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Frans Masereel. Bibliografie Pierre Vorms en Hanns-Conon von der Gabelenz.
Amsterdam 1977 (30 x 34 cm), 318 pp. Dutch text, b/w. ills., hardcover with dustwrappers in slip-case.
¶ Bibliografie door Pierre Vorms en Hanns-Conon von der Gabelentz. Met afdruk van een houtsnede 'Zelfportret, 1923', op het titelblad ingeplakt. Conditie goed.
¶ Bibliografie door Pierre Vorms en Hanns-Conon von der Gabelentz. Met afdruk van een houtsnede 'Zelfportret, 1923', op het titelblad ingeplakt. Conditie goed.
Scriptum Art Books v.o.f.Professional sellerBook number: 8020
€ 90.00 [Appr.: US$ 95.9 | £UK 77 | JP¥ 15142]
Catalogue: Monografieën / Monographs
The Triumph of Motion. Francesco Bertos (1678-17441) and the Art of Sculpture . Catalogue Raisonn«.
(22,2 x 32,2 cm), 304 pp. English text, 449 ills., 86 in colour, hardcover
¶ A rediscovery of the eighteenth-century sculptor Francesco Bertos by the eminent British art historian, Charles Avery, a specialist in European - and particularly Italian - sculpture. Bertos lived and died near Padua, Italy, and specialised in producing eye-catching, sometimes rather bizarre, mythological, allegorical and religious groups in marble or bronze. The art of Bertos is characterised by a constant search for dynamic movement, in a similar vein to contemporary paintings by Tiepolo and others, especially their tumbling groups of figures in airy trompe l'oeil ceilings. Indeed, many of the figures in Bertos's sculptural groups seem to fly and he was even summoned before the Inquisition to account for his preternatural skills in carving. Richly illustrated with almost a hundred colour and almost three hundred black and white photographs, the essays reveal his noble patrons in the Veneto, along with the royal family in Turin and Peter the Great in Russia, delve into his sources of inspiration, attempt to clarify his complex iconography, illustrate his daring techniques, introduce Fasolato, a sculptor follower of Bertos, and track Bertos's fortune in British and American collecting in the twentieth century. Appendixes list Bertos's various signatures and the locations where his works can be found, as well as a chronological summary of his documented career. This lively and scholarly publication ends with a pioneering catalogue raisonné documenting all of the sculptor's known works, each illustrated with a black and white image.
¶ A rediscovery of the eighteenth-century sculptor Francesco Bertos by the eminent British art historian, Charles Avery, a specialist in European - and particularly Italian - sculpture. Bertos lived and died near Padua, Italy, and specialised in producing eye-catching, sometimes rather bizarre, mythological, allegorical and religious groups in marble or bronze. The art of Bertos is characterised by a constant search for dynamic movement, in a similar vein to contemporary paintings by Tiepolo and others, especially their tumbling groups of figures in airy trompe l'oeil ceilings. Indeed, many of the figures in Bertos's sculptural groups seem to fly and he was even summoned before the Inquisition to account for his preternatural skills in carving. Richly illustrated with almost a hundred colour and almost three hundred black and white photographs, the essays reveal his noble patrons in the Veneto, along with the royal family in Turin and Peter the Great in Russia, delve into his sources of inspiration, attempt to clarify his complex iconography, illustrate his daring techniques, introduce Fasolato, a sculptor follower of Bertos, and track Bertos's fortune in British and American collecting in the twentieth century. Appendixes list Bertos's various signatures and the locations where his works can be found, as well as a chronological summary of his documented career. This lively and scholarly publication ends with a pioneering catalogue raisonné documenting all of the sculptor's known works, each illustrated with a black and white image.
