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Serrurier-Bovy. A visionary designer 1858-1910
2008, (23 x 30 cm), 300 pp. English text, some 500 colour ills., clothbound/ dustwrappers
¶ New Price / Nouveau Prix/ Nieuwe Prijs 105,00 now 67,50 EURO // The oeuvre of Gustave Serrurier, more than fifty years before Le Corbusier and Charlotte Perriand, blazed the trail to contemporary design. Gustave Serrurier, known as Serrurier-Bovy, was born in Liège in 1858 and died in the same city in 1910. He was one of most original figures in the Belgian avant-garde and the international art revival which characterised the decorative arts and architecture in the late nineteenth and early twentieth century. Initially destined for architecture, he switched to the design and manufacture of furniture and décors, taking over the home decoration store run by his wife, Marie Bovy. He shook free of Art Nouveau aesthetics and the return to craftsmanship advocated by the Arts and Crafts movement to design furniture for the masses with a rational aesthetic, stripped of all superfluous ornament, which heralded the modern home. This richly illustrated book is the fruit of fifteen years of research by the owners of the Château of La Cheyrelle, remodelled by Gustave Serrurier. It traces the life of the architect-designer and looks at all the facets of his oeuvre from his avant-garde thinking to his main furniture and architectural designs. A detailed analysis of his production unravels its complexity and restores Gustave Serrurier to his rightful place as a visionary designer at the dawn of the twentieth century.
¶ New Price / Nouveau Prix/ Nieuwe Prijs 105,00 now 67,50 EURO // The oeuvre of Gustave Serrurier, more than fifty years before Le Corbusier and Charlotte Perriand, blazed the trail to contemporary design. Gustave Serrurier, known as Serrurier-Bovy, was born in Liège in 1858 and died in the same city in 1910. He was one of most original figures in the Belgian avant-garde and the international art revival which characterised the decorative arts and architecture in the late nineteenth and early twentieth century. Initially destined for architecture, he switched to the design and manufacture of furniture and décors, taking over the home decoration store run by his wife, Marie Bovy. He shook free of Art Nouveau aesthetics and the return to craftsmanship advocated by the Arts and Crafts movement to design furniture for the masses with a rational aesthetic, stripped of all superfluous ornament, which heralded the modern home. This richly illustrated book is the fruit of fifteen years of research by the owners of the Château of La Cheyrelle, remodelled by Gustave Serrurier. It traces the life of the architect-designer and looks at all the facets of his oeuvre from his avant-garde thinking to his main furniture and architectural designs. A detailed analysis of his production unravels its complexity and restores Gustave Serrurier to his rightful place as a visionary designer at the dawn of the twentieth century.
Scriptum Art Books v.o.f.Professional sellerBook number: 5079
€ 67.50 [Appr.: US$ 72.81 | £UK 58 | JP¥ 11391]
Catalogue: Art Nouveau/ Art Deco
Het oog van Jan Veth. Schilder en criticus rond 1900.
02 2023, (24 x 28 cm), 224 pp. Dutch, ca. 200 ills., hardcover.
¶ Jan Veth (1864-1925) is één van de meeste gewaardeerde portretschilders en meest gerespecteerde kunstcritici van zijn tijd. Veth schildert met zijn pen, verfijnd en doortastend, en schrijft met zijn penseel, vurig en poëtisch. En altijd is er die geconcentreerde en doortastende blik. In de kunstgeschiedenis is Veths intelligente en vlijmscherpe mening over kunst toonaangevend en zijn inzet voor het openbaar kunstbezit geldt nog tot de dag van vandaag. Jan Veth ziet als een van de eersten in Nederland het talent van Vincent van Gogh, bejubelt het werk van Breitner en Jan Toorop en staat als groot Rembrandt-kenner aan de wieg van Museum het Rembrandthuis. Dit boek vertelt over deze veelzijdige kunstenaar. Een gedreven avantgardist, een geroemd portretschilder en een gepassioneerd kunstbepleiter.
