Write to the booksellers-
Type
Book (7484)
Disk (45)
Drawings (1)
Engraving (9)
Magazine (89)
Maps (4)
Music sheets (137)
New book (4)
Old papers (1)
Photographs (18)
Posters (1)
-
Latest
Last 3 days (9)
Last month (128)
Last week (6)
-
Language
Czech (1)
Dutch (9)
English (157)
French (7549)
German (4)
Greek (6)
Italian (2)
Japanese (58)
Latin (3)
Russian (4)
-
Century
16th (17)
17th (43)
18th (200)
19th (886)
20th (2538)
21st (1764)
-
Countries
Belgium (1151)
Canada (35)
China (114)
Côte d'Ivoire (6)
Denmark (1068)
France (5043)
Germany (1)
Netherlands (181)
Switzerland (178)
United Kingdom (12)
United States of America (4)
-
Syndicate
ALAC (28)
CLAM (25)
CLAQ (2)
ILAB (2272)
NVVA (15)
SLACES (15)
SLAM (1044)
SNCAO (4)
Mes petites papillotes magiques
LEDUC .S 2026 192 pages 11x1 4x17 6cm. 2026. Broché. 192 pages.
Très bon état
Mes petites papillotes magiques
LEDUC .S 2026 192 pages 11x1 4x17 6cm. 2026. Broché. 192 pages.
Très bon état - légères marques de lecture et/ou de stockage mais du reste en très bon état- expédié soigneusement depuis la France
ORFEVRERIE FRANCAISE ORIENTALISTE DU 19e SIECLE/ FRENCH ORIENTALIST SILVER OF THE 19TH CENTURY,
, Paris, Galerie Berko, 2003, Broche, couverture carton illustree, frontispice-photo, 205 x 265mm., 64pp., illustration profond en couleurs.
L'influence de l'Orient sur l'orfevrerie francaise. Catalogue. Glossaire. Bibliographie. Edition bilingue. Bon etat.
Greek Architecture
The Macmillan Company 2026 in8. 2026. Cartonné. Ouvrage académique de 1909 par Allan Marquand professeur à l'Université de Princeton traitant de l'architecture grecque antique. Le livre se concentre sur les détails architecturaux et est publié par The Macmillan Company
Bon état pages jaunies intérieur propre
L'Art de Batir les Vaisseaux, et d'en perfectionner la Construction"" de les Garnier de leurs Apparaux, les mettre en Funin, les Manoeuvrer, &c. avec la Coupe d'un Vaisseau du Premier Rang, les Devis de plusieurs Sortes de Vaisseaux... outre les Pav... - [THE ""L'ALLARD FRANCAIS""]
Amsterdam, David Mortier, 1719-18. 4to. Contemp. full calf. Spine defective, lacking leather at upper and lower compartment and frontcover detached from spine. Front free endpaper gone. The first two title-pages printed in red/black and both with an engraved vignette with a portrait of Erasmus. (4),82"(2),94"(2),24,(12) pp. Vol I: 1 large folded engraved plate and 1 textengraving. - Vol. II: 34 textengravings (1/2-page a. full-page) + 21 engraved plates (4 large and folded). - ""Les Pavillons"": 90 engraved plates of flags. The first flag ""Pavillon de George I"" is handcoloured. (Last printed leaf numbered 101 because the 90 engraved plates is counted as pages !). Complete. Light marginal browning, a few leaves with small closed tears.
A classic on shipbuilding, finely illustrated with construction drawings and nautical instruments and equipment. It is the first edition in French of Allard's ""Nieuwe Hollandse Scheeps-bouw"", first published in 1695. Polak notes that, though known as 'L'Allard français', it was more than a straightforward translation, being augmented with chapters by Witsen and van Eyk, and with plates representing vessels and nautical instruments as well as the flags of the maritime nations.
Only Yesterday: Informal Treatment of the 1920s
HarperPerennial 2026 320 pages 10 668x2 286x17 526cm. 2026. Broché. 320 pages.
