Scriptum Art Books v.o.f.: Beeldhouwkunst / Sculpture
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Medieval and Renaissance Sculpture in the Ashmolean Museum.
2014, (20 x 24,5 cm), over 1200 ills., 3 volumes, hardcover.
¶ The collections of European Sculpture in the Ashmolean Museum, built up over four centuries, have their roots at the dawn of English art collecting, in the ancient marbles collected by the Earl of Arundel and the Gothic ivories and English alabasters accumulated by the Tradescants in the first half of the seventeenth century. The Victorian period saw the arrival of one of the world's great collections of Italian Renaissance bronzes and other sculpture, assembled by the scholar, connoisseur and Museum benefactor C.D.E. Fortnum. With further gifts and occasional purchases ever since, its European sculpture collections are today the most interesting, beautiful and wide-ranging in any museum in Britain outside the Victoria and Albert Museum. This three-volume catalogue, which covers the Ashmolean collection of European sculpture dating from 1200 to around 1540, follows in the footsteps of Nicholas Penny's acclaimed 1992 catalogue of later European sculpture held by theMuseum. From Romanesque bronzes and Gothic ivories to High Renaissance sculpture, the catalogue is a meticulous and comprehensive record of over 500 pieces, each one fully illustrated. The first volume, which catalogues metalwork from c.1200, includes entries on many of the finest bronzes in C.D.E. Fortnum's astonishing collections. It also includes an illustrated discussion of his involvement in the development of the Ashmolean's displays and an appendix providing technical analyses of selected bronzes.
¶ The collections of European Sculpture in the Ashmolean Museum, built up over four centuries, have their roots at the dawn of English art collecting, in the ancient marbles collected by the Earl of Arundel and the Gothic ivories and English alabasters accumulated by the Tradescants in the first half of the seventeenth century. The Victorian period saw the arrival of one of the world's great collections of Italian Renaissance bronzes and other sculpture, assembled by the scholar, connoisseur and Museum benefactor C.D.E. Fortnum. With further gifts and occasional purchases ever since, its European sculpture collections are today the most interesting, beautiful and wide-ranging in any museum in Britain outside the Victoria and Albert Museum. This three-volume catalogue, which covers the Ashmolean collection of European sculpture dating from 1200 to around 1540, follows in the footsteps of Nicholas Penny's acclaimed 1992 catalogue of later European sculpture held by theMuseum. From Romanesque bronzes and Gothic ivories to High Renaissance sculpture, the catalogue is a meticulous and comprehensive record of over 500 pieces, each one fully illustrated. The first volume, which catalogues metalwork from c.1200, includes entries on many of the finest bronzes in C.D.E. Fortnum's astonishing collections. It also includes an illustrated discussion of his involvement in the development of the Ashmolean's displays and an appendix providing technical analyses of selected bronzes.
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Catalogue: Beeldhouwkunst / Sculpture
Renaissance and Baroque Bronzes in and around the Peter Marino Collection.
2013, (21,5 x 26 cm), 224 pp. English text, 160 colour ills., paperback
¶ The outstanding collection of European bronze sculptures formed by Peter Marino, which focuses especially on French and Italian bronzes of the High Baroque, includes masterpieces by some of the greatest sculptors of their age, among them Ferdinando Tacca, Giovanni Battista Foggini, Robert Le Lorrain and Corneille van Clève. This volume of contributions to the symposium held in June 2010 testifying to the importance of the Marino Collection includes ten essays by distinguished scholars of sculpture. Charles Avery, author of major monographs on Giambologna and Bernini, discusses the impetus behind one of the most exciting models in the Marino Collection, a Hercules and Anteaus, after Maderno. Geneviève Bresc-Bautier, Director of the Louvre Sculpture Department, examines the discovery of a large number of small pieces of terracotta sculpture, thought to be from the workshop of Andrés-Charles Boulle, which was destroyed in 1720. Anthea Brook, who has published extensively on Ferdinando Tacca, considers the attribution of a pair of small Florentine bronze hunting gropus in the Marino Collection, making the case for Damiano Cappelli - a bronze-casting specialist in the workshop of Tacca - to be considered as a sculptor capable of creating his own designs. Rosario Coppel investigates the impressive collection of small bronzes of the 3rd Duke of Alcalá (1583-1637), who was Philips IV's extraordinary ambassador to Pope Urban VIII and later Viceroy and Captain General in Naples. Philippe Malgouyres, Curator of Bronzes, Ivories and Metals at the Louvre, discusses the bronze casts after Bernini sculpture, a little-studied subject in the wide field of Bernini studies. Jennifer Montagu, Senior Fellow of the Warburg Institute, attempts to put together and define the oeuvre of the unknown sculptor of the magnificient 15-figure group of bronze hunters, their hounds and a bull, in the Suermondt Ludwig Museum in Aachen. Independent scholar Regina Seelig Teuwen extols Guillaume Berthelot as a sculptor of small bronzes, while Jeremy Warren, Collections and Academic Director at the Wallace Collection, discusses the challenges of cataloguing the Peter Marino Collection for the 2010 exhibition. Dimitros Zikos of the Museo Nazionale del Bargello in Florence presents the extraordinary collection of bronzes and terracottas of Giuseppe and Ferdinando Borri. Eike Schmidt, James Ford Bell Curator of Decorative Arts and Sculpture at the Minneapolis Institute of Art, discusses the adaption of two-dimensional models in Giovanni Battista Foggini's bronze sculpture.
