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Editore: Yale University Press, 1966
ISBN 10: 0300000014ISBN 13: 9780300000016
Da: ZBK Books, Carlstadt, NJ, U.S.A.
Libro
Condizione: good. Pages and cover are intact. Used book in good and clean conditions. Limited notes marks and highlighting may be present. May show signs of normal shelf wear and bends on edges. Item may be missing CDs or access codes. May include library marks.
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Nuovo - A partire da EUR 10,73
Usato - A partire da EUR 4,80
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Editore: Penguin Classics, 1991
ISBN 10: 0140433317ISBN 13: 9780140433319
Da: SecondSale, Montgomery, IL, U.S.A.
Libro
Condizione: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.
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Nuovo - A partire da EUR 9,34
Usato - A partire da EUR 5,65
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Pb. Condizione: VG-. 141pp. Remainder stripes on top & bottom edges; owner nameplate fep. Endnotes & index.
Condizione: Fair. Acceptable condition. (Art, Painting, Painters) A readable, intact copy that may have noticeable tears and wear to the spine. All pages of text are present, but they may include extensive notes and highlighting or be heavily stained. Includes reading copy only books.
Editore: Yale University Press, New Haven-London, 1966
Da: LibrairieLaLettre2, Villefranche de Lauragais, Francia
Broché. Condizione: Bon état. in-12 141 pp. Translated with Introduction and Notes by John R. Spencer. Taches de scotch sur la 1ère et la dernière pages. Couverture insolée. Langue : Anglais Nb de volumes : 1.
Editore: Yale University Press, 1967
ISBN 10: 0300000014ISBN 13: 9780300000016
Da: Monroe Street Books, Middlebury, VT, U.S.A.
Libro Prima edizione
Condizione: Very Good. Condizione sovraccoperta: None. 141 pages. Minor corner and edgewear and fade, otherwise, very clean and tight copy. Record # 456266.
Editore: Dover Publications Inc., United States, New York, 2005
ISBN 10: 0486441555ISBN 13: 9780486441559
Da: WorldofBooks, Goring-By-Sea, WS, Regno Unito
Libro
Paperback. Condizione: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
Editore: New Haven-London, Yale University Press, 1966, 1966
Da: Antiquariaat Hortus Conclusus, Den Haag, Paesi Bassi
Original publisher s white paperback, pictorial frontcover, revised edition [1956], 8vo: 142pp., figs, introduction, notes to introduction, notes to text, index, table of contents. Spine a bit sunned, else good. Please see description or ask for photos.
Editore: Yale University Press 1966, 1966
Da: Antiquariat Walter Nowak, Göttingen, Germania
Gewicht in Gramm: 550 Einband etwas fleckig, innen sauberes Exemplar.
Condizione: Good. 1966. Paperback. Clean copy with some shelf wear. . . . . Books ship from the US and Ireland.
Editore: New Haven, 1966
Da: Kennys Bookshop and Art Galleries Ltd., Galway, GY, Irlanda
Condizione: Good. 1966. Paperback. Clean copy with some shelf wear. . . . .
Editore: Phaidon Press, 1972
ISBN 10: 0714815527ISBN 13: 9780714815527
Da: ThriftBooks-Dallas, Dallas, TX, U.S.A.
Libro
Hardcover. Condizione: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 1.01.
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Usato - A partire da EUR 32,13
Editore: New Haven: Yale University Press, 1956
Da: Nighttown Books, South Pasadena, CA, U.S.A.
Prima edizione
Hard Cover. Condizione: Near Fine. First Edition. First Printing in blue-stamped navy boards, no markings, NOT ex-lib, no foxing, slight softening to spine ends, else bright tight exemplary copy of title scarce in hardcover, lacking the dust jacket; 8vo; 141pp indexed.
Data di pubblicazione: 2022
Da: S N Books World, Delhi, India
Libro Print on Demand
LeatherBound. Condizione: NEW. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1739 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 254 Language: Italian Volume 1 Pages: 254 Volume 1.
Editore: Cambridge, 2011
ISBN 10: 1107694930ISBN 13: 9781107694934
Da: Big Reuse, Brooklyn, NY, U.S.A.
Libro
Soft cover. Condizione: Near Fine. Excellent condition, no notable wear.
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Data di pubblicazione: 2022
Da: S N Books World, Delhi, India
Libro Print on Demand
LeatherBound. Condizione: NEW. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. A perfect gift for your loved ones. Reprinted from 1739 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 486 Language: Italian Volume 2 Pages: 486 Volume 2.
