hoefnagel joris (28 Ergebnisse)

Zustand: New. pp. 165.

Orig.Pappe. 306 Seiten. 4°. Mit einem Nachwort von C. Broekema. Faksimile. Gut erhalten ISBN 3570098516.

Zustand: Sehr gut - gebraucht. Gebundene Ausgabe Sehr guter Zustand, Deutschland vor drei Jahrhunderten. Seine Städte, Flüsse und Wälder betrachtet von Willem und Joan Blaeu, Georg Braun, Franz Hogenberg, Joris Hoefnagel. Mit einem Nachwort von C. Broekema Zustand: 2, Sehr gut - gebraucht, Gebundene Ausgabe Prisma , 1987 , Deutschland vor drei Jahrhunderten. Seine Städte, Flüsse und Wälder betrachtet von Willem und Joan Blaeu, Georg Braun, Franz Hogenberg, Joris Hoefnagel. Mit einem Nachwort von C. Broekema, Willem und Joan Blaeu, Georg Braun, Franz Hogenberg, Joris Hoefnagel.

Bertelsmann/Kartographisches Institut Bertelsmann, Gütersloh; Berlin, 1971. 300 S. mit zahlreichen Abb., Pbd., quart, (Stempel auf Vorsatz)---- Mit einem Nachwort von C. Broekema / sehr gutes Exemplar - 1390 Gramm.

Hardcover. Zustand: Gut. ISBN: 357008888 - Hardcover Buch guter Zustand - - Erscheinungsjahr: 1971 - Buch mit Abbildungen und 300 Seiten - A4-Format - - Index: 156 Size: A4-Format 0.0.

Zustand: New. 2020. 2nd ed. Hardcover. . . . . . Books ship from the US and Ireland.

Förlagsband, lätt nött. Stockholm 1946. 4:o. 212 sid. Illustrerad. Ett av 700 numrerade exemplar. - - - Innehåll: "Guld og ædelstene i middelalderlig Kunst" av Vilhelm Slomann, "Falkporträtt av Georg Hoefnagel i Tessin-Hårlemans-samlingen" av Erich Bier, "En nyupptäckt teckning av en italiensk renässansskulptör i Nationalmuseum" av Osvald Sirén, "Vue monumentale de Rome au Musée National" par Erich Bier, samt krönika juli 1943-juni 1945 med nyheter (bl. a. om förvärv) från de olika avdelningarna.

Amstderdam, Orbis Terrarum 1971. Druck auf Maschinenbütten. 300 Seiten m. zahlreichen Ansichten und Karten. Ill. Orig. Hardcover, 4°. Gut erhalten. Gewicht: 1,7 Kilogramm. Versandspesen im Inland nur 3,50 EURO.

[Antwerpen, Kanselarij Phoebus Foundation vzw, 2019]. 101 pp. Col. & b./w. ills. Softcover. (Phoerus Focus IX).

Pp. Zustand: Sehr gut. 306 S., überw. Ill. u. Kt. ; 30 cm sehr guter Zustand, ungelesen, Seiten zart nachgedunkelt Sprache: Deutsch Gewicht in Gramm: 1178.

Hardcover. Zustand: Sehr gut. Schutzumschlag. Hoefnagel, Joris (illustrator). Erste Ausgabe. x, 412 S. Kleinformatiger Orig.-Leinenband mit Schutzumschlag im großformatigen Leinenkasten. Ein schönes, gut erhaltenes Exemplar in einwandfreiem Zustand.

Zustand: Gut. Formateinband: Leinenband mit Rückenschild im Schuber / gebundene Ausgabe 421 S. (19x14 cm) Faksimile mit Kommentaren; (Mit zahlreichen farbigen Abbildungen); Im Schuber; Gut und sauber erhalten. Schöne Ausgabe! Sprache: Deutsch Gewicht in Gramm: 900 [Stichwörter: Hoefnagels Miniaturen, Facsimile,].

Wien, [1985]. p.103-167. 75 b./w. ills. Soft cover. (Jahrbuch der Kunsthist. Sammlungen in Wien. Sonderheft 292).

