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Anbieter: Antiquariaat A. Kok & Zn. B.V., Amsterdam, Niederlande
Portland, [1972]. [46],144 pp. Softcover. In slipcase. (The printed sources of western art - vol. 8).Reprint of the edition: Paris, Frederic Leonard, 1669.
Verlag: Alan Wofsy Fine Arts, 1972
Anbieter: Antiquariat Thomas Haker GmbH & Co. KG, Berlin, Deutschland
Verbandsmitglied: GIAQ
Buch
Softcover/Paperback. Facsimile of the 1669 Edition. 144 p. Book very good. Slipcase shows mild wear. In French. Sprache: Französisch Gewicht in Gramm: 720.
Verlag: Nabu Press, 2011
ISBN 10: 1173049290ISBN 13: 9781173049294
Anbieter: Buchpark, Trebbin, Deutschland
Buch
Zustand: Wie neu. Zustand: Wie neu | Seiten: 246.
Verlag: Collegium Graphicum, Portland, Or, 1972
Anbieter: San Francisco Book Company, Paris, Frankreich
Paperback. Zustand: Very good. paperback Octavo in slipcase. illustrated wraps, illustrated cardboard slipcase, 144 pp.
Verlag: Portland/Oregon, Collegium Graphicum 1972., 1972
Anbieter: Antiquariat Thomas Nonnenmacher, Freiburg, Deutschland
Buch
Zustand: Gut. The Printed Sources of Western Art, 8. 144 S. Okart. im Oschuber. Sehr guter Zustand. Faksimile-Druck der Ausgabe von 1669. Sprache: Deutsch Gewicht in Gramm: 2500.
Verlag: Portland, Oregon, Collegium Graphicum 1972., 1972
Anbieter: Antiquariat Thomas Nonnenmacher, Freiburg, Deutschland
Buch
Zustand: Gut. Printed Sources of Western Art 8. 144 S. Okart. Oschuber. Sehr gut erhalten. Sprache: Deutsch Gewicht in Gramm: 2200.
Anbieter: Antiquariaat Wim de Goeij, Kalmthout, ANTW, Belgien
Verbandsmitglied: ILAB
16. Amsterdam, Estienne Roger, 1706, in-8°, 112 + 8 nn pp, index, 2 ill., 4 folding plans, title page in red and black, leather, gilt and raised spine, speckled edges, several conemporary handwritten ex-libris on the first fly-leaf. Bound with; id., Conférences de l'Académie Royale de Peinture et de Sculpture, Amsterdam, Estienne Roger, 1706, 205 pp. Bound with; Catalogue des Livres de Musique nouvellement imprimez à Amsterdam chez Estienne Roger.22 pp. Contemporary full calf, raised gilt back with title label, sprinkled edges, spine and some worming at the lower cover of the binding expertly restored, one of the folding plates with a tear, but on the whole a fine/good copy. The author (1619 - 1695), an architect, was historiographer to the French King. The second book on the Academy was first published in Paris in 1669. It is famous for being the first account of a school for painting where for the first time in western art live models were used. The early 18th-century music catalogue printed at the end of these lectures is very remarkable because it is so extensive. It mentions approx. 360 music publications.
Verlag: Jean-Baptiste Coignard, 1676
Anbieter: LIBRERIA ANTIQUARIA PIEMONTESE, TORINO, Italien
Erstausgabe
Rilegato. Zustand: ottimo. prima edizione. In 4°; pp. [xxiv], 795. Con 65 tavole incise a piena pagina; 3 vignette incise nel testo; una tabella manoscritta di mano coeva all'ultimo foglio. Qualche ingiallitura e brunitura, nel complesso una copia buona in ottima legatura coeva tutta pelle con arma nobiliare francese (non identificata) al piatto anteriore. Prima edizione di questa importante testimonianza dell'erudizione del grande architetto di epoca Barocca, redatta dopo un lungo soggiorno romano. In precedenza Felibien (1619-1695) aveva già scritto un'altra opera di grande successo sulle vite dei grandi pittori antichi e moderni; qui definisce più concretamente lo sviluppo delle tecniche attraverso un dizionario di termini e la trattazione in tre capitoli separati per architettura, pittura e scultura. FOWLER, 118. BERLIN Catalogue, 2383; CICOGNARA, 502.
Verlag: Paris: Sébastien Mabre-Cramoisy, 1679., 1679
Anbieter: D & E LAKE LTD. (ABAC/ILAB), Toronto, ON, Kanada
Hardcover. Zustand: Very Good. large folio. pp. 1 p.l., 82. large engraved title vignette with royal coat of arms, additional engraved title, 2 engraved section titles, 8 double-page engraved plates of tapestries, & 32 emblematic half-page engravings by Sébastien Leclerc & other artists after Jacques Bailly & Charles Le Brun. 2 engraved headpieces, 1 engraved tailpiece & 2 engraved initials. contemporary blind-paneled vellum with central arabesque ornament in blind on each cover (vellum bit soiled & rubbed, upper cover bowed, small tear to spine, some light browning & spotting, minor marginal hole on title). Second Edition. The Tapisseries du Roy, first published in Paris in 1670, describes in detail the two series of tapestries commissioned by Louis XIV on the two themes of the four elements (fire, water, air, earth) and the four seasons. The central panels were designed by court painter Charles Le Brun [1619-1690], while the emblematic roundels in the borders at each corner are based on miniature paintings by Jacques Bailly (1629-1679). The latter are also shown enlarged in the 32 emblematic engravings. These tapestries, meant to extol the virtues and accomplishments of the King, are the first set to be wholly designed and executed at the Manufacture Royale de Tapisserie des Gobelins, established in 1660 by Jean-Baptiste Colbert on behalf of Louis XIV. Le Brun served as director and chief designer there from 1663-1690. "Charles Le Brun was the most important and influential designer during the reign of the French king, Louis XIV. His work in the Baroque style permeated design and decoration in almost every medium; for nearly thirty years he personally designed or supervised the production of most of the paintings, sculptures, and decorative objects commissioned by the French court." (John Paul Getty Museum website) "Mythological allegories in the main scenes, showing gods with attributes representing the seasons and the elements, are linked to moralistic devices in the borders, drawing a correspondence between the allegories and the king's personal virtues: in the Elements, magnanimity and valor, piety and goodness; in the Seasons, various aspects of the magnificence of the king in action. The elements and the seasons are related to the iconography of Apollo and the sun - the celestial body associated with the French monarchy since Charles V - which were also being developed in ceiling paintings in the grand apartments of the Louvre and Versailles at this time. The use of heraldic devices was meant to symbolise good government, embodied by Louis XIV and the absolute monarchy he established. The two tapestry series directly celebrated the king, for whom a miniature painted version was prepared for his private pleasure. Subsequently, the images were widely disseminated, through Andre Felibien's descriptions of them (1656 and 1667) and through engravings by Sebastien Leclerc (1670-1671)." (P.-F. Bertrand "Tapestry Production at the Gobelins during the Reign of Louis XIV, 1661-1715" in "Tapestry in the Baroque: Threads of Splendour", pp. 346-247). Berlin Kat. 1671 [vide LE BRUN]. Landwehr, Romantic Emblem Books, 286. Praz 334.