Scriptum Art Books v.o.f.Professional sellerBook number: 5756
€ 70.00 [Appr.: US$ 74.59 | £UK 60 | JP¥ 11777]
Catalogue: Beeldhouwkunst / Sculpture
![JANSEN - Avest, Hugo P. ter:, W.G.F. Jansen [1871-1949]. Schilder van de losse toets.](https://www.antiqbook.com/images/AB_images/s/scr_4773.jpg "Click to enlarge")
W.G.F. Jansen [1871-1949]. Schilder van de losse toets.
2010, (25,5 x 24,5 cm), Oblong, 136 pp. Dutch text, 130 ills. (122 in colour), hardcover.
¶ De schilder W.G.F. Jansen maakt met zijn schilderijen al meer dan honderd jaar mensen gelukkig. In zijn eigen tijd vonden zijn werk al grif aftrek en zijn populariteit is nog steeds groot. Jansen heeft een omvangrijk en gevarieerd oeuvre. Hij werkte door heel Nederland en legde het leven van zijn tijd vast. Jansen werkte veelal nat-in-nat, wat een grote vaardigheid vereist. Bij deze techniek worden verflagen nat over elkaar heen geschilderd, waardoor de verf op een natuurlijke manier in elkaar overloopt. Met rake verstreken en korte toetsen legde hij snel de essentie van zijn onderwerp vast. Schelpenvissers op het strand, een span ossen voor een mallejan, een molen aan een vaart of een stadsgezicht in Amsterdam of langs de Zuiderzee. In Noord-Brabant en Limburg schilderde hij boerderijen en het landleven. Deze uitgebreide en prachtig geïllustreerde catalogus geeft een goed overzicht van het werk en het levensverhaal van W.G.F. Jansen. Een must voor liefhebbers van de nabloei van de Haagse School en anderen die de negentiende-eeuwse schilderkunst een warm hart toedragen.
¶ De schilder W.G.F. Jansen maakt met zijn schilderijen al meer dan honderd jaar mensen gelukkig. In zijn eigen tijd vonden zijn werk al grif aftrek en zijn populariteit is nog steeds groot. Jansen heeft een omvangrijk en gevarieerd oeuvre. Hij werkte door heel Nederland en legde het leven van zijn tijd vast. Jansen werkte veelal nat-in-nat, wat een grote vaardigheid vereist. Bij deze techniek worden verflagen nat over elkaar heen geschilderd, waardoor de verf op een natuurlijke manier in elkaar overloopt. Met rake verstreken en korte toetsen legde hij snel de essentie van zijn onderwerp vast. Schelpenvissers op het strand, een span ossen voor een mallejan, een molen aan een vaart of een stadsgezicht in Amsterdam of langs de Zuiderzee. In Noord-Brabant en Limburg schilderde hij boerderijen en het landleven. Deze uitgebreide en prachtig geïllustreerde catalogus geeft een goed overzicht van het werk en het levensverhaal van W.G.F. Jansen. Een must voor liefhebbers van de nabloei van de Haagse School en anderen die de negentiende-eeuwse schilderkunst een warm hart toedragen.
Scriptum Art Books v.o.f.Professional sellerBook number: 4773
€ 24.95 [Appr.: US$ 26.59 | £UK 21.5 | JP¥ 4198]
Catalogue: Monografieën / Monographs
Claes Oldenburg - Printed Stuff. Catalogue Raisonné of Prints, Posters and Ephemera 1958-1996.