18.0 x 13.0cms (ie facsimile of the original miniature work) 412pp colour illusts very good+ hardback & dustwrapper in a much larger (31.0 x 25.0cms) box. Some one has whited out an owner''s signature. Bocskay the calligrapher was the imperial secretary to the Holy Roman Emperor when he penned the manuscript in 1561-62. He had assembled a vast selection of works on writing. Hoefnagel the miniaturist painter embellished his work for Emperor Rudolf II - creating ''the first extensive exploration of the relation of painting to writing''. This edition has scholarly commentaries and biographies of both artists. The J Paul Getty Museum acquired the original in 1986. Scarce edition.

Gilt-Stamped Cloth in Slipcase. Zustand: Near Fine. First Printing. 414pp, 170 color illustrations. Text in English. Designed by Lorraine Wild. "In 1561-62 Georg Bocskay, imperial secretary to the Holy Roman Emperor Ferdinand I, inscribed the Mira calligraphiae monumenta as a testament to his preeminence among scribes. He assembled a vast selection of contemporary and historical scripts, which nearly thirty years later were further embellished by Joris Hoefnagel, Europe's last great manuscript illuminator. This book, now in the collection of the Getty Museum, is reproduced here in complete facsimile form, accompanied by a commentary that includes a full description; a discussion of the work's patron, Rudolf II, and his cultural and historical milieu; biographies of Hoefnagel and Bocskay; and an analysis of the manuscript's role in their careers. The manuscript's remarkable calligraphy will be of particular interest not only to scholars but to collectors, graphic designers, and typographers as well". Designed by the estimable Lorraine Wild, this gem-like volume faithfully reproduces the manuscript's exquisite plates alongside translations of the original text and iconography. A most handsome example of the exceedingly uncommon 1992 first J. Paul Getty Museum printing of this important work in the publisher's gilt-stamped linen slipcase that shows some light soiling along with minute fraying to the seams of the cloth along two of the edges. Illustrated Book.

Gebundene Ausgabe. Zustand: Gut. 421 Seiten, Exlibris auf dem Vorsatz, in sehr gutem Zustand, LI-9567 9783856720490 Sprache: Deutsch Gewicht in Gramm: 650.

Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Latein | Produktart: Bücher.

Fol., Hardcover/Pappeinband. Nachdruck in Frakturschrift. 300 Seiten mit Abbildungen Vorsatzblatt und letztes Blatt leicht nachgedunkelt, sonst gutes Exemplar. Sprache: Deutsch Gewicht in Gramm: 1550.

Ann Anbor, [ca. 2009]. 390 pp. 154 b./w. ills on plts. Simple hardcover.Authorized UMI Dissertation Service reprint of the original dissertation of the Princenton University, 1984.

190x135mm, 421Seiten, farbige Kunstblätter, Verlagsleinenband mit Versandkarton. Neuwertiger Zustand. En cas de problème de commande, veuillez nous contacter via notre page d'accueil / If there is a problem with the order, please contact us via our homepage.

Sin Encuadernar. Zustand: Muy bueno. Georgio Honsnaglio. Joris Hoefnagel (illustrator). Primera edición. Personajes vizcainos. Vizcaya. Pais Vasco. Euskadi. De la obra "Civitatis Orbis Terrarum" de Braun. Impreso entre 1572 y 1617. Grabado original, iluminado a mano a varias tintas. Dibujo de Georgio Honsnaglio. Año 1567. Medidas grabado 50,5 x 38,5 cm. Medidas con marco 68,5 x 58 cm.

