26 books for « belkin j n »Edit

‎Teoriya i praktika sledstvennogo eksperimenta. In Russian /Theory and Practic...‎

‎Short description: In Russian. Belkin, Rafail Samuilovich. Theory and Practice of Investigative Experiment. Moscow: 1959. Teoriya i praktika sledstvennogo eksperimenta. In Russian /Theory and Practice of the Investigative Experiment . The image is provided for reference only. It may reflect condition of one of the available copies or only help in identifying the edition. Please feel free to contact us for a detailed description of the copies available. SKU5964177‎

‎Sobiranie, issledovanie i otsenka dokazatel'stv. In Russian /Collection, rese...‎

‎Short description: In Russian. Belkin, Rafail Samuilovich. Collection, Research, and Evaluation of Evidence. Moscow: Science, 1966. Sobiranie, issledovanie i otsenka dokazatel'stv. In Russian /Collection, research and evaluation of evidence . The image is provided for reference only. It may reflect condition of one of the available copies or only help in identifying the edition. Please feel free to contact us for a detailed description of the copies available. SKU5964175‎

‎Sverkhregenerativnyy radiopriem. In Russian /Super-regenerative radio reception ‎

‎Short description: In Russian. Belkin, Mark Konstantinovich. Super-regenerative radio reception. Kiev: Technika, 1968. The image is provided for reference only. It may reflect condition of one of the available copies or only help in identifying the edition. Please feel free to contact us for a detailed description of the copies available. SKU5964161‎

‎Arabskaya leksikologiya. In Russian /Arabic lexicology ‎

‎Short description: In Russian. Belkin, Vladimir Mikhailovich. Arabic lexicology. Moscow: Publishing House of Moscow Unta, 1975. The image is provided for reference only. It may reflect condition of one of the available copies or only help in identifying the edition. Please feel free to contact us for a detailed description of the copies available. SKU6909123‎

‎Russkie skomorokhi. In Russian /Russian skittles‎

‎Short description: In Russian. Belkin, Anatoly Alekseevich. Russian skittles. Moscow: Science, 1975. The image is provided for reference only. It may reflect condition of one of the available copies or only help in identifying the edition. Please feel free to contact us for a detailed description of the copies available. SKU6909121‎

‎Tseny edinogo urovnya i ekonomicheskie izmereniya na ikh osnove. In Russian /...‎

‎Short description: In Russian. Belkin, Viktor Danilovich. Single-tier prices and economic measurements based on them. Moscow: Economizdat, 1963. Tseny edinogo urovnya i ekonomicheskie izmereniya na ikh osnove. In Russian /Single-tier prices and economic measurements based on them. The image is provided for reference only. It may reflect condition of one of the available copies or only help in identifying the edition. Please feel free to contact us for a detailed description of the copies available. SKU5964135‎

‎Landshaftnaya arkhitektura Moldavii. In Russian /Landscape Architecture of Mo...‎

‎Short description: In Russian. Belkin, Alexander Nikolaevich. Landscape Architecture of Moldova. Chisinau: Map of Moldovenyasca, 1976. Landshaftnaya arkhitektura Moldavii. In Russian /Landscape Architecture of Moldova. The image is provided for reference only. It may reflect condition of one of the available copies or only help in identifying the edition. Please feel free to contact us for a detailed description of the copies available. SKU7664403‎

‎Drawings of Peter Paul Rubens, A Critical Catalogue vols; 1-4, - 4-volumes catalogue raisonn of all drawings.‎

‎, Brepols - Harvey Miller, 2021-2023 4 vols., 536 pages + 732 pages, 216 x 280 mm , 260 + 291 colour ill., English, Hardcovers, FINE ISBN 9782503595702.‎

