Scriptum Art Books v.o.f.: Beeldhouwkunst / Sculpture
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Zurück zur Klassik. Ein neuer Blick auf das alte Griechenland.
March 2013, (24 x 30 cm), 380 pp German text, 518 colour ills. & 30 b/w/ ills., hardcover
¶ Lebensgro§e Statuen, Porträts und aufwendige Wandmalereien - die Kunstwerke aus dem alten Griechenland des 5. und 4. Jahrhunderts v. Chr. faszinieren bis heute. Eine einzigartige Ausstellung der Liebieghaus Skulpturensammlung in Frankfurt am Main zeigt jetzt herausragende Werke antiker Kunst. Darunter befinden sich spektakuläre Neufunde originaler Bronzeplastik und Malerei. Der Katalog 'Zurück zur Klassik'präsentiert auf 380 Seiten mehr als 80 Originale aus der Zeit der griechischen Klassik - von Bronzeskulpturen über Malereien bis hin zu figürlichen Gefä§en. Gro§formatige Abbildungen der einzelnen Kunstwerke in verschiedenen Detailansichten bringen dem Leser die mehr als 2500 Jahre alte Kunst näher. Kenner der Antike betrachten die Kunstwerke der griechischen Klassik aus der Perspektive der Archäologie, der Philosophie und der Klassischen Philologie. In kenntnisreichen Beiträgen bewerten sie deren Bedeutung für die Kunstgeschichte neu. Der bekannte Restaurator Edilberto Formigli beschäftigt sich zum Beispiel seit Langem mit der antiken Bronzeskulptur. Er berichtet über sein Rekonstruktionsprojekt der berühmten Bronzestatuen von Riace. Die Archäologin Ulrike Koch-Brinkmann widmet sich der klassischen Malerei im 5. und 4. Jahrhundert v. Chr.
¶ Lebensgro§e Statuen, Porträts und aufwendige Wandmalereien - die Kunstwerke aus dem alten Griechenland des 5. und 4. Jahrhunderts v. Chr. faszinieren bis heute. Eine einzigartige Ausstellung der Liebieghaus Skulpturensammlung in Frankfurt am Main zeigt jetzt herausragende Werke antiker Kunst. Darunter befinden sich spektakuläre Neufunde originaler Bronzeplastik und Malerei. Der Katalog 'Zurück zur Klassik'präsentiert auf 380 Seiten mehr als 80 Originale aus der Zeit der griechischen Klassik - von Bronzeskulpturen über Malereien bis hin zu figürlichen Gefä§en. Gro§formatige Abbildungen der einzelnen Kunstwerke in verschiedenen Detailansichten bringen dem Leser die mehr als 2500 Jahre alte Kunst näher. Kenner der Antike betrachten die Kunstwerke der griechischen Klassik aus der Perspektive der Archäologie, der Philosophie und der Klassischen Philologie. In kenntnisreichen Beiträgen bewerten sie deren Bedeutung für die Kunstgeschichte neu. Der bekannte Restaurator Edilberto Formigli beschäftigt sich zum Beispiel seit Langem mit der antiken Bronzeskulptur. Er berichtet über sein Rekonstruktionsprojekt der berühmten Bronzestatuen von Riace. Die Archäologin Ulrike Koch-Brinkmann widmet sich der klassischen Malerei im 5. und 4. Jahrhundert v. Chr.
Scriptum Art Books v.o.f.Professional sellerBook number: 5523
€ 50.00 [Appr.: US$ 54.52 | £UK 42.75 | JP¥ 8510]
Catalogue: Beeldhouwkunst / Sculpture
The Trees of the Cross. Wood as Subject and Medium in the Art of Late Medieval germany.
06 2023, (21,5 x 27,9 cm), 224 pp. English, 124 colour ills. + 34 b/w. ills., hardcover.
