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1981réf. G0486240762I5N00Dover Publications Incorporated 1981. Paperback. Acceptable. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More Spend Less.Dust jacket quality is not guaranteed. Dover Publications, Incorporated paperback
réf. SONG0486240762Dover Publications 0000-00-00. paperback. Used: Good. 5.50x0.50x8.50. Buy with confidence. Excellent Customer Service & Return policy. Dover Publications paperback
1970réf. 21794Robert Hale 1970. Hardback in near fine condition with near fine dust jacket. Hardcover. Near Fine/Near Fine. Robert Hale Hardcover
1997Large format exhibition catalog in excellent condition with Very light scuffing to covers only, otherwise as new. Binding is solid and square, covers have sharp corners, exterior shows no other blemishes, text/interior is clean and free of marking of any kind. 77 pages with a great many large and full page full color prints thoughout.
réf. 55233Tournay: Charles Martin 1617. Octavo 16 × 11 cm. Contemporary vellum binding with contemporary neatly written title on the spine and green later textile ties; 746 recte 744 pagination jumps from 458 to 460 5 pp. 1 errata leaf with copperplate title with Noli me tangere blood-nourishing pelican and resurrected phoenix as well as two palm trees and cherubs engraved frontispiece reclining Magdalene as a penitent with floating music-playing angels and two copperplates kneeling Mary Magdalene as penitent elevation of Mary Magdalene with angels. Front endpaper with contemporary ownership annotation of a "Soeur" from a convent in Tournay. Gathering "xx" incorrectly bound between gatherings "rr" and "ss" with contemporary ink annotation; complete and very good. First and only edition of the Baroque long poem which historically marks the beginning of a succession of Magdalene-themed poetic texts and reflects the changing iconography of Mary Magdalene in the late sixteenth and early seventeenth century. The Capuchin monk's work was not originally intended for publication but was written privately for a devout lady named Marie de Longueval. Other sources give her full name as Marie Madeleine which explains her fondness for the holy penitent. According to Hildebrand d'Hooglede she was not as assumed elsewhere the daughter of Maximilien de Longueval the governor of Mons and Arras but a daughter-in-law Marie Madeleine de Biglia who in 1600 married the famous general Charles Bonaventure de Longueval who fought for the Habsburgs in the Thirty Years' War. Marie Madeleine was connected to the Capuchins and knew Remi before her marriage. He had given her several poems and songs that he had written himself. At her request he wrote her a long poem about her patron saint which he completed in about four years. The work comprised 20 "livrets". See: Hildebrand d'Hooglede: Deux poètes peu connus: les capucins Remi de Beauvais 1568-1622 . in: Collectanea Franciscana 24 1954 pp. 159-165. The apostle of the apostles according to legend a "penitent courtesan" who was the first to see the risen Lord noli me tangere and proclaimed him not only received great popularity among the Capuchins ibid. but also increasingly took on a life of her own outside church structures from the sixteenth century onwards. While efforts had been made since the Council of Trent to curb sacred art the image type of the naked or semi-naked beautiful penitent whose physical charms were emphasized rather than concealed by cloths and hair became established in courtly and bourgeois private devotion Lex. Christl. Ikonografie VII column 520. In his long poem the author embellishes the biblical passages in which Mary Magdalene appears and those later attributed to her as well as the narrations from the "Legenda Aurea" and other medieval poems and prose works in Baroque detail. Later readers especially Protestants reproached him for this. The German philologist Paul Dittmer for example criticizes the monk's numerous scholarly digressions whose archaeological remarks and ancient allusions supposedly distract from the subject. Rejecting the Baroque abundance of symbols allegories and emblems Dittmar wrote: "We can literally see the poet before us rummaging through a veritable mountain of scholarly books in search of some quotation or other which he then inserts in a place that may or may not be appropriate." p. 9 What Dittmer finds worthy of criticism actually refers to Mannerism and the early Baroque as a whole: "Christ is in Romy's view king pulpit speaker and miracle worker in one person who quite clearly combines all the characteristics of the sixteenth century." La Magdeleine: eine Magdalenenlegende aus dem Anfange des 17. Jahrhunderts in: Siebzehnter Jahresbericht über die Städtische Realschule zu Magdeburg Magdeburg 1907 p. 1-10. Remarkable is also the bibliophile arrangement of the book. Hildebrand d'Hooglede assumes that the engraved title page on which the text is framed by a "Noli me tangere" scene in which Jesus appears to the grieving Magdalene wearing a shovel and a gardener's hat was engraved by Jean Collaert based on an unknown original by Peter Paul Rubens Hildebrand d'Hooglede see above. The etching of the elevation of Mary Magdalene with angels is the only surviving landscape by Martin Baes who was one of the most sought-after engravers and above all book illustrators in Flanders. Alphons Hamer More on printmaking in seventeenth-century Douai: The engraver Martin Baes . in: Delineavit et Sculpsit no. 54 2024 pp. 39-64. Baes seems to have based his illustration of the penitent being lifted up by angels for the Liturgy of the Hours on two Dutch