VV.AA.MareMagnum
SIMÓN DIAZ, José.MareMagnum
Jesuitas de los Siglos XVI y XVII: escritos localizados.
Madrid, FUE, 1975. 4to. menor; 499 pp., 2 hs. Cubiertas originales.
Librerías Hesperia Libros · Espanha€ 28,00
19.040 resultados
Zaragoza, Institución Fernando el Católico, 1988. 4to.; 177 pp. Gráficos. Cubiertas originales.
Madrid, FUE, 1975. 4to. menor; 499 pp., 2 hs. Cubiertas originales.
ref. 1330917367.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
ref. 1527722597.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1999ref. 524715Flammarion 1999 480 pages 0x22x13cm. 1999. Broché. 480 pages.
ref. 9428Petit in 4 demi-chagrin bleu à nerfs, titre et fers dorés. Titra, 66 pages. Description accompagnée d’un album composé de 44 planches, hors-texte, en phototypie, montées sur onglets, reproduisant 255 types. Imprimerie Rosentiel Joinville 1897
ref. 201808018Paris, Editions gp , 1961 ; in-8, 186 pp., cartonnage de l'éditeur. Avec jaquette n°163 (jaquette 612) avec point.
2000ref. 500057277Fayard 2000 140 pages 13 6x1 4x21 4cm. 2000. Broché. 140 pages.
2010English Text. Mumbai - 400 003, 2010; clothbound in a case, pp. 263, col. plates, cm 23x29.
2013Fine English Original bdg. HC. 4to. (30 x 24 cm). In English and Turkish. 224 p., color and b/w ills. Jewel and jewellery culture in Anatolia throughout history.= Tarih boyunca Anadolu'da taki ve kuyumculuk kültürü. It is observed that, along history, cultures and levels of development of societes have reflected on the jewellery pieces, accessories and designs that were used. For that reason, we believe that examining the historical development of jewellery business and jewellery design on this piece of land will give us an idea about our past, judgement values and the utilization process of gold and silver as well as it will shed on the light on the future of the society and the sector and add value to it. In this period where ccorporate social responsibility is as important as the corporate identities of companies, to be involved in this publications, second of which has been prepared by IKO, since the very beginning has become o part of the mission of Lidya (Lidia) jewellery which has taken its name from Anatolian history. We believe that sharing information will unite our sector on a common ground and make us stronger and will be able to form the concept of 'Golden Furute'.
2010English Text. Mumbai - 400 003, 2010; clothbound in a case, pp. 128, col. plates, cm 22,5x30,5.
Softcover, 25 x 20 cm, 576 pages ., 550 illustraties, Engels, Fine copy. Including an index. ISBN 9789058564108. Hedendaags juweelontwerp is zonder twijfel het resultaat van duizenden jaren vakmanschap, traditie en research. Eigentijdse juweliers gebruiken nog steeds dezelfde edele metalen en edelstenen als hun voorgangers, maar blijven experimenteren met technieken, innoveren met nieuwe materialen en eigenzinnige concepten. Jewelbook is een internationaal project dat eigentijds juweelontwerp verzamelt van?s werelds beste en meest vooruitstrevende juweliers. Jewelbook wil niet alleen innovatie en unieke creaties tonen, maar wil ook juweelontwerp als expressie van de eigentijdse cultuur promoten. 540 oogverblindende creaties, geselecteerd door een internationale jury van juweelontwerpers en designspecialisten, worden in het boek verzameld. Jewelbook zal ongetwijfeld uitgroeien tot een belangrijk internationaal referentiewerk op het vlak van de sierkunst, een tool om juweliers nog meer bewust te maken van wat leeft op internationaal niveau en de uitwisseling van ideeen en technieken aan te moedigen.
1999ref. 1409071999-01-01. Perfect Paperback. Very Good. paperback
2018English and German Text. Stuttgart, 2018; paperback, pp. 144, 124 b/w ill., cm 22x28,5.