1997, (24 x 31 cm), 454 pp. English text, 381 colour plates & 107 duo-tones. Clothbound/ dustwrappers
¶ BOOKSALE 2018: 118,00 NOW Û 19,95 Claes Oldenburg has been an innovate American artist for more than four decades, from early performance pieces and environmental installations including The Street and The Store, through recent monumental public sculptures created in collaboration with Coosje van Bruggen. His work combines unequaled skill as a manipulator of materials, traditional and innovative; unique brilliance as a draftsman; and unlimited imagination and wit devoted to inventing sculptural form. Oldenburg's career as a sculptor has been paralleled by a major graphic oeuvre, some 250 editioned prints as well as posters, artist's books, and much printed ephemera. These works have involved a variety of printing processes, from mimeograph to lithography, etching, woodcut, and screenprinting, and have been printed on ordinary and special papers, Plexiglas, cardboard, silk, and canvas. All of Oldenburg s prints, posters, and printed ephemera are fully documented in the newest in Hudson Hills Press's acclaimed series of catalogue raisonnés of the graphic work of America s greatest printmakers. All works that involve color are reproduced in full color, the balance in rich duotone. Many are accompanied by reproductions of related drawings. Printed Stuff includes an essay by Richard H. Axsom titled 'Beyond a Laugh and a Pretty Line ' a comprehensive study of Oldenburg's printed oeuvre and its relation to his large-scale projects and especially his drawings. Oldenburg himself has stated, 'The problem has always been how to make the print statements as personal as the drawing statements ' Axsom writes, Oldenburg's 'printed work has provided him with an alternative and significant playing field for drawing, metamorphic form, and self-documentation.' Axsom was Professor of Art History at the University of Michigan-Dearborn and author of catalogue raisonnés of the prints of Ellsworth Kelly and Frank Stella. David Platzker, who authored the Oldenburg catalogue raisonné, is an independent curator as well as curator for Oldenburg and van Bruggen; he has coordinated numerous exhibitions and publications on Oldenburg and other artists. Printed Stuff includes a list of Selected Exhibition History, Bibliographic References, Concordance, and Index. Ramsj
¶ BOOKSALE 2018: 118,00 NOW Û 19,95 Claes Oldenburg has been an innovate American artist for more than four decades, from early performance pieces and environmental installations including The Street and The Store, through recent monumental public sculptures created in collaboration with Coosje van Bruggen. His work combines unequaled skill as a manipulator of materials, traditional and innovative; unique brilliance as a draftsman; and unlimited imagination and wit devoted to inventing sculptural form. Oldenburg's career as a sculptor has been paralleled by a major graphic oeuvre, some 250 editioned prints as well as posters, artist's books, and much printed ephemera. These works have involved a variety of printing processes, from mimeograph to lithography, etching, woodcut, and screenprinting, and have been printed on ordinary and special papers, Plexiglas, cardboard, silk, and canvas. All of Oldenburg s prints, posters, and printed ephemera are fully documented in the newest in Hudson Hills Press's acclaimed series of catalogue raisonnés of the graphic work of America s greatest printmakers. All works that involve color are reproduced in full color, the balance in rich duotone. Many are accompanied by reproductions of related drawings. Printed Stuff includes an essay by Richard H. Axsom titled 'Beyond a Laugh and a Pretty Line ' a comprehensive study of Oldenburg's printed oeuvre and its relation to his large-scale projects and especially his drawings. Oldenburg himself has stated, 'The problem has always been how to make the print statements as personal as the drawing statements ' Axsom writes, Oldenburg's 'printed work has provided him with an alternative and significant playing field for drawing, metamorphic form, and self-documentation.' Axsom was Professor of Art History at the University of Michigan-Dearborn and author of catalogue raisonnés of the prints of Ellsworth Kelly and Frank Stella. David Platzker, who authored the Oldenburg catalogue raisonné, is an independent curator as well as curator for Oldenburg and van Bruggen; he has coordinated numerous exhibitions and publications on Oldenburg and other artists. Printed Stuff includes a list of Selected Exhibition History, Bibliographic References, Concordance, and Index. Ramsj
Scriptum Art Books v.o.f.Professional sellerBook number: 5420
€ 19.95 [Appr.: US$ 21.26 | £UK 17.25 | JP¥ 3357]
Catalogue: Monografieën / Monographs
Keywords: Ramsj
Chinese and Japanse Works of Art in the Collection of Her Majesty The Queen.
November 2016, (24,5 x 30 cm), 3 volumes, ± 1296 pp. English text, ± 2.400 colour ills., hardcover.