Editore: London, Phaidon 1972., 1972
Da: Grant's Bookshop, Cheltenham, VIC, Australia
Prima edizione
4to. viii + 159pp, Original boards in backstrip faded dustwrapper. Black and white illustrations; a very good copy. . First edition thus.
Editore: Routledge & Kegan Paul, 1956
Da: M and M Books, Barkway, HERTS, Regno Unito
Libro Prima edizione
Hardcover. Condizione: Good+. No Jacket. 1st Edition. No jacket. Mauve cloth covers. Some fading to spine and covers. Slight bumping. 141pp.
Editore: Praeger Publishers Inc, 1976
ISBN 10: 0837189748ISBN 13: 9780837189741
Da: BBB-Internetbuchantiquariat, Bremen, Germania
Libro
Gebundene Ausgabe, Leinen. Condizione: Sehr gut. Auflage: Reprint. 141 Seiten Zustand: sehr gut; auf 20 Seiten Anstreichungen mit Bleistift (gut radierbar) w19839 9780837189741 Wenn das Buch einen Schutzumschlag hat, ist das ausdrücklich erwähnt. Rechnung mit ausgewiesener Mwst. Sprache: Englisch Gewicht in Gramm: 350.
Editore: New Haven: Yale University Press, 1956., 1956
Da: D & E LAKE LTD. (ABAC/ILAB), Toronto, ON, Canada
Hardcover. Condizione: Very Good. Dust Jacket Included. 8vo. pp. 141. cloth. dw (rubbed with few short tears).
Paperback. Condizione: new. New Copy. Customer Service Guaranteed.
Editore: Phaidon 1972, 1972
Da: Hard to Find Books NZ (Internet) Ltd., Dunedin, OTAGO, Nuova Zelanda
Membro dell'associazione: IOBA
Super octavo, yellow cloth boards with gilt lettering to spine, viii + 159pp, illus, VG (light bruising to spine extrems, light foxing to page edges, light spradic foxing to pages) in d/w VG (moderate fading, light rubbing).
Editore: Cambridge University Press May 2011, 2011
ISBN 10: 1107000629ISBN 13: 9781107000629
Da: Hennessey + Ingalls, Los Angeles, CA, U.S.A.
Libro
Hardcover. Condizione: Used - Like New. Leon Battista Alberti was one of the most important humanist scholars of the Italian Renaissance. Active in mid-fifteenth-century Florence, he was an architect, theorist, and author of texts on perspective and painting. Alberti's On Painting is a cardinal work that revolutionized Western art. In this volume, Rocco Sinisgalli presents a new English translation and critical examination of Alberti's seminal text. Dr. Sinisgalli reverses the received understanding of the relationship between the Italian and Latin versions of Alberti's treatise by demonstrating that Alberti wrote it first in Italian and then translated it into a polished Latin over the course of several decades. This volume is richly illustrated to help demonstrate how Alberti understood optics and art. BEAUTIFUL COPY!!! Very nice clean, tight copy free of any marks. wrapped in complimentary Brodart dust jacket protector.
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Usato - A partire da EUR 144,37
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Editore: In the Institute os Science, Bologna, 1782
Da: Mullen Books, ABAA, Marietta, PA, U.S.A.
Hardcover. Brown cloth boards with gilt highlights, Black leather corners and spine. Gilt lettering and design elements on 5 raised band spine. xiii, [3], 341 pages, 69 leaves of plates (some folded) : illustrations, plans. Title vignette, tail-pieces and plates engraved by Pio Panfili. Very Good Cover has general wear, Leather peeling, corner/edge damage. Spine has damage to top/bottom. Bookblock has age toning. Interior pages have age toning and foxing.
Editore: Susan Allix, London, 1999
Da: Oak Knoll Books, ABAA, ILAB, NEW CASTLE, DE, U.S.A.