‎This is the 4-volume catalogue raisonn of all drawings considered by the authors to be by Rubens. It covers the years 1590- 1608, Volumes II and III dealing, respectively, with the periods 1609-20 and 1621- 40. It is the first publication that presents the artist?s entire drawn oeuvre in chronological order, previous such publications containing only selections of drawings. By leafing through the illustrations, this arrangement provides the user with a quick visual impression of the variety of techniques, media, subject and functions of Rubens?s drawings at an one time. Volume I consists of the drawings of the artist?s childhood, apprenticeship and first years as a master in Antwerp to his formative years in Italy, spent mostly in Mantua and Rome, with an excursion to Spain. These are the years primarily devoted to learning and absorbing the art of the past, from sixteenth-century German and Netherlandish prints to the works of the ancient and Italian Renaissance masters. A large number of these drawings consists of copies after the works of other artists, largely executed as part of the artistic training at the time. For the first time, Rubens's copies and their models are not discussed and illustrated as a separate entity but are fully integrated into the rest of his graphic oeuvre, thus showing copies and original compositions created at the same time side by side. The volume contains 204 entries, including several sheets with drawings on recto and verso. Each entry consists of a detailed physical description of the drawing, provenance, exhibition history, full bibliography and a critical, interpretive discussion. In addition, Volume I contains an essay on the history of the scholarship of Rubens?s drawings, a subject that has not been treated before. All drawings by Rubens and the works by other artists he copied as well as a selection of other comparative images are reproduced in color. This is Volume II in the three-volume catalogue raisonn of the drawings by Rubens covering the years 1609?20. The project is a collaboration between Anne-Marie Logan, to whom belong all the Rubens attributions, and Kristin Lohse Belkin. It is the first publication that presents the artist?s entire drawn oeuvre in chronological order, previous such publications containing only selections of drawings. By leafing through the illustrations, this arrangement offers the user a quick visual impression of the variety of techniques, media, subject matter and functions of Rubens?s drawings at any one time. Accordingly, Volume II consists of the drawings from the time of Rubens?s return from Italy and the establishment of his workshop in Antwerp to the completion of his contribution to the furnishing and decoration of the city?s new Jesuit church, today?s St. Charles Borromeo. The decade is characterized by a broad range of genres and iconography: large altarpieces stand next to cabinet-size pictures, book illustrations next to designs for tapestry, sculpture and architectural reliefs; religious, mythological and historical subjects alternate with allegories, portraits, exotic hunts and scenes from country life. Copies after other artists? works that constitute such a large part of Rubens?s early years discussed in Volume I have given way to original inventions in pen and ink and, above all, by life studies in chalk of the human body, naked or dressed. The whole spectrum of Rubens?s extraordinary creativity, nowhere presented as directly and immediately as in his drawings, is there to be contemplated in all its astonishing diversity. Each entry consists of a detailed physical description of the drawing, provenance, exhibition history, full bibliography and a critical, interpretive discussion. All drawings by Rubens as well as a selection of comparative images are reproduced in color.‎

‎Drawings of Peter Paul Rubens, A Critical Catalogue, Volume One (1590-1608) 2 VOLS.‎

‎, Brepols 2021, 2021 2 vols., 536 pages ., 216 x 280 mm , 260 colour ill., English, Hardcover, . FINE ISBN 9782503595702.‎

‎This is Volume I of the three-volume catalogue raisonn of all drawings considered by the authors to be by Rubens. It covers the years 1590- 1608, Volumes II and III dealing, respectively, with the periods 1609?20 and 1621?40. It is the first publication that presents the artist?s entire drawn oeuvre in chronological order, previous such publications containing only selections of drawings. By leafing through the illustrations, this arrangement provides the user with a quick visual impression of the variety of techniques, media, subject and functions of Rubens?s drawings at an one time. Volume I consists of the drawings of the artist?s childhood, apprenticeship and first years as a master in Antwerp to his formative years in Italy, spent mostly in Mantua and Rome, with an excursion to Spain. These are the years primarily devoted to learning and absorbing the art of the past, from sixteenth-century German and Netherlandish prints to the works of the ancient and Italian Renaissance masters. A large number of these drawings consists of copies after the works of other artists, largely executed as part of the artistic training at the time. For the first time, Rubens?s copies and their models are not discussed and illustrated as a separate entity but are fully integrated into the rest of his graphic oeuvre, thus showing copies and original compositions created at the same time side by side. The volume contains 204 entries, including several sheets with drawings on recto and verso. Each entry consists of a detailed physical description of the drawing, provenance, exhibition history, full bibliography and a critical, interpretive discussion. In addition, Volume I contains an essay on the history of the scholarship of Rubens?s drawings, a subject that has not been treated before. All drawings by Rubens and the works by other artists he copied as well as a selection of other comparative images are reproduced in color. Anne-Marie Logan is a specialist in Rubens?s drawings and in those of his Flemish contemporaries, especially Van Dyck's. Kristin Lohse Belkin is a Rubens specialist who has carried out extensive research on the artist.‎

