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Edgar Tytgat. Herinnering Aan Een Geliefd Venster.
December 2017, (25 x 29 cm), 160 pp. Dutch text, numerous colour ills., paperback.
¶ Edgard Tytgat (1897 - 1957) trok in zijn schilderijen en grafiek alle visuele registers open om mythes, volkslegendes of sprookjes te vertellen. Net zoals de cineasten van zijn tijd, verbeeldde hij een wereld vol fantasie, absurditeit en humor.
¶ Edgard Tytgat (1897 - 1957) trok in zijn schilderijen en grafiek alle visuele registers open om mythes, volkslegendes of sprookjes te vertellen. Net zoals de cineasten van zijn tijd, verbeeldde hij een wereld vol fantasie, absurditeit en humor.
Scriptum Art Books v.o.f.Professional sellerBook number: 7031
€ 34.90 [Appr.: US$ 37.67 | £UK 29.75 | JP¥ 5909]
Catalogue: Monografieën / Monographs
Een kroniek van het oneindige / A chronicle of Infinity. Lita Cabellut.
10-2018, (33 x 24 cm) Oblong, 160 pp., Dutch / English text, numerous colour ills., hardcover.
¶ Een overzicht van het nieuwe werk van Lita Cabellut. De Spaanse kunstenares Lita Cabellut ontwikkelde in de loop der jaren een unieke techniek waarbij ze grootse portretten schildert en traditionele frescotechnieken combineert met het gebruik van olieverf. Door de verflaag van deze imposante werken vervolgens te breken, ontstaat er door de combinatie van toeval en kracht een nieuw beeld. Hiermee wil Cabellut hetgeen we kunnen herkennen en beheersen, loslaten. 'Alsof je de tijd kunt breken met je eigen handen.' Het ontstane beeld is vrij ontstaan en heeft een nieuwe essentie gekregen. Lita Cabellut (geboren in 1961 in Sari-ena, Aragon) is een Spaanse schilder die in Nederland woont en werkt. Ze groeide op als een straatkind in Barcelona tot ze op twaalfjarige leeftijd werd geadopteerd. Gedurende deze tijd maakte ze kennis met de Spaanse meesters in het Prado Museum, waarna ze zich meteen aan de kunst wijdde. Lita Cabellut had haar eerste tentoonstelling op 17-jarige leeftijd en verhuisde op 19-jarige leeftijd naar Nederland, waar ze studeerde aan de Gerrit Rietveld Academie in Amsterdam. In de loop der jaren heeft Cabellut een unieke techniek ontwikkeld die gekenmerkt wordt door grootschalige doeken die traditionele fresco-technieken combineren met moderne toepassingen van olieverf. Lita's craquelé en definiërende palet geeft huid aan haar portretten. Het centrale thema van 'de mens' en de maatschappelijke boodschappen die Lita Cabellut in haar werk communiceert staan centraal in haar schilderijen. Naast haar bepalende monumentale portretten is Cabellut echter ook een multidisciplinaire kunstenaar wiens werk videokunst, visuele poëzie, scenografie, tekeningen, installaties en sculpturen omvat.
¶ Een overzicht van het nieuwe werk van Lita Cabellut. De Spaanse kunstenares Lita Cabellut ontwikkelde in de loop der jaren een unieke techniek waarbij ze grootse portretten schildert en traditionele frescotechnieken combineert met het gebruik van olieverf. Door de verflaag van deze imposante werken vervolgens te breken, ontstaat er door de combinatie van toeval en kracht een nieuw beeld. Hiermee wil Cabellut hetgeen we kunnen herkennen en beheersen, loslaten. 'Alsof je de tijd kunt breken met je eigen handen.' Het ontstane beeld is vrij ontstaan en heeft een nieuwe essentie gekregen. Lita Cabellut (geboren in 1961 in Sari-ena, Aragon) is een Spaanse schilder die in Nederland woont en werkt. Ze groeide op als een straatkind in Barcelona tot ze op twaalfjarige leeftijd werd geadopteerd. Gedurende deze tijd maakte ze kennis met de Spaanse meesters in het Prado Museum, waarna ze zich meteen aan de kunst wijdde. Lita Cabellut had haar eerste tentoonstelling op 17-jarige leeftijd en verhuisde op 19-jarige leeftijd naar Nederland, waar ze studeerde aan de Gerrit Rietveld Academie in Amsterdam. In de loop der jaren heeft Cabellut een unieke techniek ontwikkeld die gekenmerkt wordt door grootschalige doeken die traditionele fresco-technieken combineren met moderne toepassingen van olieverf. Lita's craquelé en definiërende palet geeft huid aan haar portretten. Het centrale thema van 'de mens' en de maatschappelijke boodschappen die Lita Cabellut in haar werk communiceert staan centraal in haar schilderijen. Naast haar bepalende monumentale portretten is Cabellut echter ook een multidisciplinaire kunstenaar wiens werk videokunst, visuele poëzie, scenografie, tekeningen, installaties en sculpturen omvat.