¶ The outstanding collection of European bronze sculptures formed by Peter Marino, which focuses especially on French and Italian bronzes of the High Baroque, includes masterpieces by some of the greatest sculptors of their age, among them Ferdinando Tacca, Giovanni Battista Foggini, Robert Le Lorrain and Corneille van Clève. This volume of contributions to the symposium held in June 2010 testifying to the importance of the Marino Collection includes ten essays by distinguished scholars of sculpture. Charles Avery, author of major monographs on Giambologna and Bernini, discusses the impetus behind one of the most exciting models in the Marino Collection, a Hercules and Anteaus, after Maderno. Geneviève Bresc-Bautier, Director of the Louvre Sculpture Department, examines the discovery of a large number of small pieces of terracotta sculpture, thought to be from the workshop of Andrés-Charles Boulle, which was destroyed in 1720. Anthea Brook, who has published extensively on Ferdinando Tacca, considers the attribution of a pair of small Florentine bronze hunting gropus in the Marino Collection, making the case for Damiano Cappelli - a bronze-casting specialist in the workshop of Tacca - to be considered as a sculptor capable of creating his own designs. Rosario Coppel investigates the impressive collection of small bronzes of the 3rd Duke of Alcalá (1583-1637), who was Philips IV's extraordinary ambassador to Pope Urban VIII and later Viceroy and Captain General in Naples. Philippe Malgouyres, Curator of Bronzes, Ivories and Metals at the Louvre, discusses the bronze casts after Bernini sculpture, a little-studied subject in the wide field of Bernini studies. Jennifer Montagu, Senior Fellow of the Warburg Institute, attempts to put together and define the oeuvre of the unknown sculptor of the magnificient 15-figure group of bronze hunters, their hounds and a bull, in the Suermondt Ludwig Museum in Aachen. Independent scholar Regina Seelig Teuwen extols Guillaume Berthelot as a sculptor of small bronzes, while Jeremy Warren, Collections and Academic Director at the Wallace Collection, discusses the challenges of cataloguing the Peter Marino Collection for the 2010 exhibition. Dimitros Zikos of the Museo Nazionale del Bargello in Florence presents the extraordinary collection of bronzes and terracottas of Giuseppe and Ferdinando Borri. Eike Schmidt, James Ford Bell Curator of Decorative Arts and Sculpture at the Minneapolis Institute of Art, discusses the adaption of two-dimensional models in Giovanni Battista Foggini's bronze sculpture.
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Catalogue: Beeldhouwkunst / Sculpture
Deutsche, Niederländische und Französische Renaissanceplaketten. 1500-1650, Modelle für Reliefs an Kult-, Prunk- und Gebrauchsgegenständen. Text- und Bildband.
1975, (24,5 x 28,5 cm), 2 volumes: Textband 444 pp. German text, Bildband 302 plates with 1062 monochrome ills., clothbound and original dustcovers.
¶ Very fine copy with the original dustcovers.
¶ Very fine copy with the original dustcovers.
Scriptum Art Books v.o.f.Professional sellerBook number: 6256
€ 500.00 [Appr.: US$ 535.93 | £UK 423.25 | JP¥ 85197]
Catalogue: Beeldhouwkunst / Sculpture
Die Hildesheimer Avangarde. Kunst und Kolonialismus im mittelalterlichen Deutschland.
2023, (13 x 20 cm), 160 pp. German text, 55 colour ills., hardcover.
¶ Die ersten Zeugnisse christlicher mittelalterlicher Monumentalkunst in Hildesheim waren Teil eines kolonialen Projektes. Ihre Entstehung war eingebettet in die teils gewaltvolle Auseinandersetzung mit anderen Formen religiöser Verehrung in den gerade
¶ Die ersten Zeugnisse christlicher mittelalterlicher Monumentalkunst in Hildesheim waren Teil eines kolonialen Projektes. Ihre Entstehung war eingebettet in die teils gewaltvolle Auseinandersetzung mit anderen Formen religiöser Verehrung in den gerade
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Catalogue: Beeldhouwkunst / Sculpture
Renaissance and Baroque Bronzes from the Hill Collection.