¶ A revelatory exploration of wood's many material, ecological, and symbolic meanings in the religious art of medieval Germany. 'A rewarding study that is full of new insights.' - Jeremy Warren, Art Newspaper In late medieval Germany, wood was a material laden with significance. It was an important part of the local environment and economy, as well as an object of religious devotion in and of itself. Gregory C. Bryda examines the multiple meanings of wood and greenery within religious art - as a material, as a feature of agrarian life, and as a symbol of the cross, whose wood has resonances with other iconographies in the liturgy. Bryda discusses how influential artists such as Matthias Grünewald, known for the Isenheim Altarpiece, and the renowned sculptor Tilman Riemenschneider exploited wood's multivalent nature to connect spiritual themes to the lived environment outside church walls. Exploring the complex visual and material culture of the period, this lavishly illustrated volume features works ranging from monumental altarpieces to portable pictures and offers a fresh understanding of how wood in art functioned to unlock the mysteries of faith and the natural world in both liturgy and everyday life.
¶ A revelatory exploration of wood's many material, ecological, and symbolic meanings in the religious art of medieval Germany. 'A rewarding study that is full of new insights.' - Jeremy Warren, Art Newspaper In late medieval Germany, wood was a material laden with significance. It was an important part of the local environment and economy, as well as an object of religious devotion in and of itself. Gregory C. Bryda examines the multiple meanings of wood and greenery within religious art - as a material, as a feature of agrarian life, and as a symbol of the cross, whose wood has resonances with other iconographies in the liturgy. Bryda discusses how influential artists such as Matthias Grünewald, known for the Isenheim Altarpiece, and the renowned sculptor Tilman Riemenschneider exploited wood's multivalent nature to connect spiritual themes to the lived environment outside church walls. Exploring the complex visual and material culture of the period, this lavishly illustrated volume features works ranging from monumental altarpieces to portable pictures and offers a fresh understanding of how wood in art functioned to unlock the mysteries of faith and the natural world in both liturgy and everyday life.
Scriptum Art Books v.o.f.Professional sellerBook number: 8472
€ 76.50 [Appr.: US$ 83.42 | £UK 65.25 | JP¥ 13020]
Catalogue: Beeldhouwkunst / Sculpture
Bella Figura. Europaïsche Bronzekunst in Süddeutschland um 1600.
March 2015, (24 x 30 cm cm), 420 pp. German text, 352 ills. (most colour), hardcover.
¶ Die luxuriöse Kunst der Bronzeplastik hatte um 1600 neben Florenz ihre Zentren in München und Augsburg. Nicht nur Brunnen, Plätze, Monumente und Fassaden wurden mit ihren grandiosen Meisterwerken geschmückt, sondern auch die intimen Kunstkammern der Kaufherren und des Adels. Das Bayerische Nationalmuseum präsentiert nun den Zauber dieser Stücke in einem opulenten Katalog. Am Hofe der Medici hatte der Flame Giambologna mit seinen elegant-bewegten Figuren eine Kunst kreiert, die alsbald ihren Siegeszug auch nördlich der Alpen antrat. Hier schufen seine Schüler, allen voran Hubert Gerhard und Adriaen de Vries, Werke voller Grazie, Einfallslust und bis dahin ungekannter technischer Meisterschaft. Wie bei dem nun endgültig ins Münchner Museum zurückgekehrten 'Merkur' durchdringt in ihnen der manieristische Formenschwung die Sujets. Der reich illustrierte Katalog bietet die ganze Bandbreite des Themas anhand erlesener Spitzenstücke aus internationalem Museumsbesitz und nie öffentlich gezeigten Privatsammlungen. / Tussen 1570 en 1620 behoorden de Zuid-Duitse steden Augsburg en München, naast Florence tot de belangrijkse centra van de internationale bronzen beeldhouwkunst. Veel begenadigde kunstenaars, waaronder Adriaan de Vries en Hubert Gerhard, hadden gewerkt in de Florentijnse werkplaats van Giambologna. In een technisch geavanceerde bronzen gietproces, werden grootschalige kunstwerken zoals fontein figuren, tuinbeelden, gevel decoraties, graven en altaren vervaardigd in opdracht van de adel en kooplieden. Ook werden kleinplastieken gemaakt voor intieme ruimten en kabinetten van dezelfde opdrachtgevers. Een van de belangrijkste thema's van deze maniëristische bronskunst wast het naakt, afgebeeld in elegant bewegende poses. Deze rijk geïllustreerde catalogus biedt het hele scala van monumentale bronssculpturen en van de bronsplastieken uit zuid-Duitsland. Talrijke beelden uit internationale museum bezit en nooit in het openbaar getoond particuliere collecties zijn daartoe bijeen gebracht.