images in which the floating group above the La Sainte Baume cave in southern France is also a rather small detail. On the one hand his illustration is very reminiscent of the painting by Joachim Patinir which is now in the Kunsthaus Zürich and on the other hand of an etching based on a model by Pieter Breughel the Elder published in a series of landscape illustrations in 1555. Of similar iconographic interest is the frontispiece which shows an old recluse who has been doing penance in the hermitage for thirty years lying on a bast mat at the end of her life while angels visit her singing and making music with lute harp and tenor cornett. The plate signature "C Galle sculp" suggests that Cornelis Galle was the engraver. He worked in Antwerp for Rubens and the Officina Plantiniana and made graphic reproductions of paintings by important Flemish and Italian painters such as Quellinus Anton van Dyck Titian and Guido Reni cf. AKL XLVIII 2006 8. Rare with all the etchings and errata leaf. Brunet IV 1211f. As of November 2025 KVK OCLC list five holdings in North America. unknown
réf. 3592044Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 17th century 1600. Professionally printed on premium fine-art paper Photo Rag 308 in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 3592046Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 17th century 1600. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 3592045Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 17th century 1600. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 3592043Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 17th century 1600. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
1977Mm 220x280 Volume rilegato in tela privo della sovraccoperta e con titolo in oro al dorso, 261pagine con numerose illustrazioni in nero fuori testo. Volume in buone condizioni, dalla pagina 224 alla chiusura del volume sono presenti macchie d'umidità che non compromettono la qualità delle illustrazioni. Testo in inglese. Spedizione in 24 ore dalla conferma dell'ordine.
réf. 3601132Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 17th century 1600. Professionally printed on premium fine-art paper Photo Rag Bright White premium quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 3601133Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 17th century 1600. Professionally printed on premium fine-art paper Museum Etching museum quality in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 3601131Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 17th century 1600. Professionally printed on premium fine-art paper Photo Rag 308 in size A2. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
réf. 3601130Contentum Ltd. Loose sheet. New. High-quality art print based on an original work from the Rijksmuseum. Created in the 17th century 1600. Professionally printed on premium fine-art paper Museum Etching museum quality in size A3. The artwork is printed with a white border museum-style presentation. Contentum Ltd. unknown
2003réf. __2503513018Brepols Publishers 2003. Paperback. New. multilingual edition. 262 pages. 11.25x5.75x0.50 inches. Brepols Publishers paperback
1977réf. 590454London: W.H. Allen 1977. Hardcover. Near Fine/Near Fine. First edition. Jacket illustration by Alun Hood. Small soil mark on front fly near fine in a near fine dust jacket with light spotting. Inscribed by the author on the title page: "For Michael Curtis from Bernice Rubens. W.H. Allen hardcover books
1977réf. 708841NY: St. Martin's Press. 1977. First American Edition. Very Good in Very Good DJ. Unless otherwise noted our first editions are first printings. First Edition. Hardcover. Very Good. St. Martin's Press hardcover books
réf. 68496493-6Used - Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. unknown
1977réf. 590454London: W.H. Allen 1977. Hardcover. Near Fine/Near Fine. First edition. Jacket illustration by Alun Hood. Small soil mark on front fly near fine in a near fine dust jacket with light spotting. Inscribed by the author on the title page: "For Michael Curtis from Bernice Rubens. W.H. Allen hardcover
2019réf. x-1498582729Lexington Books 2019. Hardcover. New. 294 pages. 9.00x6.00x1.00 inches. Lexington Books hardcover
réf. Bloomsbury-9781498582728Lexington Books. Hardback. New. 280 pages Lexington Books hardcover
réf. Bloomsbury-9781498582728Lexington Books. Hardback. New. 280 pages Lexington Books hardcover
Judson, J.Richard.: The Passion of Christ. London: Harvey Miller, 2000. Series: Corpus Rubenianum Ludwig Burchard. Part VI. 472pp with 224 monochrome illustrations. Cloth. 26.7x18cms. This catalogue raisonné is part of the large series 'Corpus Rubenianum'. At the beginning of the 17th century there was a great demand for scenes of Christ's Passion in the Southern Netherlands. Rubens had undertaken numerous religious paintings whilst in Italy and had gained a reputation in this field, resulting in a large body of commissions, mainly between c.1610 and 1621/2, all of which are documented in this volume. With indices of collections, subjects, other works and names and places. This catalogue raisonné is part of the large series 'Corpus Rubenianum'. At the beginning of the 17th century there was a great demand for scenes of Christ's Passion in the Southern Netherlands. Rubens had undertaken numerous religious paintings whilst in Italy and had gained a reputation in this field, resulting in a large body of commissions, mainly between c.1610 and 1621/2, all of which are documented in this volume. With indices of collections, subjects, other works and names and places. Text in English