2014, (24 x 32 cm), 376 pp., English text, 250 colour ills.,
¶ This richly illustrated and beautifully produced scholarly catalogue of the superlative collection of Renaissance and Baroque bronze figurative statuettes from the Hill Collection, accompanies an exhibition of 40 items at The Frick Collection, New York opening late January 2014. Spanning from 1470 to 1740, the bronzes presented are of exceptional quality and exemplify the development of bronze statuettes from 1470 in Renaissance Italy to their dissemination across the artistic centres of Europe. The Hill Collection is distinguished by rare, autograph masterpieces by Italian sculptors such as Andrea Riccio and Giambologna, and has the most important collection of Baroque bronzes by Giuseppe Piamontini in the world. Its holdings of works by Giambologna and his school is the strongest found in any single collection, with the sole exception of the Museo Nazionale del Bargello, Florence, and evokes the splendour of the late Renaissance courts, while the richness of the international Baroque is represented by religious themes by Alessandro Algardi, northern bronzes by Adriaen de Vries and Hubert Gerhard, and a remarkable assemblage of French 116th-and early 17th-century bronzes in the classical mode, by Barthélemy Prieur and from the circle of Ponce Jacquiot. The Hill Collection reveals the range of artistry, invention and technical refinement characteristic of sculptures created when the tradition of the European statuette was at its height. The catalogue includes detailed biographies of each of the artists represented, and is introduced with essays by the distinguished authors. Patricia Wengraf is one of the world's leading dealers in bronzes, sculpture and works of art, and in her particular speciality, bronzes of the 15th-18th centuries, her knowledge and connoisseurship are of world repute. Denise Allen is Curator of Renaissance Paintings and Sculpture at the Frick Collection. Claudia Kryza-Gersch, formerly Kunstkammer, Vienna, is an independent scholar renowned for her studies of North Italian bronzes of the 16th and 17th centuries. Dimitrios Zikos, Florence, an independent scholar is renowned for his knowledge of the Florentine archives from c. 1550 to1740; he has curated many exhibitions at the Museo Nazionale del Bargello, Florence.
¶ This richly illustrated and beautifully produced scholarly catalogue of the superlative collection of Renaissance and Baroque bronze figurative statuettes from the Hill Collection, accompanies an exhibition of 40 items at The Frick Collection, New York opening late January 2014. Spanning from 1470 to 1740, the bronzes presented are of exceptional quality and exemplify the development of bronze statuettes from 1470 in Renaissance Italy to their dissemination across the artistic centres of Europe. The Hill Collection is distinguished by rare, autograph masterpieces by Italian sculptors such as Andrea Riccio and Giambologna, and has the most important collection of Baroque bronzes by Giuseppe Piamontini in the world. Its holdings of works by Giambologna and his school is the strongest found in any single collection, with the sole exception of the Museo Nazionale del Bargello, Florence, and evokes the splendour of the late Renaissance courts, while the richness of the international Baroque is represented by religious themes by Alessandro Algardi, northern bronzes by Adriaen de Vries and Hubert Gerhard, and a remarkable assemblage of French 116th-and early 17th-century bronzes in the classical mode, by Barthélemy Prieur and from the circle of Ponce Jacquiot. The Hill Collection reveals the range of artistry, invention and technical refinement characteristic of sculptures created when the tradition of the European statuette was at its height. The catalogue includes detailed biographies of each of the artists represented, and is introduced with essays by the distinguished authors. Patricia Wengraf is one of the world's leading dealers in bronzes, sculpture and works of art, and in her particular speciality, bronzes of the 15th-18th centuries, her knowledge and connoisseurship are of world repute. Denise Allen is Curator of Renaissance Paintings and Sculpture at the Frick Collection. Claudia Kryza-Gersch, formerly Kunstkammer, Vienna, is an independent scholar renowned for her studies of North Italian bronzes of the 16th and 17th centuries. Dimitrios Zikos, Florence, an independent scholar is renowned for his knowledge of the Florentine archives from c. 1550 to1740; he has curated many exhibitions at the Museo Nazionale del Bargello, Florence.
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Catalogue: Beeldhouwkunst / Sculpture
Tilman Riemenschneider. Die Werke in Bayerischen Nationalmuseum.
February 2017, (23 x 29 cm), 208 pp. German text, 315 colour ills., 5 b/w. ills., paperback.
