Secker & Warburg. 1978. In-8. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 368 pages.. Avec Jaquette. . . Classification Dewey : 420-Langue anglaise. Anglo-saxon
Reference : RO60008392
Classification Dewey : 420-Langue anglaise. Anglo-saxon
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Aquarian Press - Crucible United Kingdom 1987 In-8 ( 215 X 135 mm ) de 159 pages, broché sous couverture illustrée. EDITION ORIGINALE. Très bel exemplaire.
Hebrew Publishing Company New York 1933 In-8 carré ( 210 X 140 mm ) de VIII-120 pages, percaline bleue à la bradel, dos lisse janséniste. EDITION ORIGINALE. Dos passé, bon exemplaire.
S. W. Partridge London 1862 In12 carré ( 185 X 125 mm ) de 124 pages, cartonnage de percaline bleue, dos lisse orné d'un motif doré, plats décorés de décors d'encadrement estampés à froid et motif doré au centre du premier. Titre illustré et 4 planches hors-texte ( dont le frontispice ). EDITION ORIGINALE. Dos assombri, bel exemplaire. Catalogue de 14 pages in fine.
Reference : albdfd9b3f0dfa3b638
A set of 7 books in the series: The Life and Creativity of Writers. Exhibition at School. In Russian /Komplekt iz 7 knig serii: Zhizn i tvorchestvo pisateley. Vystavka v shkole. M. Childrens Literature. 1981-88. 1. The Life and Creativity of A.Block: 2. The Life and Creativity of I.S. Turgenev: 3. The Life and Creativity of N.A. Nekrasov: 4. The Life and Creativity of V.Mayakovsky: 5. The Life and Creativity of L.N. Tolstoy: 6. The Life and Creativity of A.P. Gaidar: 7. The Life and Creativity of A.P. Pushkin. We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUalbdfd9b3f0dfa3b638.
, Brepols - Harvey Miller, 2024 Hardcovers with dusjackets; 2 vols, Pages:660 pages, Size:175 x 260 mm, Illustrations:256 b/w, 142 col. Language(s):English. FINE.
The book deals with the Virgin's pre-Annunciation life, as those episodes involving her son the Annunciation itself, Mary's suffering during Christ's passion, her assumption, and coronationWhereas other volumes in the Corpus Rubenianum series address a single topic, Part IV (The Holy Trinity, The Life of the Virgin, Madonnas and The Holy Family) deals with very distinct topics, two of which, The Trinity and The Life of the Virgin, form the subject of the present book. More precisely, the book deals with the Virgin's pre-Annunciation life, as those episodes involving her son ? the Annunciation itself, Mary's suffering during Christ's passion, her assumption, and coronation ? have been treated in the parts of the Corpus that deal with Christ's life. The focus here is on Mary's birth, upbringing and marriage, events described in varying detail in Early Christian and medieval texts. Not all the works discussed are by Rubens himself, but all show his artistic ingenuity, evident in his novel treatment of well-known subjects, often with a long visual tradition, as well as in his ability to devise new ones. Also catalogued here are such important altarpieces as The Immaculate Conception once owned by Philip IV of Spain and the magnificent Virgin as the Woman of the Apocalypse. The very different theme of The Holy Trinity comprises just four entries, which, however, constitute half the volume. During the occupation of Mantua by Napoleonic troops, the three enormous paintings which Duke Vincenzo I Gonzaga had commissioned from Rubens were removed from the Church of Santissima Trinit . The Transfiguration and The Baptism of Christ, both prime examples of the Trinity's manifestation on earth, have survived intact. The Gonzaga Family in Adoration of The Trinity was, by contrast, cut into fragments. The large central section with the portraits of Vincenzo, his wife and parents looking up at the angels displaying a tapestry with the Trinity was, however, rescued for Mantua. Other fragments, primarily with portraits of the children and halberdiers, were dispersed, though some have since resurfaced. The analysis of this commission offers the first comprehensive treatment of the material in English and highlights this project as the earliest indication of Rubens's creative potential in designing large-scale decorative programmes.