21 452 résultats
réf. 24460656like new. unknown
2015réf. x-3319244884Springer 2015. Paperback. New. 388 pages. 9.25x6.10x0.88 inches. Springer paperback
réf. 6592Paris, Librairie Renouard, Henri Laurens Editeur, 1918. 1 volume in-folio (30*41 cm), broché, XII-519 pp., enrichi d'environ 500 gravures illustrées, très bon exemplaire à l'état de neuf. Tirage limité à 550 exemplaires numérotés (No 406). Un autre exemplaire, relié plein cuir moderne, est vendu 550 euros.
réf. 88002803A typed manuscript English translation of the section on CHINESE PAINTERS A4 size 3-hole punched paper toned paper as usual 29 pages typed on both sides brass tab holder excerpt from the book. FIRST & ONLY KNOWN ENGLISH EDITION . . . THE FIRST MONOGRAPH ON THE MUSTARD SEED GARDEN . . . IN A EUROPEAN LANGUAGE . This is a wonderful work with superb detail coverage of the JIE ZI YUAN HUA ZHUANG HUA NIAO PU: MUSTARD SEED GARDEN. GUIDE TO PAINTING a Chinese classic by Li Li-Ong & Wang Kai in 1679. . This work discusses and illustrates a great portion of the original with additional commentaries. Hailed as the most important Chinese book on painting ever issued it has been a continual source of instruction for Chinese and Japanese as well as for Western artists over the centuries. This covers landscapes flowers flowers birds and figures with critical notes on the principles and technical advice on painting. . Useful analyses of the methods of drawing for landscapes and for flower & birds. This superb work was begun in 1677 and finished in 1679. It has become a classic of Ming & Ch'ing painting and a guide to both scholars & artists throughout China. . A major European reference on this great Chinese classic few works in Western languages were written about this book therefore this is the one single and most copious of any resource. Issued in a huge folio size 30 x 41 cm. over all in heavy rag paper a monumental work ! . End of the book description. . . . NOTES ON THE SEPARATE ENGLISH TRANSLATION TYPED MANUSCRIPT: . TITLE: THE CHINESE PAINTERS This is a typed manuscript from the Justin D. Metzgar collection. This translation consists of the following parts from the original book in French. This is the only known translation excerpt to have been don't on this classic title . This item is sold separately from the above described book. . Preface Part I: THE TECHNIQUE: 1. Tools of the painter 2. The representative of forms 3. The division of subjects 4. Inspiration . Part II 1. Origins 2. Chinese painting before the coming of Buddhism 3. The intervention of Buddhism 4. Chinese painting in the T'ang Epoch 7th-10th centuries 5. Painting in the Sung epoch 10th to 13th centuries 6. Chinese painting in the Yuan epoch 13th to 14th . centuries 7. Chinese painting in the Ming epoch 14th to 17th . centuries 8. Chinese painting in the Ch'ing epoch 17th to 20th . centuries . 9. Conclusions . INDEX OF PAINTERS by dynasty epochs per above. . The above is the excerpt is the only translated part into English. A useful resource. . See spine.jpg photo posted to our website for the title page of this item. Other photos are of the Petrucci book. . End of typed manuscript item. . BIBLIOGRAPHY . K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHINESE ILLUSTRATED BOOKS p.406-410. J. Needham SCIENCE AND CIVILIZATION IN CHINA: vol.3 p.596 et al for more details. SZE Mai-Mai: THE TAO OF PAINTING: A Study of the Ritual Disposition of Chinese Painting. With Translation of the Chieh Tzu Yuan Hua Chuan or Mustard Seed Garden Manual of Painting 1679-1701. Please inquire with us as we may have this in stock. RAWSON Jessica. ed. et al.: THE BRITISH MUSEUM BOOK OF CHINESE ART.: page 124. . unknown