Scriptum Art Books v.o.f.Professional sellerBook number: 7186
€ 29.95 [Appr.: US$ 32.32 | £UK 25.5 | JP¥ 5071]
Catalogue: Monografieën / Monographs
The Cartiers. The untold story of the family behind the jewelry empire.
2019, (16,5 x 24,5 cm), 630 pp. English text, ills. in colour & b/w., hardcover with dustjacket.
¶ The Cartiers is the revealing tale of a jewelry dynasty - four generations, from revolutionary France to the 1970s. At its heart are the three Cartier brothers whose motto was 'Never copy, only create' and who made their family firm internationally famous in the early days of the twentieth century, thanks to their unique and complementary talents: Louis, the visionary designer who created the first men's wristwatch to help an aviator friend tell the time without taking his hands off the controls of his flying machine; Pierre, the master dealmaker who bought the New York headquarters on Fifth Avenue for a double-stranded natural pearl necklace; and Jacques, the globe-trotting gemstone expert whose travels to India gave Cartier access to the world's best rubies, emeralds, and sapphires, inspiring the celebrated Tutti Frutti jewelry. - Francesca Cartier Brickell, whose great-grandfather was the youngest of the brothers, has traveled the world researching her family's history, tracking down those connected with her ancestors and discovering long-lost pieces of the puzzle along the way. Now she reveals never-before-told dramas, romances, intrigues, betrayals, and more. - The Cartiers also offers a behind-the-scenes look at the firm's most iconic jewelry - the notoriously cursed Hope Diamond, the Romanov emeralds, the classic panther pieces - and the long line of stars from the worlds of fashion, film, and royalty who wore them, from Indian maharajas and Russian grand duchesses to Wallis Simpson, Coco Chanel, and Elizabeth Taylor. - Published in the two-hundredth anniversary year of the birth of the dynasty's founder, Louis-François Cartier, this book is a magnificent, definitive, epic social history shown through the deeply personal lens of one legendary family.
¶ The Cartiers is the revealing tale of a jewelry dynasty - four generations, from revolutionary France to the 1970s. At its heart are the three Cartier brothers whose motto was 'Never copy, only create' and who made their family firm internationally famous in the early days of the twentieth century, thanks to their unique and complementary talents: Louis, the visionary designer who created the first men's wristwatch to help an aviator friend tell the time without taking his hands off the controls of his flying machine; Pierre, the master dealmaker who bought the New York headquarters on Fifth Avenue for a double-stranded natural pearl necklace; and Jacques, the globe-trotting gemstone expert whose travels to India gave Cartier access to the world's best rubies, emeralds, and sapphires, inspiring the celebrated Tutti Frutti jewelry. - Francesca Cartier Brickell, whose great-grandfather was the youngest of the brothers, has traveled the world researching her family's history, tracking down those connected with her ancestors and discovering long-lost pieces of the puzzle along the way. Now she reveals never-before-told dramas, romances, intrigues, betrayals, and more. - The Cartiers also offers a behind-the-scenes look at the firm's most iconic jewelry - the notoriously cursed Hope Diamond, the Romanov emeralds, the classic panther pieces - and the long line of stars from the worlds of fashion, film, and royalty who wore them, from Indian maharajas and Russian grand duchesses to Wallis Simpson, Coco Chanel, and Elizabeth Taylor. - Published in the two-hundredth anniversary year of the birth of the dynasty's founder, Louis-François Cartier, this book is a magnificent, definitive, epic social history shown through the deeply personal lens of one legendary family.
Scriptum Art Books v.o.f.Professional sellerBook number: 7450
€ 41.00 [Appr.: US$ 44.25 | £UK 35 | JP¥ 6942]
Catalogue: Juwelen & edelstenen / Jewellery & Gemstones
Les Orfevres de Douai.
1995, (21,8 x 28 cm), 352 pp. French text, 15 colour- and 6 monochrome plates, 711 monochrome ills., hardcover and dustjacket.
¶ Dictionnaire des poincons de l'orfevrerie francaise, Cahiers du Patrimoine no. 42. Ouvrage de reference. Publie à l'occasion de l'exposition présentée au musée de la Chartreuse de Douai, 7 octobre 1995-8 janvier 1996. 252 Poincons de maitres-orfeveres sont recencés dans le dictionnaire avec leur biographie.