¶ Das Bayerische Nationalmuseum in München besitzt eine der bedeutendsten Riemenschneider-Sammlungen weltweit. Insbesondere die frühen Werke, bei denen der Künstler noch in besonders gro§em Umfang selbst Hand angelegt hat, werden auf höchstem Niveau präsentiert. Dazu gehört die zentrale Schreingruppe des Münnerstädter Retabels, des ersten Werks, das Riemenschneider nicht auf eine farbige Fassung hin konzipiert hat. Etwa zur selben Zeit entstanden zwei Passionsgruppen, die der Rothenburger Maler Martinus Schwarz in kongenialer Weise polychromiert hat. Das Raffinement von Riemenschneiders Schnitztechnik kommt so noch subtiler zur Geltung. Mit zahlreichen weiteren gefassten wie ungefassten Spitzenwerken des Künstlers werden diese Arbeiten nun erstmals in einem Band vereint und in neuen Farbaufnahmen vorgestellt. Die Publikation erscheint aus Anlass der Neueinrichtung des Riemenschneider-Saals des Bayerischen Nationalmuseums
¶ Das Bayerische Nationalmuseum in München besitzt eine der bedeutendsten Riemenschneider-Sammlungen weltweit. Insbesondere die frühen Werke, bei denen der Künstler noch in besonders gro§em Umfang selbst Hand angelegt hat, werden auf höchstem Niveau präsentiert. Dazu gehört die zentrale Schreingruppe des Münnerstädter Retabels, des ersten Werks, das Riemenschneider nicht auf eine farbige Fassung hin konzipiert hat. Etwa zur selben Zeit entstanden zwei Passionsgruppen, die der Rothenburger Maler Martinus Schwarz in kongenialer Weise polychromiert hat. Das Raffinement von Riemenschneiders Schnitztechnik kommt so noch subtiler zur Geltung. Mit zahlreichen weiteren gefassten wie ungefassten Spitzenwerken des Künstlers werden diese Arbeiten nun erstmals in einem Band vereint und in neuen Farbaufnahmen vorgestellt. Die Publikation erscheint aus Anlass der Neueinrichtung des Riemenschneider-Saals des Bayerischen Nationalmuseums
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Catalogue: Beeldhouwkunst / Sculpture
Mittelalterliche Weihrauchfässer von 800 bis 1500.
June 2014 (21 x 29,7 cm), 680 pp. Geman text, 1093 b/w. ills., 19 maps., hardcover with dustjacket.
¶ BAND 7 Bronzegeräte des Mittelalters, Band 7. Herausgegeben vom Deutschen Verein für Kunstwissenschaft. Weihrauch ist ein uraltes Zeichen für das Aufsteigen von Gebeten zum Himmel. Sein charakteristischer Geruch definiert auf der ganzen Welt Räume, in denen Gottesdienst und Kulthandlungen stattfinden, sei es in Höhlen, Tempeln, Kirchen oder unter freiem Himmel. Der dichte wei§e Rauch symbolisiert zugleich Gebet und Opfer. Geräte zum Verbrennen von Weihrauch gehören seit frühester Zeit weltweit zur sinnlichen Erfahrung von Kulthandlungen. Die grö§te bisher katalogisierte Gruppe von 'Bronzegeräten des Mittelalters' stellt der nun vorgelegte Band mit 923 Weihrauchfässer vor. Sie bezeugen eine im ganzen christlichen Abendland verbreitete Kultpraxis, illustrieren die Produktivität früher Zentren des Metallgewerbes und bilden zugleich ein uraltes Netz von europäischen Handelswegen ab, auf denen sie an ihre Bestimmungsorte in Kirchen und Kirchenschätzen zwischen Skandinavien und Italien kamen.
¶ BAND 7 Bronzegeräte des Mittelalters, Band 7. Herausgegeben vom Deutschen Verein für Kunstwissenschaft. Weihrauch ist ein uraltes Zeichen für das Aufsteigen von Gebeten zum Himmel. Sein charakteristischer Geruch definiert auf der ganzen Welt Räume, in denen Gottesdienst und Kulthandlungen stattfinden, sei es in Höhlen, Tempeln, Kirchen oder unter freiem Himmel. Der dichte wei§e Rauch symbolisiert zugleich Gebet und Opfer. Geräte zum Verbrennen von Weihrauch gehören seit frühester Zeit weltweit zur sinnlichen Erfahrung von Kulthandlungen. Die grö§te bisher katalogisierte Gruppe von 'Bronzegeräten des Mittelalters' stellt der nun vorgelegte Band mit 923 Weihrauchfässer vor. Sie bezeugen eine im ganzen christlichen Abendland verbreitete Kultpraxis, illustrieren die Produktivität früher Zentren des Metallgewerbes und bilden zugleich ein uraltes Netz von europäischen Handelswegen ab, auf denen sie an ihre Bestimmungsorte in Kirchen und Kirchenschätzen zwischen Skandinavien und Italien kamen.