réf. 88002802Paris 1918 Laurens. Brown paper over cloth tall folio index of of painters general table glossary 497 black & white gravures 30 x 41 cm. very good clean solid copy. RARE FIRST & ONLY LIMITED NUMBERED EDITION OF 550 COPIES . . . THE FIRST MONOGRAPH ON THE MUSTARD SEED GARDEN . . . IN A EUROPEAN LANGUAGE . This is a wonderful work with superb detail coverage of the JIE ZI YUAN HUA ZHUANG HUA NIAO PU: MUSTARD SEED GARDEN. GUIDE TO PAINTING a Chinese classic by Li Li-Ong & Wang Kai in 1679. . This work discusses and illustrates a great portion of the original with additional commentaries. Hailed as the most important Chinese book on painting ever issued it has been a continual source of instruction for Chinese and Japanese as well as for Western artists over the centuries. This covers landscapes flowers flowers birds and figures with critical notes on the principles and technical advice on painting. . Useful analyses of the methods of drawing for landscapes and for flower & birds. This superb work was begun in 1677 and finished in 1679. It has become a classic of Ming & Ch'ing painting and a guide to both scholars & artists throughout China. . A major European reference on this great Chinese classic few works in Western languages were written about this book therefore this is the one single and most copious of any resource. Issued in a huge folio size 30 x 41 cm. over all in heavy rag paper a monumental work ! . End of the book description. . . . NOTES ON THE SEPARATE ENGLISH TRANSLATION TYPED MANUSCRIPT: . TITLE: THE CHINESE PAINTERS This is a typed manuscript from the Justin D. Metzgar collection. This translation consists of the following parts from the original book in French. This is the only known translation excerpt to have been don't on this classic title . This item is sold separately from the above described book. . Preface Part I: THE TECHNIQUE: 1. Tools of the painter 2. The representative of forms 3. The division of subjects 4. Inspiration . Part II 1. Origins 2. Chinese painting before the coming of Buddhism 3. The intervention of Buddhism 4. Chinese painting in the T'ang Epoch 7th-10th centuries 5. Painting in the Sung epoch 10th to 13th centuries 6. Chinese painting in the Yuan epoch 13th to 14th . centuries 7. Chinese painting in the Ming epoch 14th to 17th . centuries 8. Chinese painting in the Ch'ing epoch 17th to 20th . centuries . 9. Conclusions . INDEX OF PAINTERS by dynasty epochs per above. . The above is the excerpt is the only translated part into English. A useful resource. . See spine.jpg photo posted to our website for the title page of this item. Other photos are of the Petrucci book. . End of typed manuscript item. . BIBLIOGRAPHY . K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHINESE ILLUSTRATED BOOKS p.406-410. J. Needham SCIENCE AND CIVILIZATION IN CHINA: vol.3 p.596 et al for more details. SZE Mai-Mai: THE TAO OF PAINTING: A Study of the Ritual Disposition of Chinese Painting. With Translation of the Chieh Tzu Yuan Hua Chuan or Mustard Seed Garden Manual of Painting 1679-1701. Please inquire with us as we may have this in stock. RAWSON Jessica. ed. et al.: THE BRITISH MUSEUM BOOK OF CHINESE ART.: page 124. . unknown
réf. 88002801Paris 1918 Laurens. Red cloth tall folio very good index of painters general table glossary 497 b. w. gravures 28 x 40 cm. minor wear to corners spine head/tail clean solid copy. RARE FIRST & ONLY LIMITED NUMBERED EDITION 550 COPIES . . . THE FIRST MONOGRAPH ON THE MUSTARD SEED GARDEN . . . IN A EUROPEAN LANGUAGE . This is a wonderful work with superb detail coverage of the JIE ZI YUAN HUA ZHUANG HUA NIAO PU: MUSTARD SEED GARDEN. GUIDE TO PAINTING a Chinese classic by Li Li-Ong & Wang Kai in 1679. . This work discusses and illustrates a great portion of the original with additional commentaries. Hailed as the most important Chinese book on painting ever issued it has been a continual source of instruction for Chinese and Japanese as well as for Western artists over the centuries. This covers landscapes flowers flowers birds and figures with critical notes on the principles and technical advice on painting. . Useful analyses of the methods of drawing for landscapes and for flower & birds. This superb work was begun in 1677 and finished in 1679. It has become a classic of Ming & Ch'ing painting and a guide to both scholars & artists throughout China. . A major European reference on this great Chinese classic few works in Western languages were written about this book therefore this is the one single and most copious