Search Results: Titles starting with V from Leopolis Volodymyr Dmyterko

Toronto: Mosaic Press for The Canadian Institute of Ukrainian Studies, 1977 8vo (23 cm), 260 pp, 39 plates (some in color). Publisher's printed wrappers (wrappers little rubbed). In Ukrainian with Introduction in English. An anthology of VAPLITE (Free Academy of Proletarian Literature), a literary union in Ukraine. It was established in Kharkiv and existed from January, 1926 to January 28, 1928.

London: Christie's, 1995 4to, publisher's laminated wrappers. Price list loosely inserted. Auction catalog of a sale conducted in London on March, 15, 1995. Highlights included the first edition of a part of the Bible in Basque, ABC and Catechism in Irish, 1571, Bible in Irish, 1602, Coplutensian Polyglot, Dialogus Creaturarum Moralisatus, Gouda, 1491.

Lannoo, 1998 4to (28.5 cm), 144 pp. Publisher's cloth and dust jacket.

Fonds Mercator, 1990 2 volumes 4to (33.5 cm), 384 pp; 294 pp. Publisher's cloth and dust jackets. The catalogues of exhibitions in National Gallery of Art, Washington (paintings) and the Pierpont Morgan Library, New York, to commemorate the 350th anniversary of the death of Anthony Van Dyck, the great Flemish artist. 102 paintings and 91 drawing were exhibited and are reproduced in the catalogues and are fully annotated.

Prestel, 1999 4to (30.5 cm), 143 pp. Publisher's cloth and dust jacket. "17th-century Flemish painter Van Dyck’s career was as short as it was dazzling. A student of Rubens, he very quickly became the favourite painter of princes and kings and was the portraitist of English and Italian families of the high nobility. With his rigorous compositions, Van Dyck endowed his models with dignity, grandeur, and spirituality. Proud ladies and lords gamboling on their horses - Van Dyck knew how to render the nonchalant elegance and the ennui of a refined society. A Baroque painter with a shimmering style, he played with a light and nuanced palette, and reproduced, with the greatest virtuosity, garments of velour, satin, and silk. Van Dyck is considered the founder of the English school of portraiture. He was an influence on Lely, Dobson, Kneller, and most notably Reynolds and Gainsborough, as well as French painters of the 18th century." (from the publisher's description)

Dumbarton Oaks Research Library and Collections, 2008 4to (26 cm), XIV, 449 pp. Publisher's cloth and dust jacket. "Until recently, little archaeological investigation has been dedicated to the Inka, the last great culture to flourish in Andean South America before the sixteenth-century arrival of the Spaniards. While the Inka have been traditionally viewed through the textual sources of early colonial histories, this volume draws on recent archaeological research to challenge theories on the chronology and development of the Inka Empire and how this culture spread across such a vast area. The volume demonstrates the great regional diversity of the Inka realm, with strategies of expansion that were shaped to meet a variety of local situations beyond the capital in Cusco. Using a range of theoretical and methodological approaches, scholars from the sciences, social sciences, and humanities provide a new understanding of Inka culture and history." (from the publisher's synopsis)

Harvard Art Museums, 2004 4to (26 cm), 232 pp. Publisher's cloth and dust jacket. From the blurb: "The new Fogg Art Museum at Harvard University opened in 1927 as an architectural and academic experiment: it was the first structure in North America designed for the specialized training of art scholars and museum professionals. This generously illustrated book - a history of the formative years of the Fogg Art Museum - discusses the educational and cultural philosophies behind its conception, the historical, social, and economic circumstances, its teaching activities, its art collections, and its research, library, and technical resources."

Fratelli Palombi Editori, 1996 Folio (35 cm), XXIV, 598 pp. Publisher's cloth and dust jacket (minor shelf-wear). Sumptuous catalogue of an excellent exhibition of illuminated and illustrated manuscripts of classical authors held in the Vatican library 9 Oct, 1996 -- 19 Apr. 1997. 157 items described from 4th century Vatican Virgil to magnificent Italian renaissance manuscripts. Included essays "La ricezione figurata dei classici. Genesi e struttura di una mostrai" by Marco Buonocore, "La parola dipinta. Teorie e forme della visualizzazione dei classici latini" by Giorgio Brugnoli, "L'illustrazione libraria di età ellenistica e romana e i suoi riflessi medievali" by Antonio Giuliano, "Commentare per immagini. Dalla rinascita carolingia al Trecento" by Villa Claudia, "Vedere la natura. Dal ritratto strumentale al ritratto d'ambiente" by Giulia Orofino, "Da glossa a commento. Ornamento e illustrazione degli antichi nel tardo… Read More

Rome, 1748 Engraving 40 x 61 cm. Two small tears to the upper margin. Strong impression. View of St. Peter's from Piazza della Sagrestia. Fifth state (of 7). Hind V.5.

