Editore: L'aventurine, 2002
ISBN 10: 2914199198 ISBN 13: 9782914199193
Da: RECYCLIVRE, Paris, Francia
Condizione: Très bon. Merci, votre achat aide à financer des programmes de lutte contre l'illettrisme.
Editore: Hachette Livre Bnf, 2018
ISBN 10: 2329219091 ISBN 13: 9782329219097
Da: Lucky's Textbooks, Dallas, TX, U.S.A.
Condizione: New.
Editore: L'Aventurine, Paris,, 2001
Da: Bouquinerie du Varis, Russy, FR, Svizzera
broché. 330x230mm, 233pages, planches en couleurs, Exemplaire à l'état de neuf. 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.
Editore: Paris : Le Sycomore ; London : Al Saqi Books, 1982
ISBN 10: 2862621692 ISBN 13: 9782862621692
Da: MW Books, New York, NY, U.S.A.
Prima edizione
First Edition. Very good copy in the original gilt-blocked decorated cloth. Panel edges somewhat dulled and dust-toned as with age. Spine bands worn. Corners sharp with an overall tight, bright and clean impression. Physical description; 259, [201] p. : il., estampas ; 34 cm. Subjects; Arquitectura islâmica -- Egipto -- Séc. 7-18. Cairo. 4 Kg.
Editore: Paris : Le Sycomore ; London : Al Saqi Books, 1982
ISBN 10: 2862621692 ISBN 13: 9782862621692
Da: MW Books Ltd., Galway, Irlanda
Prima edizione
First Edition. Very good copy in the original gilt-blocked decorated cloth. Panel edges somewhat dulled and dust-toned as with age. Spine bands worn. Corners sharp with an overall tight, bright and clean impression. Physical description; 259, [201] p. : il., estampas ; 34 cm. Subjects; Arquitectura islâmica -- Egipto -- Séc. 7-18. Cairo. 4 Kg.
Editore: Paris, A. Morel, 1877, 1877
Da: Antiquariaat De Keerkring, Malden, Paesi Bassi
Paris, A. Morel, 1877. Réédition, Beirut Eastern Art, distribuée par Khayat Book, s.d. [1974]. Complet de 4 volumes. Demi-veau. Texte: viii-296 pp. 32.5 cm. Avec 73 figures et 34 planches hors texte. 3 volumes Atlas de 200 planches en fac-similé sur papier teint et fort. Fac-similé de qualité superbe. Mésures de l'Atlas: 63.5 x 50 cm. Reliure uniforme, avec des caissons et tomaisons dorés au dos. Petit accroc á la tête du tome 1 d'atlas et reste de col à la première page de garde du tome 1 d'atlas.Sinon en bel état. Poids total/ total weight: 25 kilos. Photos sur demande.La réédition ne parvient pas une année de publication, on trouve dans les catalogues 1973 de même que 2004 de cette publication. Cet exemplaire a été imprimé avec au verso du faux-titre "distribution pour les Pays-Bas, le Royaume Uni et les États Unis uniquement par D. Reidel, éditeurs Dordrecht". Reidel n'existe plus à Dordrecht en 2004. On y joint: le prospectus du distributeur Reidel, 8 pages en couleurs avec l'année de cette réédition 1974.
Editore: Khayat Book & Publishing Company, S. A. L., Beirut
Da: FOLIOS LIMITED, Witney, Regno Unito
Hardcover. Condizione: As New. Reprint. 199 plates of which some in colour, captions of the plates in French & Arabic, half-titles, colour vignettes on half-title pages, titles in red and balck, original gilt decorated half leather, set in mint condition, facsimile reprint of the first edition of 1877, bound in Italy by Legatoria Pegaso, reprinted by Eastern Art, Khayat Book & Publishing Company, S. A. L. Beirut, [ca. 1977]. Prisse d'Avennes was, in many ways, a paradox. An artist of consummate skill, he was also a writer, scientist, scholar, engineer and linguist, a genius who spent much of his life among the illiterate. French to the bone, he was of British blood; a European, he embraced Islam and took the name Edris-Effendi. By nature contentious, he alienated colleagues, yet succoured the sick and the poor. Of the hundreds of 19th century Western artists, scholars and writers who gravitated to the Islamic world following Napoleon's invasion of Egypt in 1798, few possessed so prodigious an intellect, such a trove of talents, so insatiable a curiosity or so passionate a commitment to record the historical and artistic patrimony of ancient Egypt and medieval Islam. He succeeded brilliantly, yet he failed to achieve the stature to which his successes entitled him, both during his lifetime and in the 111 years since his death. He remains, as arts writer Briony Llewellyn calls him, "a shadowy figure in the history both of Egyptology and of European response to Islamic art." Prisse d'Avennes was a fine artist and an outstandingly brilliant observer who recorded much that has since disappeared. In this monumental work he recorded Arab Art in Cairo through splendid plates of architectural studies, mosaics, ornaments, interior designs, textiles, carpets, civil and religious furniture, Islamic book binding, miniatures, and different types of Qur'anic script. [Reference: For the first edition see Creswell, 81]. Prisse wrote for scientific journals, published treatises and kept active in learned societies, while working on L'Histoire de L'Art Egyptien" and L'Art Arabe. He made excursions to Egypt, worked on the Egyptian exhibit for the World Exposition of 1867 and was director and chief hydrographics engineer for the French company charged by Isma'il Pasha to produce a plan for the exploitation of the lakes of northern Egypt. When the pasha cancelled the project at the last moment, Prisse resigned the post and, for the next 10 years, devoted himself exclusively to his masterworks, the astounding energies of his youth clearly intact. Apart from the literary demands, Prisse trained teams of artists especially to prepare the plates for his book, monitoring their work relentlessly, until each plate precisely replicated the original drawing. L'Histoire de I'Art Egyptien, published in its entirety in 1877 by the Librairie Scientifique of Paris, consisted of two volumes containing 160 plates and a separate volume of text written by P. Marchandon de la Faye on the basis of notes by Prisse, who was forced by circumstances to accept this arrangement. Illustrated sections on architecture, sculpture, paintings and industrial arts underscored the close correlation between the arts and the history of ancient Egypt, Prisse noted, revealed the course and progress of Egypt's civilisation, its surprising customs and its religious thought. Shown "with excellent splendour" at the World Exposition of 1878, L'Histoire de l'Art Egyptien became an important part of the body of Egyptology and, in that sense, Prisse's hopes were fulfilled. But for L'Art Arabe, he wanted more. He wanted to inspire the artists and architects of his time with fresh ideas to counter "the poverty of invention that so justly inflames those who profess to worship beauty." Above all, he wanted to stir the public to understand and appreciate the epoch whose art had graced a millennium and inspired the Renaissance. #18829.