¶ The first ever catalogue on Chinese and Japanese works of art in the Royal Collection. Contains more than 2.000 individual objects and presents historically significant evidence detailing the trade of luxury goods between Europe and the East over the last 300 years. The Royal Collection includes some of the most historic examples of eastern arts now in the western world. With more than 2,000 items distributed among the royal residences in England and Scotland, this collection presents a rich cross-section of the porcelains, jades, lacquer and other works of art produced in China and Japan and brought here over a period of several centuries, reflecting the West's long-standing appetite for rarities from distant lands. A striking feature of the collection is the mounting in the eighteenth and nineteenth centuries of many objects in gilt bronze: the mounts themselves, made in French and British workshops, are often of superb quality and of great historical importance and will be published here for the first time. John Ayers is a specialist in Asian ceramics, having published more than 20 books on the subject. He was formerly Keeper of the Far Eastern Department at the Victoria and Albert Museum. This reference work was printed in a limited edition of 1.150 copies (750 + 400). Volume 1: This volume presents the Chinese ceramics of the Ming and Qing dynasties in chronological order (continued in Volume Two). In addition, due to their unique historical significance, the contents of the collection at Hampton Court Palace are presented here separately. Volume Two continues the works of the Qing dynasty, and ends with the Japanese works. The volume also contains a special focus on the European mounts that were added to works of Chinese and Japanese porcelain during the eighteenth and early nineteenth centuries. The final volume (3) contains non-porcelain works, namely lacquer, jade and other hardstones, carved ivories, textiles and metalwork. Many of these works came into the Royal Collection as Imperial gifts, to George III, Queen Victoria, King Edward VII and Queen Alexandra, with the exception of the Japanese lacquer wares which were acquired for George IV, to furnish the Royal Pavilion at Brighton. Although not much studied, these pieces were certainly admired by the royal family and Chinese rooms were created at Windsor and Sandringham House, decorated with an eclectic mixture of European chinoiserie and authentic works of Asian art.
¶ The first ever catalogue on Chinese and Japanese works of art in the Royal Collection. Contains more than 2.000 individual objects and presents historically significant evidence detailing the trade of luxury goods between Europe and the East over the last 300 years. The Royal Collection includes some of the most historic examples of eastern arts now in the western world. With more than 2,000 items distributed among the royal residences in England and Scotland, this collection presents a rich cross-section of the porcelains, jades, lacquer and other works of art produced in China and Japan and brought here over a period of several centuries, reflecting the West's long-standing appetite for rarities from distant lands. A striking feature of the collection is the mounting in the eighteenth and nineteenth centuries of many objects in gilt bronze: the mounts themselves, made in French and British workshops, are often of superb quality and of great historical importance and will be published here for the first time. John Ayers is a specialist in Asian ceramics, having published more than 20 books on the subject. He was formerly Keeper of the Far Eastern Department at the Victoria and Albert Museum. This reference work was printed in a limited edition of 1.150 copies (750 + 400). Volume 1: This volume presents the Chinese ceramics of the Ming and Qing dynasties in chronological order (continued in Volume Two). In addition, due to their unique historical significance, the contents of the collection at Hampton Court Palace are presented here separately. Volume Two continues the works of the Qing dynasty, and ends with the Japanese works. The volume also contains a special focus on the European mounts that were added to works of Chinese and Japanese porcelain during the eighteenth and early nineteenth centuries. The final volume (3) contains non-porcelain works, namely lacquer, jade and other hardstones, carved ivories, textiles and metalwork. Many of these works came into the Royal Collection as Imperial gifts, to George III, Queen Victoria, King Edward VII and Queen Alexandra, with the exception of the Japanese lacquer wares which were acquired for George IV, to furnish the Royal Pavilion at Brighton. Although not much studied, these pieces were certainly admired by the royal family and Chinese rooms were created at Windsor and Sandringham House, decorated with an eclectic mixture of European chinoiserie and authentic works of Asian art.
