fabri ria (44 resultados)

Paperback. Condición: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condición: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Condición: Very Good. Slight shelfwear, content is fine.

First edition, first printing. Large format. Fine paperback exhibition catalogue. English text.

TEXT IN DUTCH, octavo, illus heavy card boards, 119pp, illus, fine.

Soft cover. Condición: Very Good. Pictorial Covers, In Very Good Condition, With No Remarks Or Highlights. 223 Pages, Soft Cover,

Condición: As New.

COUV. RIGIDE. Condición: COMME NEUF. 112 PAGES - COUV. ENJOLIVURES DOREES EN TRES BON ETAT PROTEGEE PAR JAQUETTE TRES BIEN ILLUSTREE EN EXCELLENT ETAT - INT. IMPECCABLE NOMBREUX CHROMOS COULEUR COLLES PROPREMENT ET COMPLET - 25X33 - 1470 GR.

Paperback. Condición: As New. Still shrinkwrapped; NOTE: additional postage may be necessary for international shipping; 8vo 8" - 9" tall; 223 pages.

paperback. Condición: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Condición: Very good.

Couverture Illustrée Rempliée. Condición: Bon.

8°. 189,(1) S., mit zahlreichen, teils farbbigen Abbildungen. Orig.-Karton. Ausstellungskatalog der Bibliothek des Antwerpener Bürgermeisters und Kunstsammlers Nicolaas Rockox (1560-1640) - im Titel das nette Wortspiel "Rockox Haus - vollge"bucht". - Einband etwas berieben; Ecken und Kanten etwas berieben und bestoßen.

Hardcover. Black boards with red title card on the spine and gilt lettering; red and white DJ with illustration and white lettering; 369 pp.; richly illustrated. This complete edition of the works of Rubens discusses and reproduces all his paintings, sketches and drawings, as well as the works designed by him for tapestries, sculpture, architecture and prints. The Corpus is based on the material assembled over several decades by Ludwig Burchard (1886-1960) and handed over to the City of Antwerp after his death. It has been considerably enlarged by the combined efforts of the Centrum Rubenianum and the Rubenianum. The Corpus consists of twenty-nine parts, each of which eals with a particular commission or group of subjects. Each part is written by a Rubens scholar (in some cases a number of scholars) and incorporates the material accumulated by Ludwig Burchard with the results of his/her or (their) own research. The Corpus aims in this way to embody and to advance present-day knowledge of the work of Rubens. -- DJ. Good+ (Boards are lightly edgeworn/scuffed/smudged; private-ownership stamp on half-title; interior is clean; binding is solid.) Good+ (DJ is lightly edgeworn/scuffed/smudged.).

Kartoniert / Broschiert. Condición: New. Viele Religionen weisen der Landschaft - und dabei insbesondere den Bergen - eine bedeutende Rolle zu: So strandete die Arche Noah auf einer Bergspitze, am Berg Sinai erhielt Moses die Zehn Gebote, und in der Vita Christi sind Berge wichtige Stationen (Kalv.

De Kathedraal VSW & Bai Publisherd, 2009. 223 blz. Gekl.ills. Slappe kaft. Fraai. [159888].

Softcover/Paperback. 223 S. mit Abb. / gutes Exemplar // Bildende Kunst L025 9789085865377 *.* Sprache: Englisch Gewicht in Gramm: 1300.

Condición: New.

hardcover. Condición: New. 1st.

Condición: As New. Unread book in perfect condition.

Condición: As New. Unread book in perfect condition.

Hardcover. Condición: Brand New. 369 pages. 10.25x7.25x1.00 inches. In Stock.

Condición: New.

Softcover,223 PAGES, Illustrated. 24,5 cm x 28,0 cm x 1,6 cm . ISBN 9789085865360. Avant la Revolution francaise, des dizaines d'autels de guildes et de corporations se dressaient dans la cathedrale Notre-Dame d'Anvers. Tous etaient ornes de tableaux et de sculptures de la main des plus grands artistes de l'epoque: Quinten Metsijs, Barend van Orley, Frans Floris, Maerten de Vos, Frans Francken, Peter Paul Rubens. Pendant la domination francaise, l'eglise est entierement videe et les plus belles oeuvres prennent la route de Paris. Apres 1815, de nombreux tableaux reintegrent la cathedrale, d'autres trouvent un nouveau toit au musee. Quelques panneaux du Musee Royal des Beaux-Arts peuvent a present etre vus dans la cathedrale. Des oeuvres d'art qui ont ete separees durant deux siecles, sont a nouveau reunies dans l'eglise pour laquelle elles ont ete realisees. Le livre d'art present analyse en profondeur tous les retables exposes. Il consacre en outre une attention soutenue a l'historique de la cathedrale, la formation des guildes et des corporations, l'evolution de la construction des autels, l'usage des triptyques par les guildes et corporations et a la restauration de la cathedrale, la plus grande eglise gothique des Pays-Bas meridionaux. 0 g.