full leather, clamshell box. Allix, Susan (illustratore). square 4to. full leather, clamshell box. 113 pages. Privately printed in an edition of 22 copies, of which this is one of 10 copies printed on Richard de Bas hand made Blanc Narcisse 180 gsm paper and contain an additional watercolor and pencil paintings on Japanese paper between each of the three of Alberti's "Books". Prospectus loosely inserted. A fine copy in fine clamshell box. All copies have additional sheets of Japanese paper in colors of terracotta, greys and blues. This small limited edition of the famous early Renaissance work is newly translated and abridged from the original Italian. Printed by letterpress, with hand made papers, it iincludes etchings and other intaglio prints in a rich variety of colors and techniques. On Painting was composed in 1435 by Leon Battista Alberti, a scholar of wide interests who, upon returning from exile to his native city of Florence and seeing the work of a new generation of Renaissance artists, was inspired to write a highly original work on the art of painting. It was composed originally in Latin and translated into 'Tuscan' (Italian) a year later by Alberti, and was intended for an audience not only of artists but also of educated collectors. It discusses fundamental ideas on the theory and practice of painting, and how each artist can develop his own individual talent. Alberti was born in 1404 of a Florentine family. He was educated in Padua and attended the University of Bologna from where he graduated in canon law in 1428. He went to Rome where he became a secretary in the Papal Chancery and it was from the church that he obtained an income. In 1434 he returned to Florence where, excited by the work of Brunelleschi, Donatello and Masaccio, he wrote On Painting in which he "set forth the principles to be followed by the painter." He then turned to architecture, the subject for which he is today most well known, writing De Re Aedificatoria and accepting commissions for actual building projects. His wide knowledge of the classical past combined with an original eye for contemporary change enabled him to produce, throughout his life, a stream of writning on a variety of subjects, including sculpture, poetry, prose, matthematics, engineering, family life. He died in Rome in 1472. Alberti dedicates his Tuscan translation of On Painting to Brunelleschi, and acknowledges the inspiration of the early Florentines in their re-invention of the visual arts. In best Renaissance style he investigates the properties of painting in the light of the new invention of perspective; he is concerned with the study of nature as the basis of art, and while he acknowledges the importance of the arts of the ancient world he places power in the hands of the artist for making images of today. It is Alberti's acumen in being able to see and describe the most basic attributes of painting that made his work more than merely an interesting piece of Renaissance art theory. On Painting is written in a conversational and personal style. Alberti was both an observer of artists and an artist himself whenever he had "leisure from other affairs", becoming so absorbed in his painting that he remarks, "I can hardly believe that three or even four hours have gone by." He divides the work into three parts or "books". The first is "Mathematical", dealing with form and proportion and how they are related in nature. Starting from the single point it continues through planes, space and color, taking in perspective on the way. In the second book Alberti "puts the art into the hands of the artist". He shows the painter how he can use these elements in drawing, composition, the use of light and shade and the placing of tones and colors; all in ways appropriate to the subject matter. Book III is about the artists themselves, their personalities, their gifts, their imagination and how they "may acquire perfection in painting". This edition contains 28 intaglio prints. They are the result of four years of sketch book observation and drawing, plate-making and reworking the plates. The prints were made from copper, zinc and perspex plates, and contain a wide variety of techniques. There is etching, drypoint and mezzotint, often in combination, and also open bite, aquatint, sand grain and carborundum. The plates have been printed in black and white and color in intaglio, relief and blind. All the inks are made from pure pigments ground in copperplate oil, so interleaving sheets are necessary to stop the plates offsetting. As each plate is hand inked and printed separately, complete uniformity is not possible, so each page is individual. 20 of the prints are in color, 7 in black and white, 1 in blind, and many have extra hand-coloring on the prints or the type. The typeface is Caslon Old Face Roman, in 22pt and 18pt, with 48pt Roman and 42pt Italic. It was printed letterpress on damp paper on an 1837 Albion handpress. The page size is 13 x 11 inches (33 x 27 cm). Born in 1934, Susan Allix attended the Royal College of Art to become skilled in bookbinding and typesetting. Her book art is held in many public and private collections worldwide, with the most concentrated collections being held in the UK, at Yale, and at the Smithsonian.
Editore: Thomas Edlin, London, 1726
Da: William Chrisant & Sons, ABAA, ILAB. IOBA, ABA, Ephemera Society, Fort Lauderdale, FL, U.S.A.
Prima edizione
Condizione: Very Good. Picart (illustratore). First edition in English. First English edition. Twentieth century cloth over eighteenth century boards sans endpapers. Folio engraved frontispiece by Bernard Picart; woodcut initials and tailpieces; parallel text in Italian and English; 102 engraved plates (24 of which are double-page). TOGETHER WITH Leoni's Designs for Buildings both Publick and Private. Folio 11 x 17.75 inches; 29.5 x 45 cm. Christie's, Apr 26, 1989, lot 163.
