7 books for « wood jeremy »Edit

‎The Walpole Society. vol 80. The Walpole Society. 80‎

‎Wood, Jeremy; Tamsin Lee-Wolfe, Lothar Sickel et al.: The Walpole Society. vol 80. London: Walpole Society, 2018. Series: The Walpole Society. 80. 363 pages; illustrated in colour and b&w. Hardback. 28x21.6cms. Jeremy Wood: Buying and Selling Art in Venice, London and Antwerp: The Collection of Bartolomeo della Nave and the Dealings of James, Third Marquis of Hamilton, Anthony Van Dyck, and Jan and Jacob Van Veerle, c. 1637-52; Tamsin Lee-Woolfe: James Thornhill's Travel Diary to Paris, 1717; Lothar Sickel: Angelo Bonelli (c. 1760-1827): An Italian Art Dealer in London and his Partnership with John Udny junior.‎

‎Jeremy Wood: Buying and Selling Art in Venice, London and Antwerp: The Collection of Bartolomeo della Nave and the Dealings of James, Third Marquis of Hamilton, Anthony Van Dyck, and Jan and Jacob Van Veerle, c. 1637-52; Tamsin Lee-Woolfe: James Thornhillâs Travel Diary to Paris, 1717; Lothar Sickel: Angelo Bonelli (c. 1760-1827): An Italian Art Dealer in London and his Partnership with John Udny junior‎

‎Collecting prints and drawings in Europe, c. 1500-1750‎

‎, Ashgate , 2003, Hardcover with dusjacket, 225 pages, Illustrated. **fine!!. ISBN 9780754600374.‎

‎Collecting prints and drawings in Europe, c. 1500-1750 ; Papers of a conference held at the National Gallery in London in 1997, organized by the Burlington Magazine and sponsored by the Getty ‎

‎Copies and adaptations from Renaissance and later artists. Italian artists. I: Raphael and his school [2 volumes, in: Corpus Rubenianum Ludwig Burchard, part XXVI-2]‎

‎London/ Turnhout, Harvey Miller (Brepols) 2010 Complete in 2 volumes: together 717pp. with 295 bl/w illustrations and 16 colour illustrations, 27cm., hardcovers (editor'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.26-2, ISBN 978-1-905375-39-4, S79986‎

‎Hercules to Olympus Part XI, 2: Mythological Subjects Hercules to Olympus / 2 volumes.‎

‎, Brepols - Harvey Miller, 2023 hardcover with dusjacket, 2 vols, 946 pages.Size:175 x 260 mm Illustrations:450 b/w. Language(s):English. ISBN 9781912554867.‎

‎One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time a secular space was created in art for the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. At the same time, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is happy accident of history that these splendid paintings are now widely visible in the great museums of the world.‎

‎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. ‎

‎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.‎