5703 books for « la sculpture »Edit

‎Nouveau manuel complet de la sculpture sur bois - Découpage‎

‎Manuels-Roret 1886 VIII-404+36 pages Paris. in-12. 1886. broché. VIII-404+36 pages. Nouveau manuel complet de la sculpture sur bois contenant la description des outils les plus usités et ds bois les plus convenables pour ce travail ainsi que les moyens pratiques de sculpture et l'exposition détaillée des styles d'ornementation suivi du découpage des bois de l'ivoire de l'os de l'écaille et des métaux à la main et par procédés mécaniques par M.S. Lacombe - Nouvelle édition - Avec de nombreuses figures en noir‎

‎Etat correct. Une coupure à un mors de la couverture et le dernier cahier quasiment défolié. Intérieur avec rousseurs‎

‎Histoire Générale De l'Art Français De La Révolution à Nos Jours. Tome II : L'Architecture et La Sculpture‎

‎Paris Librairie de france 2026 323 pages in-4. 2026. broché. 323 pages. In-4 broché avec couverture rempliée (328x254 mm) 323 pages. Histoire générale de l'art français de la Révolution à nos jours. Tome II : L'Architecture par Georges Gromort & La Sculpture par MM. André Fontainas et Louis Vauxcelles. Belle iconographie en noir. Couverture en assez bon état avec des rousseurs et deux coupures aux mors. A noter les coutures liant les cahiers très détendues entre les pages 32 et 33. Intérieur propre avec peu de rousseurs. Poids : 2580 gr‎

‎Dictionnaire De La Sculpture‎

‎Paris Larousse 1992 605 pages in-8. 1992. relié. 605 pages. Grand et fort In-8 (285x199 mm) 605 pages. Reliure éditeur sous jaquette illustrée. La sculpture occidentale du moyen âge à nos jours. Nombreuses illustrations en noir et en couleurs. Jaquette en bon état avec quelques légers frottements - Reliure et intérieur propres. Poids : 3050 gr‎

‎Emerging Naturalism: Contexts and Narratives in European Sculpture 1140-1220‎

‎, Brepols - Harvey Miller, 2020 Hardcover, 436 pages, 156 b/w ill. + 18 colour ill., 220 x 280 mm, Languages: English. ISBN 9782503574486.‎