¶ Dictionnaire des poincons de l'orfevrerie francaise, Cahiers du Patrimoine no. 42. Ouvrage de reference. Publie à l'occasion de l'exposition présentée au musée de la Chartreuse de Douai, 7 octobre 1995-8 janvier 1996. 252 Poincons de maitres-orfeveres sont recencés dans le dictionnaire avec leur biographie.
Scriptum Art Books v.o.f.Professional sellerBook number: 7567
€ 125.00 [Appr.: US$ 134.9 | £UK 106.5 | JP¥ 21163]
Catalogue: Zilver & goud / Silver & gold
Prints in Paris 1900. Van elitair tot populair. (Incl. print Felix Valloton, La Paresse).
March 2017, (25.3 x 38 cm), 160 pp. Dutch text, 130 colour ills., hardcover. Includsing one facsimile print inserted.
¶ Tijdens de Franse fin de siècle (1890-1905) vierde de prentkunst hoogtij. Kunstenaars als Pierre Bonnard, Alexandre Steinlen en Henri de Toulouse-Lautrec experimenteerden intensief met nieuwe druktechnieken die prachtige en opvallende resultaten opleverden. Kunstenaars maakten niet alleen prenten voor de decoratie van woningen, vooral voor verzamelaars, ze produceerden ook toegepaste grafiek voor een breder publiek. De lezer van dit boek wordt meegenomen op een verkenning van deze veelzijdige kunstvorm, van de high art tot de kunst 'voor het volk'. Dit boek, fraai vormgegeven in 'prentstijl', wordt rijkelijk geïllustreerd met mooie voorbeelden van affiches, bladmuziek en tijdschriftillustraties, alsook exclusieve prenten voor verzamelaars. Met zijn schitterende en gevarieerde collectie van 1800 prenten is het Van Gogh Museum een wereldbekend onderzoekscentrum voor Van Gogh, zijn tijd en zijn tijdgenoten. met een facsimilé prent van Felix Valloton, La Paresse uit 1896 (25 x 33 cm).
¶ Tijdens de Franse fin de siècle (1890-1905) vierde de prentkunst hoogtij. Kunstenaars als Pierre Bonnard, Alexandre Steinlen en Henri de Toulouse-Lautrec experimenteerden intensief met nieuwe druktechnieken die prachtige en opvallende resultaten opleverden. Kunstenaars maakten niet alleen prenten voor de decoratie van woningen, vooral voor verzamelaars, ze produceerden ook toegepaste grafiek voor een breder publiek. De lezer van dit boek wordt meegenomen op een verkenning van deze veelzijdige kunstvorm, van de high art tot de kunst 'voor het volk'. Dit boek, fraai vormgegeven in 'prentstijl', wordt rijkelijk geïllustreerd met mooie voorbeelden van affiches, bladmuziek en tijdschriftillustraties, alsook exclusieve prenten voor verzamelaars. Met zijn schitterende en gevarieerde collectie van 1800 prenten is het Van Gogh Museum een wereldbekend onderzoekscentrum voor Van Gogh, zijn tijd en zijn tijdgenoten. met een facsimilé prent van Felix Valloton, La Paresse uit 1896 (25 x 33 cm).
Scriptum Art Books v.o.f.Professional sellerBook number: 6771
€ 45.00 [Appr.: US$ 48.57 | £UK 38.5 | JP¥ 7619]
Catalogue: Schilderkunst- algemeen / Painting - general
Anne-Pierre de Kat. Une vive intelligence visuelle.
1983, (22,5 x 31 cm), 140 pp. Frenchn numerous ills., hardcover with dustjacket. Numbered (1113) a limited edition of 1470 copies
¶ Well illuetrated monograph on the Dutch born, Belgian artis Anne-Pierre de Kat (Delft May 1st 1881 - La Frette-sur-Seine July 25th, 1968). Very good copy.
¶ Well illuetrated monograph on the Dutch born, Belgian artis Anne-Pierre de Kat (Delft May 1st 1881 - La Frette-sur-Seine July 25th, 1968). Very good copy.