Scriptum Art Books v.o.f.Professional sellerBook number: 5945
€ 360.00 [Appr.: US$ 383.61 | £UK 307.75 | JP¥ 60570]
Catalogue: Aziatische kunst / Asiatic Art
Chinese Porcelain. The S.C. Ko Tianminlou Collection
Urban Council, Hong Kong, 1987, 2 Volumes, ( 27,5 x 37 cm), 364 pp. (volume I) +240 pp. (volume II). text in English and Chinese, 400 colour ills., including 59 panoramic views pages, 2 volumes hardcover clothbinding in decorative slipcase.
¶ Two volume catalogue from the exhibition at the Hong Kong Museum of Art of 163 objects, the majority are products of the imperial kilns of Jingdezhen, held in 1987. Wonderfull illustrations, well documented. Condition very good. Texts in English and Chinese. Excerpt from the Preface by Christina Chu, Curator of the Hong Kong Museum of Art, July 1987 'The Hong Kong Museum of Art is proud to present an exhibition of pieces selected from the Tianminlou Collection of Chinese porcelain, a collection that has been assembled over the last four decades with meticulous care and discriminating taste. The exhibition features sixty-five pieces of blue and white, fifty-four pieces of polychrome and forty-four pieces of monochrome, totalling one hundred and sixty-tree objects dating from the 13th to the 18th century, they are the very best of Mr. Ko Shih Chao's acquisitions made in the last twenty years. A large majority of the pieces are products of the imperial kilns of Jingdezhen. They present a spectrum of techniques and styles, and tell the story to the constant striving by potters of Jingdezhen to refine the porcelain body, to master the intricacies of firing, and to invent new glazes from metals, a forth element provided by nature. It is an extraordinary chapter - and the climatic chapter - from the seven-thousand year saga of ceramics. Through the generosity of Mr. Ko Shih Chao the Tianminlou Collection has been put in public view. In addition to lending his collection for exhibition, Mr. Ko has also sponsored the publication of the catalogue that accompanies the exhibition. To the catalogue itself he has contributed many entries as well as one of the essays. The value of the catalogue has been enhanced by the essays contributed by Mr. John Ayers, Mr Julian Thompson and Mr Laurence Tam. It was Mr. Ko Shih Chao idea to include in the catalogue panoramic illustrations of a number of pieces so that the swept and subtlety of their designs can be fully appreciated. The catalogue is itself a visual delight thanks to the superb technique of the photographers: Mr Ogawa Tadahiro who did the panoramic photographs, Mr Wakisaka Susumu who took most of the colour transparencies for Volume I of the catalogue. '.
¶ Two volume catalogue from the exhibition at the Hong Kong Museum of Art of 163 objects, the majority are products of the imperial kilns of Jingdezhen, held in 1987. Wonderfull illustrations, well documented. Condition very good. Texts in English and Chinese. Excerpt from the Preface by Christina Chu, Curator of the Hong Kong Museum of Art, July 1987 'The Hong Kong Museum of Art is proud to present an exhibition of pieces selected from the Tianminlou Collection of Chinese porcelain, a collection that has been assembled over the last four decades with meticulous care and discriminating taste. The exhibition features sixty-five pieces of blue and white, fifty-four pieces of polychrome and forty-four pieces of monochrome, totalling one hundred and sixty-tree objects dating from the 13th to the 18th century, they are the very best of Mr. Ko Shih Chao's acquisitions made in the last twenty years. A large majority of the pieces are products of the imperial kilns of Jingdezhen. They present a spectrum of techniques and styles, and tell the story to the constant striving by potters of Jingdezhen to refine the porcelain body, to master the intricacies of firing, and to invent new glazes from metals, a forth element provided by nature. It is an extraordinary chapter - and the climatic chapter - from the seven-thousand year saga of ceramics. Through the generosity of Mr. Ko Shih Chao the Tianminlou Collection has been put in public view. In addition to lending his collection for exhibition, Mr. Ko has also sponsored the publication of the catalogue that accompanies the exhibition. To the catalogue itself he has contributed many entries as well as one of the essays. The value of the catalogue has been enhanced by the essays contributed by Mr. John Ayers, Mr Julian Thompson and Mr Laurence Tam. It was Mr. Ko Shih Chao idea to include in the catalogue panoramic illustrations of a number of pieces so that the swept and subtlety of their designs can be fully appreciated. The catalogue is itself a visual delight thanks to the superb technique of the photographers: Mr Ogawa Tadahiro who did the panoramic photographs, Mr Wakisaka Susumu who took most of the colour transparencies for Volume I of the catalogue. '.