Etat correct
[Thomas Allom] - Allom (Thomas 1804-1872) et Wright (George, Newenham) :
Reference : 16305
(1843)
L’Empire chinois illustré d’après des dessins pris sur les lieux, avec les descriptions des moeurs, des coutumes, de l’architecture, de l’industrie, etc. , du peuple chinois depuis les temps les plus reculés jusqu’à nos jours, par Clément Pelle.
Londres, Paris, Fisher, (1843-1845) ; 4 tomes reliés en 2 volumes in 4, demi chagrin vert empire, dos à faux nerfs, fleurons et titre dorés (reliure de l’époque) ; (4), 68, 26 pp. ; 76 pp. ; 74 pp. ; 73, (3) pp. et en tout, 4 titres gravés avec une vignette et 124 planches hors-texte gravées sur acier, protégées par une serpente.
Superbe fresque de la Chine et des Chinois ; même les paysages et monuments sont animés par des personnages en situation ; les scènes de rues et de métiers sont particulièrement intéressantes. Quelques rousseurs éparses, bon exemplaire, bien complet.
Phone number : 06 60 22 21 35
Alon in the dark.
Issy les moulineau, Vents d'ouest, 1994 ; in-4, 48 pp., cartonnage de l'éditeur. Reed.
Reed.
Alon in the dark.
Issy les moulineau, Vents d'ouest, 1994 ; in-4, 48 pp., cartonnage de l'éditeur. Reed ,petit déchirure de l'étiquette sur le 4 plat.
Reed ,petit déchirure de l'étiquette sur le 4 plat.
Alon in the dark.
Issy les moulineau, Vents d'ouest, 1994 ; in-4, 48 pp., cartonnage de l'éditeur. Reed, petit usure sur la coiffe.
Reed, petit usure sur la coiffe.
Alon in the dark.
Issy les moulineau, Vents d'ouest, 1994 ; in-4, 48 pp., cartonnage de l'éditeur. Reed.
Reed.
TREASURES OF RUSSIAN ART OF THE 11TH-16TH CENTURIES.
Leningrad , Aurora, 1970 Bound, cloth, illustrated paper jacket, 200 x 280 mm., 288 pp., profoundly illustrated in colour and b/w.
Dedication from former owner on title page. Beautiful book, in good condition.
ALPES par R. MESSNER, J.-J. ROUSSEAU, J.W. von GOETHE, A.F. MUMMERY, G. REBUFFAT, L. TERRAY ...
Reference : AUB-6901
(1979)
Die Alpen, les Alpes, the Alps. Richement documenté (planches en couleurs avec légendes et textes d'accompagnement).
Sigloch 1979. Bel exemplaire relié, jaquette conservée, in-4 oblong, 208 pages.
LETTRES DE MON MOULIN
Un ouvrage de 292 pages, format 150 x 210 mm, illustrations de José Roy et G. Fraipont, relié cuir, publié en 1982, Jean de Bonnot, bon état
Phone number : 04 74 33 45 19
Privates Photoalbum mit Ansichten von Schweizer Gebirgen.
O. O., (1919). 72 mont. Orig.-Photographien in farb. Leinenalbum in Blockbindung. Bildgrössen: ca. 8 x 10 cm. Blattgrösse: 39 x 29 cm.
Die mit weisser Tusche untertitelten Aufnahmen zeigen u.a. Monte Rosa, Breithorn, Matterhorn, Weisshorn, Gornergrat, Gornergletscher, Triftbach, Zinalrothorn, Hohwänggletscher, Zmutt, Mettelhorngrat u. Zermatt. - Das Zwiebelpapier zum Schutz der Photographien gebräunt u. stellenweise knitterfaltig od. mit Knickspuren.
Mermaids of Venice. Fantastic Sea Creatures in Venetian Renaissance Art
, Brepols, 2010 Hardback, VIII 273 p., 234 b/w ill. 44 colour ill., 220 x 275 mm, Languages: English. ISBN 9781905375455.