¶ Die luxuriöse Kunst der Bronzeplastik hatte um 1600 neben Florenz ihre Zentren in München und Augsburg. Nicht nur Brunnen, Plätze, Monumente und Fassaden wurden mit ihren grandiosen Meisterwerken geschmückt, sondern auch die intimen Kunstkammern der Kaufherren und des Adels. Das Bayerische Nationalmuseum präsentiert nun den Zauber dieser Stücke in einem opulenten Katalog. Am Hofe der Medici hatte der Flame Giambologna mit seinen elegant-bewegten Figuren eine Kunst kreiert, die alsbald ihren Siegeszug auch nördlich der Alpen antrat. Hier schufen seine Schüler, allen voran Hubert Gerhard und Adriaen de Vries, Werke voller Grazie, Einfallslust und bis dahin ungekannter technischer Meisterschaft. Wie bei dem nun endgültig ins Münchner Museum zurückgekehrten 'Merkur' durchdringt in ihnen der manieristische Formenschwung die Sujets. Der reich illustrierte Katalog bietet die ganze Bandbreite des Themas anhand erlesener Spitzenstücke aus internationalem Museumsbesitz und nie öffentlich gezeigten Privatsammlungen. / Tussen 1570 en 1620 behoorden de Zuid-Duitse steden Augsburg en München, naast Florence tot de belangrijkse centra van de internationale bronzen beeldhouwkunst. Veel begenadigde kunstenaars, waaronder Adriaan de Vries en Hubert Gerhard, hadden gewerkt in de Florentijnse werkplaats van Giambologna. In een technisch geavanceerde bronzen gietproces, werden grootschalige kunstwerken zoals fontein figuren, tuinbeelden, gevel decoraties, graven en altaren vervaardigd in opdracht van de adel en kooplieden. Ook werden kleinplastieken gemaakt voor intieme ruimten en kabinetten van dezelfde opdrachtgevers. Een van de belangrijkste thema's van deze maniëristische bronskunst wast het naakt, afgebeeld in elegant bewegende poses. Deze rijk geïllustreerde catalogus biedt het hele scala van monumentale bronssculpturen en van de bronsplastieken uit zuid-Duitsland. Talrijke beelden uit internationale museum bezit en nooit in het openbaar getoond particuliere collecties zijn daartoe bijeen gebracht.
Scriptum Art Books v.o.f.Professional sellerBook number: 6108
€ 52.50 [Appr.: US$ 57.25 | £UK 44.75 | JP¥ 8935]
Catalogue: Beeldhouwkunst / Sculpture
Nieuwe beelden.
Antwerpen 1993, 100 pp. Nederlandse text, numerous colour ills., cloth.
¶ Catalogus bij de manifestatie Antwerpen 93. Werk van Deacon, Genzken, Kirkeby, Klinelhöller, Lohaus, Mullican, Muoz, Panamarenko, Schütte en Vermeiren.
¶ Catalogus bij de manifestatie Antwerpen 93. Werk van Deacon, Genzken, Kirkeby, Klinelhöller, Lohaus, Mullican, Muoz, Panamarenko, Schütte en Vermeiren.
Scriptum Art Books v.o.f.Professional sellerBook number: 960
€ 9.50 [Appr.: US$ 10.36 | £UK 8.25 | JP¥ 1617]
Catalogue: Beeldhouwkunst / Sculpture
Brancusi, Rosso, Man Ray. Framing Sculpture. (NL. edition).
February 2014, (17 x 23 cm), 256 pp. Dutch text, numerous ills., paperback.