Bildmaß ca. 28 x 54 cm ( Höhe x Breite ), Blattmaß ca. 40 x 56 cm. Auf Büttenpapier gedruckt. Mit Bildlegende rechts unten mit Angabe von 16 Bauwerken etc. Oben mittig mit *Brunn Vulgo Brinn Marchionatus Moraviae Civitatis insignis* bezeichnt, verso mit einseitigem deutschen Text *Pryn.Nach dem bischöfflichen Sitz Olmütz ist Pryn ( zu Latein Bruna ), auf Böhemisch Bruo die fürnembste Statt deß Mehrenlandes.( = Seite 29 der Civitates Orbis Terrarum* Der Kupferstich auf Büttenpapier mit Mittelfalz. Das Blatt ist leicht gebräunt, in der Darstellung gering fleckig bwz. gering stockfleckig, im weißen Außenrand stärker fleckig sowie mit geringen Resten alter Montierung ( durch Passepartout gut abdeckbar ). Das Blatt ist gefaltet. Der Text verso gut lesbar mit kalligraphischem Anfangsbuchstaben. ( Weitere Bilder auf Anfrage further pics at request ). /// Image size approx. 28 x 54 cm (height x width), sheet size approx. 40 x 56 cm. Printed on laid paper. With caption lower right with details of 16 buildings etc. Inscribed at top centre with *Brunn Vulgo Brinn Marchionatus Moraviae Civitatis insignis*, verso with German text on one side *Pryn.nach dem bischöfflichen Sitz Olmütz ist Pryn ( zu Latein Bruna ), auf Böhemisch Bruo die fürnembste Statt deß Mehrenland.( = page 29 of the Civitates Orbis Terrarum* The copperplate engraving on laid paper with centrefold. The sheet is slightly browned, the image slightly stained or slightly foxed, the white outer margin more heavily stained and with minor remnants of old mounting (can be well covered by passepartout). The sheet is folded. The text on the verso clearly legible with calligraphic initial letter. # 23310.