Scriptum Art Books v.o.f.Professional sellerBook number: 8288
€ 75.00 [Appr.: US$ 80.94 | £UK 64 | JP¥ 12698]
Catalogue: Monografieën / Monographs
The Life & Letters of Gavin Hamilton (1723-1798). Artist & Art Dealer in Eighteenth-Century Rome
2012, (19,5 x 278 cm), 2 volumes, 895 pp. English text, 150 b/w ills., hardcover
¶ Gavin Hamilton (1723 - 1798), the Scottish-born painter who spent most of his life in Italy, was one of the most prominent figures among the artists and collectors of 18th-century Europe. Although he first went to Rome to further his career as a painter and pursue his interests in the Antique, he soon found himself in the circle of distinguished artists, critics and antiquarians, many of whom were British visitors to Italy on the Grand Tour seeking to build or augment their collections of paintings and ancient culture. It was thus an easy move for Hamilton to begin dealing in Old Master paintings and antiquities, and his activities as a dealer almost overshadowed his reputation as an innovative painter of classical themes. The present publication, with its introductory essay on Hamilton's life and career, and the corpus of more than 300 edited and annotated letters, provides a significant contribution to the literature on the history of collecting. It brings evidence of Hamilton's wide-ranging personal contacts with the most eminent collectors of the time and of the many great works of art that passed through his hands, among them Leonardo's Madonna of the Rocks (now in London, National Gallery), Tintoretto's large Adoration of the Shepherds (Cambridge, Fitzwilliam Museum), Salvator Rosa's Pythagoras (Fort Worth, Kimbell Museum). The correspondence documents Hamilton's dealings with agents and purchasers and provides new source material on the dispersal of Italian art collections, on the fate of individual pictures and more generally on British artistic taste in the second half of the eighteenth century. There is also a body of illustrations that includes both Hamilton's own works - history paintings and portraits - as well reproductions of some of the works mentioned in the letters.
¶ Gavin Hamilton (1723 - 1798), the Scottish-born painter who spent most of his life in Italy, was one of the most prominent figures among the artists and collectors of 18th-century Europe. Although he first went to Rome to further his career as a painter and pursue his interests in the Antique, he soon found himself in the circle of distinguished artists, critics and antiquarians, many of whom were British visitors to Italy on the Grand Tour seeking to build or augment their collections of paintings and ancient culture. It was thus an easy move for Hamilton to begin dealing in Old Master paintings and antiquities, and his activities as a dealer almost overshadowed his reputation as an innovative painter of classical themes. The present publication, with its introductory essay on Hamilton's life and career, and the corpus of more than 300 edited and annotated letters, provides a significant contribution to the literature on the history of collecting. It brings evidence of Hamilton's wide-ranging personal contacts with the most eminent collectors of the time and of the many great works of art that passed through his hands, among them Leonardo's Madonna of the Rocks (now in London, National Gallery), Tintoretto's large Adoration of the Shepherds (Cambridge, Fitzwilliam Museum), Salvator Rosa's Pythagoras (Fort Worth, Kimbell Museum). The correspondence documents Hamilton's dealings with agents and purchasers and provides new source material on the dispersal of Italian art collections, on the fate of individual pictures and more generally on British artistic taste in the second half of the eighteenth century. There is also a body of illustrations that includes both Hamilton's own works - history paintings and portraits - as well reproductions of some of the works mentioned in the letters.
Scriptum Art Books v.o.f.Professional sellerBook number: 7622
€ 195.00 [Appr.: US$ 210.45 | £UK 166 | JP¥ 33015]
Catalogue: Kunsthandel - Arttrade
Collecting Chinsese and Japanese Porcelain in Pre-Revolutionary Paris.
December 2013, 21,1 x 27,7 cm), 224 pp. English text, 145 colour- and 16 b/w/ ills., hardcover.
¶ This is a revealing look at porcelain collecting in the reign of Louis XIV through the 18th century. This beautifully illustrated volume traces the changing market for Chinese and Japanese porcelain in Paris from the early years of the reign of Louis XIV (1643-1715) through the 18th-century. The increase in the quantity and variety of East Asian wares imported during this period spurred efforts to record and analyze them, resulting in a profusion of inventories, sales catalogues, and treatises. These contemporary sources - many never published before - provide a comprehensive picture of porcelains: when they were first available; what kinds were most admired during various periods; where they were sold and at what price; who owned them; and how they were displayed and used.
¶ This is a revealing look at porcelain collecting in the reign of Louis XIV through the 18th century. This beautifully illustrated volume traces the changing market for Chinese and Japanese porcelain in Paris from the early years of the reign of Louis XIV (1643-1715) through the 18th-century. The increase in the quantity and variety of East Asian wares imported during this period spurred efforts to record and analyze them, resulting in a profusion of inventories, sales catalogues, and treatises. These contemporary sources - many never published before - provide a comprehensive picture of porcelains: when they were first available; what kinds were most admired during various periods; where they were sold and at what price; who owned them; and how they were displayed and used.
