WILMS, RosemondeMareMagnum
268 resultados
1935
2009ref. DADAX0415804337Taylor & Francis 2009-04-21. 1. paperback. New. 6.25x1.00x9.25. Buy with confidence. Excellent Customer Service & Return policy. Taylor & Francis paperback
2008ref. DADAX0415465753Taylor & Francis 2008-04-04. 1. paperback. New. 6.14x1.83x9.21. Buy with confidence. Excellent Customer Service & Return policy. Taylor & Francis paperback
ref. 928421159X-11-1Icc Pub. 2. Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible with all pages included. It may have slight markings and/or highlighting. Icc Pub unknown
2006ref. 2-0415398185Taylor & Francis 2006. Paperback. New. 1st edition. 660 pages. 8.75x6.00x1.25 inches. Taylor & Francis paperback
2017ref. x-1138411523Taylor & Francis 2017. Hardcover. New. 678 pages. 9.21x6.14x1.45 inches. Taylor & Francis hardcover
2008ref. x-0415465753Taylor & Francis 2008. Paperback. New. 1st edition. 793 pages. 9.50x6.25x1.50 inches. Taylor & Francis paperback
2009ref. 2-0415804337Taylor & Francis 2009. Paperback. New. 1st edition. 554 pages. 9.13x6.18x0.94 inches. Taylor & Francis paperback
1950ref. 27858nantes 1950 Une peinture originale : huile sur papier, format : 65 x 50 cm, auteur inconnu, sans date (1920 environ),
Acquaforte, puntasecca misure: mm 151 x 228; foglio mm 181 x 280 Pittore e incisore italiano, vicino alla corrente artistica del Verismo e dell'Impressionismo. Frequentò inizialmente lo studio di Giambattista Calò (Barletta 1832 - 1895) e Vincenzo Dattoli (Foggia 1831 -Roma 1899) dipingendo soprattutto la natura dal vero. All'età di quindici anni entrò come allievo all'Accademia di Belle arti di Napoli sotto la guida di Giuseppe Mancinelli (Napoli 1813 – Palazzolo di Castrocielo 1875) ma nel 1863 venne espulso per problemi di disciplina e condotta. Così continuò la sua carriera lontano dal mondo accademico per poi entrare a far parte della Scuola dei Portici che praticava una pittura aderente al vero, attenta alla resa cromatica. Toccò diverse città italiane come Firenze dove frequenta il caffè Michelangelo, nel 1867 giunse a Parigi sotto la protezione del mercante Goupil entrando in contatto con artisti quali Mariano Fortuny (Reus 1838 – Roma 1874) e Leon Gerôme (Vesoul 1824 – Parigi 1904) di cui si disse allievo. Espose le sue opere per diversi anni ai Salon e Degas, nel 1874, lo fece partecipare alla prima esposizione degli impressionisti. Di questi "studiò il taglio e l'impaginazione della pittura giapponese, gli effetti cinematici di Degas e amò le dissolvenze materiche di Monet" (Piceni, 1979, p.23). Egli fu un abile acquafortista e in queste opere mise in risalto, grazie ad un'attenta riflessione intima e ad una continua sperimentazione tecnica, le atmosfere della luce cercando di cogliere l'attimo fuggente di un'espressione o di una posa. Tutte le incisioni appartengono al periodo parigino ed alcune portano la data '73 e '74. Questa stampa fu pubblicata postuma sulla Gazette des Beaux-Arts a settembre del 1913 accompagnata da un articolo dal titolo Une eau-forte inedite de J. De Nittis. Anche in quest'opera l'artista agisce con estrema delicatezza e raffinatezza; la donna è semisdraiata, appoggia il braccio sinistro su un oggetto non identificabile, forse un bracciolo o un cuscino, ha il busto scoperto eburneo quasi invisibile rispetto ai capelli scuri e ai giochi chiaroscurali dell'abito che copre le gambe. Ha lo sguardo fisso verso lo spettatore che rivela naturalezza ma anche imbarazzo. L'intimità della scena è riportata con cura mediante poche linee che definiscono il corpo della donna e un più attento tratteggio nella zona dei capelli e dell'abito. Petrucci afferma che "più che un'incisione sembra una pittura ottenuta con un lavoro sapiente di toni chiari su scuri." Impressione ottima e ben conservata, eccetto minimo foxing diffuso. Ampi margini oltre la battuta del rame. Esemplare in uno stato intermedio fra il II/ III prima dei ritocchi sul mignolo della mano destra. Un altro esemplare è conservato presso Milano (MI), Civiche Raccolte Grafiche e Fotografiche. Civica Raccolta delle Stampe Achille Bertarelli Bibliografia: F.Fiorani-R.Dinoia, De Nittis incisore, pag. 160, n.23; Petrucci, 1934- 1941, con il titolo Risveglio sereno, pag.10, pag.27.