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Catalogue: Beeldhouwkunst / Sculpture
European Sculpture at the Victorian and Albert Museum.
1997, (22 x 27,5 cm), 192 pp. English text, numerouw ills., hardcover / dustjacket.
¶ Containing over 100 masterpieces from a major collection, this volume traces the history of European sculpture, from the early-Christian period through to the beginning of the 20th century. Highlights include the medieval ivories, works by many of the Italian Renaissance masters, English 18th-century pieces, such as Roubillac's statue of Handel and sculptures by Rodin.
¶ Containing over 100 masterpieces from a major collection, this volume traces the history of European sculpture, from the early-Christian period through to the beginning of the 20th century. Highlights include the medieval ivories, works by many of the Italian Renaissance masters, English 18th-century pieces, such as Roubillac's statue of Handel and sculptures by Rodin.
Scriptum Art Books v.o.f.Professional sellerBook number: 6155
€ 39.95 [Appr.: US$ 42.82 | £UK 34 | JP¥ 6807]
Catalogue: Beeldhouwkunst / Sculpture
Medieval Ivory Carvings 1200-1550.
July 2014, (24,7 x 28,7 cm), 928 pp. English text, ills., 2 volumes hardcover in slipcase.
¶ The V&A's collection of ivory carvings from the period 1200 to 1550 is one of the most important in the world, and this is the first catalogue of it to be published since 1929. Together with the earlier volume, Medieval Ivory Carvings: Early Christian to Romanesque (V&A, 2010), the books make available over 400 pieces of the ivory carver's art, discussing in detail many of the most celebrated ivories of the Middle Ages. Included here are masterpieces from the most important centres of ivory carving in the Gothic era. Among them are the Salting Leaf and Soissons Diptych from thirteenthcentury France; the early-fourteenth-century Salting Diptych from England; Giovanni Pisano's Crucified Christ and the Aldobrandini Crozier from Italy; and the unique Wingfield-Digby Crozier from fourteenth-century Norway. Additionally, important groups of Virgin and Child statuettes, tabernacle polyptychs, diptychs, triptychs, writing tablets, croziers, mirror backs, caskets and the products of the Florentine and Venetian Embriachi workshops are catalogued. Appendices include a small group of post- Byzantine and Russian ivories and the results of radiocarbon-dating of selected works. Each entry provides a comprehensive physical and scholarly discussion that incorporates much new research; also included are carvings of dubious authenticity, which are discussed as fully as the genuine pieces. Beautifully illustrated with new colour photography, Medieval Ivory Carvings 1200 - 1550 is the authoritative guide to the V&A's collection and an accessible survey of the subject.
¶ The V&A's collection of ivory carvings from the period 1200 to 1550 is one of the most important in the world, and this is the first catalogue of it to be published since 1929. Together with the earlier volume, Medieval Ivory Carvings: Early Christian to Romanesque (V&A, 2010), the books make available over 400 pieces of the ivory carver's art, discussing in detail many of the most celebrated ivories of the Middle Ages. Included here are masterpieces from the most important centres of ivory carving in the Gothic era. Among them are the Salting Leaf and Soissons Diptych from thirteenthcentury France; the early-fourteenth-century Salting Diptych from England; Giovanni Pisano's Crucified Christ and the Aldobrandini Crozier from Italy; and the unique Wingfield-Digby Crozier from fourteenth-century Norway. Additionally, important groups of Virgin and Child statuettes, tabernacle polyptychs, diptychs, triptychs, writing tablets, croziers, mirror backs, caskets and the products of the Florentine and Venetian Embriachi workshops are catalogued. Appendices include a small group of post- Byzantine and Russian ivories and the results of radiocarbon-dating of selected works. Each entry provides a comprehensive physical and scholarly discussion that incorporates much new research; also included are carvings of dubious authenticity, which are discussed as fully as the genuine pieces. Beautifully illustrated with new colour photography, Medieval Ivory Carvings 1200 - 1550 is the authoritative guide to the V&A's collection and an accessible survey of the subject.
Scriptum Art Books v.o.f.Professional sellerBook number: 5841
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Catalogue: Beeldhouwkunst / Sculpture
The Wyvern Collection (I): Medieval and Renaissance Sculpture and Metalwork.
June 2018, (21,9 x 27,6 cm), 354 pp. English text, 228 colour ills., hardcover.