‎EEN HUIS VOL KUNST. RUBENS ALS VERZAMELAAR.‎

‎Antwerpen , Rubenshuis/ Rubenianum, 2004 Softcover, geillustreerde kartonomslag met flappen, 235 x 300mm., 342pp., zeer uitgebreid geillustreerd in kleur en z/w. . ISBN 9789076704715.‎

‎Uitgegeven naar aanleiding van de gelijknamige tentoonstelling in het Rubenshuis te Antwerpen van 6 maart tot 13 juni 2004. In goede staat. ‎

‎EEN HUIS VOL KUNST. RUBENS ALS VERZAMELAAR.‎

‎Antwerpen , Rubenshuis/ Rubenianum, 2004 Gebonden, hardcover zwart, originele uitgeversomslag in kleur met flappen, geillustreerde kartonomslag met flappen, 24.5x30.7 cm., 342 pp., zeer uitgebreid geillustreerd in kleur en z/w. . ISBN 9789076704685.‎

‎Uitgegeven naar aanleiding van de gelijknamige tentoonstelling in het Rubenshuis te Antwerpen van 6 maart tot 13 juni 2004.‎

‎BEELDEN VAN DE DOOD. RUBENS KOPIEERT HOLBEIN,‎

‎Gent/ Antwerpen, Snoeck - Ducaju , 2000 originele uitgeversomslag geillustreerde kartonomslag, 175 x 260mm., 140pp., zeer uitgebreide illustratie. ISBN 9053493190.‎

‎Rubens kopieert Holbeins Dodendans in 44 tekeningen - Peter Paul Rubens : chronologie - Tekenen naar prentkunst in de opleiding van de schilder tussen 1470 en 1600 - Rubens' kopieen naar Duitse en Nederlandse prenten - Holbein, Rubens en het naleven van de Dodendans in de 17de eeuw. Nieuwstaat.‎

‎Drawings of Peter Paul Rubens, A Critical Catalogue, Volume Two (1609?1620) Part One: Text and Part Two: Images‎

‎, Brepols - Harvey Miller, 2023 2 vols; Part One: Text and Part Two: Images, 732 pages; Size:216 x 280 mm, Illustrations:291 col. Language(s):English. ISBN 9782503599533.‎

‎This is Volume II in the three-volume catalogue raisonn of the drawings by Rubens covering the years 1609?20. The project is a collaboration between Anne-Marie Logan, to whom belong all the Rubens attributions, and Kristin Lohse Belkin. It is the first publication that presents the artist?s entire drawn oeuvre in chronological order, previous such publications containing only selections of drawings. By leafing through the illustrations, this arrangement offers the user a quick visual impression of the variety of techniques, media, subject matter and functions of Rubens?s drawings at any one time. Accordingly, Volume II consists of the drawings from the time of Rubens?s return from Italy and the establishment of his workshop in Antwerp to the completion of his contribution to the furnishing and decoration of the city?s new Jesuit church, today?s St. Charles Borromeo. The decade is characterized by a broad range of genres and iconography: large altarpieces stand next to cabinet-size pictures, book illustrations next to designs for tapestry, sculpture and architectural reliefs; religious, mythological and historical subjects alternate with allegories, portraits, exotic hunts and scenes from country life. Copies after other artists? works that constitute such a large part of Rubens?s early years discussed in Volume I have given way to original inventions in pen and ink and, above all, by life studies in chalk of the human body, naked or dressed. The whole spectrum of Rubens?s extraordinary creativity, nowhere presented as directly and immediately as in his drawings, is there to be contemplated in all its astonishing diversity. Each entry consists of a detailed physical description of the drawing, provenance, exhibition history, full bibliography and a critical, interpretive discussion. All drawings by Rubens as well as a selection of comparative images are reproduced in color.‎

‎Copies and Adaptations from Renaissance and later Artists : German and Netherlandish Artists. Corpus Rubenianum Ludwig Burchard XXVI in 2 volumes set.‎

‎Turnhout, Brepols, 2009 Hardback, 2 volumes original editor's jacket, english, 600 pp., 378 b/w ill. + 21 colour ill., 180 x 265 mm. Corpus Rubenianum Ludwig Burchard XXVI in 2 volumes set. ISBN 9781905375387.‎

