‎BRINTON Christian :‎
‎Modern Artists.‎

‎Traditions of Russian Landscape. Painting by Modern Artists/Traditsii russkogo ‎

‎Traditions of Russian Landscape. Painting by Modern Artists/Traditsii russkogo peyzazha. Zhivopis sovremennykh khudozhnikov Moscow Publishing House: Our Isograph 2011 248p.We have thousands of titles and often several copies of each title may be available. Please feel free to contact us for a detailed description of the copies available. SKUbd-942ff1df0e40207f.‎

‎The Etcher. Examples of the original etched work of modern artists. ( later title ) The Etcher. A magazine of the etched-work of artists. Vol I -> Vol IV (128 original engravings or etchings )‎

‎18. London, William and Norgate ( for the first vol.of 1879) - Sampson Low, Marston, Searle and Rivington ( for the vols. 2,3 and 4 of 1880, 1881, 1882), in-folio, 37 cm, uniformly bound in claret coloured quarter morooco with marbled boards and end papers, top edges gilt. Fine copies with stainless interiors and engravings. Nice set of this luxury periodical devoted to the art of the etcher. In all 5 volumes were published ( vol. 5, the last, not present here). The first 4 volumes contain in all 128 original engravings by artists such as Robert Macbeth , J.P. Heseltine , W.B. Scott , R.S. Chattock , E.L. Montefiore , C.P. Slocombe, C.N. Storm van 's Gravesande , W.P. Crooke , W.H. Urwick, Anna Lea Merritt, J.W. Buxton Knight , T. Huson, David Law , H.R. Robertson, W.J. Cooper , Axel Herman Haig , C.F. Robinson, J.M. Youngman and many others...Most of the original artworks presented here are etchings depicting landscapes, harbour views, a few portraits, street scenes...in the late Romantic-Victorian style. Nearly all show great mastering of the difficult art of etching and engraving. This typical , expensive, publication, catered for the intense craving of the Victorian public for these romantic landscapes and views. Very soon the advance of photography and reproduction printing techniques made it possible to supply the market with cheaper and more authentic views... but alass the noble art of etching suffered from it..‎

‎TECHNIQUES OF MODERN ARTISTS‎

‎Macdonald & Co. 1983. In-4. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 192 pages. Photo en couleur en frontispice. Illustré de nombreuses photos en couleur, dans et hors texte. Texte sur 2 colonnes.. Avec Jaquette. . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎From 1900 to 1961 and onwards. Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎The gallery of one hundred british engravings, a series of interesting and attractive subjects. From ppaintings by forty of the most eminent modern artists: including Wilkie, Turner, Roberts, Harding, Clennel, Shepherd, Stanfiled, Vickers, Austin, Bonnington, Dewint, Brandard, Prout, Cattermole, Fielding, C. Marshall, Fussel, Cox, &c. &c.‎

‎London (Londres), published for the proprietor, sans date. In-4, plein veau, dos lisse orné d'un décor à froid, plats décorés de large décors floraux à froid, avec le titre doré en médaillon sur le plat supérieur et une scène avec des personnages antiques en médaillon sur le plat inférieur, toutes tranches dorées, titre gravé, V, 1 p non chiffrée, 76 pp. Ouvrage illustré de 100 gravures dont 1 a été replacée en frontispice, d'après les artistes cités dans le titre. Coins émoussés, manques sur les coiffes, mors inférieur restauré, manque sur le mors inférieur en tête, coupes frottées, rousseurs (fortes en tout début et toute fin de volume), pages de garde restaurées.‎

‎Women Artists in Early Modern Italy Careers, Fame, and Collectors‎

‎, Brepols - Harvey Miller 2016, 2016 Hardcover, . iv + 181 pages., 22 b/w ills, 51 col. ills, 220 x 280 mm, English, FINE ISBN 9781909400351.‎

‎Enhancing our understanding of early Italian female painters including Sofonisba Anguissola and introducing new ones such as Costanza Francini and Lucrezia Quistelli, this volume studies women artists, their patrons, and their collectors, in order to trace the rise of the social phenomenon of the woman artist. In ten chapters spanning two centuries, this collection of essays examines the relationships between women artists and their publics, both in early modern Italy as well as across Europe. Drawing upon archival evidence, these essays afford abundant documentary evidence about the diverse strategies that women utilized in order to carry out artistic careers, from Sofonisba Anguissola's role as a lady-in-waiting at the court of Philip II of Spain, to Lucrezia Quistelli's avoidance of the Florentine market in favor of upholding the prestige of her family, to Costanza Francini's preference for the steady but humble work of candle painting for a Florentine confraternity. Their unusual life stories along with their outstanding talents brought fame to a number of women artists even in their own lifetimes ? so much fame, in fact, that Giorgio Vasari included several women artists in his 1568 edition of artists' biographies. Notably, this visibility also subjected women artists to moral scrutiny, with consequences for their patronage opportunities. Because of their fame and their extraordinary (and often exemplary) lives, works made by women artists held a special allure for early generations of Italian collectors, including Grand Duke Cosimo III de' Medici, who made a point of collecting women?s self-portraits. In the eighteenth century, British collectors wishing to model themselves after the Italian virtuosi exhibited an undeniable penchant for the Italian women artists of a bygone era, even though they largely ignored the contemporary women artists in their midst. Sheila Barker (Ph.D., Columbia University, 2002), directs the Jane Fortune Research Program on Women Artists at the Medici Archive Project, the first archival program of its kind. Her publications of documentation on women artists have shed light on Lucrezia Quistelli, Artemisia Gentileschi, Irene Parenti Duclos, and the phenomenon of female copyists.‎