¶ This catalogue of the Wyvern sculpture collection, which is not open to the public, comprises outstanding European sculptures of the medieval period, as well as some Late Antique, Byzantine pieces and related works of the post-medieval era. Objects are made from wood, stone (including alabaster and marble) and terracotta. Also included are medieval works of art in metal, mostly consisting of crucifix figures (corpora), and other functional metalware such as aquamanilia (water vessels for the washing of hands) and candlesticks. This sumptuous publication will interest all those concerned with the material culture of the Middle Ages. Table of Contents: Foreword ¥ Introduction ¥ I. Late Antique and Byzantine (cat. 1-8) ¥ II. Romanesque and Early Gothic 1050-1200 (cat. 9-44) ¥ III. Europe in the 13th Century (cat. 45-68) IV. Europe in the 14th Century (cat. 69-92) ¥ V. Europe in the First Half of the 15th Century (cat. 93-126) ¥ VI. Europe in the Second Half of the 15th Century (cat. 127-164) ¥ VII. Europe in the First Half of the 16th Century (cat. 165-179) VIII. Post-Medieval (cat. 180-187)
¶ This catalogue of the Wyvern sculpture collection, which is not open to the public, comprises outstanding European sculptures of the medieval period, as well as some Late Antique, Byzantine pieces and related works of the post-medieval era. Objects are made from wood, stone (including alabaster and marble) and terracotta. Also included are medieval works of art in metal, mostly consisting of crucifix figures (corpora), and other functional metalware such as aquamanilia (water vessels for the washing of hands) and candlesticks. This sumptuous publication will interest all those concerned with the material culture of the Middle Ages. Table of Contents: Foreword ¥ Introduction ¥ I. Late Antique and Byzantine (cat. 1-8) ¥ II. Romanesque and Early Gothic 1050-1200 (cat. 9-44) ¥ III. Europe in the 13th Century (cat. 45-68) IV. Europe in the 14th Century (cat. 69-92) ¥ V. Europe in the First Half of the 15th Century (cat. 93-126) ¥ VI. Europe in the Second Half of the 15th Century (cat. 127-164) ¥ VII. Europe in the First Half of the 16th Century (cat. 165-179) VIII. Post-Medieval (cat. 180-187)
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Catalogue: Beeldhouwkunst / Sculpture
The Wyvern Collection (II). Medieval and later Ivory, Carvings and Small Sculpture.
09-2019, (21,9 x 27,6 cm), 416 pp., English text, 300 colour ills., hardcover.
¶ This volume, the second catalogue of the Wyvern Collection, celebrates an outstanding group of medieval ivory carvings and small sculpture, the finest assemblage of its kind in private hands. The book has pieces from every period of the Middle Ages, including rare examples from the Early Christian era; spectacular panels from the workshops of tenth-century Constantinople; objects produced by the celebrated carvers active in south Italy in the eleventh and twelfth centuries; and several important pieces from the Romanesque period. At the heart of the collection is an outstanding group of Gothic ivories whose highlights include one of the most important secular medieval ivories discovered in recent years. The collection also features a number of small amber, hardstone, jet, wood and mother-of-pearl carvings. In addition to their virtuoso craftsmanship, many of these objects have illustrious histories as part of famous aristocratic or ecclesiastical collections. This is a precious opportunity to study these miniature masterpieces.
¶ This volume, the second catalogue of the Wyvern Collection, celebrates an outstanding group of medieval ivory carvings and small sculpture, the finest assemblage of its kind in private hands. The book has pieces from every period of the Middle Ages, including rare examples from the Early Christian era; spectacular panels from the workshops of tenth-century Constantinople; objects produced by the celebrated carvers active in south Italy in the eleventh and twelfth centuries; and several important pieces from the Romanesque period. At the heart of the collection is an outstanding group of Gothic ivories whose highlights include one of the most important secular medieval ivories discovered in recent years. The collection also features a number of small amber, hardstone, jet, wood and mother-of-pearl carvings. In addition to their virtuoso craftsmanship, many of these objects have illustrious histories as part of famous aristocratic or ecclesiastical collections. This is a precious opportunity to study these miniature masterpieces.
Scriptum Art Books v.o.f.Professional sellerBook number: 7372
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Catalogue: Beeldhouwkunst / Sculpture
The Wyvern Collection (IV). Medieval and Renaissance Enamels and other Works of Art.
11 - 2021, (23,4 x 28,6 cm), 480 pp. English text, 400 colour ills., hardcover.