Scriptum Art Books v.o.f.Professional sellerBook number: 6091
€ 45.00 [Appr.: US$ 48.57 | £UK 38.5 | JP¥ 7619]
Catalogue: Aziatische kunst / Asiatic Art
Le gout pour les porcelaines de Chine et du Japon a Paris aux XVII et XVIII siecles.
2013, (21 x 27,5 cm), 224 pp. French text, 147 colour ills., hardcover with dustjacket.
¶ Porcelaines de Chine et du Japon à Paris au XVII° et XVIII° est réalisé à partir d'archives inédites, retrace les circuits commerciaux, l'évolution du goût et des usages de la porcelaine de Chine et du Japon aux XVII° et XVIII° siècles à Paris._Les contemporains privilégiaient l'effet d'ensemble à la qualité individuelle de chaque pièce. Ë table, les porcelaines du Japon étaient utilisées pour le service du dessert, apothéose du repas. Ë partir de la fin du XVII° siècle, les importations se diversifièrent et les nouvelles générations rejetèrent l'accumulation des bleus et blancs pour préférer les pièces polychromes et les céladons, présentées en moins grand nombre dans les appartements. Les amateurs les mêlaient avec leurs collections de peintures et de bronzes, appréciant le contraste des matériaux. Le développement des montures de bronze doré fit des porcelaines orientales montées de véritables objets d'art. Par le rôle important qu'elles jouèrent dans l'histoire du décor intérieur, les porcelaines de Chine et du Japon constituent un élément capital dans l'histoire du goût et des arts décoratifs européens au XVII` et XVIII` siècle.
¶ Porcelaines de Chine et du Japon à Paris au XVII° et XVIII° est réalisé à partir d'archives inédites, retrace les circuits commerciaux, l'évolution du goût et des usages de la porcelaine de Chine et du Japon aux XVII° et XVIII° siècles à Paris._Les contemporains privilégiaient l'effet d'ensemble à la qualité individuelle de chaque pièce. Ë table, les porcelaines du Japon étaient utilisées pour le service du dessert, apothéose du repas. Ë partir de la fin du XVII° siècle, les importations se diversifièrent et les nouvelles générations rejetèrent l'accumulation des bleus et blancs pour préférer les pièces polychromes et les céladons, présentées en moins grand nombre dans les appartements. Les amateurs les mêlaient avec leurs collections de peintures et de bronzes, appréciant le contraste des matériaux. Le développement des montures de bronze doré fit des porcelaines orientales montées de véritables objets d'art. Par le rôle important qu'elles jouèrent dans l'histoire du décor intérieur, les porcelaines de Chine et du Japon constituent un élément capital dans l'histoire du goût et des arts décoratifs européens au XVII` et XVIII` siècle.
Scriptum Art Books v.o.f.Professional sellerBook number: 5853
€ 49.95 [Appr.: US$ 53.91 | £UK 42.5 | JP¥ 8457]
Catalogue: Aziatische kunst / Asiatic Art
Le Gout pour les Laques d' Orient en France aux XVIIe et XVIIIe siecles
11 2019, (21,5 x 27,8 280 cm), pp. French text, numerous colour ills., hardcover with dustjacket
¶ Au XVIIe siècle, les termes 'lachinage' et surtout 'verni' désignaient les objets laqués. Le mot 'laque', bien que connu, commença à être employé dans l'acception actuelle à partir des années 1720, se développa à partir des années 1740, particulièrement dans les catalogues de vente, pour supplanter celui de verni, lequel resta toutefois en usage jusqu'à la fin du XVIIIe siècle. De nos jours, le terme laque employé au féminin désigne la matière première non mise en Ïuvre, tandis qu'au masculin il désigne un objet laqué. Cet ouvrage offre une synthèse de l'histoire du goût pour les laques en France à l'époque moderne, depuis leur importation jusqu'à leur usage, soit pratique soit comme pièces de collection. Cela permettra de distinguer les convergences et les divergences avec le commerce des porcelaines, dues à la nature des objets, à leur technique, à leurs usagesÉ Si l'appréhension des laques était différente de celle des porcelaines, l'intérêt suscité par ces objets témoignait de la fascination de l'Europe pour ces productions de la fabuleuse Asie. Les sources d'archives demeurent riches et variées. La correspondance et les mémoires de commerce, rédigés par et pour les employés de la Compagnie française des Indes orientales, portent peu de jugement de valeur esthétique pour aborder les laques de manière pratique avec une approche essentiellement commerciale. Ces remarques apportent néanmoins des renseignements précieux pour connaître leurs conceptions des attentes du marché français. Les inventaires après décès des marchands et des particuliers, collectionneurs ou non, apportent de nombreux renseignements sur l'état du marché, mais généralement sans description ni jugement de valeur. Ces derniers apparaissent dans les relations de voyageurs au Japon ou en Chine, dans certains traités techniques, dans les mémoires et les journaux des contemporains et surtout dans les catalogues de vente publiés dans la seconde moitié du XVIIIe siècle. Généralement, les commentaires sur les laques apparaissent bien moins abondants que ceux sur les porcelaines, peut-être en raison de leur relative rareté sur le marché. Cette recherche ne se veut pas une étude exhaustive de toutes les collections mais cherche à définir les grandes lignes qui caractérisaient le marché et le goût pour les laques et leur évolution sur deux siècles, afin de suivre l'évolution des sensibilités vis-à-vis de ces objets qui ont toujours fasciné les Occidentaux.