‎For many decades, specialists in Romanesque and Early Gothic art and architecture have questioned the usefulness of traditional stylistic terminology. It is regarded as having limited relevance insofar as it fails to reflect the complexity and plurality of the period under discussion. Nor does it embrace functional, formal or iconographic specificities. Despite these deficiencies, we still have no better way of referring to the art of the period than Romanesque, Late Romanesque or Early Gothic which we make yet more cumbersome by adding a geographical or political term. Of the various media which were affected by artistic innovation in Europe during the second half of the 12th century, particular attention has been paid to stained glass, manuscript illumination, metalwork and enamel. Monumental sculpture was equally subject to profound change during the period, in addition to developing in directions that were largely independent of other media. As a result, late Romanesque sculpture extends across the period from 1140 to 1220, from Saxony to Galicia, though it is still impossible to encapsulate in a single statement what this complex network represented. However, the attainment of a compelling naturalism does seem to have been a shared aspiration among Latin European sculptors. Emerging Naturalism: Contexts and Narratives in European Sculpture 1140?1220 offers a panoramic analysis of this artistic landscape, focused on a central issue in medieval European artistic production. To narrow this field of study, the book concentrates on the innovations and solutions adopted in the great church workshops of western Europe. Gerardo Boto Varela teaches art history at the Universitat de Girona (Spain), is leader of the international research group Templa, and scientific editor of the journal Codex Aquilarensis. Revista de Arte Medieval. His research concentrates on spatial, pictorial, and liturgical aspects of Spanish ecclesiastical architecture from the tenth to thirteenth centuries, as well as on dynastic tombs and memorial culture in Medieval Iberia. Marta Serrano Coll teaches art history at the Universitat Rovira i Virgili in Tarragona (Spain) and specializes in Medieval architecture and sculpture, particularly in Catalonia. Her research interests include the display of power through artworks and royal patronage in the Iberian Peninsula during the Middle Ages. In addition, she has published in the field of Romanesque sculpture and hagiographical studies. John McNeill teaches at Oxford University?s Department of Continuing Education, and is Honorary Secretary of the British Archaeological Association, for whom he has edited and contributed to volumes on Anjou, King?s Lynn and the Fens, the medieval cloister, and English medieval chantries. He was instrumental in establishing a biennial International Romanesque Conference Series and has a particular interest in the design of medieval monastic precincts. Table of Contents Emerging Naturalism and a New Medieval Morphology ? Herbert L. Kessler I.Shaping Late Romanesque Sculpture. Balance and Perspective The Attainment of a Compelling Naturalism in Sculpture c. 1200 ? Gerardo Boto Varela What is So-Called Late Romanesque Sculpture? ? Xavier Barral i Altet II. Late Romanesque / Early Gothic Sculpture in European Cathedrals (1140?1220) The Role of Burgundy in the Development of the First Column-Statues ? Marcello Angheben Late Romanesque Sculpture and the Cathedrals of South-Western France ? Quitterie Cazes An Enigma Put Aside. The Origin and Interpretation of a Decontextualized Capital from Saint Trophime at Arles ? Juan Antonio Olañeta Around and After 1200. Old and New Concepts of Monumental Sculpture in the German Territories of the Holy Roman Empire ? Claudia Rückert Sculpture and Liturgy: Monuments and Art Histories of Southern Italy (c. 1150?1250 and Beyond) ? Elisabetta Scirocco Old Testament Sacrifice and Thirteenth-Century Tithe: Cain and Abel in the Architectural Sculpture of the Holy Roman Empire ? Stephanie Luther Late Romanesque Sculpture in England. How Far Can the Evidence Take Us? ? John McNeill The Gothic Last Judgment Portal c. 1210. Visual Strategies and Communicative Function ? Bruno Boerner Aesthetics and the Imitation of Antiquity in Early Gothic Sculpture ? Laurence Terrier Aliferis III. Sculptural Visualisations in the Cathedrals of the Iberian Kingdoms (1160?1220) The Reception of Burgundian Models in the Second Half of the Twelfth Century and the Naturalist Redefinition of Romanesque Sculpture in Castile ? Marta Poza Yagüe Master Mateo and the Cathedral of Santiago at the End of the Twelfth Century ? Ramón Yzquierdo Peiró Late Romanesque Sculpture in the Kingdoms of Leon and Castile: Continuity or Change? ? José Luis Hernando Garrido & Antonio Ledesma Romanesque Sculpture in Portuguese Cathedrals: Models, Continuity and Adaptation ? Carla Varela Fernandes & Paulo Almeida Fernandes The Meaning of the Romanesque Sculpture in the Cámara Santa at the Cathedral of Oviedo ? César García de Castro Valdés Images and Stories: The Transformation of Space in the Cathedrals of the Ebro Valley ? Esther Lozano López The Vault Corbels in the Cloister of Tarragona Cathedral: Shaping a New Pictorial Corporeality that Goes Beyond the Late Romanesque ? Gerardo Boto Varela & Marta Serrano Coll‎

‎Drill in Sculpture From Ancient Egypt to Modernism‎

‎, Brepols - Harvey Miller, 2025 Hardback, Pages: 341 pages, Size:180 x 265 mm, Illustrations:5 b/w, 233 col. , Language(s):English, Italian. ISBN 9782503600253.‎