¶ Works of art in enamel are among the most attractive, colourful and revealing objects of the Middle Ages and Renaissance. Enamel was employed to embellish a broad array of objects, including reliquary caskets, crosses, book-covers, croziers, censers and pyxes for the church and a wide range of tableware for the secular market. The Wyvern Collection comprises many pieces of prime importance from the twelfth to the sixteenth centuries. Among the highlights in this volume are two extremely rare Romanesque enamels of c. 1160-70 from the Meuse Valley: the celebrated reliquary triptych probably originally belonging to the Bishop of Liege, and a beautiful phylactery (a reliquary designed to be suspended) with scenes from the story of the True Cross, said to have come from the famous abbey of Lobbes. Limoges enamels of the twelfth and thirteenth centuries are particularly well represented, the 65 pieces making up what is undoubtedly now the finest and most comprehensive collection in private hands. The later painted enamels of Limoges, from the fifteenth and sixteenth centuries, include remarkable examples of the work of the principal enamellers, most notably Pierre Reymond, and the spectacular horn of St Hubert, dated 1538 and signed by Leonard Limosin, which once belonged to Horace Walpole at Strawberry Hill. The catalogue additionally includes other outstanding works of art such as an important Anglo-Carolingian chrismatory of the ninth century, a small group of enigmatic twelfth-century drinking-cups and sumptuous examples of German late medieval goldsmiths' work. Stained and painted glass roundels, Italian Renaissance ceramics, luxurious textiles and tapestries, and German and Italian armour are also catalogued. An appendix presents several important pieces, recently acquired, which supplement those published in the first two volumes. With more than 250 objects, all specially photographed, this is more than a handbook to an especially rich part of one of the greatest private collections. It is a detailed and authoritative guide to medieval and Renaissance enamels and other works of art, a stimulus to further research and a feast for the eyes. With 400 illustrations in colour.
¶ Works of art in enamel are among the most attractive, colourful and revealing objects of the Middle Ages and Renaissance. Enamel was employed to embellish a broad array of objects, including reliquary caskets, crosses, book-covers, croziers, censers and pyxes for the church and a wide range of tableware for the secular market. The Wyvern Collection comprises many pieces of prime importance from the twelfth to the sixteenth centuries. Among the highlights in this volume are two extremely rare Romanesque enamels of c. 1160-70 from the Meuse Valley: the celebrated reliquary triptych probably originally belonging to the Bishop of Liege, and a beautiful phylactery (a reliquary designed to be suspended) with scenes from the story of the True Cross, said to have come from the famous abbey of Lobbes. Limoges enamels of the twelfth and thirteenth centuries are particularly well represented, the 65 pieces making up what is undoubtedly now the finest and most comprehensive collection in private hands. The later painted enamels of Limoges, from the fifteenth and sixteenth centuries, include remarkable examples of the work of the principal enamellers, most notably Pierre Reymond, and the spectacular horn of St Hubert, dated 1538 and signed by Leonard Limosin, which once belonged to Horace Walpole at Strawberry Hill. The catalogue additionally includes other outstanding works of art such as an important Anglo-Carolingian chrismatory of the ninth century, a small group of enigmatic twelfth-century drinking-cups and sumptuous examples of German late medieval goldsmiths' work. Stained and painted glass roundels, Italian Renaissance ceramics, luxurious textiles and tapestries, and German and Italian armour are also catalogued. An appendix presents several important pieces, recently acquired, which supplement those published in the first two volumes. With more than 250 objects, all specially photographed, this is more than a handbook to an especially rich part of one of the greatest private collections. It is a detailed and authoritative guide to medieval and Renaissance enamels and other works of art, a stimulus to further research and a feast for the eyes. With 400 illustrations in colour.
Scriptum Art Books v.o.f.Professional sellerBook number: 7970
€ 83.95 [Appr.: US$ 89.98 | £UK 71.25 | JP¥ 14305]
Catalogue: Beeldhouwkunst / Sculpture
Grinling Gibbons and his contemporaries (1650-1700). The Golden Age of Woodcarving in the Netherlands and Britain.
2022, (22 x 28 cm), 426 pp. English, 305 colour & 2 tables and 2 maps in b/w., ills., hardcover.
¶ One of the greatest artists of the English Baroque, Grinling Gibbons (1648-1721) was born in Rotterdam to English parents. He moved to England at the age of nineteen and embarked on a spectacular career. His exuberant lifelike carvings in limewood can be admired at Hampton Court Palace and at St Paul's Cathedral in London. But what was the Dutch tradition that shaped him? And what set him apart from the other carvers of his time? This book explains the importance of woodcarving and provides new insights into the work of woodcarvers in the Netherlands and Britain. Full of discoveries and new images, it discusses little-known interiors, objects, craftsmen and their patrons, and provides a rich introduction to the ornamental world of woodcarving.
¶ One of the greatest artists of the English Baroque, Grinling Gibbons (1648-1721) was born in Rotterdam to English parents. He moved to England at the age of nineteen and embarked on a spectacular career. His exuberant lifelike carvings in limewood can be admired at Hampton Court Palace and at St Paul's Cathedral in London. But what was the Dutch tradition that shaped him? And what set him apart from the other carvers of his time? This book explains the importance of woodcarving and provides new insights into the work of woodcarvers in the Netherlands and Britain. Full of discoveries and new images, it discusses little-known interiors, objects, craftsmen and their patrons, and provides a rich introduction to the ornamental world of woodcarving.