320 pages, 23.5 x 30 cm, 342 colour illustrations. Hardcover with dust jacket. Text in English. ISBN 9783897903197. Jewellery sets off beauty and reveals wealth. Moreover, jewellery had a magical function in traditional societies because it attracted blessings and warded off evil. Women were given most of their jewellery when they married. They wore it until their children had grown up. Then it was kept until their daughters had need of its magical properties. So Oriental vernacular jewellery was handed down from generation to generation. If a piece was too worn, it was melted down and the silver used to recreate a piece of the same type. Thus the memories of millennia were preserved in jewellery of this kind. It came to a break in the mid-20th century. In many parts of the Near East, the traditional silver jewellery began to be replaced by gold jewellery that was often industrially manufactured. The upshot was that much of what makes this collection so unusual has been irredeemably lost in the countries where the jewellery was once made. It is to the everlasting credit of Dr. Bir as a collector that these pieces have survived, albeit far from the lands where they were made, to attest to the infinite variety and beauty of Oriental craftsmanship. In this book, readers follow the jewellery on an imaginary journey: from Turkey and ?oriental Europe? across the Mediterranean to north-western Africa and the Sahara to Ethiopia. From there the journey continues through Yemen via India and on to Thailand and the Roof of the World. Down the Indus Valley to Afghanistan. Back again through the mountains and across Central Asia on the Silk Road to the West. From Turkmenistan to the Caspian Sea and from there to the Caucasus. Through eastern Turkey, Syria and Palestine back to the Mediterranean. Born in Freiburg i. Breisgau in 1929, the collector Umit Bir was the son of a Turkish physician and a native of Freiburg. He grew up in Izmir. After studying medicine in Istanbul, he trained as a specialist in Berlin and worked in Wolfsburg from 1958. His passion for collecting began in 1960 on a trip through north-east Africa. One hundred and eighty more trips throughout the Near East would follow. The Dr. Bir Collection comprising more than 3,000 pieces of jewellery is on loan to the Museum fur Volkerkunde Leipzig. It is one of the largest private collections of oriental jewellery in existence. A selection of pieces from it are published here for the first time.
hardbound, 316 pp. illustations in color. fine! ISBN 9789529878789. JEWELLERY IN FINLAND. Marianne Aav ( 2009-2012 ), Eeva Viljanen. Artikkelit : Ulla Tillander-Godenhielm : History and Tradition in Finnish Jewellery, Raimo Fagerstrom : Jewellery as an Indicator of Status, Ulla Tillander-Godenhielm : Otto Roland Mellin and the Archaelogical Jewellery Style, Anna-Lisa Amberg : Eric O. W. Ehrstrom ? Master Craftsman, Raimo Fagestrom : From Traditional Goldsmithing to Art Jewellery, Marianne Aav : Jewellery Art ? Late Phenomenon in Finland, Helena ja Lars Pahlman, Collectors of Contemporary Jewellery. The fascinating world of jewellery is presented with both examples from past centuries and the work of designers representing new, industrially made jewellery in Finland. The trailblazing companies of the field, Kalevala Koru, Kaunis Koru and Lapponia Jewelry, and their designers, have contributed in a variety of ways to the Finnish culture of jewellery, which also comprises unique works of art that are successful in international competition. Since 1960s, Finland has jewellery artists and designers that have broken with tradition and worked with different materials and forms in their search for their own approach. There are many jewellery artists, although their works appeal, for the time being to only a small group of experts. An interview with Helena and Lars Pahlman, who began to collect jewellery art or experimental jewellery in the 1970s in Finland, explores their interest in this pastime and illustrates their collection, of which one hundred examples chosen by them are presented.