‎Corpus Rubenianum Ludwig Burchard (Rubens studied his own artistic heritage. In his early youth he copied German illustrated books, such as Holbein?s Dance of Death, Tobias Stimmer?s Bible (1576), Jost Amman?s Flavius Josephus (1580) and the immensely popular Petrarch edition with woodcuts attributed to Hans Weiditz (1532). He also made drawings after engravings by Hendrick Goltzius (1596-97) and Johannes Stradanus (1589). These copies fall into Rubens?s youth or the years immediately following his return to Antwerp. In later years, he occasionally copied from the paintings of his predecessors and compatriots, but he preferred to retain their compositions and designs by collecting and retouching their works. He reworked drawings by German masters such as Hans Holbein the Younger, Hans Suss von Kulmbach and several artists from the school of Durer. Sheets of Netherlandish masters were retouched by Rubens: Cornelis Bos, Bernard van Orley, Pieter Coecke van Aelst, Michiel Coxcie, Aertgen and Lucas van Leyden, Jan Swart van Groningen and Marten van Heemskerck. He also painted copies from works by artists such as Hans Holbein, Quinten Massys, Willem Key, Joos van Cleve, Jan Vermeyen and Adam Elsheimer. Although no direct copies by Rubens after Pieter Bruegel the Elder are known, his late landscapes and genre scenes betray a profound influence from this great Flemish predecessor. He owned a number of drawings and paintings of peasant festivities with their accompanying scenes of drunkenness and brawls. It is in this category of works that we encounter all but one of the surviving Northern paintings retouched by Rubens. Among the Netherlandish paintings retouched by Rubens listed in seventeenth-century Antwerp inventories but no longer identifiable, at least one is also of a low-life subject: a Brothel Scene, possibly by Marten van Cleve. ‎

‎Rubens im Wettstreit mit Alten Meistern. Vorbild und Neuerfindung‎

‎Munchen, Alte Pinakothek, , 2009 Bound, Hardback,with dustjacket 265x210mm, 264p, fine condition, German edition . ISBN 9783775725132.‎

‎Rubens gilt als einer der produktivsten Maler des Barock ‎

‎Copies and Adaptations from Renaissance and later Artists: German and Netherlandish Artists SET 2 volumes‎

‎, Brepols, 2009 2 volumes, 600 p., 378 b/w ill. 21 colour ill., 180 x 265 mm, Languages: English,Hardbacks wth dusjackets, fine ISBN 9781905375387.‎

‎Rubens studied his own artistic heritage. In his early youth he copied German illustrated books, such as Holbein's Dance of Death, Tobias Stimmer's Bible (1576), Jost Amman's Flavius Josephus (1580) and the immensely popular Petrarch edition with woodcuts attributed to Hans Weiditz (1532). He also made drawings after engravings by Hendrick Goltzius (1596-97) and Johannes Stradanus (1589). These copies fall into Rubens?s youth or the years immediately following his return to Antwerp. In later years, he occasionally copied from the paintings of his predecessors and compatriots, but he preferred to retain their compositions and designs by collecting and retouching their works. He reworked drawings by German masters such as Hans Holbein the Younger, Hans Suss von Kulmbach and several artists from the school of Durer. Sheets of Netherlandish masters were retouched by Rubens: Cornelis Bos, Bernard van Orley, Pieter Coecke van Aelst, Michiel Coxcie, Aertgen and Lucas van Leyden, Jan Swart van Groningen and Marten van Heemskerck. He also painted copies from works by artists such as Hans Holbein, Quinten Massys, Willem Key, Joos van Cleve, Jan Vermeyen and Adam Elsheimer. Although no direct copies by Rubens after Pieter Bruegel the Elder are known, his late landscapes and genre scenes betray a profound influence from this great Flemish predecessor. He owned a number of drawings and paintings of peasant festivities with their accompanying scenes of drunkenness and brawls. It is in this category of works that we encounter all but one of the surviving Northern paintings retouched by Rubens. Among the Netherlandish paintings retouched by Rubens listed in seventeenth-century Antwerp inventories but no longer identifiable, at least one is also of a low-life subject: a Brothel Scene, possibly by Marten van Cleve.‎

‎AERT VAN DER NEER (1604-1677)‎

‎, Davaco Publishers, 2002 Hardcover, 520 pages, ENG. edition, 310 x 240 x 65 mm, NEW, illustrated dustjacket, 416 illustrations on 309 plates of which 63 in colour . ISBN 9789070288570.‎