¶ Jan Veth (1864-1925) is één van de meeste gewaardeerde portretschilders en meest gerespecteerde kunstcritici van zijn tijd. Veth schildert met zijn pen, verfijnd en doortastend, en schrijft met zijn penseel, vurig en poëtisch. En altijd is er die geconcentreerde en doortastende blik. In de kunstgeschiedenis is Veths intelligente en vlijmscherpe mening over kunst toonaangevend en zijn inzet voor het openbaar kunstbezit geldt nog tot de dag van vandaag. Jan Veth ziet als een van de eersten in Nederland het talent van Vincent van Gogh, bejubelt het werk van Breitner en Jan Toorop en staat als groot Rembrandt-kenner aan de wieg van Museum het Rembrandthuis. Dit boek vertelt over deze veelzijdige kunstenaar. Een gedreven avantgardist, een geroemd portretschilder en een gepassioneerd kunstbepleiter.
Scriptum Art Books v.o.f.Professional sellerBook number: 8319
€ 35.00 [Appr.: US$ 37.75 | £UK 30.25 | JP¥ 5907]
Catalogue: Monografieën / Monographs
Armando. Bruchstücke / Brokstukken.
(14,1 x 21,1 cm), 72 pp. Dutch / German text, ills., hardcover.
¶ De schilderijen en beelden van de Nederlandse kusntenaar Armando (Amsterdam, 1929), die ook als schrijver naam heeft gemaakt, raken de beschouwer met een ongewone intensiteit. Met hun krachtige beeldtaal en sobere figuratie wekken ze een veelheid aan associaties op. Als aanklacht tegen geweld, oorlog en bedreiging zijn ze actueler dan ooit. Een representatieve selectie van schilderijen, sculpturen en eigen teksten in deze publicatie slaat een brug tussen Armando's vroege en zijn late werk. Die Auseinandersetzung mit der 'Präsenz des Bösen' ist eines der bestimmenden Themen in der Kunst von Armando. Seine eigenen Erlebnisse im Zweiten Weltkrieg und Erinnerungen an das 'Durchgangslager' Kamp Amersfoort, in dem die deutschen Besatzer ein Konzentrationslager einrichteten, wurden in den späten 1960er Jahren Gegenstand seiner schriftstellerischen Arbeiten, seiner Malerei und ab Ende der 1980er Jahre seiner Skulpturen. Sein bildhauerisches Werk wird seit den 1990er Jahren durch das Fragmentarische bestimmt, das in seiner Reduktion eine Vielzahl an Assoziationen zulässt: 'Der Rest eines Baumes ist ein treffliches Sinnbild der Unbeugsamkeit und dergleichen. So sollen meine Sachen auch immer wirken: wie ein Rest. Ich will keine nagelneuen Dinge schaffen.'
¶ De schilderijen en beelden van de Nederlandse kusntenaar Armando (Amsterdam, 1929), die ook als schrijver naam heeft gemaakt, raken de beschouwer met een ongewone intensiteit. Met hun krachtige beeldtaal en sobere figuratie wekken ze een veelheid aan associaties op. Als aanklacht tegen geweld, oorlog en bedreiging zijn ze actueler dan ooit. Een representatieve selectie van schilderijen, sculpturen en eigen teksten in deze publicatie slaat een brug tussen Armando's vroege en zijn late werk. Die Auseinandersetzung mit der 'Präsenz des Bösen' ist eines der bestimmenden Themen in der Kunst von Armando. Seine eigenen Erlebnisse im Zweiten Weltkrieg und Erinnerungen an das 'Durchgangslager' Kamp Amersfoort, in dem die deutschen Besatzer ein Konzentrationslager einrichteten, wurden in den späten 1960er Jahren Gegenstand seiner schriftstellerischen Arbeiten, seiner Malerei und ab Ende der 1980er Jahre seiner Skulpturen. Sein bildhauerisches Werk wird seit den 1990er Jahren durch das Fragmentarische bestimmt, das in seiner Reduktion eine Vielzahl an Assoziationen zulässt: 'Der Rest eines Baumes ist ein treffliches Sinnbild der Unbeugsamkeit und dergleichen. So sollen meine Sachen auch immer wirken: wie ein Rest. Ich will keine nagelneuen Dinge schaffen.'