of any resource. Issued in a huge folio size 30 x 41 cm. over all in heavy rag paper a monumental work ! . End of the book description. . . . NOTES ON THE SEPARATE ENGLISH TRANSLATION TYPED MANUSCRIPT: . TITLE: THE CHINESE PAINTERS This is a typed manuscript from the Justin D. Metzgar collection. This translation consists of the following parts from the original book in French. This is the only known translation excerpt to have been don't on this classic title . This item is sold separately from the above described book. . Preface Part I: THE TECHNIQUE: 1. Tools of the painter 2. The representative of forms 3. The division of subjects 4. Inspiration . Part II 1. Origins 2. Chinese painting before the coming of Buddhism 3. The intervention of Buddhism 4. Chinese painting in the T'ang Epoch 7th-10th centuries 5. Painting in the Sung epoch 10th to 13th centuries 6. Chinese painting in the Yuan epoch 13th to 14th . centuries 7. Chinese painting in the Ming epoch 14th to 17th . centuries 8. Chinese painting in the Ch'ing epoch 17th to 20th . centuries . 9. Conclusions . INDEX OF PAINTERS by dynasty epochs per above. . The above is the excerpt is the only translated part into English. A useful resource. . See spine.jpg photo posted to our website for the title page of this item. Other photos are of the Petrucci book. . End of typed manuscript item. . BIBLIOGRAPHY . K. Toda: THE RYERSON COLLECTION OF JAPANESE AND CHINESE ILLUSTRATED BOOKS p.406-410. J. Needham SCIENCE AND CIVILIZATION IN CHINA: vol.3 p.596 et al for more details. SZE Mai-Mai: THE TAO OF PAINTING: A Study of the Ritual Disposition of Chinese Painting. With Translation of the Chieh Tzu Yuan Hua Chuan or Mustard Seed Garden Manual of Painting 1679-1701. Please inquire with us as we may have this in stock. RAWSON Jessica. ed. et al.: THE BRITISH MUSEUM BOOK OF CHINESE ART.: page 124. . unknown
1918réf. 176373Paris: H. Laurens 1918. Limited 550 copies printed. Paperback. Fair only sold as reading copies and reference copies ONLY. Covers chipped or torn with loss text is complete not pretty to look at in original wraps very loose. NOT returnable due to weight. Beige cloth with mounted title from original paper wraps on cover spine and rear panel. xii 519 pages with approximately 500 illustrations. Text is in French. Edited by É. Chavannes after the death of the translator./ Originally published in 4 collections or series 1st ser. in 1679; 2d and 3d in 1701; and 4th in 1818 The plan of the work was developed by Shen Xinyou from an album prepared by Li Liu-fang and the first three series were edited by with the help of Li Yu who also contributed the introduction to the 1st ser. Wang Gai and his brothers Wang Shi and Wang Nie were chiefly responsible for preparing the commentaries and reproducing the plates from famous masters. The 4th ser. was largely the work of Ding Gao./ Contains the first three series. Limited to 550 copies. "Translation and commentary by Raphael Petrucci augmented by a preface a biographical dictionary of painters and a vocabulary of technical terms; illustrated with about five hundred engravings." Shipping weight is 17 pounds. H. Laurens paperback
1918réf. 173971Paris: H. Laurens 1918. Limited 428 / 550 copies printed. Hardcover. VG covers are somewhat soiled but sturdy. Contents clean with two old repairs to inner tears on the first three leaves not bad. Beige cloth with mounted title from original paper wraps on cover spine and rear panel. xii 519 pages with approximately 500 illustrations. Text is in French. Edited by É. Chavannes after the death of the translator./ Originally published in 4 collections or series 1st ser. in 1679; 2d and 3d in 1701; and 4th in 1818 The plan of the work was developed by Shen Xinyou from an album prepared by Li Liu-fang and the first three series were edited by with the help of Li Yu who also contributed the introduction to the 1st ser. Wang Gai and his brothers Wang Shi and Wang Nie were chiefly responsible for preparing the commentaries and reproducing the plates from famous masters. The 4th ser. was largely the work of Ding Gao./ Contains the first three series. Limited to 550 copies this being number 428. "Translation and commentary by Raphael Petrucci augmented by a preface a biographical dictionary of painters and a vocabulary of technical terms; illustrated with about five hundred engravings." Shipping weight is 17 pounds. H. Laurens hardcover
