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FUNCK-BRENTANO, Frantz.
La Renaissance.
Paris, Club des libraires de France 1961, 200x130mm, 411pages, reliure d'éditeur. Exemplaire sur vélin blanc, numéroté, no 1541/3500. Bon état.
Reference : 22219
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5 book(s) with the same title
Joyaux Renaissance. Une Splendeur RetrouvÃe
Kugel, Alexis: Joyaux Renaissance. Une Splendeur RetrouvÃe. Exhibition: Paris, Galerie Kugel, 2000. 230 pages (unpaginated) with 2 colour fold-out plates, 59 colour and 41 monochrome plates, 3 colour and 6 monochrome illustrations. Hardback. 31x22cms. A fundamental contribution to the scholarship of Renaissance jewellery, cataloguing a rich selection of pendants, cameos, necklaces, amulets and other accessories, dating from the 14th to 17th centuries, providing provenance where available. This work is of particular importance as it publishes plaster models of original pieces of jewellery, which were used by the workshop of the celebrated restorer Alfred Andrà (1839-1919), who specialised in the period of the Middle Ages and Renaissance. Text in French.
A fundamental contribution to the scholarship of Renaissance jewellery, cataloguing a rich selection of pendants, cameos, necklaces, amulets and other accessories, dating from the 14th to 17th centuries, providing provenance where available. This work is of particular importance as it publishes plaster models of original pieces of jewellery, which were used by the workshop of the celebrated restorer Alfred Andrà (1839-1919), who specialised in the period of the Middle Ages and Renaissance. Text in French
D'Or et d'Ãclat. Le bijou à la Renaissance
Rohou, Julie: D'Or et d'Ãclat. Le bijou à la Renaissance. 2025. 240 pages, 171 illustrations. Hardback. 28 x 24cms. A catalogue of 122 pieces of 16th-century European jewelry. 7 essays discuss its history, the incorporation of gems and enamel, portraits of goldsmiths and representations of workshops, the jewelry trade, lead and paper jewelry, the crown of Christian IV of Denmark, and the jewelry chest of Margaret of Valois, Queen of France. The catalogue is split into 5 parts: in the master goldsmith's workshops, the renaissance of adornment, jewelry and power, devotional and amulet jewelry, and the 19th-century Renaissance. Text in French.
A catalogue of 122 pieces of 16th-century European jewelry. 7 essays discuss its history, the incorporation of gems and enamel, portraits of goldsmiths and representations of workshops, the jewelry trade, lead and paper jewelry, the crown of Christian IV of Denmark, and the jewelry chest of Margaret of Valois, Queen of France. The catalogue is split into 5 parts: in the master goldsmith's workshops, the renaissance of adornment, jewelry and power, devotional and amulet jewelry, and the 19th-century Renaissance. Text in French
Renaissance Venice, Islam and Mahmud the Kurd a metalworking enigma
Auld, Sylvia: Renaissance Venice, Islam and Mahmud the Kurd a metalworking enigma. London: Altajir World of Islam Trust, 2004. 350pp with 210 monochrome illustrations. Cloth. 26.8x20.7cms. The name of Mahmud the Kurd (probably an itinerant master craftsman working in the second half of the 15th century) has been found on ten small, domestic objects of brass. All are exquisitely worked with intricate arabesques. On one, his signature appears in two forms in Arabic (or Persian), and in transliterated Roman script. Why? For whom was he working, and where? These are the questions which this book tries to answer. The widespread links between Renaissance Europe and Islam, which emerge as part of the trail, may come as a surprise to some readers. The objects listed in this book are not only fascinating in themselves but can be seen as a microcosm of the international exchanges and excursions of the period. Later, in 19th-century Europe, it was even assumed that Mahmud (and others working in the same style) were employed in Venice . This seems improbable following research in the archives, but so far no satisfactory explanation has been offered for Mahmud's double-language signature. Close examination of the objects shows that there are in fact three distinct styles. In the 15th century, against a backdrop of diplomatic intrigue in the face of Ottoman victories, Venice promoted links with their rivals, the Turcoman 'White Sheep' dynasty, whose capital then was at Tabriz . This explains a Persian element in the decorative detail of the first stylistic group. Some of the objects of a second group include a European shield as part of their decoration. Despite renewed papal bans, European trade with Islam continued unabated in the Eastern Mediterranean; Venice was the prime port for this commercial activity, and this accounts for the appearance of this second, Mamluk, group. The admiration in Europe and more particularly in Italy for the high quality of Islamic inlaid work explains the details of a third, western, group. Men like Benvenuto Cellini not only set out to emulate this technique, which they called 'azzimina, but to prove that they could do better.
The name of Mahmud the Kurd (probably an itinerant master craftsman working in the second half of the 15th century) has been found on ten small, domestic objects of brass. All are exquisitely worked with intricate arabesques. On one, his signature appears in two forms in Arabic (or Persian), and in transliterated Roman script. Why? For whom was he working, and where? These are the questions which this book tries to answer. The widespread links between Renaissance Europe and Islam, which emerge as part of the trail, may come as a surprise to some readers. The objects listed in this book are not only fascinating in themselves but can be seen as a microcosm of the international exchanges and excursions of the period. Later, in 19th-century Europe, it was even assumed that Mahmud (and others working in the same style) were employed in Venice . This seems improbable following research in the archives, but so far no satisfactory explanation has been offered for Mahmudâs double-language signature. Close examination of the objects shows that there are in fact three distinct styles. In the 15th century, against a backdrop of diplomatic intrigue in the face of Ottoman victories, Venice promoted links with their rivals, the Turcoman âWhite Sheepâ dynasty, whose capital then was at Tabriz . This explains a Persian element in the decorative detail of the first stylistic group. Some of the objects of a second group include a European shield as part of their decoration. Despite renewed papal bans, European trade with Islam continued unabated in the Eastern Mediterranean; Venice was the prime port for this commercial activity, and this accounts for the appearance of this second, Mamluk, group. The admiration in Europe and more particularly in Italy for the high quality of Islamic inlaid work explains the details of a third, western, group. Men like Benvenuto Cellini not only set out to emulate this technique, which they called âazzimina, but to prove that they could do better. Text in English
Glassmaking in Renaissance Venice: The Fragile Craft
McCray, Patrick: Glassmaking in Renaissance Venice: The Fragile Craft. Aldershot: Ashgate, 1999. 272pp with 20 monochrome illustrations and 3 maps. Cloth. 23.4x15.6cms. This study examines the demand, production and distribution of glass and glassmaking technology during the Renaissance era.
This study examines the demand, production and distribution of glass and glassmaking technology during the Renaissance era. Text in English
Davies, Glyn and Kirstin Kennedy (eds)
Reference : 091555
(2009)
ISBN : 9781851775798
Medieval and Renaissance Art: People and Possessions
Davies, Glyn and Kirstin Kennedy (eds): Medieval and Renaissance Art: People and Possessions. London: 2009. 320 pages, 350 colour illustrations. Hardback. 29cms. Published to accompany the opening of the Medieval and Renaissance galleries at the Victoria and Albert Museum this book provides the background and context for the objects that will be on display. Ornament, religious art and the body are looked at in relation to the makers, workshops, patrons and the prevailing links to and influence of the classical past.
Published to accompany the opening of the Medieval and Renaissance galleries at the Victoria and Albert Museum this book provides the background and context for the objects that will be on display. Ornament, religious art and the body are looked at in relation to the makers, workshops, patrons and the prevailing links to and influence of the classical past. Text in English