Scriptum Art Books v.o.f.Professional sellerBook number: 6746
€ 15.00 [Appr.: US$ 16.18 | £UK 13 | JP¥ 2531]
Catalogue: Monografieën / Monographs
High Society. (Nederlands)
March 2018, (23,1 x 30 cm), pp. Dutch text, numerous colour ills., paperback.
Scriptum Art Books v.o.f.Professional sellerBook number: 7055
€ 25.00 [Appr.: US$ 26.97 | £UK 21.5 | JP¥ 4219]
Catalogue: Schilderkunst- algemeen / Painting - general
De late Rembrandt.
November 2014, (24 x 29,1 cm), 304 pp. Dutch text, 220 colour ills., paperback.
¶ Juist in de grofweg laatste twintig jaar van zijn carrière vervaardigde Rembrandt (1606-1669) zijn meest karakteristieke en gewaagde schilderijen, etsen en tekeningen. Met het klimmen der jaren, en ondanks een aantal ingrijpende tegenslagen in zijn persoonlijke en professionele leven, kreeg zijn creativiteit een nieuwe impuls en veranderde hij radicaal van stijl. Kenmerkend voor zijn late periode zijn innovatieve expressieve technieken, onconventionele interpretaties van traditionele thema's, originele lichteffecten en invoelende verbeeldingen van de diepste menselijke emoties en gedachten. Deze uitgave mag zonder meer gezien worden als een herwaardering van zijn late oeuvre, zowel op doek als op papier, en geeft een invoelend en compleet beeld van de kenmerken en kwaliteiten van zijn late werk - het absolute hoogtepunt van Rembrandts uitzonderlijke talent. Begeleidt de tentoonstelling in de National Gallery in Londen (15 oktober 2014 - 18 januari 2015) en in het Rijksmuseum in Amsterdam (12 februari - 17 mei 2015).
¶ Juist in de grofweg laatste twintig jaar van zijn carrière vervaardigde Rembrandt (1606-1669) zijn meest karakteristieke en gewaagde schilderijen, etsen en tekeningen. Met het klimmen der jaren, en ondanks een aantal ingrijpende tegenslagen in zijn persoonlijke en professionele leven, kreeg zijn creativiteit een nieuwe impuls en veranderde hij radicaal van stijl. Kenmerkend voor zijn late periode zijn innovatieve expressieve technieken, onconventionele interpretaties van traditionele thema's, originele lichteffecten en invoelende verbeeldingen van de diepste menselijke emoties en gedachten. Deze uitgave mag zonder meer gezien worden als een herwaardering van zijn late oeuvre, zowel op doek als op papier, en geeft een invoelend en compleet beeld van de kenmerken en kwaliteiten van zijn late werk - het absolute hoogtepunt van Rembrandts uitzonderlijke talent. Begeleidt de tentoonstelling in de National Gallery in Londen (15 oktober 2014 - 18 januari 2015) en in het Rijksmuseum in Amsterdam (12 februari - 17 mei 2015).
Scriptum Art Books v.o.f.Professional sellerBook number: 8263
€ 10.00 [Appr.: US$ 10.79 | £UK 8.75 | JP¥ 1688]
Catalogue: Monografieën / Monographs
![DROST - Bikker, Jonathan:, Willem Drost [1633-1659]. A Rembrandt Pupil in Amsterdam and Venice.](https://www.antiqbook.com/images/AB_images/s/scr_5801.jpg "Click to enlarge")
Willem Drost [1633-1659]. A Rembrandt Pupil in Amsterdam and Venice.