‎Summary The story of the use of the drill in European sculpture has not yet been written, although it should be fascinating.? So argued Rudolf Wittkower in one of the lectures on the processes and principles of sculpture that he gave as Slade Professor of Fine Arts at Cambridge in 1970. In agreement with Wittkower?s view, this volume presents a series of case studies on the use of the drill ranging from ancient Egypt to the beginning of the twentieth century. Conceived as a catalogue for an ideal exhibition, the book illustrates, in chronological order, various works of art whose creation significantly depended on this tool: not only statues and bas-reliefs, but also architectural decoration, vases in precious stone and utilitarian objects, made in a range of materials including marble, wood, clay, ivory and more. This variety highlights the extraordinary challenge faced over millennia by the drill in its numerous forms (bow drills, gimlets, pump drills, to name but a few), which did not undergo significant technological transformation until the advent of electricity. This tool directly confronted, to a greater extent than others, the hardness of the sculptural materials, piercing them, splitting them and manipulating them beyond any apparent limitation set by nature. In its tussle with the drill, the very affordance of the material was threatened, defeated by the expressive will of the sculptors, their visual cultures, their frames of reference and their notions of nature and art. This volume is devoted to the exploration and understanding of this challenge. Published with the support of the Henry Moore Foundation. TABLE OF CONTENTS Editors? Preface Introductory Essays Nicholas Penny, Traces of the Drill in Ancient and Modern Sculpture: A Survey Lucia Simonato, The Ill-famed Drill. The Anti-Hero of Sculpture from Winckelmann to Modernism Atlas Sante Guido and Lucia Simonato, Rotational Drilling Instruments Works and Tools Enrico Ferraris, Notes on the Drill and Perforation in Ancient Egypt Enrico Ferraris, In the Workshops of Egyptian Carpenters Raphaël Jacob, The Drill in Archaic and Classical Marble Sculptures of the Acropolis Carmela Capaldi, The Running Drill as a Signature Motif in Roman Art Fabio Guidetti, Between Nature and Artifice: The Portraits of the Roman Imperial Period Sarah Guérin and Francesca Pistone, A Late Antique Inheritance and Carolingian Taste Martina Rugiadi, Notes on Absences: Towards Charting the Use of the Drill in Medieval Islamic Stonework and its Modern Investigation Julien Chapuis, Expediency and Effect: The Drill in Medieval Sculpture North of the Alps Laura Cavazzini, Tuscan Sculpture in the Mid-Thirteenth Century, Between East and West Marco Collareta, The Drill Serving the Chisel in a Fourteenth-Century Monumental Sculpture Group in Pisa Luca Palozzi, The Pump Drill in Late Medieval and Early Modern Tuscany: Metal Bits and Deer Leather Straps Marco Scansani, The ?fictitious Drill? in Fictile Renaissance Sculpture Francesca Maria Bacci, The Ornament Technique in Florentine Workshops of the Fifteenth Century Matteo Ceriana, The ?rosicante trepano? of the Venetian Renaissance Luca Annibali, Drilling Marble to Restore the Antique Grégoire Extermann, Porphyry in Cosimo I?s Florence: Carving Versus Abrading Riccardo Gennaioli, The Secrets of Mannerist Wheels for Engraving Fine Semi-Precious Stones Sante Guido, From Father to Son: Pietro Bermini in Early Seventeenth-Century Rome Lucia Simonato, Gian Lorenzo Bermini and his Masters in the Art of Drilling Jennifer Montagu, Of Grooves and Holes: Drilled Outlines in Roman Baroque Sculpture Vittoria Brunetti, Late Seventeenth-Century Sculptural Practice Between Style and Fascination with the Antique Milena Maria Dean, Boxwood and Stone Pine in the Venetian Baroque Valeria Rotili, Traces of Pointing and of Other Drill Uses in Eighteenth-Century Sculpture, Between Rome, Paris and Turin Elena Catra, Canova?s ?finishing touches? Omar Cucciniello, The Bravura of the Milan School in the Nineteenth Century Margherita d?Ayala Valva, Wildt?s ?great virtue of shadow? Giovanni Casini, ?My great adventure?: Epstein?s The Rock Drill Bibliography Index of Names and Places compiled by Chiara Pazzaglia‎

‎Taking Shape. Sculpture of the Low Countries, c. 1400-1600‎

‎, Brepols, 2024 Hardback, 350 pages, Size:216 x 280 mm, Illustrations:5 b/w, 139 col., Language: English.* NEW ISBN 9782503611235.‎