An album of engravings from the most famous natural history artists of the late sixteenth and early seventeenth centuries, collected and bound for an English patron Oblong quarto (260 by 170mm), 176 engraved plates, numbered in an early hand 1-46, 48-54, 57-69, 80-189, including 8 title-pages, all with fine contemporary hand-colour in full, occasionally heightened in silver, two plates torn with slight loss to image and with early repairs, six plates with slight worming to margins, and three plates trimmed to neatline and laid down on old paper, front free endpaper with later ownership inscription; mid-seventeenth century English red morocco, elaborately gilt, silver clasps and catches. A magnificent album of natural history engravings, collected and bound for an English patron, containing two complete suites of plates: Hoefnagel's 'Diversæ insectarum volatilium'; and Woutneel's 'Cognoscite lilia agri quomodo crescent', often bound as the fifth part, 'Altera Pars', to the Crispin de Passes' 'Hortus Floridus' - the "most ambitions, if not the first, early effort to employ Continental resources to produce a set of [botanical] engravings designed for the English market" (Gerard); and nine near complete, or partial suites, including an early issue of tulip plates from the 'Hortus Floridus'. All plates have been numbered consecutively in manuscript at the time of binding to a rudimentary scientific rubric: insects first, then aquatic animals, quadrupeds, birds, and botanicals last, but not least. As a result, some plates are bound with like subject rather than with their original publications. The album represents the work of some of the most famous natural history artists of the late sixteenth and early seventeenth centuries. The majority are published by Claes Jansz Visscher (1587-1652), the most important publisher of prints and maps in Amsterdam of his day. Recorded as an engraver in Amsterdam as early as 1608, he built a distinctive inventory of prints after the designs of Flemish artists, which proved extremely popular and formed the basis ofVisscher'searly success as a publisher. INSECTS HOEFNAGEL, Jacob. Diversæ insectarum volatilium: icones ad vivum accuratissmè depictæ per celeberrimum pictorem D.I. Hoefnagel typisq. Mandatae a Nicolao Ioannis Visscher anno 1630 Engraved title-page, complete with 15 numbered plates of insects, misbound including some upside-down, bound with plates 11 and 12 from 'Volatilium varii generis effigies' after Nicolaes de Bruyn, all with contemporary hand-colour heightened in silver, consecutively numbered in an early hand 1-18. North German insects, with the exception of the tarantula and scorpion. Engraved by Visscher after those by Jacob Hoefnagel, 1573-1632, court painter for Emperor Rudolph from 1607, son of Joris Hoefnagel, whose drawings of animals, flowers and insects he engraved and published as the 'Archetypa Studiaque Patris Georgii Hoefnagelii' (1592). He also engraved plates for Braun and Hogenburg's 'Civitates Orbis Terrarum' (1512 - 1617). Ebert 798; Hagen I, 371f; Hollstein IX, 46, 1-16; Nissen 1955; Horn-Schenkl. 10473. AQUATIC ANIMALS BRUYN, Nicolaes de. Libelius [sic] varia genera piscium compectens, pictoribus, sculptoribus etc mire utilis et necessaries Nicolaes de Bruyn inventor Claes Ianss. Visscher excudit. [interspersed with]: COLLAERT, Adrian. Piscium vivae icones inventae ab Adrian Collardo et excusae a Nicolao Ioannis Visscher anno 1634 Engraved allegorical title-page for 'Libillus', 11 (of 12, without the sea-horse) plates of aquatic animals and sea-monsters; 19 (of 20) engraved plates of aquatic animals, numbered in an early hand 19-44, followed by the allegorical title-page for 'Piscium', numbered 45, all with contemporary hand-colour, all annotated in an early hand with common names in English. An early state of the title-page for de Bruyn's 'Libellus' before correction. Nicolaes de Bruyn (1571-1656) is best known for his large engraved landscapes "after designs by artists such as Gillis van Coninxloo and David Vinckboons from around 1600 his pupil and brother-in-law [was] Jan van Londerseel" (Hollstein online) A near complete suite of plates from a later edition of Collaert's famous work on fish, first published in about 1598, in which the original engravings included elaborate landscape backgrounds. For his version, Claes Visscher has incorporated his harpoon monogram into the dramatic title-page. Collaert (1560-1618) married engraver and publisher Philippe Galle. WEYER, Gabriel. Monstra marina dat is verscheydon zee-monsters ge inventeert door Gabriel Weyer gedrucht by Claes Ianss. Visscher a.o 1634 Engraved allegorical title-page, 7 (of 12) plates of mermaids and mermen, all with contemporary hand-colour, numbered in an early hand 46, 48-54. Berliner 'Ornamentstichkatalog' 4292 I; Nagler XXIV, S. 220, I QUADRUPEDS BOLSWERT, Boetius Adams, after Adrien BLOEMAERT. Natus Dei solius ad servitium, cinctis homo, per hund, creates imperat. Volentibus promisq.e; ut huic puessulo blande Leo Jouisq.e ales submittitur. ABloemaert invent: BA. Bolsuerd: sculp C Visscher excudebat 1632 G. Ryckius [interspersed with]: BRUYN, Nicolaes de. [Animalium quadrupedum varii generis effigies Allerley viervuessiger thier eigentliche abbildung, den goltschmieden dienlich], 1594. 8 (of 14, without plates 1, 5 and 11, plates 12, 13, 14 bound below with 'Volatilium') engraved plates of pastoral scenes from 'Natus'; 11 (of 12, bound without the title-page) engraved plates of animals from 'Animalium', all with contemporary hand-colour, numbered in an early hand 57-69, and 80-85, allegorical title-page for 'Natus' numbered 86, annotated with the common names in English. The artistic Bolswert and Bloemaert families of Utrecht seem to have been very close, frequently working together. Bloemaert met a grisly death at the hands of one of his students in 1666. 'Animalium' cf Hollstein 303-310; 'Natus' cf Hollstein 406-419 BIRDS BRUYN, Nicolaes de. Vola.

Leiden, Universitaire Pers, 1969. 2 vols. XI,358, 256 pp. 130 b./w. ills on plts. Uniform softcovers. [Diss.].

Leiden, 1969. 2 vols. XI,358,256 pp. 130 b./w. ills on plts. Uniform hardcovers, d./j. (Leidse Kunsthistorische Reeks 22).