January 2006, (*24,5 x 38,5 cm), 320 pp. English text, 170 ills., (20 colour), hardcover.
¶ Willem Drost was one of Rembrandt's most gifted pupils, and he is also considered one of the most mysterious. This book, the first ever devoted to this exceptional artist, unravels many of the mysteries of Drost's life and career. Curator and art historian Jonathan Bikker offers not only new archival evidence of the artist's date and place of death but also a new assessment of Drost's place in the Rembrandt workshop and in the Venetian art world of the mid-seventeenth century. Drost emerges as one of Rembrandt's most talented imitators and, despite his short career, an artist with a variety of faces. The book features a meticulously researched and fully illustrated catalogue raisonne with 38 paintings now attributed to Drost (several formerly attributed to Rembrandt) and 35 other paintings today known only from old sale catalogues or reproductions. The author also discusses 32 paintings he rejects as Drost's work.
¶ Willem Drost was one of Rembrandt's most gifted pupils, and he is also considered one of the most mysterious. This book, the first ever devoted to this exceptional artist, unravels many of the mysteries of Drost's life and career. Curator and art historian Jonathan Bikker offers not only new archival evidence of the artist's date and place of death but also a new assessment of Drost's place in the Rembrandt workshop and in the Venetian art world of the mid-seventeenth century. Drost emerges as one of Rembrandt's most talented imitators and, despite his short career, an artist with a variety of faces. The book features a meticulously researched and fully illustrated catalogue raisonne with 38 paintings now attributed to Drost (several formerly attributed to Rembrandt) and 35 other paintings today known only from old sale catalogues or reproductions. The author also discusses 32 paintings he rejects as Drost's work.
Scriptum Art Books v.o.f.Professional sellerBook number: 5801
€ 69.50 [Appr.: US$ 74.96 | £UK 59.75 | JP¥ 11729]
Catalogue: Monografieën / Monographs
Charlie Rennie Mackintosh: The Complete Furniture, Furnitue Drawings & Interior Designs.
08 2020, (23,4 x 33,6 cm). 320 pp. English, 900 ills., (colour & b/w), hardcover
¶ Roger Billcliffe's groundbreaking catalogue raisonné of the furniture of Charles Rennie Mackintosh first appeared over four decades ago. Back in print for the first time since it was published in 2009, the revised fourth edition takes into account the host of discoveries and developments in Mackintosh scholarship since the book's first publication. Among the 900 illustrations, many items that were shown in black and white in previous editions now appear in colour. An impressive and stimulating work of scholarship, this is the only comprehensive work on the furniture of Charles Rennie Mackintosh, the most important British designer and architect since Robert Adam. This is essential reading and a crucial reference for anyone with an interest in twentieth-century design, this is the definitive work on a designer of world renown and influence.
¶ Roger Billcliffe's groundbreaking catalogue raisonné of the furniture of Charles Rennie Mackintosh first appeared over four decades ago. Back in print for the first time since it was published in 2009, the revised fourth edition takes into account the host of discoveries and developments in Mackintosh scholarship since the book's first publication. Among the 900 illustrations, many items that were shown in black and white in previous editions now appear in colour. An impressive and stimulating work of scholarship, this is the only comprehensive work on the furniture of Charles Rennie Mackintosh, the most important British designer and architect since Robert Adam. This is essential reading and a crucial reference for anyone with an interest in twentieth-century design, this is the definitive work on a designer of world renown and influence.
Scriptum Art Books v.o.f.Professional sellerBook number: 8321
€ 220.00 [Appr.: US$ 237.3 | £UK 189 | JP¥ 37127]
Catalogue: Meubelen / Furniture
Chefs-d'oevre d'orfevrerie allemande Renaissance et baroque.
October 2017, (21,5 x 28,5 cm), 304 pp., French text, 250 ills., paperback.