¶ Catalogus bij de gelijknamige tentoonstelling in Museum Boijmans Van Beuningen, Rotterdam (8 februari-11 mei 2014). De tentoonstelling is een unieke samenkomst van het werk van drie van de meest invloedrijke kunstenaars van de twintigste eeuw: Constantin Brancusi (1876-1957), Medardo Rosso (1858-1928) en Man Ray (1890-1976). De tentoongestelde en in de catalogus besproken werken, waarvan vijfenveertig sculpturen en een honderdtal foto's die zij van hun sculpturen maakten, bieden een blik over de schouder van deze kunstenaars. Brancusi, Rosso en Man Ray zijn alledrie niet alleen beslissend geweest voor de ontwikkeling van de moderne beeldhouwkunst, maar bovendien maakten zij in hun werk op vernieuwende wijze gebruik van fotografie. De kunstenaars zetten de fotografie niet zozeer in om hun werk te registreren, maar als een middel om duidelijk te maken hoe toeschouwers hun sculpturen moesten zien en interpreteren. Ze gebruikten de - voor die tijd - experimentele mogelijkheden van het medium, zoals overbelichting, vernieuwende camerastandpunten en het vervagen van voor- of achtergrond. De catalogus bevat beschrijvingen van alle tentoongestelde werken en essays over de drie kunstenaars door de conservatoren van de tentoonstelling. Verder bevat de rijk geïllustreerde catalogus thematische essays door de specialisten Roxana Marcoci, senior conservator fotografie van het Museum of Modern Art te New York en Nina Schallenberg, conservator collectie van het Wilhelm Hack Museum te Ludwigshafen.
¶ Catalogus bij de gelijknamige tentoonstelling in Museum Boijmans Van Beuningen, Rotterdam (8 februari-11 mei 2014). De tentoonstelling is een unieke samenkomst van het werk van drie van de meest invloedrijke kunstenaars van de twintigste eeuw: Constantin Brancusi (1876-1957), Medardo Rosso (1858-1928) en Man Ray (1890-1976). De tentoongestelde en in de catalogus besproken werken, waarvan vijfenveertig sculpturen en een honderdtal foto's die zij van hun sculpturen maakten, bieden een blik over de schouder van deze kunstenaars. Brancusi, Rosso en Man Ray zijn alledrie niet alleen beslissend geweest voor de ontwikkeling van de moderne beeldhouwkunst, maar bovendien maakten zij in hun werk op vernieuwende wijze gebruik van fotografie. De kunstenaars zetten de fotografie niet zozeer in om hun werk te registreren, maar als een middel om duidelijk te maken hoe toeschouwers hun sculpturen moesten zien en interpreteren. Ze gebruikten de - voor die tijd - experimentele mogelijkheden van het medium, zoals overbelichting, vernieuwende camerastandpunten en het vervagen van voor- of achtergrond. De catalogus bevat beschrijvingen van alle tentoongestelde werken en essays over de drie kunstenaars door de conservatoren van de tentoonstelling. Verder bevat de rijk geïllustreerde catalogus thematische essays door de specialisten Roxana Marcoci, senior conservator fotografie van het Museum of Modern Art te New York en Nina Schallenberg, conservator collectie van het Wilhelm Hack Museum te Ludwigshafen.
Scriptum Art Books v.o.f.Professional sellerBook number: 6057
€ 34.95 [Appr.: US$ 38.11 | £UK 30 | JP¥ 5948]
Catalogue: Beeldhouwkunst / Sculpture
Brancusi, Rosso, Man Ray. Framing Sculpture. (ENG. edition).
February 2014, (17 x 23 cm), 256 pp. English numerous ills., paperback.
¶ Catalogue to the exhibition in Museum Boijmans Van Beuningen, Rotterdam (8 feb.-11 may 2014). A unique survey of the work of three most importantt artists of the twentieth century Constantin Brancusi (1876-1957), Medardo Rosso (1858-1928) and Man Ray (1890-1976).
¶ Catalogue to the exhibition in Museum Boijmans Van Beuningen, Rotterdam (8 feb.-11 may 2014). A unique survey of the work of three most importantt artists of the twentieth century Constantin Brancusi (1876-1957), Medardo Rosso (1858-1928) and Man Ray (1890-1976).
Scriptum Art Books v.o.f.Professional sellerBook number: 6063
€ 34.95 [Appr.: US$ 38.11 | £UK 30 | JP¥ 5948]
Catalogue: Beeldhouwkunst / Sculpture
Albaster Sculpture in Europe 1300-1650.
2022, (24 x 28 cm), 312 pp. English, 360 colour ills., hardcover.
¶ 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.
¶ 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.
Scriptum Art Books v.o.f.Professional sellerBook number: 8279
€ 110.00 [Appr.: US$ 119.94 | £UK 93.75 | JP¥ 18721]
Catalogue: Beeldhouwkunst / Sculpture
Borman. A Family of Northern Renaissance Sculptors.
2019, (24 x 28 cm), 312 pp. English text, 560 colour ills., hardcover and dustjacket.