‎This comprehensive study confirms Aert van der Neer (1604-1677) as one of the leading figures in seventeenth-century Dutch art. Along with Hendrik Avercamp, Aert van der Neer painted some of the finest European winter landscapes, demonstrating his incomparable feeling for light, space and atmosphere. His masterpieces from around 1660 may be considered the apogee of Netherlandish art in this genre. Van der Neer's early-morning scenes show the dedication with which he chose his homeland as the setting for his paintings. His evening and nocturnal moonlit landscapes are miracles of colour as regards their beauty and expressiveness. The rigorous examination and critical analysis of Van der Neer's oeuvre, carried out over the course of a decade, has enabled the author to produce a well-considered survey yielding valid conclusions.‎

‎Een huis vol kunst: Rubens als verzamelaar ‎

‎ 2004 Rubenshuis en Rubenianum Soft cover ‎

‎Een huis vol kunst: Rubens als verzamelaar catalogus van de tentoonstelling broché, 30 x 24 cm, 342 pp, etat superieur‎

‎Een huis vol kunst: Rubens als verzamelaar ‎

‎ 2004 Rubenshuis en Rubenianum Soft cover ‎

‎Een huis vol kunst: Rubens als verzamelaar catalogus van de tentoonstelling Softcover, 300 x 240 mm, 342 blz, zeer goede staat‎

‎Een huis vol kunst: Rubens als verzamelaar ‎

‎ 2004 Rubenshuis en Rubenianum Soft cover ‎

‎Een huis vol kunst: Rubens als verzamelaar catalogus van de tentoonstelling Softcover, 300 x 240 mm, 342 blz, zeer goede staat‎

‎Copies and adaptations from Renaissance and later artists. 1: German and Netherlandish artists [2 volumes, in: Corpus Rubenianum Ludwig Burchard, part XXVI-1]‎

‎London/ Turnhout, Harvey Miller (Brepols) 2009 Complete in 2 volumes: together 600pp. with 378 bl/w illustrations and 21 colour illustrations, 27cm., hardcovers (publisher's cloth), dustwrapper, text in English, fine condition, in the series "Corpus Rubenianum Ludwig Burchard. An illustrated catalogue raisonné of the work of Peter Paul Rubens" vol.26-1, ISBN 978-1-905375-38-7, S79987‎

‎Beelden van de dood - Rubens kopieert Holbein‎

‎Antwerpen, Rubenshuis 2000 140pp., met ills., 26cm., gebroch., goede staat, S108259‎

‎Jan Lievens : Friend and rival of the young Rembrandt with a catalogue raisonn e of his early Leiden work 1623-1632‎

‎, Michael Imhof Verlag, 2016 Hardcover; 320 x 250 x 40 mm, 488 pages, NEW ! , 477 colour / 52 b/w illustrations, ISBN 9783731903338.‎

‎Jan Lievens (1607-1674), Rembrandt's boyhood friend, who embarked on an artistic career even earlier than his companion, once again is as highly regarded as during his lifetime, thanks to numerous recent publications and several exhibitions. The present monograph and catalogue raisonn discuss and analyze for the first time the extensive output of his early Leiden years: his paintings, drawings, and etchings from 1623 to 1632. Besides the book?s comprehensiveness and consideration of the artist's work in the context of his Netherlandish contemporaries from Haarlem, Utrecht, and Antwerp, special emphasis is placed on establishing the chronology of his ?uvre. Only a solid foundation such as this would make it possible to determine more precisely than before Lievens?s much discussed relationship to Rembrandt. What transpired was a most lively give and take between two young artists intensely searching for new ways of artistic expression whose later development after their respective move from Leiden took very different paths. Consequently, the careful examination of Lievens's early oeuvre sheds new light on Rembrandt's Leiden work‎

‎The Mosquitoes of the South Pacific (Diptera, Culicidae). Volumes I-II (complete).‎

‎1962 xii, 608 p., 412 pls (= second volume), 4to, publisher's cloth. Tiny hole (few mm) in upper end spine volume II, else a very good set.‎

‎The Mosquitoes of the South Pacific (Diptera, Culicidae). Volumes I-II (complete).‎

‎1962 xii, 608 p., 412 pls (= second volume), 4to, publisher's cloth. Library stamps, else a very good set.‎