‎Summary This book examines the production, patronage, and use of sculptures made in the Low Countries between 1400 and 1600. Two questions frame the book: 'Why did Sculpture from the Low countries matter' and 'Why will Sculpture from the Low Countries matter for future research'. Answers to these questions will be offered in a coherent and richly illustrated study which considers Sculpture as a pivotal subject field within Art Historical discourse. TABLE OF CONTENTS Preface Julie Beckers and Hannah De Moor Introduction Ethan Matt Kavaler Chapter 1: Use and Function of Sculpture Accommodating Altarpieces: The Impact of Circumstantial Factors on the Design of Altar Decorations in Medieval Churches Justin Kroesen Working Sculpture: The Forms and Functions of Netherlandish Brass Lecterns Douglas Brine The Church's a Stage: Late Medieval Altarpieces as Part of an Ever-Changing Environment Wendy Wauters The Stem of a Once Ornate Fountain: The Use of a Table Fountain Fragment at Museum Mayer Van den Bergh in Antwerp Julie Beckers Chapter 2: Patronage of Sculpture Patronage Jeffrey Chipps Smith Noble Expectations of Memorial Sculpture: Commissioning the Jauche Monuments in Brugelette (c. 1527-1573) Ruben Suykerbuyk The Chapel Space and Interiority in the Ringsaker Altarpiece Lynn F. Jacobs Prestige and Display: Noble Patronage of Sculpture in the Low Countries Elizabeth Rice Mattison Chapter 3: Production and Workshop Continuity and Discontinuity in the Sculpture Workshop Practice Aleksandra Lipi?ska The Leuven Connection: A New Look at the Social and Artisanal Network of Leuven Late Gothic Sculptors (c. 1475-1525) Marjan Debaene Te maken ende te leveren: The Transport of Netherlandish Carved Altarpieces Hannah De Moor Epilogue: Seeing Sculpture Stephanie Porras‎

‎Current Directions in Eleventh- and Twelfth-Century Sculpture Studies.‎

‎, Brepols, 2011 XII 212 pages., 114 b/w ill., 220 x 280 mm, Languages: English,Paperback,. ISBN 9782503531656.‎

‎Robert A. Maxwell and Kirk Ambrose, Introduction: Romanesque Sculpture Studies at a Crossroads - Jerome Baschet, Iconography beyond Iconography: Relational Meanings and Figures of Authority in the Reliefs of Souillac - Martin Buchsel, The Status of Sculpture in the Early Middle Ages: Liturgy and Paraliturgy in the Liber miraculorum sancte Fidis - Thomas E. A. Dale, The Nude at Moissac: Vision, Phantasia and the Experience of Romanesque Sculpture - Ilene H. Forsyth, The Date of the Moissac Portal - Dorothy F. Glass, (Re)framing Early, Romanesque Sculpture in Italy - Klaus Niehr, Sculpturing Architecture, Framing Sculpture and Modes of Contextualizing the Arts in the Eleventh and Twelfth Centuries - Jose Luis Senra, Between Rupture and Continuity: Romanesque Sculpture at the Monastery of Santo Domingo de Silos - Andrea von ‎

‎LA SCULPTURE ROMANE / La sculpture romane‎

‎, Hazan, 2014 Couverture reliee sous jaquette, 440 pages, illustré, 26,00 x 31,00 cm.+ boite /slipcase ISBN 9782754103602.‎