¶ Studies in Medieval and Early Renaissance Art History (HMSAH). Borman was a virtuoso, a master but above all an innovator, who influenced many other sculptors. 'The Best Sculptor' is how Jan II Borman is described in a document dating from 1513. Ever since, Borman the man and his oeuvre are shrouded in mist. This late-medieval sculptor managed a busy workshop in Brussels, with commissions pouring in from religious institutions as well as from the bourgeoisie and princely rulers. He trained his sons Jan III and Passchier to become master sculptors after his own example and to have at least as shrewd a head for business as he himself. Borman was a virtuoso, a master but above all an innovator, who influenced many other sculptors. His iconic works are kept in the world's greatest museums and churches. The book gathers essays by leading academics and presents a summary catalogue of all works attributed to the Borman family.
¶ Studies in Medieval and Early Renaissance Art History (HMSAH). Borman was a virtuoso, a master but above all an innovator, who influenced many other sculptors. 'The Best Sculptor' is how Jan II Borman is described in a document dating from 1513. Ever since, Borman the man and his oeuvre are shrouded in mist. This late-medieval sculptor managed a busy workshop in Brussels, with commissions pouring in from religious institutions as well as from the bourgeoisie and princely rulers. He trained his sons Jan III and Passchier to become master sculptors after his own example and to have at least as shrewd a head for business as he himself. Borman was a virtuoso, a master but above all an innovator, who influenced many other sculptors. His iconic works are kept in the world's greatest museums and churches. The book gathers essays by leading academics and presents a summary catalogue of all works attributed to the Borman family.
Scriptum Art Books v.o.f.Professional sellerBook number: 8062
€ 165.00 [Appr.: US$ 179.92 | £UK 140.75 | JP¥ 28081]
Catalogue: Beeldhouwkunst / Sculpture
Cor Hund. Monografie van het Sculptuur Instituut.
2006, (17 x 22 cm), 112 pp. Dutch text, numerous ills. in b/w., softcover.
¶ De tekenaar, schilder en beeldhouwer Cor Hund (Amsterdam 1915) behoorde met Wessel Couzijn en Piet Esser tot het selecte groepje wonderkinderen van professor Jan Bronner in de beeldhouwklas van de Amsterdamse Rijksakademie. Hund begon zijn loopbaan als schilder, maar dat ging hem zo makkelijk af dat hij met zijn keuze voor de beeldhouwkunst hoopte een nieuwe weg te kunnen inslaan. Zijn gouden Prix de Rome van 1947 resulteerde in een serie belangrijke opdrachten en zijn benoeming tot hoogleraar aan de Rijksakademie. Voor Hund bleef de geabstraheerde figuratie een onuitputtelijk werkterrein maar door zijn perfectionistische inslag werd het werken aan opdrachten op den duur ondraaglijk en trok hij zich steeds verder terug uit het openbare leven. Een atelier vol onuitgevoerde ontwerpen getuigt van de bijzondere strijd die hij heeft gevoerd. Met de recente aankopen van zijn tekeningen en schilderijen door het Rijksmuseum en het Joods Historisch Museum beleeft de thans negentigjarige Hund een opzienbarende comeback die culmineert in deze monografie, de eerste publicatie over deze belangrijke Nederlandse beeldhouwer. Cor Hund is het eerste deel van de reeks Monografieën van het Sculptuur Instituut.
¶ De tekenaar, schilder en beeldhouwer Cor Hund (Amsterdam 1915) behoorde met Wessel Couzijn en Piet Esser tot het selecte groepje wonderkinderen van professor Jan Bronner in de beeldhouwklas van de Amsterdamse Rijksakademie. Hund begon zijn loopbaan als schilder, maar dat ging hem zo makkelijk af dat hij met zijn keuze voor de beeldhouwkunst hoopte een nieuwe weg te kunnen inslaan. Zijn gouden Prix de Rome van 1947 resulteerde in een serie belangrijke opdrachten en zijn benoeming tot hoogleraar aan de Rijksakademie. Voor Hund bleef de geabstraheerde figuratie een onuitputtelijk werkterrein maar door zijn perfectionistische inslag werd het werken aan opdrachten op den duur ondraaglijk en trok hij zich steeds verder terug uit het openbare leven. Een atelier vol onuitgevoerde ontwerpen getuigt van de bijzondere strijd die hij heeft gevoerd. Met de recente aankopen van zijn tekeningen en schilderijen door het Rijksmuseum en het Joods Historisch Museum beleeft de thans negentigjarige Hund een opzienbarende comeback die culmineert in deze monografie, de eerste publicatie over deze belangrijke Nederlandse beeldhouwer. Cor Hund is het eerste deel van de reeks Monografieën van het Sculptuur Instituut.