¶ Au XVIIe siècle, les termes 'lachinage' et surtout 'verni' désignaient les objets laqués. Le mot 'laque', bien que connu, commença à être employé dans l'acception actuelle à partir des années 1720, se développa à partir des années 1740, particulièrement dans les catalogues de vente, pour supplanter celui de verni, lequel resta toutefois en usage jusqu'à la fin du XVIIIe siècle. De nos jours, le terme laque employé au féminin désigne la matière première non mise en Ïuvre, tandis qu'au masculin il désigne un objet laqué. Cet ouvrage offre une synthèse de l'histoire du goût pour les laques en France à l'époque moderne, depuis leur importation jusqu'à leur usage, soit pratique soit comme pièces de collection. Cela permettra de distinguer les convergences et les divergences avec le commerce des porcelaines, dues à la nature des objets, à leur technique, à leurs usagesÉ Si l'appréhension des laques était différente de celle des porcelaines, l'intérêt suscité par ces objets témoignait de la fascination de l'Europe pour ces productions de la fabuleuse Asie. Les sources d'archives demeurent riches et variées. La correspondance et les mémoires de commerce, rédigés par et pour les employés de la Compagnie française des Indes orientales, portent peu de jugement de valeur esthétique pour aborder les laques de manière pratique avec une approche essentiellement commerciale. Ces remarques apportent néanmoins des renseignements précieux pour connaître leurs conceptions des attentes du marché français. Les inventaires après décès des marchands et des particuliers, collectionneurs ou non, apportent de nombreux renseignements sur l'état du marché, mais généralement sans description ni jugement de valeur. Ces derniers apparaissent dans les relations de voyageurs au Japon ou en Chine, dans certains traités techniques, dans les mémoires et les journaux des contemporains et surtout dans les catalogues de vente publiés dans la seconde moitié du XVIIIe siècle. Généralement, les commentaires sur les laques apparaissent bien moins abondants que ceux sur les porcelaines, peut-être en raison de leur relative rareté sur le marché. Cette recherche ne se veut pas une étude exhaustive de toutes les collections mais cherche à définir les grandes lignes qui caractérisaient le marché et le goût pour les laques et leur évolution sur deux siècles, afin de suivre l'évolution des sensibilités vis-à-vis de ces objets qui ont toujours fasciné les Occidentaux.
Scriptum Art Books v.o.f.Professional sellerBook number: 7515
€ 54.00 [Appr.: US$ 58.28 | £UK 46 | JP¥ 9143]
Catalogue: Aziatische kunst / Asiatic Art
Eyre de Lanux. Une decoratrice americaine a Paris.
09 2013, (24 x 31,3 cm), 220 pp. French text, numerous ills., hardcover.
¶ Born into the American aristocracy, Elizabeth Eyre de Lanux abandoned high society to pursue an artistic career. Starting her training with Constantin Brancusi, she then arrived in Paris in 1919, following her marriage to French diplomat and writer Pierre de Lanux. She soon met the designer Eileen Gray. Eyre took over Gray's research on laquer and continued experimenting with innovative materials not previously used in furniture, namely cork, amber and linoleum. With Evelyn Wyld, she created a literary universe in which the poetry of her rugs, blended with furniture and lamps in totally new ways, all in an environment of muted shades and modern comfort. An ambitious artist in the Surrealist Paris of the interwar years she wanted to believe in a peaceful future. But the crash of 1929 and World War II sounded the death knell for the career of this fresh new talent, ensuring that her creations became the rarest of objects. A bridge between the pioneering Eileen Gray and the rational Charlotte Perriand, like them, Eyre de Lanux drew inspiration from Japonism. Neither poor, nor stripped bare, her rare architectured interiors have remained secret until now. Elizabeth Eyre de Lanux is a recognised name but a forgotten talent. With Eileen Gray, Eyre de Lanux, Charlotte Perriand and Maria Pergay, the four cardinal points have now been identified.