Scriptum Art Books v.o.f.Professional sellerBook number: 6764
€ 775.00 [Appr.: US$ 825.82 | £UK 662.25 | JP¥ 130394]
Catalogue: Aziatische kunst / Asiatic Art - China
Chambres Privée. Flämische Meisterwerke aus dem Wohnzimmer eines Sammlers.
November 2018, (21,5 x 26,5 cm), 128 pp. German text, 60 coour ills., hardcover.
¶ Chambre Privée. Flemish Masterpieces from a Collector's Living Room is the title of a small exhibition in the fireplace room of the Suermondt-Ludwig-Museum, which shows loans from a private collector, who owns and collects almost exclusively Flemish and Dutch paintings. The impetus came from the still life exhibition in Münster in 1979, which left such a lasting impression on the collector that he himself began to acquire Flemish and Dutch still life paintings in particular, but later also landscapes, thus steadily building up his collection. He placed particular emphasis on the high quality of the pictures and continues to work closely with art historians and dealers. He now owns masterpieces of high quality, from Jan Brueghel the Elder, Ambrosius Bosschaert, Adriaen van de Venne, Willem Claesz. Heda to Frans Snyders, Johannes Fyt, Willem Kalf, Adriaen Brouwer or Paul Bril.
¶ Chambre Privée. Flemish Masterpieces from a Collector's Living Room is the title of a small exhibition in the fireplace room of the Suermondt-Ludwig-Museum, which shows loans from a private collector, who owns and collects almost exclusively Flemish and Dutch paintings. The impetus came from the still life exhibition in Münster in 1979, which left such a lasting impression on the collector that he himself began to acquire Flemish and Dutch still life paintings in particular, but later also landscapes, thus steadily building up his collection. He placed particular emphasis on the high quality of the pictures and continues to work closely with art historians and dealers. He now owns masterpieces of high quality, from Jan Brueghel the Elder, Ambrosius Bosschaert, Adriaen van de Venne, Willem Claesz. Heda to Frans Snyders, Johannes Fyt, Willem Kalf, Adriaen Brouwer or Paul Bril.
Scriptum Art Books v.o.f.Professional sellerBook number: 7082
€ 24.95 [Appr.: US$ 26.59 | £UK 21.5 | JP¥ 4198]
Die Stilleben des Balthasar van der Ast (1593/94-1657).
March 2016, (24 x 30 cm), 232 pp. German text, 180 colour ills., hardcover.
¶ Die Stillleben des 1593/94 in Middelburg geborenen Balthasar van der Ast gehören zu den schönsten Darstellungen seiner Zeit. Der Vergleich mit Gemälden seines Lehrmeisters Ambrosius Bosschaert oder von Roelant Savery zeigt, dass der Maler, der später in Utrecht und viele Jahre in Delft lebte, dieser Gattung wichtige neue Impulse gab. Er malte vor allem augentäuschende Blumen und Früchtestillleben auf höchstem künstlerischem Niveau, die gelegentlich mit Muscheln und Meeresschnecken, verschiedenen Tieren sowie kostbarem chinesischem Porzellan in einen Zusammenhang gebracht wurden. Die teils exotischen Gegenstände spiegeln dabei die internationalen Handelsbeziehungen der Niederländer wie auch das wissenschaftliche Interesse an der genauen Erfassung der Natur wider.