Scriptum Art Books v.o.f.Professional sellerBook number: 7842
€ 15.00 [Appr.: US$ 16.36 | £UK 13 | JP¥ 2553]
Catalogue: Beeldhouwkunst / Sculpture
Sculpture Victorious Art in an Age of Invention, 1837-1901.
October 2014, (24,1 x 29,2 cm), 448 pp. English text, 303 colour ills., hardcover.
¶ Sculpture Victorious highlights the diversity, originality, and ubiquity of sculptural production during the reign of Queen Victoria. This lavishly illustrated book examines how colorful marbles, bronzes, finely wrought silver, and exquisitely detailed electrotypes, as well as gems, cameos, and porcelain, related to and contributed to the contemporary world. In an age of unprecedented territorial expansion, sculpture reflected the power of the British empire; at the same time, increased access to materials and resources facilitated artistic production and innovation. The partnership between art and industry was equally generative and creative, enabling daring explorations of sculpture's possibilities, both political and aesthetic. Bringing to bear a range of materials including statuary, reliefs, models, drawings, and objets d'art, as well as prints, photographs, and paintings, this stunning tome assembles, for the first time, the vibrancy, inventiveness, and modernity of Victorian sculpture.
¶ Sculpture Victorious highlights the diversity, originality, and ubiquity of sculptural production during the reign of Queen Victoria. This lavishly illustrated book examines how colorful marbles, bronzes, finely wrought silver, and exquisitely detailed electrotypes, as well as gems, cameos, and porcelain, related to and contributed to the contemporary world. In an age of unprecedented territorial expansion, sculpture reflected the power of the British empire; at the same time, increased access to materials and resources facilitated artistic production and innovation. The partnership between art and industry was equally generative and creative, enabling daring explorations of sculpture's possibilities, both political and aesthetic. Bringing to bear a range of materials including statuary, reliefs, models, drawings, and objets d'art, as well as prints, photographs, and paintings, this stunning tome assembles, for the first time, the vibrancy, inventiveness, and modernity of Victorian sculpture.
Scriptum Art Books v.o.f.Professional sellerBook number: 6076
€ 65.00 [Appr.: US$ 70.88 | £UK 55.5 | JP¥ 11062]
Catalogue: Beeldhouwkunst / Sculpture
Christian Wenzinger. Die Bildwerke.
April 2010, (24 x 28,8 cm), 216 pp German text, 160 colour ills., clothbound.
¶ Christian Wenzinger (1710 -1797) hat wie kein anderer das bildnerische Schaffen im deutschen Südwesten geprägt. Bereits in den Frühwerken offenbart sich die herausragende Stellung des Bildhauers, der eine langjährige Ausbildung in den Akademien von Rom und Paris absolviert hat. Christian Wenzinger, der für die bedeutendsten Klöster der Region und für den heimischen Adel tätig war, hat sich den unterschiedlichsten Aufgaben der repräsentativen Monumentalplastik gestellt und diese souverän gemeistert. Interessant ist es zu beobachten, welchen Bildtraditionen und Vorbildern er nachging, um dann eine eigenständige und innovative Lösung zu präsentieren. So eröffnet sich der Blick in die
¶ Christian Wenzinger (1710 -1797) hat wie kein anderer das bildnerische Schaffen im deutschen Südwesten geprägt. Bereits in den Frühwerken offenbart sich die herausragende Stellung des Bildhauers, der eine langjährige Ausbildung in den Akademien von Rom und Paris absolviert hat. Christian Wenzinger, der für die bedeutendsten Klöster der Region und für den heimischen Adel tätig war, hat sich den unterschiedlichsten Aufgaben der repräsentativen Monumentalplastik gestellt und diese souverän gemeistert. Interessant ist es zu beobachten, welchen Bildtraditionen und Vorbildern er nachging, um dann eine eigenständige und innovative Lösung zu präsentieren. So eröffnet sich der Blick in die
Scriptum Art Books v.o.f.Professional sellerBook number: 4744
€ 35.00 [Appr.: US$ 38.16 | £UK 30 | JP¥ 5957]
Catalogue: Beeldhouwkunst / Sculpture
Grinling Gibbons and the art of Carving.