1900ref. ABC_485951900. Ca. 15 x 9.5 x 6 cm base ca. 4.5 x 4.5 cm. Patinated bronze portrait bust. Attractive portrait bust of the French Emperor Napoleon Bonaparte 1769-1821 dressed in a jacket with two medals on his left chest. The bronze bust is raised on a circular socle with a square base on which the name Napoleon is impressed.A tiny hole on the back of the left shoulder. Otherwise in good condition. ABE CAT Art History ART ARCHITECTURE & PHOTOGRAPHY EUROPE Art & Art History France unknown
1912ref. 016225Moscou Nauka 1912 In-12 Broché
1569ref. WRCAM5652Madrid 1569. 8242 leaves. 19th-century vellum lacking ties new endsheets. Some leaves heavily foxed. Marginal repairs to the first signature not affecting text. Else a clean decent copy. The third edition after Toledo editions of 1540 and 1546. An important geographical and cosmographical work with numerous New World references and an important early navigational guide. EUROPEAN AMERICANA 569/48. MEDINA BHA 128. HARRISSE ADDITIONS 156. hardcover books
1569ref. 5652Madrid. 1569. A Standard Geographical Work The third edition after Toledo editions of 1540 and 1546. An important geographical and cosmographical work with numerous New World references and an important early navigational guide. 8242 leaves. 19th-century vellum lacking ties new endsheets. Some leaves heavily foxed. Marginal repairs to the first signature not affecting text. Else a clean decent copy. EUROPEAN AMERICANA 569/48. MEDINA BHA 128. HARRISSE ADDITIONS 156. hardcover
1728ref. RF 1373Amphitheatro sagrado desde cuyas tres órdenes de asientos se pueden vèr sin zozobra y con gusto los espectaculos celebres y magnificos que ofreciò à los ingenios y à los ojos el maximo colegio cordobès de la Compañia de Jesus para aplaudir en su canonizacion a los dos nuevos astros de su milicia S. Luis Gonzaga y S. Estanislao Kostka. Impresso en Cordoba: En casa de Juan de Ortega y Leon mercader de libros por Acisclo Cortès Diego de Valverde y Juan de Pareja 1728. 4th; Plate with the coat of arms of the Marquis of Las Escalonias signed by Bernabé Orbaneja in Córdoba 1728; contemporary vellum. First edition. List of the celebrations that the Jesuits of the Colegio de la Compañía de Jesús de Córdoba organized in 1753 to celebrate the canonization of two young members of the order Luis Gonzaga and Estanislao Kostka. Signed by Pedro Clemente Valdés pseudonym Pedro del Busto secretary of the poetic contest JE de Uriarte Catálogo razonado de obras anónimas y seudónimas de autores de la Compañía de Jesús Madrid 1904-1916 III p. 18-19. The first part describes the celebrations with the ephemeral art samples that were seen during the festivities. In the second part a dramatic play is read "Los dos jóvenes de Ignacio" "The two young men of Ignatius" represented by the students of the same College. The third part is dedicated to the poetic contest: contains the poems dedicated by members of the order nobles jurists etc. from Córdoba and other cities with some feminine contribution. The ritual through which the two beatified Jesuits were honored including the costumes is described in the manner of a fest buch. Saint Louis Gonzaga Castiglione delle Stiviere Marquis of Castiglione March 9 1568 - Rome June 21 1591 was an Italian Jesuit religious. Beatified by Paul V on October 19 1605 and canonized on December 13 1726 by Benedict XIII who declared him patron of youth a title confirmed by Pius XI on June 13 1926. His feast is celebrated on 21 June. Estanislao Kostka Rostkowo Poland October 28 1550 - Rome August 15 1568 was a Polish novice member of the Society of Jesus. He was born in the village of Rostkowo which is part of the municipality of Przasnysz in the Mazovia Voivodeship now Poland joined the Society of Jesus in Rome on his 17th birthday October 28 1567 and died of malaria in that same city. Palau 37863; Aguilar Piñal F. Impresos sevillanos del siglo XVIII v. 1 5343 # WorldCat: one copy in US Libraries. RF 1373 En casa de Juan de Ortega, y Leon, mercader de libros por Acisclo Cortès, Diego de Valverde, y Juan de Pareja, hardcover
1895ref. 65440[Berlin, F. Fontane & Co., 1895]. Im Stein monogrammiert ?HTL?. Darstellung ca. 32,5 x 24,5 cm (Blattgröße 36,8 x 28 cm).