Scriptum Art Books v.o.f.Professional sellerBook number: 8280
€ 165.00 [Appr.: US$ 176.86 | £UK 139.75 | JP¥ 28115]
Catalogue: Beeldhouwkunst / Sculpture
Shinkichi Tajiri. Autobiographical notations. Words and images / Autobiografische aantekeningen. Woorden en Beelden
1993, (29 x 29 cm), 156 pp. Dutch/ English parallel texts, numerous ills., (colour & b/w), clothbound / duswrappers.
¶ Richly illustrated monograph on the sculptor Shinkichi Tajiri (Los Angels 1923- Baarlo 2009). After the Second Worl War Tajiri was one of the first artits who created 'junk sculptures'. With this, he earned the admiration of Dutch artists Constant, Karel Appel and Corneille (CoBrA). This copy includes the booklet 'The Genealogy of the family Tajiri'.
¶ Richly illustrated monograph on the sculptor Shinkichi Tajiri (Los Angels 1923- Baarlo 2009). After the Second Worl War Tajiri was one of the first artits who created 'junk sculptures'. With this, he earned the admiration of Dutch artists Constant, Karel Appel and Corneille (CoBrA). This copy includes the booklet 'The Genealogy of the family Tajiri'.
Scriptum Art Books v.o.f.Professional sellerBook number: 4983
€ 37.50 [Appr.: US$ 40.19 | £UK 31.75 | JP¥ 6390]
Catalogue: Beeldhouwkunst / Sculpture
Antique Vienna Bronzes
2008, (21,5 x 28 cm), 256 pp.,English 657 ills. (colour), cllothbound.
¶ Dit fraaie boek geeft een uniek overzicht van de zeer gewilde Weense bronzen die rond 1850 werden geproduceerd in kleine werkplaatsten en kunstenaars-ateliers. In dit boek zijn ruim 650 kleurenafbeeldingen te vinden van bronzen vogels, kamelen, katten en honden, paarden, beren, stieren, reptielen en menselijke figuren in talloze uitvoeringen en expressies, en ook sculpturen geïntegreerd in lampen zijn opgenomen. De begeleidende tekst geeft uitstekende informatie over de belangrijke kunstenaars en firma's, die Weense bronzen vervaardigden. Met prijsindicaties. Een absolute must voor de verzamelaar van antiek en bronzen in het bijzonder. // Small bronze figures, made in Vienna, Austria, beginning around 1850, are well known for their great detail and expressiveness. They were produced in small factories and private artist studios in the forms of animals and humans, and were exported to sell in New York, London, and Paris. Depicted here in over 650 brilliant color photos are cast bronze birds, camels, cats, dogs, horses, bears, bulls, reptiles, and rodents as well as humans figures from around the globe and many professions. Figures integrated into lamps are also displayed. The informative text highlights major artists and firms that produced Vienna bronze figures, and values are included in the captions. Antique and figurine collectors will find much pertinent information in this new study. [sculpture art deco art nouveau]
¶ Dit fraaie boek geeft een uniek overzicht van de zeer gewilde Weense bronzen die rond 1850 werden geproduceerd in kleine werkplaatsten en kunstenaars-ateliers. In dit boek zijn ruim 650 kleurenafbeeldingen te vinden van bronzen vogels, kamelen, katten en honden, paarden, beren, stieren, reptielen en menselijke figuren in talloze uitvoeringen en expressies, en ook sculpturen geïntegreerd in lampen zijn opgenomen. De begeleidende tekst geeft uitstekende informatie over de belangrijke kunstenaars en firma's, die Weense bronzen vervaardigden. Met prijsindicaties. Een absolute must voor de verzamelaar van antiek en bronzen in het bijzonder. // Small bronze figures, made in Vienna, Austria, beginning around 1850, are well known for their great detail and expressiveness. They were produced in small factories and private artist studios in the forms of animals and humans, and were exported to sell in New York, London, and Paris. Depicted here in over 650 brilliant color photos are cast bronze birds, camels, cats, dogs, horses, bears, bulls, reptiles, and rodents as well as humans figures from around the globe and many professions. Figures integrated into lamps are also displayed. The informative text highlights major artists and firms that produced Vienna bronze figures, and values are included in the captions. Antique and figurine collectors will find much pertinent information in this new study. [sculpture art deco art nouveau]
Scriptum Art Books v.o.f.Professional sellerBook number: 4280
€ 95.00 [Appr.: US$ 101.83 | £UK 80.5 | JP¥ 16187]
Catalogue: Beeldhouwkunst / Sculpture