1918réf. 176373Paris: H. Laurens 1918. Limited 550 copies printed. Paperback. Fair only sold as reading copies and reference copies ONLY. Covers chipped or torn with loss text is complete not pretty to look at in original wraps very loose. NOT returnable due to weight. Beige cloth with mounted title from original paper wraps on cover spine and rear panel. xii 519 pages with approximately 500 illustrations. Text is in French. Edited by É. Chavannes after the death of the translator./ Originally published in 4 collections or series 1st ser. in 1679; 2d and 3d in 1701; and 4th in 1818 The plan of the work was developed by Shen Xinyou from an album prepared by Li Liu-fang and the first three series were edited by with the help of Li Yu who also contributed the introduction to the 1st ser. Wang Gai and his brothers Wang Shi and Wang Nie were chiefly responsible for preparing the commentaries and reproducing the plates from famous masters. The 4th ser. was largely the work of Ding Gao./ Contains the first three series. Limited to 550 copies. "Translation and commentary by Raphael Petrucci augmented by a preface a biographical dictionary of painters and a vocabulary of technical terms; illustrated with about five hundred engravings." Shipping weight is 17 pounds. H. Laurens paperback books
1918réf. 173971Paris: H. Laurens 1918. Limited 428 / 550 copies printed. Hardcover. VG covers are somewhat soiled but sturdy. Contents clean with two old repairs to inner tears on the first three leaves not bad. Beige cloth with mounted title from original paper wraps on cover spine and rear panel. xii 519 pages with approximately 500 illustrations. Text is in French. Edited by É. Chavannes after the death of the translator./ Originally published in 4 collections or series 1st ser. in 1679; 2d and 3d in 1701; and 4th in 1818 The plan of the work was developed by Shen Xinyou from an album prepared by Li Liu-fang and the first three series were edited by with the help of Li Yu who also contributed the introduction to the 1st ser. Wang Gai and his brothers Wang Shi and Wang Nie were chiefly responsible for preparing the commentaries and reproducing the plates from famous masters. The 4th ser. was largely the work of Ding Gao./ Contains the first three series. Limited to 550 copies this being number 428. "Translation and commentary by Raphael Petrucci augmented by a preface a biographical dictionary of painters and a vocabulary of technical terms; illustrated with about five hundred engravings." Shipping weight is 17 pounds. H. Laurens hardcover books
1992réf. 5755861731EUSK-174, Erein 1992
1990réf. 5873666936EUSK-176, Erein 1990
réf. 6630122291.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. ria9786630122299_inpPaperback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; Als toxisch wird jede Substanz bezeichnet die bei Kontakt mit dem Organismus durch eine chemische Reaktion eine schädliche Wirkung hervorruft. Dieser Begriff steht im Zusammenhang mit dem der Dosis da jede Substanz in einer bestimmten paperback
2018réf. x-1527505626Cambridge Scholars Publishing 2018. Hardcover. New. 1st edition. 223 pages. 8.20x5.90x0.70 inches. Cambridge Scholars Publishing hardcover
réf. A9781527505629Hardback. New. hardcover
réf. 35712106-nnew. unknown
réf. 35712106like new. unknown
1972réf. 1207543PN. New. 1972. Reprint Edition. Soft Cover. Date is copyright date; this is a later reprint edition . PN paperback