Joris Hoefnagel after a painting by Hans von Aachen (illustrator). '"GLORIA IN EXCELSIS DEO ET IN TERRA PAX."'The print shows the Nativity of Christ, with Mary presenting the Christ child to shepherds and angels. Joseph leans over towards the child. Above, cherubs carry a banner with the text 'Gloria in Excelsis Deo.'Made by Aegidius Sadeler II after Joris Hoefnagel after a painting by Hans von Aachen.Medium: Engraving on hand laid (verge) paper. Watermark: coat of arms.Sheet size: 35.3 x 42.2 cm (13.9 x 16.61 inch). Image size: 23.8 x 34 cm. (9.37 x 13.39 inch).NATIVITY, BIRTH OF CHRIST, AEGIDIUS SADELER, HANS VON AACHEN, 1588, ENGRAVING, DUTCH PRINTS, CHRISTIAN ART | PCO-EXPO-412BACKGROUND INFORMATIONPublished by Paulus Furst.Reference: Hollstein Dutch 32-1(2).Biography engraver: Aegidius Sadeler II (c. 1568-1629) was a prominent Flemish engraver known for his detailed engravings, part of the Sadeler family of engravers.Biography artist: Hans von Aachen (1552-1615) was a German painter, active at the court of Rudolf II in Prague, famous for his portraits and religious compositions. Condition: good, given age. Old fold lines and staining mostly visible on rear. Tear at top right. Short margins, remargined. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.

Good. Surface mend with no loss. Else very good with complete margins. Size 14.5 x 19.25 Inches. These are Joris Hoefnagel's depictions of Saint Mark's Square in Venice, included in the fifth volume of Georg Braun and Franz Hogenberg's Civitatis Orbis Terrarum , the first published collection of city plans and views. A Closer Look Although this edition did not reach print until 1598, Hoefnagel's drawings were made in 1577, when he was traveling Europe after the sack of his home city of Antwerp. This was significant, for it meant that not only did Hoefnagel see Venice firsthand, but he also witnessed the great fire that struck the Doge's palace that year, depicted dramatically in the right-hand panel of this engraving. In the background, the Temple and Tower of Saint Mark can be seen - as they can, as well, in the less tumultuous view of the square to the left. But to the right, the upper floors of the great palace are engulfed in flames. Soldiers clamor about the square, some hustling ladders to the burning building. Wooden paneling from the building lies piled in the square, still in flames, and then pitched by soldiers into the Grand Canal to control the fire. In the foreground, a galley disgorges yet more soldiers to join those already milling about, apparently unable to actually do much to contend with the fire but watch. Fire in Venice This was not the first time fire struck Venice, nor even the Doge's Palace, which previously burned in 1547. The 1577 fire, which broke out during refurbishment work, destroyed several rooms completely, including the Great Council Chamber. The impact to posterity was great: the fire destroyed works of art by Gentile da Fabriano, Pisanello, Alvise Vivarini, Vittore Carpaccio, Giovanni Bellini, Pordenone, and Titian. An Allegory of Courtliness? In contrast to the chaotic depiction of the fire, the presentation of the square and Temple of Saint Mark is remarkably uncluttered: the 'August' nobility of Venice, men and women, are shown perambulating the square in lively discussion. The Venetian mode of conversation - talking with their hands - has evidently made an impression on the Flemish Calvinist Hoefnagel. His sly commentary: in composition with the paired interlocutors is a pair of cats fighting each other. Publication History and Census These views were drawn in 1577 and 1578 by Joris Hoefnagel, engraved for inclusion in the fifth volume of Braun and Hogenberg's Civitatis Orbis Terrarum , and published in 1598. The present example corresponds to the 1600 French edition of the city book; the view in its various editions is listed in ten examples in OCLC. References: OCLC 733632769.

Plate 9 from the second volume of " ARCHETYPA STVDIAQVE PATRIS GEORGII HOEFNAGELII", published in Frankfurt in 1592.A dragonfly in the center; a butterfly faced upside down above it in the upper middle; a spider hanging on a line of web coming from the top; a fly above the butterfly to the right; two plants on the outer left and right, the right one with a caterpillar on it's side; a crane on the right side of the dragonfly in the centre; a beetle below the dragonfly on the left; a cinnamon stick with three ants around it in the lower middle; a plum in the lower left corner; a cricket and a bunch of grapes in the lower right corner.Inscribed above, in middle: "Aestatem meminit brumae formica sequentis=/ colligit id circo provida messe cibum." and below: "Formica Cicadae/ QVOD AESTATE CANTAS: ID HYEME CACA". Engraving on paper, trimmed within plate mark; total: 152 x 207 mm; on verso traces of ink transferred to the top leaf while pages were piled up after printing. H 4035; VD 16; Orn. Berlin 4409; Nissen 2; Bl. 1954.