‎Une somme exceptionnelle sur la sculpture romane par l?ancien conservateur en chef du département des Sculptures du musée du Louvre. Une iconographie d?une grande qualité photographique. Si la sculpture romane a pu faire l'objet de nombreux ouvrages sur telles « écoles » ou régions données, les livres généraux sont plus rares. Dans la revue Connaissances des arts = Jean-René Gaborit, après avoir patronné, en 2005 au musée du Louvre, une exposition consacrée à l'art roman, se devait de nous offrir ce livre en tout point remarquable. À partir de chapitres clairement définis, n'éludant aucune des questions (telles que sources, influences et significations) que soulèvent les multiples réalisations romanes, l'auteur parvient à offrir au lecteur une synthèse très dense et vivante faisant un large appel à la typologie Élargie ainsi a tous les types de réalisations dans l'Europe entière avec, souvent, des oeuvres peu connues du public français, la sculpture romane retrouve ici une grandeur à laquelle participent des reproductions de qualité exceptionnelle, qui font aussi de ce livre savant un ouvrage somptueux. Même si la définition de l?art roman et, plus encore peut-être, sa dénomination, font l?objet de contestations, le phénomène que recouvre ce terme, c'est-à-dire le profond renouvellement qui se manifeste, dans toute l?Europe occidentale, entre la fin du Xe siècle et le milieu du XIIe siècle, tant dans l?architecture que dans les autres domaines de la création artistique, apparaît comme une évidence. L?une des caractéristiques de ce renouvellement est incontestablement l?importance croissante donnée à la sculpture, avec en particulier l?extraordinaire essor de la sculpture monumentale dont on peut voir des témoignages jusque dans les édifices les plus modestes. Après divers essais, parfois assez timides, durant la période dite du « premier art roman », la sculpture connaît, dès les dernières décennies du XIe siècle, un soudain épanouissement qui culmine dans la première moitié du XIIe siècle avec un grand nombre de réalisations majeures : portails et façades, cloîtres, décors intérieurs. Mais la recherche constante de nouvelles formules et, sans doute aussi, la volonté d?accompagner les innovations dans l?art de bâtir ont amené les sculpteurs à multiplier les expériences ; les rapports entre sculpture et architecture sont ainsi pensés de différentes façons ; le traitement de la figure humaine évolue et l?ornement se diversifie. De nombreux ouvrages ont été consacrés, partiellement ou totalement, à la sculpture romane ; parce qu?il est bien difficile de dresser un tableau chronologique cohérent d?un art dont l?évolution, sur une période relativement brève, n?a rien de linéaire, l?approche choisie a été essentiellement régionale, mettant l?accent sur la diversité, bien réelle qui caractérise les principales « provinces » de l?art roman. Le présent ouvrage tente une autre démarche : mettre en valeur, par une analyse plus typologique, ce qui fait l?unité de la sculpture romane : sources d?inspirations communes, recours aux mêmes modèles (même si l?interprétation en est très variée), adaptation aux mêmes schémas iconographiques, solutions parallèles adoptées pour répondre aux mêmes nécessités. La connaissance de la sculpture romane permet sans doute, du fait de ce mélange d?unité et de diversité, de mieux comprendre la culture de la société des XIe et XIIe siècles, société marquée par la violence, que les structures de la féodalité divisent et cloisonnent mais à laquelle, en dépit de crises profondes, un certain renouveau économique et l?omniprésence de l?Église, à travers la constitution du réseau paroissial, l?action des ordres monastiques et les pèlerinages, ont donné une réelle unité.‎

‎La sculpture au musée du Louvre (emboîtage deux) - l'illustration: Sculpture de la Renaissance Italienne + Sculpture du XVIIe siècle + Sculpture du XVIIIe siècle + Sculpture du XIXe siècle + Sculpture Orientale‎

‎L'illustration 2026 in folio. 2026. Non relié + emboîtage. La sculpture au musée du Louvre (emboîtage deux) - l'illustration - 5 chemises: Sculpture de la Renaissance Italienne + Sculpture du XVIIe siècle + Sculpture du XVIIIe siècle + Sculpture du XIXe siècle + Sculpture Orientale --- abondante iconographie noir et blanc accompagné de textes descriptifs format in folio‎

10 Images

‎Etat Correct emboîtage frotté taché de rousseurs rousseurs sur chemises qq rousseurs sporadiques sur les documents globalement propre circa 1955‎

‎Lot de 10 ouvrages "Le louvre sculpture..": titres voir description détaillée‎

‎Éditions s.n.e.p infolio. Sans date. Feuillets mobiles. Sculpture grecque / Sculpture egyptienne / Sculpture romaine / Sculpture du moyen-âge / Sculpture de la renaissance italienne / Sculpture de la renaissance française / Sculpture du XVII siècle / Sculpture du XVIII siècle / Sculpture du XIX siècle / Sculpture orientale‎

19 Images

‎dos frotté chemise légèrement défraîchie feuillet assez propre‎

‎Alabaster Sculpture in Europe (1300-1650)‎

‎, Brepols - Harvey Miller, 2022 Softcover, Pages: 312 pages; Size:240 x 280 mm; Illustrations:360 col. ;Language(s):English. ISBN 9781912554928.‎