¶ La collection d'orfèvrerie allemande du musée national de la Renaissance à Écouen, la plus importante en France avec celles du Louvre et des musées alsaciens, recèle de nombreux chefs-d'Ïuvre inédits. Restées injustement méconnues, ces créations des grands orfèvres de l'Empire des Habsbourg et de leurs voisins germanophones traduisent avec une prodigieuse virtuosité les plus belles thématiques de la Renaissance : plasticité des formes et exotisme des matières, culture antique et répertoire grotesque s'y mêlent harmonieusement. L'orfèvrerie française de cette période ayant quasi disparu, ces objets peuvent évoquer tous les trésors des Kunstkammern européennes de la Renaissance. Avec la Daphné d'Écouen et le grand bassin du Louvre, chefs-d'Ïuvre du célèbre Wenzel Jamnitzer, c'est une centaine de coupes en vermeil, de gobelets niellés, de chopes ciselées et de groupes équestres que cet ouvrage, collabo
¶ La collection d'orfèvrerie allemande du musée national de la Renaissance à Écouen, la plus importante en France avec celles du Louvre et des musées alsaciens, recèle de nombreux chefs-d'Ïuvre inédits. Restées injustement méconnues, ces créations des grands orfèvres de l'Empire des Habsbourg et de leurs voisins germanophones traduisent avec une prodigieuse virtuosité les plus belles thématiques de la Renaissance : plasticité des formes et exotisme des matières, culture antique et répertoire grotesque s'y mêlent harmonieusement. L'orfèvrerie française de cette période ayant quasi disparu, ces objets peuvent évoquer tous les trésors des Kunstkammern européennes de la Renaissance. Avec la Daphné d'Écouen et le grand bassin du Louvre, chefs-d'Ïuvre du célèbre Wenzel Jamnitzer, c'est une centaine de coupes en vermeil, de gobelets niellés, de chopes ciselées et de groupes équestres que cet ouvrage, collabo
Scriptum Art Books v.o.f.Professional sellerBook number: 6982
€ 62.50 [Appr.: US$ 67.41 | £UK 53.75 | JP¥ 10547]
Catalogue: Zilver & goud / Silver & gold
Orfevrerie de la Renaissance et des Temps Modernes. XVIe, XVIIe et XVIIIe siecles. La collection du musee du Louvre.
11 2022, (24 x 32 cm), 3 volums, 1048 pp., French text, over 2.400 ills., hardcover in decorated slipcase.
¶ The Louvre's collection of modern goldsmithing, which includes nearly 900 objects made between 1500 and 1800 in France and Europe, stands out for its exceptional scale. Its slow constitution undoubtedly makes it the most beautiful collection in the world, testifying to a long history born in the royal collections, revived by the taste of 19th century enthusiasts and extended to this day by the will of curators. of the museum and the generosity of the greatest patrons. 18th century goldwork is best represented there, thanks to the large aristocratic tableware services, but it also includes toilet objects, lighting and beautiful examples of religious goldwork dating back to the 16th century, such as the treasure of the order of the Holy Spirit. His masterpieces come from the personal collections of the kings of France and princes of the royal family, but also from European sovereigns who, like Joseph I of Portugal or George III of England, were clients of the goldsmiths of Paris. To these exceptional pieces were added in 1955 those from the Puiforcat collection which today forms a body of study unique in the world. The culmination of thirty years of research, this publication offers a true renewal of knowledge on the history of works, styles, iconography and heraldry. The abundantly illustrated and referenced instructions include photographs of the hallmarks. In addition, 262 biographies of goldsmiths, an index and a heraldic table facilitate the use of this work designed to become a lasting reference.