Paris, 1928 2 volumes 8vo, XVI, 219, [3] pp; XIII, 216, [3] pp. Beautifully bound book of Gogol' stories translated into French. Orange and tawny morocco backed boards over decorative paper, top edges gild, in slipcases. Vol. 1 copy No. 2052, volume 2 without number but on the same Chesterfield paper.

Phaidon Press, 1982 4to (32 cm), 240 pp. Publisher's cloth (minor shelf-wear).

1880 Colored albumen print 18 x 24.3 cm mounted on board 23 x 29.5 cm. Ca. 1882. No. 6143 in Sommer' catalog. From the "Costumi di Napoli" series of the Neapolitan photographer Giorgio Sommer (1834–1914), one of Europe’s most important and prolific photographers of the 19th century.

Arsenale Editrice, 2011 4to (30 cm), 192 pp. Publisher's cloth and dust jacket. A comprehensive work on Venice, which highlights the inseparable relationship between the historical, political, social and artistic events that have characterized its millenarian history.

National Gallery London, 2010 4to (29 cm), 192 pp. Publisher's cloth and dust jacket. "View painting in 18th-century Venice began with the emergence of Luca Carlevarijs and ended with the death of Francesco Guardi in 1793, followed by Napoleon’s invasion and the fall of the Venetian Republic in 1797. In between, a constellation of remarkable painters captured the city in dazzling pictures that are among the greatest achievements in 18th-century art. Canaletto may be the artist popularly associated with Venice, but he had many rivals who competed for commissions, often from foreigners whose patronage was to determine the later course of Venetian view painting. All the major figures are represented here—Bellotto, Carlevarijs, Guardi, Joli, Marieschi, and Vanvitelli—together with fascinating contemporaries such as Cimaroli and Tironi. Charles Beddington sets the scene with an overview of the artists then working in the city, and draws on the latest research and scholarship to… Read More

MIT Press, 1995 4to (25.5 cm), XIV, 296 pp. Laminated wrappers. "Pursuing the intersections of Venetian culture from the beginning of the sixteenth century through the first decades of the seventeenth, Manfredo Tafuri develops a story crowded with characters and full of surprises. He engages the doges Andrea Gritti and Leonardo Dona; architects and artists Sansovino, Serlio, Palladio, and Scamozzi; and scientists Francesco Barozzi and Galileo. He records the battle that was fought for architecture as metaphor for absolute truth and good government, and contrasts these with the myths that inspired them." (from the publisher's description)

Yale University Press, 2012 4to (29 cm), VIII, 143 pp. Publisher's cloth and dust jacket. "The floating city of Venice has enchanted visitors for centuries with its maze of scenic canals. For this pioneering book, Daniel Savoy set out by boat to explore the built environment of these waterways, gaining new insights into the architectural history of this major early modern Italian center. By viewing the architecture and experience of the canals in relation to the production of Venetian civic mythology, the author found that the waterways of Venice and its lagoon were integral areas of the city's pre-modern urban space, and that their flanking buildings were constructed in an intimate dialogue with the water's visual, spatial, and metaphorical properties. Enhancing the natural wonder of their aquatic setting, the builders of Venice used illusory aesthetic and scenographic practices to create waterfront buildings that appear to float, blend into the water, and glide into view around… Read More

Amsterdam: P. N. van Kampen, 1948 12mo (18 cm), 171 pp. Publisher's cloth backed boards.

's-Gravenhage: Martinus Nijhoff, 1914 8vo, XII, 140 pp. Publisher's printed wrappers.

Editions des Cendres, 2000 2 volumes 8vo (25 cm and 24 cm), 411, [3] pp; 91, [3] pp. Printed wrappers. The catalogue and the supplement limited to 410 copies, the catalogue no. XXXVII from (60) on papier yearling; the supplement (published in 2003) no. 89 from 350 on papier Old Mill Avorio. Both inscribed by the author on half-titles to Marianne Delvaux-Diercxsens. The catalogue of the Edouard-Henri Fischer's Verlaine - Rimbault - Mallarmé collection. 316 items are described. "Cette collection n'est pas seulement une œuvre d'art. Elle devient par les descriptions qui l’accompagnent un instrument de travail totalement renouvelé et désormais indispensable." (from the preface by Gabriel de Broglie).

Macmillan , 1969 Oblong 8vo (17 x 23.5 cm), [32] pp. Publisher's cloth and dust jacket (dj little rubbed at extremities, small tear at the top of the spine). Muriel Spark's first children's book Illustrated by Edward Gorey. The first UK edition.