societatis Jesu hardcover
1981réf. 112650Iskusstvo,Moscow 1981 Livre en anglais, russe. In-4 reliure éd. sous jaquette 32,2 cm sur 24,7. 199 pages. Jaquette en très bon état. Très bon état d’occasion.
1969Mm 270x340 Volume originale rilegato in tela, sopracoperta editoriale con alcuni piccoli strappi ai margini, 200 pagine profusamente illustrate a colori nel testo redatto in lingua russa ed inglese - russian-english texts. Buona copia. Spedizione in 24 ore dalla conferma dell'ordine.
1983réf. 1269851983 Aurora Art Publishers, Leningrad - 1983 - In-4 reliure pleine toile, décors à froid sur le premier plat, titre au dos, sous jaquette illustrée, avec un étui cartonné neutre - 347 pages - Texte en anglais - Nombreuses illustrations en couleurs hors texte et en N&B dans le texte
1983réf. 155021983 Aurora Art Publishers, Leningrad, 1983in4,pleine toile sous jaquette illustrée, 346pp.illistrées, bel exemplaire, langue anglaise
1997réf. LFA-126739944N° 150 (décembre 1997) 66 pages, format 220 x 295 mm, illustré, broché couverture couleurs, bon état
2014This is a fine softcover copy, with no wear. Completely clean. Text in English and Norwegian. This catalog was prepared to accompany the exhibition in New York in 2014 at the Open House Gallery in Soho. Comprehensive survey of mid-century (20th) Norwegian design. Illustrated in color and black & white, lots of works by lesser known designers. There is a small (4" X 7") illustrated gallery invitation card for Open House at 201 Mulberry Street, New York on May 23, 2014, laid in. 10" high X 8" wide, 345 pages. Heavy book, foreign shipping will cost extra. (Shipping to Europe, as of summer 2020, will be $62.) This book will be securely packed and shipped with tracking.
2010réf. 179888Editions Grand Sud Albi, Editions Grand Sud, 2010. In-4 relié cartonnage éditeur sous jaquette, 120 pages, photographies de Paul Azam. Très bon état
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.
1895réf. 7831Paris C. Klincksieck 1895 In-8 298 pp, 9 planches en noir in-texte dont 2 hors-texte et 1 dépliante. Ensemble passé, dos coupé avec manques, débroché. Exemplaire non coupé, intérieur frais
réf. 1917547242.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 48193785-nnew. unknown
2009réf. 49147Köln, TASCHEN GmbH, 2009. 192 Seiten , 20 cm, kartoniert
1989Black cloth boards with embossed title in gilt lettering on cover and spine. Straight, solid spine, tight binding. Text/interior is clean, neat and free of marking to text. Previous owner's name inside. Dust jacket shows light general wear/scuffing, a little edge wear, no tears. 72 pages of text followed by 148 pages of full page, full color plates of the best the six institutions have to offer, with paintings, swords, vases, sculpture, tapestries, helmets, crowns, chests, jewelry, furniture, interiors, etc. etc. Paintings by Laszlo madnyanszky, mihaly Munkacsy, Pal Szinyei Merse, Karoly Ferenczy, Lajos Gulacsy, Jozsef Rippl-Ronai, Lajos Tihanyi, Jozsef Nemes Lamperth, Jozsef Egry, Gyula Derkovits, Bela Kondor, Barend van Orley, Durer, Giorgione, Giovanni Antonio Boltraffio, Michele Pannonio, Bellini et al. Previous owner's name on title page.
réf. 117637aafLondon, Faber and Faber, s.d., vers 1960, in-4to, 102 p., + 238 planches n./b., reliure en toile originale.
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.
réf. 69115aafRecklinghausen, Aurel Bongers, 1961, gr. in-4to, 296 S., 144 Farbreproduktionen, Original-Leinenband, mit OU.