Editore: Thomas Edlin., London., 1726
Da: Sims Reed Ltd ABA ILAB, London, Regno Unito
Libro Prima edizione
4 works in 3 vols. Folio. pp. (16), 103; (2), 44, 46 - 47, 49 - 66, 68 - 68, 69 -130; (2), 34; (8), 6. Engraved allegorical frontispiece, printed title in Italian, printed title in English, leaf with Leoni's dedication in Italian to 'Giorgio, Prencipe di Vallia', two leaves with list of subscribers, four leaves with the life of Alberti and list of his works, four leaves with preface by Leoni, parallel text in English and Italian of books I - V (103 numbered leaves) and 9 engraved hors texte plates; printed title in English for vol. II, printed title in Italian and parallel text of books VI - X (130 numbered leaves) and 58 engraved hors texte plates, 3 double-page and one folding on two sheets; leaf with privilege, printed title to vol. III in English, printed title in Italian, leaf with dedication to Thomas Scawen in Latin, parallel text in English and Italian of Books I - III of 'On Painting' and book I of 'On Statuary' (34 numbered leaves) and 8 engraved hors texte plates; printed title in English for Leoni's Works, printed title in Italian, five leaves with 'To the Reader', six leaves with Leoni's text and additional subscribers list and 27 engraved plates, 11 double-page and 9 folding plates on two sheets. All of the plates are by Leoni apart from 3 by Bernard Picart, the engraver - often unnamed - is given variously as Picart, John Harris or J. Cole. Printed titles with woodcut vignettes, woodcut head- and tail-pieces and decorative initials throughout. (Sheet size: 426 x 275 mm). Full modern speckled calf. [PROVENANCE: Ownership signature to head of titles of [illegible] Mulholland and dated 'Sept[embe]r. 8th, 1843']. First edition in English of Alberti's De Re Ædificatoria, together with his other works De Pictura and Della Statua. John Evelyn had appended an English translation of Della Statua to his own work on Fréart, but it was not until Leoni (who had also introduced Palladio to an English audience) that any of Alberti's other works appeared in English. The engravings and text used by Leoni for Alberti's architectural text were based on the translation and first illustrated edition published by Bartoli in 1550, while he used du Fresne's 1651 edition for the painting and sculpture sections and the brief life of Alberti. Leoni added a further section at the end of Alberti's works to publicise his own endeavours. As part of the court of Cosimo de Medici the Elder, friend to Lorenzo, Brunelleschi and the Humanist circle, as well as secretary to six Popes, Leon Battista Alberti was much more than an architect or theoretician. Born into an important but exiled Florentine family in Genoa in 1404, Alberti, with his knowledge of Latin and Greek, flourished when the family were permitted to return in 1429. His works covered painting (De Pictura), sculpture (Della Statua), cryptography, the family and mathematics (Ludi Rerum Mathematicarum), the source for which was Euclid's Optics and it is the combination of his talents that led to the publication of perhaps his most famous and influential work, the De Re Ædificatoria of 1485. Printed in the year of the Battle of Bosworth Field and the ascendancy of the Tudors, Britain had to wait until 1726 for the first English edition, the publication of which is strongly indicative of the work's lasting importance. Building on the ideas of Vitruvius, Alberti also divides his work into ten books and stresses, in particular, the harmonious whole of a building, but has time to reflect on matters relating to gardens where he follwed the Roman landscapists rather than prevalent medieval ideas of walled gardens. Considered by later architects to be more of a theoretician than a practical architect, Alberti is most remembered for his facade of Santa Maria Novella in Florence, an exercise in the tiling of the plane, a breaking down of total surface area into harmonious compartments. In doing this, he provides the spectator with a group of additive units, by which he may visually take the measure of the building, (K. Williams). In this Alberti made use of his own researches, which involved precise measurement and survey of among other things the human body and Rome in its entirety, which he undertook in 1444, as well as the work of Masaccio and Brunelleschi and their rediscovery of geometrical perspective. Active until the end of his life, the De Re Ædificatoria, begun in 1450 was not published until after Alberti's death in Rome in 1472. Subscriber's to the edition included a large number of masons, plasterers, builders and carpenters as well as Nicholas Hawkesmore [sic], Sir John Vanbrugh, Sir Christopher Wren (although deceased when the work was finally issued), Leoni's patron Thomas Scawen and Lord Burlington who both ordered two copies including one, each, on large paper. [Millard 4; Berlin 2554; Fowler 11; Weinreb 16, 9].