08 2021, ( 21,5 x 28 cm), 224 pp. English, ills. in colour & b/w., hardcover.
¶ Grinling Gibbons (1648 - 1721), the greatest of decorative woodcarvers, is seen in this study through the eyes of a fellow carver. His flamboyant cascades of lifelike blossoms, fruits, foliage, birds and fish dominated English interiors of the late seventeenth century - in royal palaces, churches and cathedrals, and great country houses. David Esterly's first-hand experience of limewood foliage carving gives him unprecedented insight into Gibbons's method and technique. Unique photographs illustrate these procedures, while spectacular interior shots show the carving in its original setting. Tools, workshop practice, materials and finishes are also discussed in detail.
¶ Grinling Gibbons (1648 - 1721), the greatest of decorative woodcarvers, is seen in this study through the eyes of a fellow carver. His flamboyant cascades of lifelike blossoms, fruits, foliage, birds and fish dominated English interiors of the late seventeenth century - in royal palaces, churches and cathedrals, and great country houses. David Esterly's first-hand experience of limewood foliage carving gives him unprecedented insight into Gibbons's method and technique. Unique photographs illustrate these procedures, while spectacular interior shots show the carving in its original setting. Tools, workshop practice, materials and finishes are also discussed in detail.
Scriptum Art Books v.o.f.Professional sellerBook number: 8334
€ 49.95 [Appr.: US$ 54.47 | £UK 42.75 | JP¥ 8501]
Catalogue: Beeldhouwkunst / Sculpture
Lynn Chadwick Sculptor. With a Complete Illustrated Catalogue 1947-2005.
2014, 5th edition, (24,7 x 29,5 cm), 468 pp. English text, 965 ills. hardcover and dustjacket
¶ Catalogue raisonné. LLynn Chadwick (1914-2003) was one of the leading British sculptors of his generation. This essential illustrated catalogue raisonne of his sculpture is published in a new, fourth edition to coincide with Chadwick's centenary in 2014 and incorporates a new illustrated listing of his lithographs and jewellery, new reproductions of many of his sculptures (including some in colour), a completely new page design, and the most up-to-date catalogue information on his work. Chadwick began his career as an architectural draughtsman, but after the Second World War he took up sculpture without any formal training. He initially concentrated on mobiles, and these were followed by welded constructions and bronzes. He established his international reputation in 1956, when he won the International Prize for Sculpture at the Venice Biennale. He consistently worked in welded iron and was constantly intrigued by human and animal forms: no matter how abstract the sculpture became at times, it was always firmly rooted in a deep understanding of the natural world.This indispensable reference book includes comprehensive, updated lists of Chadwick's exhibitions, the public collections he is represented in, and a full biography, alongside the fully illustrated complete catalogue of his sculpture. The introductory essay by the late Dennis Farr, which draws on interviews with the artist, examines Chadwick's development as a sculptor and his sculptural techniques, and the catalogue notes now incorporate a useful new explanation of Chadwick's bronze casts and foundries. Contents: Lynn Chadwick: Sculptor, Dennis Farr; Notes; Biographical Table, Dennis Farr; Exhibitions, Éva Chadwick; Public Collections, Éva Chadwick; Select Bibliography, Dennis Farr; Catalogue of Works 1947-2005, Éva Chadwick; List of Sculptures at the Philip and Muriel Berman Museum of Art, Éva Chadwick; Private Collection, Éva Chadwick; Photographic Credits; Name Index.