The arts of Renaissance Venice teem with sea monsters. Chief among these are mermaids and mermen--graceful hybrid beings human from the waist up, but with the lower body and tail of a fish, dolphin or sea serpent. Other sea hybrids--horses, bulls, panthers, even an elephant--also swim through Venetian art in finned and fish-tailed forms. Such creatures emerge from stone in the shadowy churches and the sunlit courtyard of the Palazzo Ducale, crown the wooden frame of a Giovanni Bellini altarpiece, and encircle the bronze flagpole bases in Piazza San Marco. Their gilded sugar apparitions graced banquet tables for illustrious visitors, and their descendents still glide through the canals in the form of brass seahorses set above the sides of gondolas This book focuses on the conceptions of artists who made marine hybrids as some of the most engaging inventions of the Renaissance in Venice and its subject city Padua. The chapters deal with five functional contexts: book decoration of the 1470s and 80s; tomb monuments of the 1480s and 90s; church decoration of the same years, particularly at Santa Maria dei Miracoli; centers of political activity, including civic settings in Venice and the palaces of powerful mainland employers of Venetian artists; and finally, private homes, where owners could hold small bronze sea hybrids in their hands, often as objects for use. A prologue introduces the ?heritage of monsters? from the ancient and medieval worlds, the better to show how Venetian artists adapted these to new purposes. Exploring the ways in which artists could interpret and contemporary viewers might experience these wide-ranging sea-creatures, the book brings their best images together as a source of delight. Studies in Medieval and Early Renaissance Art History(HMSAH 58)
Horizon - Volume 3 N°1 Septembre 1960
James Parton Reliure Rigide Illustrée 1960 136 pages en format 23 - 31 cm - Nombreuses illustrations -
Bon État
Horizon - Volume II, Number 2 - November 1959
James Parton Reliure Rigide Illustrée 1959 136 pages en format 23 -31 cm + the silent traveller draws the west - nombreuses illustrations
Très Bon État
Horizon - Volume II, Number 4 - March 1960
James Parton Reliure Rigide Illustrée 1960 128 pages en format 23 - 31 cm + the comic history of england with colored etchings by John Leech
Très Bon État
Horizon - Volume II, Number 5 - May 1960
James Parton Reliure Toile Rouge Décorative 1960 128 pages en format 23 - 31 cm + through the ages in the best beds - nombreuses illustrations
Bon État
Horizon - Volume I, Number 6 - July 1959
James Parton Reliure Rigide Illustrée 1959 136 pages en format 23 - 31 cm + cities of italy - nombreuses illustrations
Très Bon État
Painting Restoration Before the Restauration. The Origins of the Profession in France,
Turnhout, Brepols, 2012 Hardback, 320 p., 204 b/w ill., 240 x 280 mm. ISBN 9781905375349.
The art of painting restoration is almost as old as the art of painting itself. Accidents and time inevitably alter the appearance of a painting, and these changes begin as soon as it leaves the artist's easel. Purposeful alterations due to changes in taste have also contributed to transformations that paintings often underwent. Clearly the type of restoration procedures considered ethically acceptable have changed over the centuries. From the Renaissance until the end of the nineteenth century, European paintings were considered as two-dimensional illusions of a three-dimensional space, and any disruption to this illusion was considered as damage requiring repair. There was no acknowledgement of painting supports as an integral part of a picture; only the paint layer and the subject represented were appreciated. As a result, panels were often thinned and cradled in order to flatten the painted surface so that the image depicted could be viewed with less distraction. Supports were even considered replaceable. Total transfer of a painted surface onto a new surface was an acceptable procedure in the eighteenth century - even until the mid-twentieth century. Invisible retouching was used with the intent of returning the illusion of the painted surface to its 'original state'; the history of the work was not important. Until recent times, it was even acceptable to alter the format of a work of art to fit a frame or a space on the wall. Traditionally, if a painting was accidentally damaged or if 'adjustment' were required, a painter was entrusted with this task. In the past, the professions of painter and painting restorer overlapped, and both were trained as apprentices. Gradually the professional painting restorer appeared in Europe, and by the mid-eighteenth century, the profession was established. Earlier examples of professional restorers, especially in Italy, have been recorded