¶ The Louvre's collection of modern goldsmithing, which includes nearly 900 objects made between 1500 and 1800 in France and Europe, stands out for its exceptional scale. Its slow constitution undoubtedly makes it the most beautiful collection in the world, testifying to a long history born in the royal collections, revived by the taste of 19th century enthusiasts and extended to this day by the will of curators. of the museum and the generosity of the greatest patrons. 18th century goldwork is best represented there, thanks to the large aristocratic tableware services, but it also includes toilet objects, lighting and beautiful examples of religious goldwork dating back to the 16th century, such as the treasure of the order of the Holy Spirit. His masterpieces come from the personal collections of the kings of France and princes of the royal family, but also from European sovereigns who, like Joseph I of Portugal or George III of England, were clients of the goldsmiths of Paris. To these exceptional pieces were added in 1955 those from the Puiforcat collection which today forms a body of study unique in the world. The culmination of thirty years of research, this publication offers a true renewal of knowledge on the history of works, styles, iconography and heraldry. The abundantly illustrated and referenced instructions include photographs of the hallmarks. In addition, 262 biographies of goldsmiths, an index and a heraldic table facilitate the use of this work designed to become a lasting reference.
Scriptum Art Books v.o.f.Professional sellerBook number: 8454
€ 185.00 [Appr.: US$ 199.55 | £UK 159 | JP¥ 31220]
Catalogue: Zilver & goud / Silver & gold
Les orfèvres parisiens de la Renaissance, 1506-1620.
01 1992, (21,5 x 28 cm), 692 pp. French tex, numerous ills, in b/w., reproductions of marks, hardcover in decoratieve slipcase.
¶ L'ossature du livre, conformément aux exigences de la Commission des Travaux historiques de la Ville de Paris, est constituée par l'analyse de textes d'archives. Le catalogue des objets présente 82 pièces d'orfèvrerie parisienne, civile et religieuse. L'auteur publie environ 700 poinçons d'orfèvres dont les descriptions lui ont été fournies par les documents d'archives. Le dictionnaire biographique, qui est l'un des apports majeurs de son ouvrage, recense 2 100 personnes ayant exercé le métier d'orfèvre à Paris entre 1500 et 1650 environ.
¶ L'ossature du livre, conformément aux exigences de la Commission des Travaux historiques de la Ville de Paris, est constituée par l'analyse de textes d'archives. Le catalogue des objets présente 82 pièces d'orfèvrerie parisienne, civile et religieuse. L'auteur publie environ 700 poinçons d'orfèvres dont les descriptions lui ont été fournies par les documents d'archives. Le dictionnaire biographique, qui est l'un des apports majeurs de son ouvrage, recense 2 100 personnes ayant exercé le métier d'orfèvre à Paris entre 1500 et 1650 environ.
Scriptum Art Books v.o.f.Professional sellerBook number: 7565
€ 145.00 [Appr.: US$ 156.4 | £UK 124.75 | JP¥ 24470]
Catalogue: Zilver & goud / Silver & gold
Bauhausleuchten ? Kademlicht ! / Bauhaus Lighting ? Kandem Light !
Stuttgart 2002, (25 x 29 cm), 160 pp. English/German text, some ills. (150 in colour), clothb./d-jacket.
¶ The aim of co-operating with partners from industry, first postulated by Walter Gropius, was a central concept of the Bauhaus in Dessau. One of the rare successes were several KANDEM lights produced by Körting & Mathiesen in Leipzig. Co-operation with the Bauhaus provided the industrial business with a creative partner for the design of its lights, while the Bauhaus artists (Marianne Brandt, Hin Bredendieck and others) found a wealthy realizer for their design ideas. Models like the Kandem desk lights and Kandem bedside lights sold well and were a financial success. This publication for the first time brings together all known Kandem lights that were designed and produced in co-operation with the Bauhaus in Dessau. Contributions by noted experts present a comprehensive history based on many previously unknown sources and documents, as well as biographies of the artists and industrialists involved and a survey of marks. An exciting chapter of early product design at the Bauhaus!