‎In short, everyone involved in creating this catalogue and the exhibition it records deserves praise. The volume covers a vast terrain, helpfully summarizing the current state of knowledge on a great many objects and providing a road map for further study by scholars and students of the material (and indeed of ?materiality? writ large). In doing so, the catalogue provides a stellar example of the benefits of stepping outside of the intellectual taxonomies that so often constrain scholarship: our assumptions about the firmness of divisions between stylistic periods, geographic regions, and categories of objects. It compellingly demonstrates that those boundaries are far more permeable than they often might seem, and that they can distract us from important commonalities that transcend them.? (Stephen Perkinson, in Historians of Netherlandish Art Reviews, 09/2023) BIO Marjan Debaene is Head of Collections at Museum M in Leuven. SUMMARY Alabaster was a popular material in European sculpture, especially from the fourteenth to the seventeenth century. Its relative availability and easy to sculpt characteristic made it a highly suitable material for both large monuments and small objects, for mass production and individual works, from England to Spain and France to the Netherlands, Germany and Poland. This material has been the subject of multidisciplinary research in various European countries for several decades. The research combines material analyses with historical and art-historical approaches. This publication, made for the occasion of the large exhibition on the theme at M Leuven opening on October 14th, brings together all renown specialists on the material and sheds light on the many facets of alabaster, such as its physical and chemical properties as well as its translucency, its whiteness, its softness, and its beautiful sheen, all of which made it a popular material used in different types of sculpture from the middle ages to the baroque, all throughout Europe, ranging from bespoke tombs, funerary monuments and commissioned sculptures and altarpieces to commercially interesting formulas such as English or Mechelen alabaster reliefs. TABLE OF CONTENTS Foreword M Leuven Peter Bary Foreword Musée du Louvre Laurence des Cars Preface Marjan Debaene and Sophie Jugie 1 Alabaster as a Material for Sculpture Introduction Sophie Jugie Rhetoric of Alabaster: The Material between its Affordances and Cultural Meaning Aleksandra Lipi?ska How to Distinguish Alabaster from Alabaster: Tracing the Material Back from the Artwork to the Quarry Wolfram Kloppmann ?Marbre d?alabastre?: Status of the Interdisciplinary Research Project on Marble and Alabaster Jude De Roy, Laurent Fontaine and Géraldine Patigny Catalogue nos. 1?21 2 Funerary Sculpture Introduction Sophie Jugie Alabaster as a Material for Funerary Monuments Jessica Barker Catalogue nos. 22?41 3 Alabaster Altarpieces Introduction Marjan Debaene and Michaela Zöschg The Rimini Altarpiece and Alabaster Sculpture in the Southern Netherlands, around 1430 Stefan Roller English Alabaster and the Continent Lloyd de Beer Alabaster Altarpieces in the Iberian Peninsula: From Gothic to Baroque Carmen Morte García Catalogue nos. 42?99 4 Sacred and Secular Introduction Michaela Zöschg and Marjan Debaene The Head of St John the Baptist in Alabaster: The Object in Context Soetkin Vanhauwaert Catalogue nos. 100?126 Epilogue: Alabaster Mentalis, Trinitas Terrestris Sofie Muller Catalogue nos. 127?128 Bibliography Index Lenders to the Exhibition Photographic Acknowledgements‎

‎LE LOUVRE, SCULPTURE: ORIENTALE, EGYPTIENNE, GRECQUE, ROMAINE, DU MOYEN-AGE, DE LA RENAISSANCE ITALIENNE, DE LA RENAISSANCE FRANCAISE, DU XVIIe SIECLE, DU XVIIIe SIECLE, DU XIXe SIECLE (10 VOL.)‎

‎Editions de L'Illustration, Baschet et Cie, Paris. Non daté. In-Folio. En feuillets. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 10 ouvrages d'env. 30 pages chacun. Feuillets doubles, illustrés de nombreuses photos en noir et blanc (héliogravées) dans et hors texte, et de photos en couleur encollées hors texte, dans leur pochette d'origine.. . . . Classification Dewey : 709-Histoire des arts‎

‎Sculpture orientale, par André Parrot. Sculpture egyptienne, par Jacques Vandier. Sculpture grecque, par Etienne Michon. Sculpture romaine, par Etienne Michon. Sculpture du Moyen-Age, par Paul Vitry. Sculpture de la Renaissance italienne, par Marcel Aubert. Sculpture de la Renaissance française, par Paul Vitry. Sculpture du XVIIe siècle, par Pierre Pradel. Sculpture du XVIIIe siècle, par Pierre Pradel. Sculpture du XIXe siècle, par Pierre Pradel. Photographies d'Emmanuel Sougez. Classification Dewey : 709-Histoire des arts‎

