, Leningrad, Aurora Art Publishers, 1971., Bound, cloth, original dust-jacket illustrated in color, 24x28,5cm, n.p. (+/- 240pp), illustrated richly full - page plates in color and b/w, 1 plate dammaged.
15th - 16th centuries.
Leningrad, Aurora Art Publishers, 1986 Bound in red cloth with gilt lettering and ornamentation, orig. pict. dustjacket, 423pp., 26x33.5cm., 316 plates in col. and b/w., good cond.
, Brepols - Harvey Miller, 2024 Hardcover with dusjacket, 2 vols Pages: 802 pages, Size:180 x 265 mm Illustrations:158 b/w, 110 col., 1 tables b/w. Language(s):English. ISBN 9781915487278.
The decoration of the Luxembourg Palace galleries was the largest commission Rubens ever received. On Saturday 26 February 1622, the artist signed two contracts at the Louvre with the agreement ?to make and paint with his own hand each and every one of the figures? of the paintings which would decorate the two parallel galleries of the palace that the Queen Mother, Maria de? Medici (1573?1642), had begun to have built on the left bank of the Seine. According to the first contract, the western gallery was now ready and Rubens ?will be bound and obliged to design and to paint with his own hand twenty-four paintings depicting the history of the very illustrious life and heroic exploits? of the Queen Mother, conforming to an incomplete memoir, of which he had received a copy. Rubens arrived in Paris to put the final touches to the finished canvases celebrating the life of Maria de? Medici at the beginning of February 1625. But at this time the eastern gallery, planned to display the ?battles? and triumphs? of King Henri IV (1553?1610), Maria?s late husband, was still under construction. The Henri IV Gallery was to be an unfinished masterpiece: after a temporary suspension of the work in 1630, the project was definitively abandoned in 1631. Alexis Merle du Bourg?s in-depth study of the Henri IV Series was published as Part XIV.2 of the Corpus Rubenianum Ludwig Burchard in 2017. The present volume charts the earlier part of the Medici commission, which happily survives, splendidly completed. It presents Maria in her relationship with Henri, her public role after her husband?s death and, not least, her difficulties and then reconciliation with Louis XIII, her son. Here Rubens invoked the gods of ancient myth and a whole company of personified abstractions to help mask problematic episodes, dignify banal events and create a glorious commemoration of the life and aims of the Queen Mother.
, Brepols - Harvey Miller, 1988 Hardcover. 374 p., incl. 472 ills., with 8 in colour, 235 x 335 mm, languages: English, Including an index. Fine copy. ISBN 9780905203539.
This is a survey of early Gothic manuscripts illuminated in the British Isles, setting them in a historical framework, describing the influences at work, defining the types of books and their decoration, and discussing evidence for dating and localization. In England the art of illumination flourished widely in the second half of the 13th century - a time in which the connections with the continent, particularly France, where strong. Artists moved away from the monastic scriptorium to professional workshops in urban centres, and the rise of the Universities resulted in the production of new types of illustrated text. As with cross-fertilization of ideas from Paris to London, Oxford, and Cambridge, so with the styles and techniques of illumination. The magnificent examples catalogued here include the Lambeth, Metz, Douce and Trinity Apocalypses; their relationships are examined and detailed iconography is described. Many of the Bibles and - notably - the Amesbury, Oscott and Rutland Psalters are some of the greatest works of the period, and among surviving religious manuscripts the earliest examples of Books of Hours reveal the increasing range of devotional interests of lay people. Astrological, legal, medical, topographical and historical works are also included, and the volume ends with the remarkable Hereford Mad which summarizes many of the ideas of Earth and Heaven prevailing at the time. The Introduction sets the manuscripts in a historical framework, describes the influences at work, defines the types of books and their decoration, and discusses evidence for dating and localization.