¶ Born into the American aristocracy, Elizabeth Eyre de Lanux abandoned high society to pursue an artistic career. Starting her training with Constantin Brancusi, she then arrived in Paris in 1919, following her marriage to French diplomat and writer Pierre de Lanux. She soon met the designer Eileen Gray. Eyre took over Gray's research on laquer and continued experimenting with innovative materials not previously used in furniture, namely cork, amber and linoleum. With Evelyn Wyld, she created a literary universe in which the poetry of her rugs, blended with furniture and lamps in totally new ways, all in an environment of muted shades and modern comfort. An ambitious artist in the Surrealist Paris of the interwar years she wanted to believe in a peaceful future. But the crash of 1929 and World War II sounded the death knell for the career of this fresh new talent, ensuring that her creations became the rarest of objects. A bridge between the pioneering Eileen Gray and the rational Charlotte Perriand, like them, Eyre de Lanux drew inspiration from Japonism. Neither poor, nor stripped bare, her rare architectured interiors have remained secret until now. Elizabeth Eyre de Lanux is a recognised name but a forgotten talent. With Eileen Gray, Eyre de Lanux, Charlotte Perriand and Maria Pergay, the four cardinal points have now been identified.
Scriptum Art Books v.o.f.Professional sellerBook number: 8044
€ 67.50 [Appr.: US$ 72.85 | £UK 57.5 | JP¥ 11428]
Catalogue: Modern Design / Modern Design
Oishii !. Essen in Japan.
November 2016, (21,6 x 27,9 cm), 270 pp. German text, numerous ills.,, hardcover.
¶ 'Oishii!' 'Delicious!' is the most common word in Japan to describe food. Expressing culinary taste goes hand in hand with the social and cultural identity of those eating it. Hence food is much more than nutrition; rather it is tied to all areas of human life and illustrates the various aspects of a society and its culture. Against this backdrop and for the first time in German renowned authors devote themselves to Japanese food and drink culture. How is rice cultivated? How do you catch bonitos? What is the secret to good sake and how did green tea become a lifestyle product? Hitherto partly undisclosed treasures from the Linden-Museum Stuttgart and valuable examples from home and abroad draw attention to the rich material culture of food and drink in Japan. Text in German.
¶ 'Oishii!' 'Delicious!' is the most common word in Japan to describe food. Expressing culinary taste goes hand in hand with the social and cultural identity of those eating it. Hence food is much more than nutrition; rather it is tied to all areas of human life and illustrates the various aspects of a society and its culture. Against this backdrop and for the first time in German renowned authors devote themselves to Japanese food and drink culture. How is rice cultivated? How do you catch bonitos? What is the secret to good sake and how did green tea become a lifestyle product? Hitherto partly undisclosed treasures from the Linden-Museum Stuttgart and valuable examples from home and abroad draw attention to the rich material culture of food and drink in Japan. Text in German.
Scriptum Art Books v.o.f.Professional sellerBook number: 6937
€ 40.75 [Appr.: US$ 43.98 | £UK 34.75 | JP¥ 6899]
Catalogue: Aziatische kunst / Asiatic Art - Japan
La Natura Morta Italiana. Catalogi della mostro.
1964, (17,7 x 24 cm). 158 pp. Italian text + 94 pp. with 166 plates, softcover.
¶ Exhibition catalogue on Italian stillife painting from ca. 1400 to the 1950s. The exhibition opened in thhe Palazzo Real in Napels and was also exhibited in Kunsthaus Zürich/ Boijmans-van Beuningen, Rotterdam. Several introductory texts, Catalogue of 371 works, bibliography, index of artists.
¶ Exhibition catalogue on Italian stillife painting from ca. 1400 to the 1950s. The exhibition opened in thhe Palazzo Real in Napels and was also exhibited in Kunsthaus Zürich/ Boijmans-van Beuningen, Rotterdam. Several introductory texts, Catalogue of 371 works, bibliography, index of artists.
Scriptum Art Books v.o.f.Professional sellerBook number: 8013
€ 12.50 [Appr.: US$ 13.49 | £UK 10.75 | JP¥ 2116]
Japanese Prints in the Rijksmuseum - 5 volumes complete catalogue of Japanese Prints in the Rijksmuseum Amsterdam,
Published between 1977-1990, (21 x 29,5 cm), together 732 pages English text, profusely illisterated in colour and b/w), paperback.