Editore: Morel, 1877
Da: Librairie Voyage et Exploration, Cerny, Francia
Prima edizione
Pas de couverture. Condizione: Bon. Edition originale. Paris, Morel, 1877, 3 volumes d'atlas in-folio en feuilles, sous emboîtages. Atlas seuls, comprenant pages de titre et tables des planches, complets des 199 planches (22 gravées et 177 lithographiées dont 39 vues teintées et 130 chromolithographies, plusieurs rehaussées d'or), lithographiées ou gravées, parfois en couleurs et certaines d'après Girault de Prangey, l'un des tout premiers voyageurs français à photographier Le Caire et Jérusalem. Les planches représentent des vues de vestiges, de nombreux détails d'ornementations (portes, heurtoirs, flambeaux, plats, etc.) ainsi que des meubles, des textiles, des céramiques, des boiseries, des carrelages, des armes et des armures, des verres et des émaux, des tapis, des manuscrits et des corans, une déchirée sans manque. Édition originale de l'ouvrage le plus important du XIXe siècle entièrement consacré à l'art arabe , Éminent archéologue et égyptologue de renom, Prisse d Avennes (1807-1879) passa près de trente ans en Égypte, comme ingénieur au service de Mehmet Ali, puis voyagea déguisé en Arabe sous le nom d'Edris Effendi. Il explora les monuments anciens le long du Nil jusqu'en Nubie. De retour en France en 1860, il s attela à cet ouvrage monumental à partir de ses dessins et notes. Il fut l'un des premiers archéologues à utiliser la photographie pour ses relevés monumentaux. 3 Plates vol. only (lacking 4to text volume), 199 plates (22 engraved and 177 lithographed of which 39 tinted views and 130 chromolithographs, many heightened with gold), Magnificent work on Islamic art with sumptuous chromolithographed plates of interiors, ceramics, textiles, metalwork, bookbindings, manuscripts etc., and many fine tinted plates of mosques and other buildings.
Editore: Paris, Morel, [1869-]1877., 1877
Da: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Prima edizione
1 volume of text (4to) and 3 vols. of plates (large folio). Text: 1 bl. f., title leaf, viii, 296 pp., 1 bl. f. With 34 lithogr. plates (all with tissue guards) and 73 text illustrations. Half morocco with giltstamped title to gilt spine. Spine rebacked. Plate volumes all with half title, title, list of contents and a total of 200 engraved plates (130 of which are chromolithographs and 48 tinted lithographs). Plate volumes bound uniformly with text volume in giltstamped half morocco with cloth covers. Very scarce first edition of this splendid, unsurpassed standard work on Islamic art. Prisse d'Avennes spent many years in Egypt after 1826, first as an engineer in the service of Mehmet Ali. After 1836 he explored Egypt disguised as an Arab and using the name Edris Effendi; during this period he carried out archaeological excavations in the valley of the Nile. In 1860, Prisse d'Avennes returned to France with a wealth of documentation and drawings, which he subsequently had reproduced by specially trained draughtsmen and published in this monumental set. "'Arab Art', however, is more than a monument to the author's tenacity, skill, and devotion. For the historian of architecture, it is a precise source, a unique documentary record [.] On an entirely different level, Prisse d'Avennes has provided today's architects, designers, artists, and illustrators with some of the finest examples of measured drawings, pattern details, and illustrations of selected aspects of the built environment of a medieval Islamic city. But 'Arab Art' is not merely an exercise in architectural description. Prisse d'Avennes writes about and records in the plates art forms ranging from elaborately decorated tiles to carpets and fabrics, to Korans and illuminated manuscripts. His text examines how these objects were made and the way they were used, and describes the value placed on them by contemporary society. The result is that his book offers invaluable glimpses of aspects of Arab life as they were viewed by a sympathetic West European" (preface to the 1963 London edition). - Beautiful, complete set (the last copy sold at auction was incomplete). Text and plates uncommonly clean and in an excellent state of preservation throughout, in contrast to the known copies in libraries and in institutional possession. - Ibrahim-Hilmy II, 138-140.