1540ref. 3354Toledo: Juan de Ayala 1540. First edition only part published. Complete. Bound in modern full leather with raised bands and title vignettes on the spine. Occasional contemporary marginal notes and underlining. Artistically restored. Old possessor's inscription and stamp removed from the title page; a long partially open tear at the gutter. Small wormhole at the upper inner margin through the first ten leaves. Light stains and occasional spots throughout; faint stain on folios F1-2 with a small unrelated hole leading to minimal text loss 1-2 letters. Darker stain on the lower corners of e6-f4 and upper outer edge of g1-4 impacting the text block. Minor imperfections to the lower corners of e3-4 and the outer edge of h5. Overall in very good condition. Title page with armorial woodcut three large woodcut illustrations and woodcut initials throughout. Title page with armorial woodcut three large woodcut illustrations and woodcut initials throughout. First edition only part published. Complete. Bound in modern full leather with raised bands and title vignettes on the spine. ff. 8 240 many misnumbered; sign.: 8 a-z8 et8 A-F8. An important geographical and cosmographical work with early references to the New World. First edition of this significant work on geography cosmography and early explorations by Alexo de Vanegas a renowned scholar from Toledo acknowledged for his expertise in early Spanish language and noted as an influence on Cervantes. Primera parte de las diferencias de libros que ay en el universo is a foundational text in Spanish geographical and cosmographical literature and an important early reference to the New World. Chapters 21 22 26 and 29 offer detailed passages on Amerigo Vespucci and Christopher Columbus with early accounts of America and notable discussions on navigation and the mariner's compass. Illustrated with three woodcut diagrams depicting solstices and solar eclipses. Complete copies of this rare first edition are seldom available as many surviving examples are incomplete or in poor condition. References: Salvá 2438; Heredia 3731; Palau 351608. . [Juan de Ayala] unknown
1531ref. 6410Toledo: Lázaro Salvago Girones 1531. First Edition Primera edición. Hardcover Tapa dura. 191x140mm. 7½x5½". Toledo Lazaro Salvago Ginones 7 October 1531. En 4º menor 191 x 140 mm. Tipografía gótica. 46 hojas. Portada dentro de un recuadro formado por cuatro tacos xilográficos mostrando a Harpocrates en la parte superior. Signatura: a-e8 f6. Encuadernación en holandesa marroquén firmada por A. Menard; lomera cuajada de dorados cabeza también dorada. Primera edición de la primera obra teórica sobre la puntuación escrita en lengua castellana. "Siguiendo los pasos de Nebrija algunos gramáticos comenzaron la publicación de ortografías siendo el primero de ellos Alejo de Venegas en 1531 cuyo Tratado de orthographia y accentos en las tres lenguas compara el español con el griego el latín y el hebreo" Nadeau & Barlow The History of Spanish 2013 p. 164. "El Tractatado de orthographia de Alejo Venegas constituye la primera obra teorética sobre la punctuacion escrita en lengua castellana. Distribuye el tratado en reglas y es en la regla xviii donde trata De la puntuacion. Comienza con una justificacion muy similar a la que acabamos de citar de Nebrija con la mirada puestatambien en el latin como modelo de imitación. Frente a los dos signos que únicamente reconoce el autor de las Introductiones Venegas reconoce en la lengua latina seis signos de puntuacion los cuales se comportan en las diversas funciones con la misma imprecisión que reconoceremos en el analisis de los textos contemporáneos sea cual sea el sistema al que se acojan prioritariamente. Estos seis signos que Venegas propone como los mas procedentes para la mejora de la escritura castellana son: coma colon paréntesis virgula e interrogante" Mediavilla La Punctuacion en los siglos XVI y XVII 2002 p.8. USTC localiza 10 ejemplares de ellos sólo 3 en España. No hemos localizado ningún ejemplar en venta de este rarísimo impreso en los últimos 90 años. Buen ejemplar. Algunas hojas varían su tamaño entre 187 y 189 mm.; la última hoja con restos de pequeño papel pegado en el margen inferior. Lázaro Salvago Girones hardcover