¶ Catalogue raisonné. LLynn Chadwick (1914-2003) was one of the leading British sculptors of his generation. This essential illustrated catalogue raisonne of his sculpture is published in a new, fourth edition to coincide with Chadwick's centenary in 2014 and incorporates a new illustrated listing of his lithographs and jewellery, new reproductions of many of his sculptures (including some in colour), a completely new page design, and the most up-to-date catalogue information on his work. Chadwick began his career as an architectural draughtsman, but after the Second World War he took up sculpture without any formal training. He initially concentrated on mobiles, and these were followed by welded constructions and bronzes. He established his international reputation in 1956, when he won the International Prize for Sculpture at the Venice Biennale. He consistently worked in welded iron and was constantly intrigued by human and animal forms: no matter how abstract the sculpture became at times, it was always firmly rooted in a deep understanding of the natural world.This indispensable reference book includes comprehensive, updated lists of Chadwick's exhibitions, the public collections he is represented in, and a full biography, alongside the fully illustrated complete catalogue of his sculpture. The introductory essay by the late Dennis Farr, which draws on interviews with the artist, examines Chadwick's development as a sculptor and his sculptural techniques, and the catalogue notes now incorporate a useful new explanation of Chadwick's bronze casts and foundries. Contents: Lynn Chadwick: Sculptor, Dennis Farr; Notes; Biographical Table, Dennis Farr; Exhibitions, Éva Chadwick; Public Collections, Éva Chadwick; Select Bibliography, Dennis Farr; Catalogue of Works 1947-2005, Éva Chadwick; List of Sculptures at the Philip and Muriel Berman Museum of Art, Éva Chadwick; Private Collection, Éva Chadwick; Photographic Credits; Name Index.
Scriptum Art Books v.o.f.Professional sellerBook number: 4674
€ 195.00 [Appr.: US$ 212.63 | £UK 166.25 | JP¥ 33187]
Catalogue: Beeldhouwkunst / Sculpture
Art Bronzes.
Atglen 1988, 493 pp. English text, 1100 ills. (200 colour), cloth./d.jacket.
¶ A beautiful and comprehensive study of fine,international bronze statuary of the 19th and early 20th centuries. Over 1100 illustrations, 200 in colour, and carefully researched text with relevant marks, inscriptions, artists signatures, dates, and foundry stamps. Over 450 artists are represented. [sculpture art deco art nouveau]
¶ A beautiful and comprehensive study of fine,international bronze statuary of the 19th and early 20th centuries. Over 1100 illustrations, 200 in colour, and carefully researched text with relevant marks, inscriptions, artists signatures, dates, and foundry stamps. Over 450 artists are represented. [sculpture art deco art nouveau]
Scriptum Art Books v.o.f.Professional sellerBook number: 2710
€ 135.15 [Appr.: US$ 147.37 | £UK 115.25 | JP¥ 23001]
Catalogue: Beeldhouwkunst / Sculpture
Classic Black. The Basalt Sculpture of Wedgwood and his contemporaries.
02 2020, (22,9 x 27,9 cm), 248 pp., 245 colour ills., hardcover
¶ Classic Black explores classically inspired sculpture and other ornamental wares in black basalt. This famous stoneware was perfected by Josiah Wedgwood in 1768 and then went on to be produced by other prominent Staffordshire potters. Wedgwood, with prescience, said of his new creation, 'Black is Sterling and will last forever.' This volume presents approximately 120 examples of ornamental black basalt, including portrait busts, statues, and vases, ewers and other fully three-dimensional, ornamental forms. It also features works in low relief including tablets, plaques, medallions and cameos. Essays by renowned subject specialists enhance the fully illustrated catalogue entries, which are grouped into three chapters. These each focus on an era of the design sources used by Wedgwood and his contemporaries to create their basalt wares: Classical Antiquity, the 16th and 17th centuries, and the 18th century.
¶ Classic Black explores classically inspired sculpture and other ornamental wares in black basalt. This famous stoneware was perfected by Josiah Wedgwood in 1768 and then went on to be produced by other prominent Staffordshire potters. Wedgwood, with prescience, said of his new creation, 'Black is Sterling and will last forever.' This volume presents approximately 120 examples of ornamental black basalt, including portrait busts, statues, and vases, ewers and other fully three-dimensional, ornamental forms. It also features works in low relief including tablets, plaques, medallions and cameos. Essays by renowned subject specialists enhance the fully illustrated catalogue entries, which are grouped into three chapters. These each focus on an era of the design sources used by Wedgwood and his contemporaries to create their basalt wares: Classical Antiquity, the 16th and 17th centuries, and the 18th century.
Scriptum Art Books v.o.f.Professional sellerBook number: 7637
€ 59.95 [Appr.: US$ 65.37 | £UK 51.25 | JP¥ 10203]
Catalogue: Beeldhouwkunst / Sculpture
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