¶ Die Stillleben des 1593/94 in Middelburg geborenen Balthasar van der Ast gehören zu den schönsten Darstellungen seiner Zeit. Der Vergleich mit Gemälden seines Lehrmeisters Ambrosius Bosschaert oder von Roelant Savery zeigt, dass der Maler, der später in Utrecht und viele Jahre in Delft lebte, dieser Gattung wichtige neue Impulse gab. Er malte vor allem augentäuschende Blumen und Früchtestillleben auf höchstem künstlerischem Niveau, die gelegentlich mit Muscheln und Meeresschnecken, verschiedenen Tieren sowie kostbarem chinesischem Porzellan in einen Zusammenhang gebracht wurden. Die teils exotischen Gegenstände spiegeln dabei die internationalen Handelsbeziehungen der Niederländer wie auch das wissenschaftliche Interesse an der genauen Erfassung der Natur wider.
Scriptum Art Books v.o.f.Professional sellerBook number: 6435
€ 120.00 [Appr.: US$ 127.87 | £UK 102.75 | JP¥ 20190]
Catalogue: Monografieën / Monographs
Francois Decorchemont. Maitre de pate de verre.
200, (24 x 31,5 cm), 532 pp., numerous ills. (colour and some b/w.), clothbound/ d-jacket.
¶ Formé à l'Ecole des arts décoratifs de Paris, François Décorchemont (1880-1971) est une figure majeure de l'histoire des arts du feu. Ses recherches le situent au rang des rares créateurs qui ont su faire évoluer leur Ïuvre du naturalisme de l'Art nouveau aux géométries rythmées et épurées de l'Art déco. Alchimiste de la couleur, il joue sur les métamorphoses et la mutation des matériaux pour créer une pâte de verre épaisse aux nuances infinies, dans laquelle la lumière a un rôle déterminant. Membre du Salon des artistes décorateurs et du groupe des Artisans français contemporains, Décorchemont se lie d'amitié avec les céramistes Lenoble, DecÏur, Serré et Soudbinine, les dinandiers Linossier et Daurat, le tabletier Bastard, dont il se sent techniquement et stylistiquement proche. Ces échanges, dans lesquels il joue tour à tour le rôle d'initiateur, de traducteur et d'interprète, lui permettent d'enrichir son répertoire décoratif et formel. Présenté dès 1907 par la prestigieuse galerie Rouard à Paris, exposé en Suisse, en Belgique, mais aussi à New York et à Buenos Aires, il développe un cercle de collectionneurs, grands industriels et mécènes, et entre très tôt dans les collections publiques. L'ouvrage de Véronique Ayroles resitue cette Ïuvre magnifique dans le climat d'effervescence qui détermina l'essor des arts décoratifs à la fin du XIXe siècle et motiva la redécouverte de techniques oubliées. Sur prés de soixante-dix années de création, 600 modèles sont répertoriés : une centaine en pâte de verre fine entre 1903 et 1911 et plus de 500 en pâte de verre épaisse entre 1912 et 1968, soit plus de 6 000 pièces, ces modèles étant déclinés en une dizaine d'exemplaires, uniques de par la diversité des couleurs et les aléas du feu. Si le secret dont Décorchemont s'est entouré a favorisé le développement de mythes et de légendes, l'étude des documents qu'il a laissés permet aujourd'hui d'établir les bases d'une analyse technique et esthétique. Organisée selon une approche chronologique, cette étude est constituée à partir d'un ensemble de pièces très diversifié, qui rend compte de la représentation internationale de François Décorchemont dans les collections publiques comme privées, et d'un fonds d'archives et de dessins unique dans l'histoire des arts du feu, principalement conservé au musée des Arts décoratifs de Paris : agendas et livres d'atelier révélant les secrets de sa technique, fiches et carnets de modèles, correspondances, coupures de presse, dessins et photographies méthodiquement répertoriés par lui-même. La reproduction de la totalité des modèles connus, de dessins inédits replacés dans le contexte des créations et de nombreux documents d'archives fait de cet ouvrage un exceptionnel outil de connaissance sur l'Ïuvre d'un grand artiste.