réf. 43139London: Samuel French 89 Strand Printed by Thomas Scott 1 Warwick Court Holborn 1873 . Scarce edition of two plays signed by the author. pp.72/42. Original maroon buckram with gilt titles to the front board: "King & Rebel. - Meted Out." Maroon leather spine carefully repaired. Postscript p.72 dated: "Harrow Nov. 29th 1873." Original yellow endpapers notation to front free endpaper. Inner hinges carefully strengthened. Sepia picture laid down as frontispiece. Printed title: "King And Rebel." Neat ink inscription to top of title-page: "To The Revd. Canon C. E. Kingley With the Authors' Comlpliments - 3/1/74." Clean English text througohut. Second title after p.72: ""Meted Out." "Edouard Raphael Weller Vellere was born 1823 in Pesth Hungary. Death April 1895 in St Pancras London. He married Emma U. Fieldsend . They had two sons and one daughter. The 1871-1881 Census list him as a Private Schoolmaster English & Continental College 106 Peel Road Harrow. Then in the 1891 Census he is listed as a Teacher of German and French and living in Fitzroy Street St. Pancras London. " - See Family history research. London: Samuel French, 89, Strand, [Printed by Thomas Scott, 1 Warwick Court, Holborn], 1873 . hardcover
1774réf. 20169Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows King David having subdued Syria returning to Jersusalem with armour made of gold. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown
1774réf. 20169Rome 1774. Copper engraving on two joined sheets by Ottaviani after drawings by Savorelli and Camporesi printed in light brown coloured ink with contemporary hand-colouring. Neat marginal restoration. A stunning plate from "Logge di Rafaele nel Vaticano": with contemporary colouring of the highest quality from the golden age of the hand-coloured print. The main panel shows King David having subdued Syria returning to Jersusalem with armour made of gold. A very fine image from the second part of a work titled "Loggie di Rafaele nel Vaticano" depicting the decorative work executed by Raphael and his assistants between 1518-1519 in the Vatican. They were drawn by Gaetano Savorelli a Roman painter and draughtsman best known for his Raphael drawings and Pietro Camporesi a Roman architect who worked for Pope Clemens XIII and Pius VI on rooms for the Vatican Museum. The first to illustrate the famous frescoes these beautiful plates were probably planned as early as 1760 but were not executed until 1772 to 1776. The plate is remarkable not only as the first important visual record of Raphael's work but also for the quality of the hand-colouring - the work on this image is in our opinion some of the greatest to be produced in Europe during the whole of the eighteenth century: the golden age of the hand-coloured print. They were remarkable not just for their size and magnificent colouring but also because of the influence they had on contemporary taste. The decision was made to "borrow" elements from Raphael's Vatican tapestries and insert them where the original frescoes were in too poor a state to be legible. The finished plates therefore represented an amalgam of design elements presented with a crisp freshness of colour that held enormous appeal and did much to stimulate the taste for the "grotesque" in the Neo-classical period. A year after the death of his principal patron Julius II Raphael succeeded Donato Bramante in 1514 as the official Vatican architect. Having previously adorned the "Stanze" or chambers of Julius on the second floor of the papal apartments in the Vatican palace he was commissioned by Leo X in 1517 to decorate the adjacent Logge. He designed an elaborate cycle of ornamental frescoes for the room's ceiling vaults doors and auxiliary pillars which were executed by his assistants Giulio Romano and Giovanni da Udine. Twelve of the quadrilateral ceiling vaults were adorned with murals of familiar Old Testament scenes and one with a scene from the New Testament while the more decorative frescoes painted on the pilasters by Udine were covered with imaginative compositions of 'grotesque' motifs like foliage fruit and chimerical beasts. Cf. Brunet IV 1110 & 1111; cf. Berlin Katalog 4068 & 4066; "Raphael Invenit: Stampe da Rafaello" 1985 Ottaviano 22; cf. "Raphael: Reproduktions-graphik aus vier Jahrhunderten" Coburg 1984 104 & no. 245. unknown books
réf. B9780595004270Paperback / softback. New. paperback
réf. 708485like new. unknown
réf. 059500427X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