¶ Scarce complete set of 5 volumes. Catalogue of the collection Japanese Prints in the Rijksmuseum,Amsterdam. Set of 5 volumes complete. Vol. !: The Age of Harunobu (early Japanese Prints c.1700-1780). Vol 2: The Age of Utamaro (Japanese Prints c. 1780-180). Vol 3: Hokusai and his School (Japanese Prints c.1800-1840). Vol 4: Hiroshige and the Utagawa school ((Japanese Prints c.1810-1860)/ Vol 5: The Age of Yoshitoshi. (Japanese prints From the Meiji and Taisho periods. Nagasaki, Yokohama and Kamigata prints). Fine condition.
¶ Scarce complete set of 5 volumes. Catalogue of the collection Japanese Prints in the Rijksmuseum,Amsterdam. Set of 5 volumes complete. Vol. !: The Age of Harunobu (early Japanese Prints c.1700-1780). Vol 2: The Age of Utamaro (Japanese Prints c. 1780-180). Vol 3: Hokusai and his School (Japanese Prints c.1800-1840). Vol 4: Hiroshige and the Utagawa school ((Japanese Prints c.1810-1860)/ Vol 5: The Age of Yoshitoshi. (Japanese prints From the Meiji and Taisho periods. Nagasaki, Yokohama and Kamigata prints). Fine condition.
Scriptum Art Books v.o.f.Professional sellerBook number: 6373
€ 150.00 [Appr.: US$ 161.89 | £UK 127.75 | JP¥ 25396]
Catalogue: Aziatische kunst / Asiatic Art - China
Ko-sometsuke. Chinese porcelain for the Japanse Market.
October 2013, (23,5 x 29,7 cm), 112 pp. English text, 112 colour ills., hardcover.
¶ This exhibition catalogue presents an intriguing group of ko-sometsuke food dishes, known as mukozuke, which were produced in a variety of shapes, including fish, horses, oxen, leaves, peaches, aubergines, shells, fans and musical instruments, amongst others. Ko-sometsuke ('old blue and white') porcelain was produced specifically for the Japanese market during the final decades of the Ming dynasty (1368-1644). The lack of Chinese imperial patronage during this period prompted the potters at the Jingdezhen kilns, Jiangxi province, to seek out new markets for their porcelain. This coincided with the rising popularity of the tea ceremony in Japan, which required a number of different utensils. Fulfilling the orders that followed from Japanese tea masters resulted in the flourishing of Chinese porcelain trade to Japan at this time. Ko-sometsuke wares were made to Japanese taste, in an astonishing variety of odd, asymmetrical and occasionally humorous forms. In contrast to the traditional blue and white wares produced at Jingdezhen, ko-sometsuke porcelain was deliberately potted in a rough manner from poorly levigated clay, and bears numerous flaws and imperfections as a result. The mushikui or 'moth-eaten' edges, which are so prevalent among these wares, were particularly prized in Japan. The sheer diversity of unique shapes amongst these mukozuke alone is not only a testament to this highly creative period at Jingdezhen. It is also representative of the adaptable nature of the Chinese potters and the cultural interactions between China and Japan during this period.
¶ This exhibition catalogue presents an intriguing group of ko-sometsuke food dishes, known as mukozuke, which were produced in a variety of shapes, including fish, horses, oxen, leaves, peaches, aubergines, shells, fans and musical instruments, amongst others. Ko-sometsuke ('old blue and white') porcelain was produced specifically for the Japanese market during the final decades of the Ming dynasty (1368-1644). The lack of Chinese imperial patronage during this period prompted the potters at the Jingdezhen kilns, Jiangxi province, to seek out new markets for their porcelain. This coincided with the rising popularity of the tea ceremony in Japan, which required a number of different utensils. Fulfilling the orders that followed from Japanese tea masters resulted in the flourishing of Chinese porcelain trade to Japan at this time. Ko-sometsuke wares were made to Japanese taste, in an astonishing variety of odd, asymmetrical and occasionally humorous forms. In contrast to the traditional blue and white wares produced at Jingdezhen, ko-sometsuke porcelain was deliberately potted in a rough manner from poorly levigated clay, and bears numerous flaws and imperfections as a result. The mushikui or 'moth-eaten' edges, which are so prevalent among these wares, were particularly prized in Japan. The sheer diversity of unique shapes amongst these mukozuke alone is not only a testament to this highly creative period at Jingdezhen. It is also representative of the adaptable nature of the Chinese potters and the cultural interactions between China and Japan during this period.
Scriptum Art Books v.o.f.Professional sellerBook number: 5638
€ 95.00 [Appr.: US$ 102.53 | £UK 81 | JP¥ 16084]
Catalogue: Aziatische kunst / Asiatic Art - China
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