while in other European countries, such as Britain, the career of the professional painting restorer began much later. During the later part of the eighteenth century in France, the painting restorers of the French Royal Collection became celebrated throughout Europe for their achievements. The political situation had an important influence on the development of the profession in France. The reigns of Francois I (1515-47), Louis XIV (1643-1715), Louis XVI (1774-93), and then the coup d'etat by Napoleon Bonaparte and the First Napoleonic Empire (1804-14) led to an increasing centralisation of the French Empire. The arts were meant to reflect the power of the state; thus Louis XIV and his political advisor and Surintendent from 1661 to 1685, Jean-Baptiste Colbert (1619-83), became the patrons of the French Academie de Peinture et Sculpture founded in 1648. A revision of the Academy's statutes in 1665 required students to submit annually drawings that focused on the heroic actions of the king. Paintings conferred status on their owner - in this instance the king and the French nation. It then became a necessity to have the paintings on display looking their best, and the skill of the French painting restorers was even used as a justification for Napoleon's policy of confiscation of works of art from all over Europe. The relationship between the French government's administration, firstly under the Ancien Regime, then under the new Republic, and the painting restorers they employed and supervised is related in this book. The manner in which changes occurred involves colourful personalities whose stories are often amusing and sometimes poignant, but above all they help us to understand the present-day situation. For during the turbulent years of the French Revolution new patterns emerged, which to a large extent remained in place in France for over two centuries. New book.
Re-Making the Margin. The Master of the David Scenes and Flemish Manuscript Painting around 1500
Turnhout, Brepols, 2012 Hardback, 250 pages., 150 b/w ill. + 32 colour ill., 210 x 297 mm. ISBN 9782503516844.
The subject of the present publication is the working practices of the Ghent-Bruges illuminators, active in Flanders in the decades around 1500. Its focus is on manuscripts featuring freestanding, isolated motifs painted in the margins of text pages. The author traces how this decorative system was created by the Master of the David Scenes in the Grimani Breviary, a prolific inventor of appealing borders; how it was applied by his closest collaborators, and how it was imitated and adapted by other illuminators. Among these were Simon Bening, the Carmelite sister Cornelia van Wulfschkercke, and a number of anonymous masters, including several whose oeuvres are identified here for the first time. The author elucidates the sources for the isolated motifs and demonstrates how the codicological structure of the manuscripts provides insight into the use and the dispersion of various models for border decorations. The book discusses the famous strewn-flower borders and other types of fully decorated borders as well. The author analyses the isolated motifs in relationship to the page lay-out and the decorative programme of Ghent-Bruges standardised books of hours. The stylistic examination of both the miniatures and the borders of the manuscripts under discussion completes the integrated approach of this study. The author demonstrates how the illuminators collaborated with each other and exchanged artistic models for the illumination of these precious manuscripts. Languages: English.
Re-Making the Margin. The Master of the David Scenes and Flemish Manuscript Painting around 1500,
Turnhout, Brepols, 2013 786 pages ., 355 b/w ill. + 72 colour ill., 210 x 297 mm, Languages: English. ISBN 9782503516844.
This publication offers an overview of the style of the Flemish miniature, from the anonymous and modest early Romanesque illustrations to the luxurious late Gothic miniatures, some of which were exported as far afield as Spain and Russia. A beautiful overview of the development in style of the miniature. From the anonymous and modest early Romanesque illustrations to the luxurious late Gothic miniatures of Simon Marmion or Lucas Horenbout who, in the fifteenth and sixteenth centuries, exported their Flemish masterpieces as far afield as Spain and Russia. Never before has the reader-viewer been presented with such a complete overview of the art of Flemish miniatures from the eighth to the sixteenth centuries. Never before has a book presented such a fascinating history of eight centuries of the art of miniatures from the Low Countries. Never before have so many miniatures - more then 600 colour illustrations - been reproduced in one book. Languages: English.