¶ The aim of co-operating with partners from industry, first postulated by Walter Gropius, was a central concept of the Bauhaus in Dessau. One of the rare successes were several KANDEM lights produced by Körting & Mathiesen in Leipzig. Co-operation with the Bauhaus provided the industrial business with a creative partner for the design of its lights, while the Bauhaus artists (Marianne Brandt, Hin Bredendieck and others) found a wealthy realizer for their design ideas. Models like the Kandem desk lights and Kandem bedside lights sold well and were a financial success. This publication for the first time brings together all known Kandem lights that were designed and produced in co-operation with the Bauhaus in Dessau. Contributions by noted experts present a comprehensive history based on many previously unknown sources and documents, as well as biographies of the artists and industrialists involved and a survey of marks. An exciting chapter of early product design at the Bauhaus!
Scriptum Art Books v.o.f.Professional sellerBook number: 3062
€ 125.00 [Appr.: US$ 134.83 | £UK 107.5 | JP¥ 21095]
Catalogue: Modern Design / Modern Design
Matthijs Maris. (English editie).
October 2017, (23,5 x 30,5 cm), 296 pp. English text, 300 colour ils., hardcover.
¶ The first complete standard work on this exceptional, enigmatic painter. Matthijs Maris initially acquired fame as a painter in the style of the The Hague School, just like his famous brothers Jacob and Willem. However, over the years he abandoned this realistic palette for more introverted and symbolic themes and started portraying dreamy children, young people on the verge of adulthood, fairytale figures and mythical landscapes using an increasingly smudged painting technique. Even in his own time, Maris was admired at home and abroad by collectors and artists including Vincent van Gogh. In spite of, or perhaps due to his success, Matthijs Maris grew increasingly bitter and spent his last years in his London studio, lonely and almost a recluse. This publication tells the striking story of the painter Matthijs Maris (1839-1917). With over 75 paintings, drawings, etchings and pieces of applied art the Rijksmuseum, partly thanks to a unique loan agreement with The Burrell Collection in Glasgow, provides a broad overview of this unjustly forgotten artist. Richard Bionda is an art historian. Until recently, he was associated with the Vrije Universiteit Amsterdam
¶ The first complete standard work on this exceptional, enigmatic painter. Matthijs Maris initially acquired fame as a painter in the style of the The Hague School, just like his famous brothers Jacob and Willem. However, over the years he abandoned this realistic palette for more introverted and symbolic themes and started portraying dreamy children, young people on the verge of adulthood, fairytale figures and mythical landscapes using an increasingly smudged painting technique. Even in his own time, Maris was admired at home and abroad by collectors and artists including Vincent van Gogh. In spite of, or perhaps due to his success, Matthijs Maris grew increasingly bitter and spent his last years in his London studio, lonely and almost a recluse. This publication tells the striking story of the painter Matthijs Maris (1839-1917). With over 75 paintings, drawings, etchings and pieces of applied art the Rijksmuseum, partly thanks to a unique loan agreement with The Burrell Collection in Glasgow, provides a broad overview of this unjustly forgotten artist. Richard Bionda is an art historian. Until recently, he was associated with the Vrije Universiteit Amsterdam
Scriptum Art Books v.o.f.Professional sellerBook number: 6801
€ 40.00 [Appr.: US$ 43.14 | £UK 34.5 | JP¥ 6750]
Catalogue: Monografieën / Monographs
De schilders van Tachtig. Nederlandse schilderkunst 1880-1895.
Zwolle/ Amsterdam 1991, 343 pp. Dutch text, 254 ills. (c.178 colour), paperback.
¶ Tentoonstellingscatalogus Van Gogh Museum Amsterdam. Essays over de Nederlandse schilderkunst 1880-1895. Catalogus met 178 uitvoerig beschreven werken (in kleur gereproduceerd), biografische gegevens, bibliografie.
¶ Tentoonstellingscatalogus Van Gogh Museum Amsterdam. Essays over de Nederlandse schilderkunst 1880-1895. Catalogus met 178 uitvoerig beschreven werken (in kleur gereproduceerd), biografische gegevens, bibliografie.
Scriptum Art Books v.o.f.Professional sellerBook number: 3197
€ 25.00 [Appr.: US$ 26.97 | £UK 21.5 | JP¥ 4219]
De schilders van Tachtig. Nederlandse schilderkunst 1880-1895.