Hardback. Condición: New.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Condición: new. Hardcover. By the time of its completion in 1621, the former Jesuit church in Antwerp was one of the most brilliant achievements in the Southern Netherlands, particularly due to the ceiling paintings after Rubens' designs and his two altarpieces. Nevertheless, from the seventeenth century to the present day, the precise extent of Rubens' involvement in the architecture and the architectural sculpture of the church has been a point of discussion. Rubens was in close contact with the Jesuit Francois de Aguilon, designer of the ground plan of the Antwerp Jesuit church, and with lay brother Pieter Huyssens who made most of the drawings for the church. Known to be by Rubens' hand are a limited number of drawings and a sketch in oil for architectural ornaments and sculptures that relate both to the exterior and to the interior of the structure. Despite its numerous restorations, the iconographic scheme of the church is even today visibly influenced by Rubens' jaunty visual language which goes back to examples of ancient antiquity and its Christian interpretations in early Baroque churches in Rome. Some of the church's decorative designs were also modelled after works by contemporary Italian artists such as Cherubino Alberti. In this critical catalogue, the design drawings and oil sketches attributed to Rubens, a number of which later served as models for religious as well as profane architectural decoration, including that of Cardinal-Infant Ferdinand's Pompa Introitus in 1635, are extensively discussed. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardback. Condición: New.

Hardcover. Condición: new. Hardcover. By the time of its completion in 1621, the former Jesuit church in Antwerp was one of the most brilliant achievements in the Southern Netherlands, particularly due to the ceiling paintings after Rubens' designs and his two altarpieces. Nevertheless, from the seventeenth century to the present day, the precise extent of Rubens' involvement in the architecture and the architectural sculpture of the church has been a point of discussion. Rubens was in close contact with the Jesuit Francois de Aguilon, designer of the ground plan of the Antwerp Jesuit church, and with lay brother Pieter Huyssens who made most of the drawings for the church. Known to be by Rubens' hand are a limited number of drawings and a sketch in oil for architectural ornaments and sculptures that relate both to the exterior and to the interior of the structure. Despite its numerous restorations, the iconographic scheme of the church is even today visibly influenced by Rubens' jaunty visual language which goes back to examples of ancient antiquity and its Christian interpretations in early Baroque churches in Rome. Some of the church's decorative designs were also modelled after works by contemporary Italian artists such as Cherubino Alberti. In this critical catalogue, the design drawings and oil sketches attributed to Rubens, a number of which later served as models for religious as well as profane architectural decoration, including that of Cardinal-Infant Ferdinand's Pompa Introitus in 1635, are extensively discussed. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Paperback with flaps, 280x245mm, 224p, throughout col.ill, , Dutch (NL) edition. ISBN 9789085865278. 1559 was het oprichtingsjaar van het bisdom Antwerpen. 450 jaar geleden werd de Onze-Lieve-Vrouwekerk omgedoopt tot de Onze-Lieve-Vrouwekathedraal. Een verjaardag om te vieren met een prestigieuze tentoonstelling! In haar 450-jarig bestaan groeide de Kathedraal uit tot een ware schatkamer van religieuze kunst, geschilderd en gebeeldhouwd door gereputeerde meesters. Ze sierden de zuilen, kapellen en wanden van de Kathedraal tot aan de Franse Revolutie. In de nasleep van deze omwenteling vonden heel wat altaarstukken onderdak in musea. Het Koninklijk Museum voor Schone Kunsten Antwerpen was er een van. De hechte samenwerking met het Koninklijk Museum voor Schone Kunsten Antwerpen maakt het mogelijk om acht van de mooiste altaarstukken uit de museumcollectie terug te brengen naar de Kathedraal. Naast deze werken stelt ook de Kathedraal er acht uit haar vaste collectie tentoon. Het gaat hier over veelal imposante werken, hoofdzakelijk triptieken van vaak wel 5m breed en 3m hoog die in het huidige kathedraalinterieur geintegreerd zullen worden. Deze unieke `in situ' hereniging geeft de bezoeker een spectaculair overzicht van meesterwerken uit de Gouden Eeuw van de Antwerpse schilderschool.De curatoren, dr. Ria Fabri en dr. Nico Van Hout, geven aan de hand van de tentoongestelde altaarstukken een kijk op het toenmalige mecenaat door ambachten, gilden en broederschappen.Ze laten de bezoeker toe de verwevenheid van maatschappij, geloof, kunst en cultuur in de 16de en 17de eeuw te herontdekken en werpen een licht op de iconografische en socio-economische ontwikkelingen doorheen de eeuwen. 0 g.