‎La Sculpture au musée du Louvre (2 volumes)‎

‎L'Illustration Cahiers sous chemise et emboîtage Deux volumes in-folio (29,5 x 39 cm.), cahiers sous chemise sous emboîtage, 1 illustration couleurs contre-collée au 1er plat de chaque chemise, vol.1: Sculpture de la Renaissance italienne / Sculpture de la Renaissance française / Sculpture du XVIIe siècle / Sculpture du XVIIIe siècle, vol.2: Sculpture orientale / Sculpture grecque / Sculpture romaine / Sculpture égyptienne / Sculpture du Moyen-Âge, grandes héliogravures, pièces d'illustrations couleurs contre-collées, sans date ; légers frottements aux coiffes et mors des chemises, emboîtages à peine défraîchis, intérieur très frais, bel état d'ensemble. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.‎

‎Sculpture of Tullio Lombardo, Tullio Lombardo‎

‎, Brepols - Harvey Miller, 2014 Hardback VI 463 p., 339 b/w ill., 225 x 300 mm, Languages: English FINE COPY !!!! ISBN 9781909400177.‎

‎In the first book ever devoted to the sculpture of Venice's most famous Renaissance marble carver, Markham Schulz integrates all biographical data from primary and secondary sources and criticism of every epoch, with her own first-hand study of Tullio?s work over the course of forty years, to create a comprehensive picture of Tullio?s sculpture - its characteristics and iconography, its sources, development, and influence - within the context of Renaissance Venetian art. At the same time, she explores Tullio?s relations to his father Pietro and his brother Antonio, both renowned sculptors in their own right. The text is accompanied by 339 newly made and largely full-page illustrations, many of sculptures which, on account of their height and inaccessibility, have never been photographed before. Thus, every detail of the author?s meticulous and pellucid analyses is made manifest to the reader by illustrations, which not only meet the most exacting standards for the photography of sculpture, but also provide a treasury of gorgeous images. Educated in the History of Art at Radcliffe College, Harvard University, and the Institute of Fine Arts, NYU, Anne Markham Schulz has taught at the University of Illinois at Chicago Circle, Brown University, and the Universita Federico II at Naples. Table of Contents Acknowledgments Chapter 1-Tullio's Critical Fortune Chapter 2- Inscriptions, Documents, and Sources Chapter 3-The Style of Tullio's Sculpture and His Early Works Chapter 4-The Tomb of Doge Andrea Vendramin Chapter 5-In the Wake of the Vendramin Tomb: Tullio's Sculpture at the End of the Fifteenth and the Beginning of the Sixteenth Century Chapter 6-Tullio's Late Works Chapter 7-Conclusion Bibliography-List of illustrations-Illustrations-Index ‎

‎Qu'est-ce que la sculpture moderne‎

‎Centre Georges Pompidou 1986 447 pages in-4. 1986. Broché. 447 pages. Du 3 juillet au 13 octobre 1986 / Nombreuses illustrations en noir et en couleurs‎

‎Etat correct. Des frottements à la couverture. Intérieur propre‎

‎1870-71 / Sept mois d'histoire part la Photographie la gravure l'estampe la sculpture les autographes la caricature et la peinture‎

‎ Non paginé pages In-4 oblong. Sans date. Demi-Cuir Manque la page de titre. Non paginé pages. Sans date (XIXème) - Nombreuses illustrations en noir‎

4 Images

‎Etat correct malgré le 1er plat quasiment détaché et un manque de cuir en tête de dos. Papier jauni‎

‎Patrick Raynaud. Sculpture‎

‎Paris Editeur Jacques Damaze 1989 165 pages in-4. 1989. cartonné. 165 pages. In-4 (305x258 mm) 165 pages. Cartonnage éditeur sous jaquette illustrée. Nombreuses illustrations en noir et en couleurs. Infimes rousseurs aux tranches - Très bon état général. Poids : 1350 gr‎