bound, hardcover in dusjacket, 234pp illustrated in color. fine condition !! 23x290x220 mm. ISBN 9783897903968. In Israel East meets West. Their jewellery traditions blend, resulting in creative innovations. In the 1930s, European immigrants introduced the spirit of the Bauhaus, while oriental craftsmanship was invigorated in the 1950s and 1960s by immigration from Islamic countries. State jewellery companies preserved traditional crafts, while at the same time developing a new and elegant style, designed to express the national identity of the still young state of Israel. There are important links between native jewellery makers and European and American jewellery artists, who were guest lecturers at the Bezalel Academy of Art and Design in the 1970s and had a lasting influence on Israeli artists. The transition to art jewellery was finally completed in the 1980s, paving the way for artists who are now internationally renowned. A further chapter is dedicated to contemporary works by some outstanding young artists. Although their works are part of the global jewellery scene, they are also dedicated to their homeland, for example through unequivocal references to local political tensions. Artists (a selection): Bianca Eshel Gershuni, Esther Knobel, Deganit Stern Schocken, Vered Kaminski, Attai Chen.
1996Photography by J. Duncan. English Text. Central Islip, 1996; paperback, pp. 128, col. ill. and plates, cm 22,5x24. english 0-89134-65 paperback
2012bound, with dusjacket, 400 p., 9 1/2 x 11, 517 color 28 b/w illus. fine condition ! . ISBN 9780300181142. A true eclectic in her personal life, her professional pursuits, and her creative expression, Marie Zimmermann has proven an elusive character for historians. But her skill as a designer and prodigious output of extraordinary jewelry and metalwork in the early 20th century have routinely caught people by surprise. At its best, Zimmermann's work is beguiling and exhilarating, exploring a wide range of innovative approaches to pattern, material, and surface. The diversity of her oeuvre, including work in gold, silver, bronze, copper, and iron, is as astonishing as the boldness of the life she led. This book gathers for the first time the story of Zimmermann's life and work and puts a spotlight on one of the most singular makers of metalwork active in early-20th-century America. Essays by leading scholars in the decorative arts offer extensive new research on Zimmermann and her work, while more than 500 gorgeous full-color images show the breadth and novelty of her design practice.
2013Testo Italiano e Inglese. Bologna, 2013; br., pp. 200, ill. col., tavv. col., cm 17x21,5.
1980(Codice OR/0229) In 8° (25,5 cm) 222 pp. Testo inglese, guida pratica con numerose illustrazioni in nero e alcune tavole a colori. Brossura editoriale, ottimo stato. ~~~ SPEDIZIONE IN ITALIA SEMPRE TRACCIATA
1981pp. 128 + Plus color frontis. Numerous illustrations, some in color. 4to. Original full gold stamped cloth backed paper binding. Original dust jacket. Nice copy. ART 4
Hardcover in slipcase, 120 p., 69 color illus. new condition ! ISBN 9780300198683. Called the Faberge of our time by Diane von Furstenberg, Joel A. Rosenthal, who works in Paris under the name JAR, is one of the most acclaimed jewelry designers of the past thirty years. JAR is known for his use of precious and semi-precious stones resplendent with myriad shades of vibrant color and set in organic shapes: one brooch, for instance, features lifelike petals in subtly differentiated hues, made from a thousand pave sapphires and amethysts. The New York Times has described his jewelry as ?belligerent, stubborn, audacious, funny, contradictory, while JAR himself has characterized his work as ?somewhere between geometry and a bouquet of flowers. This book, featuring nearly 40 pieces from throughout JAR's career, provides a concise, accessible, elegantly designed retrospective of the best of his jewelry creations, and is the only book of its kind on his work available in English.
1999Milano/Paris, 1999; br., pp. 180, 100 ill. b/n e col., cm 25x28,5. (Arte Antica. Cataloghi). italiano 88-8118-52 Arte Antica. Cataloghi br.
softcover, 224 pages, Illustrated. 26.25cm. ISBN 9782080136312. Showcases jewelry pieces by the designer best known for his glass works, noting his influence on the art nouveau style, use of mythological beings in his art, and material selection. Original.