Zwolle/ Amsterdam 1991 (1e edition), 343 pp., 254 ills. (c.178 colour), clothbound / dustwrappers
¶ 2e ongewijzigde herdruk van de tentoonstellingscatalogus Van Gogh Museum Amsterdam. Essays over de Nederlandse schilderkunst 1880-1895. Catalogus met 178 uitvoerig beschreven werken (in kleur gereproduceerd), biografische gegevens, bibliografie. Zeer gaaf exemplaar.
¶ 2e ongewijzigde herdruk van de tentoonstellingscatalogus Van Gogh Museum Amsterdam. Essays over de Nederlandse schilderkunst 1880-1895. Catalogus met 178 uitvoerig beschreven werken (in kleur gereproduceerd), biografische gegevens, bibliografie. Zeer gaaf exemplaar.
Scriptum Art Books v.o.f.Professional sellerBook number: 868
€ 25.00 [Appr.: US$ 26.97 | £UK 21.5 | JP¥ 4219]
Goldener Drache - Weisser Adler. Kunst im Dienste der Macht am Kaiserhof in China und am sachsischen-polnischen Hof (1664-1795)
Dresden 2008, (25 x 29 cm), 620 pp. German text, ca. 300 colour ills., hardcover.
¶ Peking und Dresden als Exponenten höfischer Repräsentation stehen im Mittelpunkt dieses Bandes. Hochkarätige Kunstschätze aus beiden Zentren werden einander gegenüberstellt. Der Katalog ist als Handbuch konzipiert, in dem die wichtigsten Begriffe zur europäischen und chinesischen Repräsentationskunst erläutert werden. Alphabetisch geordnet und von ausgewiesenen Experten knapp und informativ formuliert, reichen die Stichworte von Ahnenkult bis Zeremoniell. Ein umfangreiches Stichwortregister ermöglicht Querverweise. Der Vergleich kulturell unterschiedlich geprägter historischer 'Schaltzentralen der Macht' verdeutlicht Funktionsweisen höfischer Repräsentation. Der chinesische Kaiserhof, durch seine mehrtausendjährige Tradition unerreichbar in der Vielfalt seiner Schätze, findet ein würdiges Pendant im sächsisch-polnischen Hof des 18. Jh., der als Zentrum der europäischen China-Mode beispielhaft für das gro§e europäische Interesse an dem fernen Kaiserreich, seinen Produkten, seinen Künsten und seiner Philosophie steht.
¶ Peking und Dresden als Exponenten höfischer Repräsentation stehen im Mittelpunkt dieses Bandes. Hochkarätige Kunstschätze aus beiden Zentren werden einander gegenüberstellt. Der Katalog ist als Handbuch konzipiert, in dem die wichtigsten Begriffe zur europäischen und chinesischen Repräsentationskunst erläutert werden. Alphabetisch geordnet und von ausgewiesenen Experten knapp und informativ formuliert, reichen die Stichworte von Ahnenkult bis Zeremoniell. Ein umfangreiches Stichwortregister ermöglicht Querverweise. Der Vergleich kulturell unterschiedlich geprägter historischer 'Schaltzentralen der Macht' verdeutlicht Funktionsweisen höfischer Repräsentation. Der chinesische Kaiserhof, durch seine mehrtausendjährige Tradition unerreichbar in der Vielfalt seiner Schätze, findet ein würdiges Pendant im sächsisch-polnischen Hof des 18. Jh., der als Zentrum der europäischen China-Mode beispielhaft für das gro§e europäische Interesse an dem fernen Kaiserreich, seinen Produkten, seinen Künsten und seiner Philosophie steht.
Scriptum Art Books v.o.f.Professional sellerBook number: 5674
€ 19.95 [Appr.: US$ 21.52 | £UK 17.25 | JP¥ 3367]
Catalogue: Aziatische kunst / Asiatic Art - Japan
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