‎Catalogue d'exposition. Sculpture Du XXe Siècle 1900-1945‎

‎Saint-Paul Fondation Maeght 1981 226 pages in-8. 1981. 226 pages. In-8 carré (207x208 mm) 226 pages. Tradition et ruptures. Illustrations en noir et en couleurs. Couverture en bon état général malgré des frottements au plat arrière. Intérieur propre. Poids : 900 gr‎

‎La Sculpture de l'Antiquité au Moyen Age. Du VIIIe siècle avant J.-C. au XVe siècle‎

‎Taschen 1999 544 pages in4. 1999. Relié. 544 pages. Cartonnage éditeur sous jaquette illustrée. Nombreuses illustrations en noir et en couleurs. Poids : 3570 gr‎

‎Bon Etat‎

‎Daumier et la sculpture / Avec envoi de l'auteur‎

‎Editions de la revue Moderne 1979 218 pages in8. 1979. Relié. 218 pages. Cartonnage éditeur sous jaquette illustrée. Avec des illustrations en noir‎

‎Etat Correct Jaquette un peu salie et frottée sinon cartonnage et intérieurs propres‎

‎Douze siècles de sculpture italienne‎

‎Electa 470 pages in4. Sans date. Cartonné. 470 pages. Cartonnage éditeur sans jaquette. Nombreuses illustrations en noir et en couleurs‎

‎Etat Correct A noter une tache rouge en bordure du 1er plat sinon bon état‎

‎Histoire de la sculpture européenne de l'époque romane à Rodin‎

‎Editions de l'érable 1969 288 pages in-8. 1969. Plein cuir éditeur. 288 pages. Nombreuses illustrations en noir‎

‎Très bon état‎

‎Corpus of Gothic Sculpture in America. II. The museums of the Midwest.‎

‎Turnhout, Brepols, 2001 Hardback, 468 p., 397 b/w ill., 280 x 210 mm. ISBN 9782503511474.‎

‎This publication is the second volume of the Census of Gothic Sculpture in America and incorporates over 650 works of sculpture located in twelve states and twenty museums in the Midwest, serving as a basis for new interpretations and new meanings. With the publication of this second volume of the Census of Gothic Sculpture in America the project has examined over 650 works of sculpture in stone and wood located in twelve states and twenty museums. The richness and inclusiveness of this material - although for the most part existing in fragmentary condition and removed from its original context - constitutes a deposit of the past in which Americans have been free to imagine a culture far removed from their direct experience. This catalogue stands for a late twentieth-century interpretation of the European Middle Ages. At the same time, by presenting all the documentary and physical information now available to us, the authors hope to provide a basis on which new interpretations can be built and new meanings created. New book.‎

‎La Sculpture au Musée du Louvre (5 volumes) : Sculpture égyptienne / Sculpture romaine / Sculpture du Moyen Âge / Sculpture de la Renaissance Française / Sculpture du XIXe siècle‎

‎L'Illustration. Non daté. In-Folio. En feuillets. Bon état, Couv. défraîchie, Dos fané, Intérieur frais. 5 volumes d'environ 30 pages chacun. Nombreuses planches de photos monochromes et en couleurs, quelques planches avec reproduction en couleurs contre-collée. Quelques photos monochromes dans le texte. Sous-emboîtage en bon état. Trois photos disponibles.. . Sous Emboitage. . Classification Dewey : 730-Arts plastiques. Sculpture‎

‎ Classification Dewey : 730-Arts plastiques. Sculpture‎

‎PETITS GUIDES DES GRANDS MUSEES - N°84 - MUSEE DU LOUVRE - LA SCULPTURE COPTE - les sources de la sculpture copte - la sculpture proto-copte IVe - milieu du Ve siecle - le sculpture copte milieu Ve - milieu VIIe siecle - sculpture en ivoire..‎

‎REUNION DE MUSEES NATIONAUX. 1981. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 16 pages - quelques photos en noir et blanc dans et hors texte - texte en 2 colonnes - 2 plat contre-plié.. . . . Classification Dewey : 708-Galeries, musées, collections d'art‎

‎Sommaire: les sources de la sculpture copte - la sculpture proto-copte IVe - milieu du Ve siecle - le sculpture copte milieu Ve - milieu VIIe siecle - sculpture en ivoire.. Classification Dewey : 708-Galeries, musées, collections d'art‎