¶ Formé à l'Ecole des arts décoratifs de Paris, François Décorchemont (1880-1971) est une figure majeure de l'histoire des arts du feu. Ses recherches le situent au rang des rares créateurs qui ont su faire évoluer leur Ïuvre du naturalisme de l'Art nouveau aux géométries rythmées et épurées de l'Art déco. Alchimiste de la couleur, il joue sur les métamorphoses et la mutation des matériaux pour créer une pâte de verre épaisse aux nuances infinies, dans laquelle la lumière a un rôle déterminant. Membre du Salon des artistes décorateurs et du groupe des Artisans français contemporains, Décorchemont se lie d'amitié avec les céramistes Lenoble, DecÏur, Serré et Soudbinine, les dinandiers Linossier et Daurat, le tabletier Bastard, dont il se sent techniquement et stylistiquement proche. Ces échanges, dans lesquels il joue tour à tour le rôle d'initiateur, de traducteur et d'interprète, lui permettent d'enrichir son répertoire décoratif et formel. Présenté dès 1907 par la prestigieuse galerie Rouard à Paris, exposé en Suisse, en Belgique, mais aussi à New York et à Buenos Aires, il développe un cercle de collectionneurs, grands industriels et mécènes, et entre très tôt dans les collections publiques. L'ouvrage de Véronique Ayroles resitue cette Ïuvre magnifique dans le climat d'effervescence qui détermina l'essor des arts décoratifs à la fin du XIXe siècle et motiva la redécouverte de techniques oubliées. Sur prés de soixante-dix années de création, 600 modèles sont répertoriés : une centaine en pâte de verre fine entre 1903 et 1911 et plus de 500 en pâte de verre épaisse entre 1912 et 1968, soit plus de 6 000 pièces, ces modèles étant déclinés en une dizaine d'exemplaires, uniques de par la diversité des couleurs et les aléas du feu. Si le secret dont Décorchemont s'est entouré a favorisé le développement de mythes et de légendes, l'étude des documents qu'il a laissés permet aujourd'hui d'établir les bases d'une analyse technique et esthétique. Organisée selon une approche chronologique, cette étude est constituée à partir d'un ensemble de pièces très diversifié, qui rend compte de la représentation internationale de François Décorchemont dans les collections publiques comme privées, et d'un fonds d'archives et de dessins unique dans l'histoire des arts du feu, principalement conservé au musée des Arts décoratifs de Paris : agendas et livres d'atelier révélant les secrets de sa technique, fiches et carnets de modèles, correspondances, coupures de presse, dessins et photographies méthodiquement répertoriés par lui-même. La reproduction de la totalité des modèles connus, de dessins inédits replacés dans le contexte des créations et de nombreux documents d'archives fait de cet ouvrage un exceptionnel outil de connaissance sur l'Ïuvre d'un grand artiste.
Scriptum Art Books v.o.f.Professional sellerBook number: 4177
€ 95.00 [Appr.: US$ 101.23 | £UK 81.25 | JP¥ 15984]
Catalogue: Glas / Glass
Gustav Klimt - Frauen.
Salzburg 1985, 144 pp. German text, 78 large colour plates, cloth.
¶ Women in the paintings of Gustav Klimt. Introducing essay by Angelica Bäumer and biography.
¶ Women in the paintings of Gustav Klimt. Introducing essay by Angelica Bäumer and biography.
Scriptum Art Books v.o.f.Professional sellerBook number: 1706
€ 65.80 [Appr.: US$ 70.11 | £UK 56.25 | JP¥ 11071]
Catalogue: Monografieën / Monographs