London, Wildenstein & co. 1950 xvi + 63pp., with some bl/w ills., 25cm., softcover, good condition, S108246
Roma, 1966 47pp.texte + 42pp.planches, [texte en italien], bel état
Amsterdam, 1969 219pp.geïllustreerd met 119 afbeeldingen, 24cm., Catalogus van tentoonstelling (Amsterdam, Rijksmuseum, 19 dec.1968-9 maart 1969)
Antwerpen, L.J.De Cort 1840 xix + 514 (ii) pp.+ uitvouwbare genalogische tabel, gecart. (linnen band met goudopdruk), 22cm., goede staat, S60127
Hasselt, Provinciaal Begijnhof 1973 20pp.met zw/w ills., 25cm., gebroch., Catalogus van tentoonstelling (Hasselt, 23.9 - 14.10 1973), S85467
, Hasselt [Belgium], Cultureel Centrum 28 sept.-3 nov.1996, 46pp.with ills.in colour, VG
, Tentoonstellingscatalogus ; Antwerpen, Koninklijk Museum voor Schone Kunsten, 18 febr.-12 mei 1968, 264pp. rijkelijk geïll., omslag wat verkleurd, goede staat, S15640
Den Haag/Brussel, Museum Paleis Lange Voorhout/ Paleis voor Schone Kunsten 1995 272pp.rijkelijk geïll., mooie staat, catalogus bij de gelijknamige tentoonstelling in Den Haag & Brussel (1995-1996)
Bruges, 1953 88pp.texte + 124 planches hors-texte, br.orig., bon état
Bruxelles, 1975 160pp.avec ills.en n/bl et en couleurs, Catalogue d'exposition Bruxelles Musées royaux des Beaux-Arts de Belgique 7 mai-13 juillet 1975
s.l., Open kring 1979 58pp. rijkelijk geïll., 20cm., in de reeks "Getuigenis" nr.16, mooie staat, [tekst in het Pools; catalogus van tentoonstelling over Belgische schilders, Warszaw - Ponan, 1979), S72003
Paris, Bureaux du Rosier de Marie 1877-1878 Ouvrage complet en 2 tomes, reliés en 1 volume, 391 + 395pp., 24cm., reliure cart. (plats marbrés, dos en cuir avec titre doré), qqs. cachets et rousseurs, bon état, rare, [contient les parties suivants: I: Mystères de la vie de la sainte Vierge décrits et expliqués, chefs-d'oeuvre de la peinture rertraçant ces mystères (pp.35-311), II: Les plus belle Vierges du monde, leur description (pp.315-388), III: Tableau synoptique et alphabétique des peintres les plus illustres de la Vierge, avec l'indication de leur école, le titre de leurs ouvrages les plus remarquables en l'honneur de la Vierge et le lieu où ils se trouvent (pp.19-83), IV: Etude particulière sur les peintres français au point de vue de leurs oeuvres en l'honneur de la Sainte-Vierge (pp.89-148), V: Vente diverses de tableaux relatifs à la Vierge avec leur description et leur prix (pp.151-198), Supplément: Iconographie de la personne de la bienheurese Vierge (pp.203-392)], R92059
, Tentoonstellingscatalogus : Brugge, Groeningemuseum, 29 juni-20 oktober 1974, 157pp.rijkelijk geïll.
Firenze, 1955 xxiv + 267pp.dont 111pp.illustrations hors-texte, br., jaq., 3e éd., qqs.traces d'usage
, 47pp., Tentoonstellingscatalogus Utrecht Centraal Museum 10 maart-30 mei 1965
Köln, 1985 3 vols.: 487 + 461 + 207pp.richly ill., [very extensive & well illustrated catalogue on all aspects of Roman (ecclesiastical) art in Köln], in-4°, VG
Antwerpen, Bernaerts 1999 194pp.rijkelijk geïllustreerd in kleur, 27cm., gebroch., mooie staat, S85703
Montevideo (Uruguay), 1938 48pp.+ 32 bl/w plates out of text + 5 illustrations in colour tipped in, numbered edition limited to 2000 copies: this is no. 1752, 27cm., original softcover, text in Spanish, some foxing, [contains a.o. a list and description of 175 exhibited paintings by the Uruguayan painter Blanes Viale 1879-1926], S95062
Antwerp, Royal Museum of Fine Arts [1977] xxiv + 388pp.with paintings, oilsketches and drawing by P.P. Rubens in black and white, 24cm., catalogue of the homonymous exposition (Antwerp, 29 june - 30 sept 1977)
Antwerpen, 1981 173pp., 101 ills., 25cm., mooie staat, [catalogus van gelijknamige tentoonstelling in het Nationaal Scheepvaartmuseum 1981-1982], [quadrilingual; tekst in Nederlands, texte en français, texts in english & in deutsch], S55747